#And them come back and watch some show or movie that has Simon Pegg and /or nick frost

[andrewknightley]

Wake up early in the morning at 6am and spent 2 hours looking and putting on queue cornetto trilogy posts made in 2013 how are you guys

[princesssarcastia]

Thoughts on Star Trek AOS? (And do you think Kirk was on Tarsus?)

i have SO MANY THOUGHTS about star trek aos, so buckle up.  brace yourself.

star trek aos is a terrible disaster and i love it SO MUCH.  for me, star trek 2009 is still in that class of unreasonably pleasing movies like the mummy or stardust or jumanji: welcome to the jungle.  what they are isn’t exactly top notch but you love them for being exactly what they are.

star trek aos is a star-studded fucking phenomenal cast of some of the best actors working today, which makes up for the very inconsistent writing and unfortunate low-level current of sexism.

literally where would i be today if chris pine could not make faces Like That. i honestly couldn’t tell you.

overall, I have quite a few bones to pick with JJ Abrams for setting up a star trek universe that is less Wacky Space Utopia adventures with liberal political commentary ranging from unsubtle to im-hitting-you-over-the-head-with-my-opinions-like-they’re-a-brick—

to this kind of overtly militarized action-hero adventure porn where one white man saves the universe from Scary People Who Don’t Look Like Us And Are Crazy.  I also don’t appreciate what they did to Jim Kirk, turning him into this womanizing self-centered bastard who has to be in charge.  I REALLY don’t appreciate the casual misogyny, what with the last of rank stripes for women and the gratuitous sex-ed up scenes and the way that Amanda Grayson gets fridged for man-pain and and and— you get the picture.

Or at least, that’s what they tried to do to jim kirk.  and god fucking bless chris pine for being able to make facial expressions, because i firmly believe if pretty much almost anyone else had played Jim Kirk as written by JJ Abrams, that’s exactly what he would have been.

But because of chris pine’s acting, instead, most of the AOS fandom and I realized/decided that this “womanizing” version of jim kirk actually really really hates himself so much, most likely for trauma reasons. 

we took that shit and ran with it and never really stopped.

zachary quinto is also like god tier casting.  unfortunately the writers for the first two movies mostly gave him Anger as a primary motivator, which like, is not exactly how I would interpret Spock at all, but quinto played this Angry Spock so so well.

ZOE SALDANA PLAYS THE LIGHT OF MY LIFE, NYOTA UHURA, PERFECTLY AND THAT’S ALL I’LL HEAR ON THE MATTER.

john cho should be cast in everything ever he’s amazing and I love seeing him.  this man has the range. hikaru sulu is the backbone of this fucking ship.  this man wins the big damn hero award every single movie. 

i still miss living in the same world as anton yelchin. i really, really do.

I also have found family feelings all over these movies, where these baby versions of iconic characters from the sixties are brought together too early to witness too much fucking trauma.  harry potter references aren’t exactly in vogue right now, but there’s this one piece from a—well, actually, its a harry potter reference in an mcu fic i read years ago, now that i think about it, but anyway:

it was something like, there are some things you can’t go through with a person—like that mountain troll in harry potter—without becoming friends for life.  there are some crucibles that will bind you together forever.  and awful as it is, I think Nero and the Vulcan genocide were the AOS crew’s mountain troll.  there’s no going back or separating, after that.

also I feel like there’s a ton of competence porn in this trilogy that i deeply, deeply enjoy.

star trek: 2009 and into darkness are both grimdark male power fantasy bullshit that only accidentally hits all the right buttons for me.  I love them dearly but i know EXACTLY what they are, thank you.

star trek: beyond is a delightful movie with no real plot where our favorite crew are finally Adults With A Modicum Of Common Sense And Stability, instead of Disaster Children Angsting All Over The Place, and they get to save the universe with the power of excellent rock music and friendship. how cool is that?!?  i wanna give simon pegg a high five for making this movie.

on a more meta note, what I find kind of satisfying about these movies is that—for all his many faults that i’m always happy to expound upon—JJ Abrams actually went for it.  He Did That.  He just made his own brand new timeline, killed jim kirk’s dad, then gave him an abusive uncle/step-dad, then literally destroyed one of the founding planets of the Federation, then he, in an iconic fashion, switched Jim and Spock’s places in the infamous “wrath of khan” death scene, so instead Spock gets to watch Jim die. 

and you know what? I can forgive a lot of bullshit for that kind of poetic angsty fanfic plot detail. 

every time uhura says, “an alternate reality,” in star trek 2009 just gives me chills.  every time she says it, you feel the weight of sixty years of history and legacy sitting on these people’s shoulders, the weight of arguably one of the most popular TV shows of all time.

imagine, living in a new world you’re aware isn’t the one that was supposed to be.  imagine that!

oh! and on the question of tarsus:

what I think is probably true irl: JJ Abrams has never thought that far ahead in his life.  correct me if i’m wrong, but hadn’t he.....not even watched star trek.........when he made these movies............like lol i’d bet you this man didn’t even really know Tarsus was a thing.  And even if he did, I don’t think he thought it was part of the new canon he was creating.  AOS is much more self-contained than the serialized universe the original star trek was, so I don’t think that AOS was intended to encompass all those things, like tarsus, that we as a fandom like to obsess over.

what I personally enjoy: i love me some AOS fic that explores the ridiculous amounts of trauma that comes from living through a genocide.  I think that, given we all decided AOS Jim Kirk hates himself, and engages in a shit ton of self-sabotaging and destructive behavior to cope, it’s a reasonable jump to think that at least some of that comes from some survivor’s guilt bullshit from Tarsus.  And honestly, hit me up if you want recs for this, because boy do I have them.  I’ve said it before and I’ll say it again: no one does angst quite like AOS!Jim Kirk.

what I believe wholeheartedly: this is like Schrödinger's Plot Point, okay, it both exists and doesn’t exist simultaneously.  it’s easy to read tarsus into some of jim’s behavior, and it’s easy to read none of it in, and both of those choices are valid.  go with your gut, go with what makes you happy, go with what you think makes sense.  This is where fandom lives, in these little details that fall through the cracks.

anyway WOW did I talk a lot.  those are at least some of my star trek thoughts.  i do have others, but i’ve expounded on them before on this blog, and y’all don’t need me to repeat myself

ask me my thoughts on ______

[moviemunchies]

After Prince Caspian didn’t make the oodles of money that the first Chronicles of Narnia film made, Disney decided that they weren’t interested in making more of these movies. Walden Media managed to get 20th Century Fox to distribute a third movie with them, and hoped to do more after that, though after losing the film rights those plans stalled and were eventually cancelled.

[Fox’s entertainment is owned by Disney now though so all three movies can be found on Disney+.]

The Voyage of the Dawn Treader was always going to be a difficult story to adapt, because while it’s fantastical it doesn’t have a Plot that works very well for a big budget fantasy film. There is no one villain for the heroes to defeat; the quest is to explore and find the Seven Lost Lords of Telmar that have been missing for years. Drawing inspiration from mythology and medieval literature about extraordinary voyages, it involves the heroes going from one island to another and encountering very weird stuff. Also Reepicheep wants to get to Aslan’s Country, which he believes is on the other side of the ocean.

It’s a delightful book, but how does one translate that into a movie?

Walden Media decided instead to sort of change the Plot. Caspian is still looking for the Seven Lost Lords, but there’s also an ancient evil haunting the seas east of Narnia, and the only way to defeat it is with special swords the Seven Lords took with them, and place them on Aslan’s Table near the edge of the world. Some of the islands are condensed or rearranged in where they show up in the Plot to make it all fit together. Eustace remains a dragon for significantly longer, which isn’t a problem for me because I love dragons. In the end, the journey to Aslan’s Country is less of a metaphor-made-real about getting to Heaven as much as, “Welp we kind of ended up here on the way to do something else.” The result is I think nowhere near as meaningful as the book, but it IS a fun fantasy film.

Also the evil Green Mist that appears throughout this movie was apparently meant to be foreshadowing for/related to the Lady of the Green Kirtle, the antagonist of _The Silver Chair_ and so I’m more than a bit bummed that there wasn’t a sequel to this film, as I am VERY curious to see how Walden Media would have adapted that character.

Anyway the Plot goes like this: World War II is still going on and while Peter and Susan are with their parents in America, Edmund and Lucy are staying with their cousin Eustace who they don’t quite get along with. Edmund’s a bit bummed about not having any authority even now that he’s out of Peter’s shadow, and Lucy feels like she never got the attention that her older sister got. And Eustace is a bit of a useless full-of-himself jerk.

AND THEN THEY GO TO NARNIA! They’re picked up by Caspian (who after a few Narnian years no longer has a Spanish accent) who is sailing east from Narnia to find out what happened to the Seven Lost Lords of Telmar, seven nobles who were supporters of his father who were sent out to the Lone Islands by Miraz and never returned. On this quest they discover a strange Green Mist that haunts the seas and makes people disappear sometimes.

So it’s like that.

I think it mostly works as an adaptation if you can accept the changes they made. But there are a couple of things that are a bit annoying. Lucy’s arc, for starters: this movie shows that she’s envious of the attention Susan got from others because of her beauty. And while that’s an understandable character trait, it has never been seen before this film. If this wasn’t a series it wouldn’t an issue, but it is so unlike Edmund’s desire to be out of Peter’s shadow and be recognized on his own (a trait that was present in the very first film and downplayed in the second), this feels like it comes out of nowhere. I get that it’s to adapt a scene from the novel in which Lucy is tempted to use a spell from the enchanter’s book to become beautiful, so I don’t mind it too much, but it IS a bit sloppily done, I think.

We’re also told that the journey is meant to test our heroes, and by that we’re shown them being tempted to give in to their desires, and Caspian doesn’t really get as much of that as the others. Edmund and Lucy get a lot of testing, and Eustace gets turned into a freaking dragon, but Caspian’s testing is mostly limited to a couple of scenes at most. In the book he has more, especially when reaching the border of Aslan’s Country--his subjects have to bluntly tell him that he can’t go there yet because as king he has other duties, and it’s not until he sulks in the cabin and has a conversation with Aslan does he realize that they’re right. The film does show that he wants to go, but of his own wisdom knows that he has to serve his people.

Still, it is a good movie full of great character moments. Edmund took sort of a backseat in _Prince Caspian_ and here he gets to shine as a lead character. Eustace is delightful in how annoying he is and how he gets better. And Reepicheep, dear Reepicheep, who is AWESOME (and voiced by Simon Pegg this time around).

[Oh and Tilda Swinton appears as the White Witch in visions brought on by the Green Mist--which, if it IS meant to be brought on by the Lady of the Green Kirtle, who in the books has an unclear connection to Jadis, has VERY interesting implications. The real reason is that Tilda Swinton loved working in the first movie and was happy for any excuse to come back, and they liked having her so they let her do it.]

It has good characters, it has great scenes, and it has solid acting. The Plot feels a bit weaker this time around, in large part because they’re made up a new one and they’re desperately trying to “recapture the magic of the first film” (no really, watch any promotional interviews and that phrase, or something like it, is dropped a bajillion times). Still, it’s not a bad Plot, just one that doesn’t sound that original or strong. I think the movie is definitely still fun and worth watching.

I don’t know if it feels this way because it’s the last movie Walden Media made, but the ending feels like a cap to the trilogy in a way that’s both fitting and a bit sad. If you’re a fan of these  movies, you will definitely want to see this movie just for completion’s sake (or as close to complete as one can do since the series didn’t finish). I think book fans will like it, but if you’re a novel purist then it’s possible you won’t because so much was changed.

[avarogers021]

Updated List 2021 For Netflix Cancelled & Renewed Shows

Platforms like Netflix and Amazon Prime are watched by a number of people all over the world. Both of these platforms telecast movies, shows, and series which are related to different genres. From thriller to action, anime, mystery, documentaries, history, and more, everything can be seen on these platforms.

Before getting started let us first talk about the shows/series you like to watch? Friends, Riverdale, Game Of Thrones? Well, all of them has a huge fan following. I personally can never get enough of watching Riverdale and Friends. Whether I am back home after work or I wanted to spend some time, Netflix has always been a savior. However, lately I got a news and it just felt like the end of the world.

Were you aware of the fact that some of the Netflix shows have been going off air and cancelled real soon? Yes, you are reading this right. The reasons behind the cancellation of various reasons bring together a plethora of reasons. Of course some shows like Dear White People and Dead To Me have a huge fan following and will be missed for sure. However, since we know that sooner or later good things do make their way, all these shows also came to an end soon.

Have you been wondering which shows got canceled? This is the piece which is apt for you. You will be able to find out all of them here itself. Hence, let’s get started without any further ado.

Netflix shows that have been renewed and cancelled in the year 2021Below mentioned is a list of the top twenty shows that have been canceled this year. Check them out to find the reasons behind the big decision. In addition to this, you will also find out if they are coming back anytime soon.

Ozark: This one has been renewed for season four. The famous television series is coming to an end in 2021. You could find this series on Netflix. Even after gaining so much of popularity, the show is gong off air this year. The show did receive a number of nominations of awards and has also won numerou titles. Some of them are the Guild award, and Emmy award. To people who have watched this series, the fourth season has divided into two different categories. Each category consists of seven episodes. However, at present the director wanted to take a break and made sure that the series is remembered by the fans.

Cast of Ozark

Jason Bateman

Alik Bateman

Andrew Bernstein

Ellen Kuras

Daniel Sackheim

Amanda Marsalis

Benjamin Semanoff

Phil Abraham

Cherien Dabis

Dead To Me: This one has been renewed for season three. The series is known to end in the year 2021. However, the series finale is a big hit and funny. But, this one did not gain too much attention. Time changes, and so does the audience. This is why it is now time to bid adieu to this series, Jenny and Judy. Even though the series was loved by some of them till date, it is finally coming to an end yet not off air.

Cast of Dead To Me

Kat Coiro

Geeta V. Patel

Minkie Spiro

Abe Sylvia

Amy York Rubin

Tamra Davis

Jennifer Getzinger

Liza Johnson

Silver Tree

Elizabeth Allen

Lucifer: The series is renewed for season six. Another fantastic which is coming to an end is Lucifer. The series premiered on 25 January 2016. With time the first season received mixed reviews from critics. A number of them praised certain characters and Elli’s performance was no exception. With time more and more seasons were released. However, they did not gain much popularity. Platforms like Netflix also cancelled the pick up of the third season.

Cast Of Lucifer

Tom Ellis as Lucifer Morningstar

Lauren German

Kevin Alejandro

D B. Woodside as Amenadiel

Lesley as Ann Branch

Scarlett Estevez as Beatrice

Rachael Harris

Kevin Rankin

Tricia Helfer as Mum

Tom Welling as Lieutenant Marcus Pierce

Inbar Lavi as Eve

You: This one got renewed for season three. There are only very few Netflix series that have grabbed the attention of people. However unfortunately, this famous thriller series has come to an end now. However, a statement was made by the director where he said that the series will be ending with a season three. The series is based on a novel which was written by Caroline Kepnes. The main role was played by Penn Badgley who was a bookseller. During the second season, the seller was a movie from New York to LA. Even though this is an irresistible show, the fans may not get to watch it anymore.

Cast of You

Penn Badgley

Victoria Pedretti

Ambyr Childers

Elizabeth Lail

Luca Padovan

Jenna Ortega

Zach Cherry

James Scully

Carmeta Zumbado

Nicole Kang

Shalita Grant

Scott Speedman

Travis Van Winkle

Atypical: This show has been renewed for season four. With the season finale, this show is going off air in 2021. However, it will still remain in the hearts of so many of them. No reasons have been found as to why the show is going off air. However, some of them are saying that the reason is because the show is very underrated.

Cast of Atypical

Keir Gilchrist

Brigette Lundy-Paine

Jennifer Jason Leigh

Michael Rapaport

Nik Dodani

Amy Okuda

Jenna Boyd

Graham Rogers

Fivel Stewart

Nina Ameri

Raúl Castillo

Ariela Barer

Graham Phillips

Sara Gilbert

Rachel Redleaf

Allie Rae Treharne

Eric McCormack

Casey Wilson

Angel Laketa Moore

Christina Offley

Kimia Behpoornia

Karl T. Wright

Major Curda

Marietta Melrose

On My Block: There is no official announcement related to the renewal of On My Block. However, it is going to end in 2021 mainly because of the pandemic. The show gained popularity but is still ending. Centered in Los Angeles, this one was based on high school teens who face different challenges.

Cast of On My Block

Diego Tinoco

Sierra Capri

Jason Genao

Brett Gray

Jessica Marie Garcia

Julio Macias

Ronni Hawk

Peggy Blow

Jahking Guillory

Paula Garcés

Danny Ramirez

Reggie Austin

Eric Neil Gutierrez

Eme Ikwuakor

Emilio Rivera

Lisa Marcos

Angela Elayne Gibbs

Ada Luz Pla

Troy Leigh-Anne Johnson

Shoshana Bush

Rob Murat

Mallory James Mahoney

Raushanah Simmons

Gilberto Ortiz

Dear White People: This series is renewed for season four. This one is coming to an end in 2021. The final episodes will show you the nest conversational end.

Cast of Dear White People

Logan Browning

Antoinette Robertson

Brandon P. Bell

Ashley Blaine Featherson

Marque Richardson

DeRon Horton

John Patrick Amedori

Giancarlo Esposito

Tyler James Williams

Caitlin Carver

Jeremy Tardy

Obba Babatundé

Brandon Black

Sheridan Pierce

Nia Long

Ally Maki

Quei Tann

Brant Daugherty

Wendy Raquel Robinson

John Rubinstein

Jeff Larson

Alex Alcheh

Francia Raisa

Rome Flynn

Luke O’Sullivan

Taylor Foster

John Paul Jones II

Tessa Thompson

Ratched: This series is renewed for season two but is going off air very soon. The series is about a nurse Ratched and is based on a real story. As of now it is twisted and ended with a superb episode.

Cast of Ratched

Sarah Paulson

Cynthia Nixon

Finn Wittrock

Sharon Stone

Judy Davis

Jon Jon Briones

Charlie Carver

Amanda Plummer

Corey Stoll

Alice Englert

Sophie Okonedo

Vincent D’Onofrio

Hunter Parrish

Brandon Flynn

Harriet Sansom Harris

Rosanna Arquette

Jermaine Williams

Michael Benjamin Washington

Don Cheadle

Linda Bisesti

Annie Starke

Teo Briones

Emily Mest

Liz Femi

Jeff B. Davis

Robert Curtis Brown

Kirk Bovill

Grasie Mercedes

Siaka Massaquoi

Ben Crowley

Elinor Gunn

Clayton Farris

Aaron Jay Rome

Patrick Duke Conboy

Zabeth Russell

Albert Malafronte

Jake McDermott

Heather McPhaul

Lita Lopez

Lucas Barker

Greg Ballora

Alfred Rubin Thompson

Germain Arroyo

Kristin Charney

Fred Maske

Casey James Knight

Glow: This one is straightaway cancelled. A very famous wrestling drama, this had to be cancelled because of the pandemic.

Cast of Glow

Alison Brie

Betty Gilpin

Marc Maron

Kate Nash

Jackie Tohn

Sydelle Noel

Sunita Mani

Britney Young

Gayle Rankin

Awesome Kong

Britt Baron

Ellen Wong

Chris Lowell

Kimmy Gatewood

Rebekka Johnson

Marianna Palka

Shakira Barrera

Rich Sommer

Bashir Salahuddin

Geena Davis

Victor Quinaz

Ursula Hayden

Alex Rich

Andrew Friedman

Elizabeth Perkins

Annabella Sciorra

Brooke Hogan

Breeda Wool

Kevin Cahoon

Horatio Sanz

Wyatt Nash

Joey Ryan

Toby Huss

Paul Fitzgerald (actor)

Eli Goree

Marc Evan Jackson

Phoebe Strole

Amy Farrington

Ravil Isyanov

Messiah: The series was cancelled because it had to go through ups and downs. However, for the year 2021, this high class show has been canceled. The reason behind this is the dropping popularity.

Cast of Messiah

Mehdi Dehbi

Michelle Monaghan

Stefania LaVie Owen

Rona-Lee Shimon

Sayyid El Alami

Melinda Page Hamilton

Wil Traval

John Ortiz

Fares Landoulsi

Jane Adams

Beau Bridges

Philip Baker Hall

Dermot Mulroney

Teenage Bounty Hunters: This one got cancelled too. Even though this was considered as one of the best teen comedy series, it came to an end. The series received amazing reviews from the critics and the jury.Sadly, the first season of this show fails to draw the attention of the audience. This is one major reason why the series ended.

Cast of Teenage Bounty Hunters

Maddie Phillips

Anjelica Bette Fellini

Devon Hales

Kadeem Hardison

Virginia Williams

Spencer House

Mackenzie Astin

Myles Evans

Charity Cervantes

Method Man

Eric Graise

Given Sharp

Shirley Rumierk

Randy Havens

Jacob Rhodes

The Dark Crystal: Age of Resistance: The series got cancelled even after umpteen gigs and comedy episodes.

Cast of The Dark Crystal: Age of Resistance

Anya Taylor-Joy

Taron Egerton

Nathalie Emmanuel

Mark Hamill

Simon Pegg

Jason Isaacs

Helena Bonham Carter

Andy Samberg

Natalie Dormer

Keegan-Michael Key

Caitriona Balfe

Alicia Vikander

Gugu Mbatha-Raw

Mark Strong

Harvey Fierstein

Theo James

Toby Jones

Awkwafina

Lena Headey

Ólafur Darri Ólafsson

Shazad Latif

Donna Kimball

Harris Dickinson

Benedict Wong

Sigourney Weaver

Hannah John-Kamen

Neil Sterenberg

Louise Gold

Beccy Henderson

Kevin Clash

Dave Chapman

Warrick Brownlow-Pike

Helena Smee

Bill Hader

Theo Ogundipe

Kemi-Bo Jacobs

Dave Goelz

Eddie Izzard

Patriot Act with Hasan Minhaj; This American show has grabbed the attention of so many of them during the lockdown. However, the show is now cancelled and no reasons behind the same have been found out yet.

Cast of Patriot Act With Hasan Minhaj

Hasan Minhaj

Joyelle Johnson

Arnab Goswami

Andrew Yang

Cory Booker

Maeve Higgins

Adi Ash

Michelle C Bonilla

Rahm Braslaw

Julian Zane Chawdhary

Sean Hartman

Alexis Landry

James Adam Tucker

Rayan Zaim-Sassi

Emily Grace Buck

Vava

Vinod Chaproo

Joan Dickson

Michael Eric Dyson

Jann Ellis

Sonia

Lori Hammel

Smith Harrison

John Hodgman

Siraj Huda

Jacob Dylan

Aurea Jolly

Kevin

The Summary

These are some of the famous Netflix series and shows that got cancelled in the year 2021. As mentioned above, the reasons behind the cancellation differ from series to series. However, you need not lose hope. Netflix still have amazing series coming up. Whatever genre you prefer, keep that in mind and start searching for them. This way you will surely end up finding the ones that will be suitable for you. If not Netflix, then you can check out IMDB. This is a platform where you can search for various shows and movies. While doing do, what you can do is check out the ratings. This way you will find out whether or not the show should be watched or not. IMDB shows new series ans shows that are released every week or month. Search for the one you want to watch and get started without any further ado.

We hope this piece has helped in understanding which and why the shows got cancelled. However, you need not worry about anything. There are a plethora of shows you will come across on this platform, and something or the other will surely be worth watching. Thus, do not wait further and make use of the time this lockdown. Do not let the cancellation and lockdown spoil your mood. Your mood will be cherished and who knows you find out facts you never thought could happen? Also, exploring various genres never goes waste. So, why not make use of this wonderful opportunity?

Syndicate Content:

https://www.exposework.com/netflix-cancelled-renewed-shows/​

[alecmagnuslwb]

I Wear Your Winter Coat (The One You Love To Wear)

Read on AO3

The moon is high in the sky bright and shining, hell you can even see a few more stars than usual in between the city lights. The air’s not too cold just a nice chill that her big black jacket covered in patches and a few old clothes pins keeps away. There are clouds in the distance, but they’re hours away from causing any trouble. She has no magic shows lined up and she and John have agreed to at least a week of fun, they’ve earned it after everything that’s been on their plate lately. It’s the perfect, easy kind of night to go out and do something. So of course, Nick wants absolutely nothing to do with it.

“Oh come on mate, we took out three whole rabid vampire nests the past week. Not to mention the shows Zee’s been putting on. We agreed to a week off,” Constantine says as Nick declines so much as a dinner before he heads back to the brownstone.

“You both agreed to that,” he says turning to look at the two of them. “I have some research I want to do.” Zatanna sighs and steps away from John’s side to lay a gentle hand on Nick’s shoulder. Research seems to be his only past time these days, a past time that more and more so lately he doesn’t seem to want to share with them and it’s starting to worry her.

“You know you’re allowed to have fun, right?” she says with an encouraging smile. He brushes her hand off and shrugs.

“I have plenty of fun, see you two later,” he says without even entertaining the possibility of staying already turning around to leave. Zatanna watches him go, trying hard not to let Nick’s concerning behavior ruin her high spirits. John steps up next to her tossing his arm across her shoulders, pressing a kiss to her hair and immediately she starts to feel at ease again. For all his brashness sometimes John Constantine can be incredibly soothing. For her at least, most others probably wouldn’t agree with that statement.

“How about you help me pick out a new jacket? Seeing as you’re the reason I don’t have one anymore,” John says with a smirk watching as Nick saunters off around the corner leaving them to it.

Zatanna slips out from under John’s arm to stand in front of him mood completely restored with a bright, innocent smile on her lips.

“I don’t know what you’re talking about,” she says tugging at the jacket that was once his. She stuffs her hands into the pockets shimmying her shoulders playfully.

“Of course you don’t,” he says rolling his eyes fondly as he reaches out a hand to fix the collar of the jacket.

“Not a clue,” she says leaning in to place a quick light kiss on his cheek his stubble a little rough, but grounding beneath her lips. He scrunches up his face at the action, but she knows he’s secretly pleased. They may have been flirting from day one, but this thing between them is still new. It’s sweet even if they’re moving at high speed most of the time.

John loops his arm through hers entangling their fingers together inside her pocket before pulling her along down the street as he chuckles at her playful denial.

An hour and a half later they’re practically buried in a pile of coats and jackets in a small shop with Zatanna forcing every single one of them, no matter how ridiculous, onto John.

They start off simple enough with a classic black leather jacket with a few unnecessary buckles here and there that he looks great in, but he complains about the buckles purposely flicking himself in the face with one. A simple black bomber jacket is next.

“You look like Shaun of the Dead,” Zatanna says scrutinizing the look. The loose red tie, the white shirt and black pants, add in the fact that there’s a high chance any given day of him ending up covered in blood spatter and he’ll be the living embodiment of the character.

“You say that like it’s a bad thing,” he says as he pulls the zipper all the way up to his neck.

“It is for me,” she says unzipping it immediately. No disrespect to Simon Pegg but she doesn’t need to hear movie quote quips while they’re out fighting for their lives on top of his usual snark.

John huffs but concedes moving on to the next jacket. A bit later she gets him in a long purple coat with the collar turned up.

“I look like Harry Potter,” he says scrunching up his nose.

Zatanna snorts, “I don’t think you know what Harry Potter looks like.”

Personally she thinks it looks good on him, even if it clashes with the tie, but she can tell from the displeased look on his face there’s no way he’s going to budge.

The yellow leather jacket he tries on next has extreme Freddie Mercury vibes, but this particular bisexual man isn’t pulling it off quite as well and the green fur one that comes after that, well Zatanna just wanted to laugh and point and call him Oscar the Grouch she didn’t actually think it would look good.

“If you get this one, it’ll definitely distract from your personality,” Zatanna jokes with a big smile looking at John in the mirror when they move on to the next possibility. He turns in the horrendously loud jacket and glares at her.

The coat lands at a bit below waist high, it’s technically black but there’s so many rhinestones, random neon numbers and a large patch of a gold and silver tiger on the back that any subtlety it could have flies right out the window instantly. It’s hilarious and tacky and it’s Zatanna’s favorite jacket she’s ever seen.

“I am a fucking delight,” he says a little loudly, catching the startled attention of the poor shop girl who’s been putting up with them. She’s seemingly not asked them to leave yet because she genuinely believes they intend to make a purchase. Which they will theoretically after Zatanna’s had her share of laughs that is.

Zatanna snorts which quickly turns into giggles as she continues facing on John’s glare in the mirror. He rips the jacket off tossing it into the chair Zatanna has been occupying for most of this fashion show and reaches into his pants pocket. He gets the cigarette barely halfway to his mouth before the shopgirl is rushing over and snatching it from his hand.

“No smoking in here, sir,” she says sternly handing the cigarette to Zatanna who it seems she has determined is the logical one between the two of them. Which is a great and accurate observation. “Also please do not throw the merchandise.”

She huffs and walks away from them grabbing the hideous jacket from the chair as she goes.

“Alright we gotta wrap this up before that girl kills us,” Zatanna says pocketing the cigarette and trying not to laugh some more.

“I just need something simple,” John says wandering over to the wall in the back that houses the shops normal everyday looking coats. “Something easy to clean and easy to replace, cause fuck knows I get dirty.” He says looking back and winking at Zatanna, she just rolls her eyes.

John shifts through a few more hangers before he makes a triumphant sound pulling a knee length tan jacket from the rack. It’s a trench coat of all things, he slips it on easily as he walks back over to the mirror.

“Whaddya think?” he asks flipping up the collar. Zatanna steps up behind him looking him over. He looks pretty good, definitely better than most men would look in one. She thinks he might be pulling it off in a completely non-creepy way which Zatanna has never seen a man do.

She walks around him a couple times surveying as he tugs at the wrists smoothing them out.

“I think,” she says as she stops behind him lifting up to rest her chin on his shoulder and meet his eyes in the mirror. “You are the first man in history to successfully not look like a creepy flasher in a trench coat.”

John meets her eyes in the mirror and gives her that flirtatious smirk she’s so used to.

“Thanks love,” he says twisting the price tag. “This one’s actually in my price range too.”

John turns around jostling her from her comfortable position on his shoulder and threads their fingers together walking over to the main counter. The shop girl looks beyond relieved when they check out happily taking John’s money and more or less stressing in her fake chipper goodbye that they never come back to this particular store.

Zatanna feels a little bad, she wishes stores had tip jars to at least pay the girl a bit extra for her troubles. They step outside finding that during their shopping not so spree the far away clouds from earlier have turned the pleasant weather into rain. John pushes the door open holding it for her. He steps out behind her ripping the tag from the coat and tossing it into a puddle.

They huddle together and move down a bit out of the eyeline of the shop girl while still staying dry under the awning.

“It’s a good thing I got the new coat,” he says reaching into Zatanna’s pocket and grabbing the cigarette she’d been handed by the shop girl. He holds out his hand to her. “Make a run for the pub?” he says gesturing in the general vicinity of where a pub they’ve taken to frequenting sits a few streets over.

“One second,” she says standing in front of him. She grips the lapels of his coat and closes her eyes.

“What’re you doing?” he asks the unlit cigarette muffling his words just a bit.

“Hush,” she says refocusing on the task at hand. She mumbles a few backwards words of protection and luck under her breath feeling the crackle of magic at her fingers as it seeps into the coat. She opens her eyes just as it glows for a second the magic settling in.

“It’s not bulletproofed or anything, but it should keep you a little safer, maybe even bring you a little more luck now,” she says with a smile looking up at him. John just shakes his head a little look of disbelief moving across his face. He pulls the cigarette from his lips and puts his hands on each side of her face gently.

“I’m already more bloody lucky than I deserve,” he says. He leans in kissing her soundly not giving her a chance to say anything in defense of himself. She gets lost in it, in him, like she does so often these days, not feeling a thing except for the warmth of his body against her and that constant taste of smoke that lingers on his lips that she’s grown to love. The moment is broken however when a large bang on the glass behind them tears them apart. The girl from the shop is on the other side her hand still pressed to the glass a frustrated look on her face.

John starts laughing putting the cigarette back between his lips and Zatanna follows suit not being able to hide her amusement. She grabs his hand and tugs him out into the rain. They rush down a bit before they find another awning to huddle under. It’s much smaller than the one in front of the shop the rain still whipping in and hitting them. John tugs his jacket off and lifts it over top of them as a makeshift umbrella fighting off the rain that’s sneaking in.

He tilts his head gesturing for Zatanna to move in closer and she does, wrapping an arm around his waist.

“Want to see if we can wait it out?” she says speaking a little louder so he can hear her over the bouncing of rain on the awning above.

“Yeah, I’m perfectly fine right here,” he says putting his arm around her as best as he can while still holding up the jacket. He seems to remember the cigarette still between his teeth then looking down at it.

Zatanna snaps her fingers saying a quiet ‘erif’ under her breath. An orange flame comes to life at the tip of her index finger and she lifts it up lighting the cigarette for him, he smiles in thanks taking a deep inhale. She pulls it from his lips taking a rare drag of her own as well blowing it out into the rain.

“The jacket really does suit you,” she says looking up at the piece of clothing and putting the cigarette back between his lips. “I think you’ve found your signature look.”

“It’s no fishnet and corset, but I think I can make it work,” he says with a smirk forming around his cigarette looking her up and down hungrily.

Zatanna just huffs a bit snuggling in closer against him and under the trench coat watching the rain fall steady around them.

[movienotesbyzawmer]

August 30: Mission: Impossible - Ghost Protocol

(previous notes: Mission: Impossible III)

I bet the powers that be at the Mission: Impossible movie factory didn't lose any sleep over the stupid colon in the title that screws everything up. I mean, just look at that up there with the colon after my date, then the colon in the middle of the OG title, and then it's like, well, you can do whatever you want with punctuation but we're adding a subtitle after it now and you just have to deal with it. On posters and stuff it's just "Mission: Impossible" and then underneath those words they put "Ghost Protocol" so they don't have to deal with it. What a mess. I tell you it is a damn mess is what it is.

Anyway, we have arrived at the M:I movie that, more than any of the others, just really hit the spot for me when I saw it upon its original release. I saw it at the end of a frustrating and tiring work day and it was exactly what the doctor ordered. At some point in the middle I realized that I was enjoying it thoroughly without having to tolerate the kinds of flaws that were apparently part and parcel of this kind of movie. Maybe there were flaws that I just wasn't registering. We'll soon see.

Continuing the tradition of making very hip choices for the directing duties, here we have the live-action directorial debut of Brad Bird, who started off directing episodes of The Simpsons before moving on to no less than The Iron Giant and The Incredibles. Dude had two Oscars on his mantle by the time he showed up for this. Press play already!

Um Sweet Christ those opening shots look gook in 4K like HOO boy

Whoa, neat opening where Sawyer from Lost is chased off the top of a building in Budapest but his jacket deploys an air mattress right as he almost-hits, but then he's shot by Lea Seydoux in an alley, rat-a-tat-tat with the action here, like what is up

Simon Pegg is back, and he's being tricksy with the tech in a prison! He's opening cell doors and the prisoners are surprised and delighted with that twist! He plays them a jazz standard on the intercom and Ethan Hunt suavely emerges from one of the cells. Fun silly things ensue involving Ethan's rebellious and confident independent strategy and a small riot that seems kind of like a bar fight.

He has made a pal in the joint and he's breaking him out. Some kind of cool tech creates a really sweet vortex-y hole in the floor and they are swooped up by their helpers, it's fun.

We're introduced to Paula Patton who is a new team member, and then the credits roll, and they are spirited in a way that recalls the first movie, also showing real scenes from later in the movie.

Flashback to the thing that was happening with Sawyer shows how that botched operation, something about a file and a courier, got Sawyer killed because lots of bad guys were all over the place there. AR contact lens technology figures prominently, and that is a good idea (plus we totally might have those soon, right?).

0:18:16 - Once again we begin the movie without the leading lady from the previous one, but we're starting to get an explanation here. Or just a tease of one I guess.

And quickly we get a sneaky-style self-destructing message that sets up that Ethan has to disguise himself as a specific Russian and sneak into the actual Kremlin. This movie 100% gets what a Mission: Impossible movie is supposed to be.

This time, they aren't using fancy masks or voice shifter things, just costumes and a fake mustache. They comment about that in the dialogue but don't explain why.

0:24:52 - Dialogue mixed SO QUIET here I have no idea what SP just said. It seems like you're supposed to have heard it.

But that is quickly forgotten when they use the coolest spy gadget of them all - a screen that is placed in a corridor that makes the guy at the other end of the corridor think it’s the corridor, but it's a screen and SP & Ethan are hiding behind it and it is super super neato I love it

Then just when it's cool that that is going well, it's suddenly cool how NOT well it's going because someone is spying on their spycraft! The thing they were going to heist isn't there, and someone deliberately makes their comms thing be heard by the bad guys!

And THEN we see something we really didn't think we'd see and it is kind of mind blowing - Ethan escapes from the Kremlin with a very smooth quick-change of his disguise that we see him do in all one shot… but then the Kremlin totally explodes and it explodes all over Ethan as he's running away! It looks amazing!

Right after that there is some fun with subtitles - Ethan is in the hospital all damaged and concussed and stuff, and the news is talking about the obvious big story, and the subtitles are in Russian. At first I was like, "hey is my home theater tech busted?" but no, the subtitles become gradually more in English as Ethan starts to come out of it. Then we see with subtitles that Ethan is reading lips about the police people that want to be bad guys to Ethan.

After Ethan escapes, we shift to a wholesome-looking Russian family we haven't seen before. The scene is a nice little piece of drama about how the dad sees the Kremlin news and wants to get the family out of there, and very quickly that goes south and thugs have them all at gunpoint, it's nicely done

Ethan is being extracted by two new characters played by accomplished, Oscar-nominated actors Tom Wilkinson and Jeremy Renner… the conversation is dire and I don't want to type during it gahhh gah gah gah I am watching because holy shit this goes south too! TW informs Ethan that the DoD is going to frame him for blowing up the Kremlin and his only choice is to escape. He's telling him HOW to escape in a funny way, but they are attacked and it's visually very interesting and TW is headshot and they are in the water and it is such bad news for Ethan and his new colleague played by Mr. Renner, I probably typoed a lot during that because it was so hard to look away.

So Ethan is on the hook for the terrorist attack of the century and he's being chased by a little battalion of thugs who just shot that important spy boss, and he's in Russia. It is very not good for Ethan.

He's with JR and JR is playing a different character for him. He's a bookish analyst guy who feels very out of place in action-land.

We're learning about the main bad guy, Hendricks, who was the guy that screwed everything up in the Kremlin. He's a super-smart theoretical physicist or something who has big, well-thought-out ideas about destroying the world with nukes, and he took nuke codes from the Kremlin. So things are just really really hairy and it's effective storytelling is what I'm saying.

Also effective is that they met up with SP and PP on a neat secret train car thing that is well appointed with spy gear

And VERY VERY EFFECTIVE is what happens next, which is a series of establishing shots of Dubai which KILL ON MY TV. I am glad I have a 4K panel, kids. This begins what I recall as being an extended sequence of sweet-ass suspense. Ethan has to break into a server room by climbing the outside of the 130th floor of the Burj Khalifa using glove-gadget tech that will hopefully work. There is at least some actual Tom Cruise clinging to the side of that building. It's so cool looking. And to make matters worse, a dust storm approaches! Or should I say "to make matters even cooler looking". Yes I should. Please read that part.

Paula Patton's character seems underdeveloped so far, especially compared to her teammates Simon Pegg and Jeremy Renner.

Jeez you guys, if you like suspenseful action scenes about barely surviving climbing a skyscraper this movie is for you.

1:05:34 - In the middle of a tense conversation we see that they were using the maskmaker but it wasn't working. They just don't want us to have mask fun in this movie. They hate mask fun. Why does Brad Bird hate mask fun.

Oh then this scene which is neat - bad guys are meeting with LS… but Ethan and JR are taking their place, and PP is taking LS's place for the real bad guys one floor down. The movie explains it better than me, but it is pretty exciting, the two meetings happening at the same time with opposite trickery.

Hah, SP does a sweet fake-hand trick to get the diamonds from the bad guys so he can get them to Ethan and JN, and JN is doing the thing where he uses the contact lens tech… gosh why are you even reading this, just watch the movie. I really like the tricksy espionage.

It all falls apart because LS spots the contact lens in JR's eye. The plot is moving along in a way that, I'm once again noticing, would normally require more half-assed-ness. It's just a solid spy plot. Which probably makes these notes more boring. Poor you.

LS dies by getting kicked out of the open window of the Burj Khalifa with a brewing sandstorm in the background! Neat looking!

And then a thing where Ethan is in a thick dust cloud and he's tracking the important paper thing with his tracker device, and it starts moving quickly at him and we realize just as it's too late that it's in a car that's gonna run him over! Then that mechanic gets used in a car chase in a dust storm, which we don't see very often outside a Mad Max movie, and that climaxes in a really cool looking collision, followed by the reveal that one of the nuclear code bad guys was Hendricks in a supermask. So we DO like mask fun after all! Except why do we care that it was Hendricks?

A scene where JR is confronted for maybe being a double-crosser has a beautifully choreographed gun-get-grabbity-grab thing that was probably super fun for the actors.

1:27:05 - JR tells a story that at first we think is that family we saw briefly almost scramming, but no, he's talking about Ethan, and what seems to be a story about Ethan's wife (Julia from the last movie) getting killed in Croatia, and Ethan killing six Serbians for revenge, and that's why he was in prison in the beginning? It's still a little mysterious and kind of complicated. It doesn't quite fit with what we think we know.

Dubai imagery is pretty. I have been to Dubai. I am standing by for your marriage proposals now.

I didn't really follow how we got to this point, but Ethan went for a walk and met with some underworld Dubai person and made a deal the ended up with a huge cache of spy gear and a private plane to India. I went to India like right after Dubai. I have my own car and a job kind of so you might need to calm your hormones at this point.

A probing exchange with PP establishes that indeed Ethan's story is that he killed the men who killed his wife. Doesn't really seem legit, though. There's more to the story, clearly.

One of the tech things they play with on the plane is the most magic-seeming one. It is a suit that looks like tight chain-mail, and it floats over a cart, like a magic carpet that you wear.

We're introduced to Brij Nath, whose name I had to look up so I could tell you how it is spelled. He has an access code that they need, which seems like they just kind of simplified the situation, and he's one of those only-kinda-bad bad guys that's really just a pawn, for our heroes as well as for these storytellers.

The wearable magic carpet gadget is fun and funny! SP has to remote control JR wearing the floaty-suit and JR is trying not to freak out too badly, and maybe on purpose it recalls the scene from the first movie where Tom Cruise hovers parallel to the floor.

Hendricks is now in a secret room in the place where they all are, and he has a bad-guy briefcase computer and orders some subordinates to do something with a virus, and I don't actually understand what's really happening but am I to believe that Ethan et al are thwarting literal nuclear terrorism here in Mumbai? Right here at this pleasant party at the palace of an only kinda-bad bad guy?

1:48:30 - Ha, the climax of the wearable magic carpet thing involves JR barely surviving by doing an acrobatic stunt that seems oddly intuitive and satisfying. You'll just have to watch the movie to know what I mean.

The spy-tech car they have is rad.

They fail to prevent the launch of a nuclear missile! We see it come out of the sub and start missiling toward its destination which we have learned is California! Hendricks mutters things about how that should get the ball rolling making world powers hate each other and nuke each other and may there be peace on Earth, he also, yes, says that.

A chase on foot has Ethan and Hendricks suddenly brawling on an exotically elegant robotic parking ramp. Platforms move around mechanically and transfer unmanned cars to different areas, and it is against that video gamey backdrop that Ethan and Hendricks struggle to get that sinister suitcase which is all bouncing around that environment. Unexpectedly, Ethan's hope of grabbing it is thwarted by Hendricks suicide-jumping down several stories! We see it! He definitely does that! Ethan drives a car off a thing to follow him, plummeting down hood-first, and the airbag saves him! He gets the briefcase and barely saves the day in time!

Again a denouement making it very clear that everything is really shockingly okay and tidied up. Even the thing with Ethan revenge-killing Serbians and the thing with his wife is cleaned way up, but with an elegance and sweetness that elevates this movie above the others. She's not dead after all, just fake-dead for her protection. And they're only where they are in Seattle so he can glimpse her lovingly across a marina.

So! I feel strongly that this is the best Mission: Impossible movie! It is an extraordinarily deftly-constructed spy thriller! It's got all the funnest types of things that are in the other movies, and other fun spy thrillers, but with so much less garbage! They did a great job and they should be proud.

[kinetic-elaboration]

February 13: Star Trek Beyond

Some attempted thoughts on Star Trek Beyond.

So first it was bad lol. It is the worst. I thought maybe it would be less the worst than I had previously thought but it really, really is just irredeemably bad.

Trying to keep up with what was actually happening and talk in the group chat was too difficult and I now feel very exhausted lol. And I’m not even sure what I watched.

I liked Jaylah a lot, including her back story, characterization, “house,” traps, and cool mirror tricks.

I also like Kirk in that emergency uniform with the jacket unzipped.

That’s it! That’s all I liked.

In the past I’ve also said I liked the Spock and Bones parts but I honestly wasn’t a fan of them either this time around!

None of the characters felt IC and none of the relationships felt true or were compelling. Which is particularly egregious given that the alleged theme was strength in unity.

The movie was especially lacking in K/S content or even K & S interaction, which obviously didn’t please me. And it’s definitely the worst Kirk characterization I’ve ever seen. There’s no excuse for that either because it’s halfway through the 5YM, which means he should be pretty close to TOS Kirk--yes, he has a different set of experiences, so there’s going to be some variation, but there’s comparatively less excuse for a radically different characterization than in STXI and STID. They should have had Shatner read the script and make notes lol because whatever else you might say about him he KNOWS Captain Kirk.

Like, he (Kirk) lacked humor and charm and, often, confidence. He had moments when he was very smart and moments when he had a commanding presence. But he had just as many moments when he was whiny or bored and his Captain’s log??? I deserve financial compensation for every time I’ve listened to that. Bored of space?? No, this man is bored when he’s stuck on Earth. He stagnates in desk jobs. He is an adventurer and explorer before he’s ANYTHING else; if you don’t get that, you don’t need to be writing Star Trek.

Also, as I have frequently complained, I’m tired of him having no internal conflict or emotional complexity past his father issues. First reboot movie: dealing with his dead father’s memory and his step-father’s abuse. Fine, that makes sense for how they set up the AU. Second reboot movie: entirely motivated by the need for Manly Vengeance upon the person who killed his father figure. And for this redundant story line (in many sense) we had to lose Pike? Third reboot movie: you’d think he’d finally be ready to move on to other conflicts but actually no this time he’s sad about his birthday and having a longer life span than his...you guessed it!! father!! Yet again.

What else has ever motivated him? Legitimate question.

The destruction of the Enterprise was truly horrific. Long, boring, unwarranted, and without any emotional punch. As if it were just any ship! No, she’s a character in her own right and she’s not to be sacrificed like that but please tell me again how Simon Pegg is a true fan who brought the franchise back to its roots?

B said he did like that they split up the crew into unusual units but I have mixed feelings about it. I don’t entirely disagree, but I don’t think they did a lot that was interesting with any of those separated units. Uhura and Sulu are a cool pair (but this would have been a good opportunity to include Sulu’s semi-canonical crush on Uhura but whatever... a different rant) and they almost did some interesting stuff with them. There were glimmers of a caper in that story line and times when I could tell they were straining especially hard to make Uhura, their Sole Female Main--now that they cut out Rand, Chapel, and even Carol Marcus--into something Feminist and Interesting. But it didn’t quite gel for me. Like, Uhura would be having almost interesting dialogue with the villain and holding her own...and then she loses track of her colleague and has to watch that person die, thus undercutting everything she just said about unity and seeming to prove the villain’s point. Is she competent or not?

Bones and Spock are a pair I care about and like but again I think their canonical relationship in TOS is more interesting than STB showed. I personally read them as like...reluctant best friends who originally just had one person in common, and then realized they also like each other too, but they’ll never really say it. They understand each other but pretend not to. They have fun with the barbs they throw at each other. They both deeply love Jim but in different ways. They enjoy their intellectual debates. (That’s one thing that was definitely missing from them here! The intellectual debates!) So again, there was something there but not enough.

And Kirk and Chekov just happened to land near each other; nothing was done with that relationship per se. They really aren’t people who have much of a relationship in TOS so there’s not a lot to work off of but then on the other hand there IS an opportunity to create something new. Maybe I’m being too harsh and too vague but it just didn’t gel for me. The only specific K and C moment I remember was that supremely un-funny joke about Kirk’s aim as he sets off the “wery large bomb.”

But like there are possibilities.. they’re both pretty horny and Chekov is a whiz kid and Kirk is also very smart and has always been smart... Like in other words people Chekov’s age don’t end up on the bridge crew, in either ‘verse, without the Captain’s say, so even though he’s TOS!Spock’s and AOS!Scotty’s protege, Kirk is important to his life. Something with that maybe??

I’m upset that Spock’s individual story line was about whether or not he should go off and make baby Vulcans because, again as I have complained many times before, that was a conflict he faced and resolved in ten minutes two movies ago, and it doesn’t make sense to me for him to bring it up again now just because the Ambassador is dead. Like... the Ambassador told him to stay in Starfleet!! “Ah, yes, I will honor him by doing precisely the opposite of what he wanted me to do.”

Also--if they had made his motivation different or gone into it more, I would have been more into it. Make it about New Vulcan! Say there’s news from New Vulcan that it’s not doing well. Or what if T’Pring got in contact with him? Or what if we used this as an excuse to bring in Sarek?

This is part of a larger point for me which is that STXI set up a really cool AU and STID tried to do something with it--a little hit or miss, but it tried--and instead of pushing even more at the AU and developing it more and doing more with it... STB just ignored it! Was that part of what Paramount was warning about with making it “not too Star Trek-y?” Was it SUPPOSED to be a movie you could watch without having seen the last two? If so they did succeed but like.. .why? They made the supremely ballsy move of blowing up a founding Federation planet two movies ago and now they’ve just forgotten about that and all the reverberations that would necessarily have?

But of course we got a call back to Kirk being a Beastie Boys fan so.... Guess it was Deep all along.

We all three agreed that the core story of this film was potentially interesting but could have been done as a 50-some minute episode of a TV series rather than a whole-ass 2 hour movie. First off, cutting or cutting down the action sequences would have shaved off half an hour easily.

I’m frustrated in large part because there are certain things that are interesting here. I do like the concept of the crew being pulled on to an alien planet by a ship of former Federation crew, from the early days of the Federation/deep space flight, who were presumed missing but are somehow still alive because they have turned into aliens/used alien tech to prolong life, and who have also captured other aliens, like Jaylah, for the main crew to interact with. All of that was cool.

I would even be okay with these old Federation crew being villains but I don’t think that’s necessary or even the most interesting take.

But...first of all, as my mom pointed out, Krall was basically Nero in his illogical motivations: feeling aggrieved because someone who couldn’t help him didn’t help him and then just maniacally wanting revenge. It made more sense to me with Nero in a way. Maybe that was because he was better characterized, maybe it was because his anger was more personal (the loss of his wife), maybe--probably--it was because he was angry at Spock and Spock had actually promised to help, so there was some kernel of logic in his sense of betrayal, even if it was out of proportion etc. Also, Nero’s mania was portrayed as mania--we were all supposed to recognize that the strength of his emotion was warranted but his logic was deeply flawed. I think we were supposed to think Krall had some kinda... real criticism of the Federation, but in fact he doesn’t! He’s wrong! So like if he’d been angry with the Federation for abandoning him but the narrative and the other characters explicitly recognize that he’s wrong--the Federation tried but he was just doing something very dangerous and he recognized that danger on signing on--that might have been more palatable to me.

I’m not sure I’m making sense here entirely or explaining myself as well as I could.

I just don’t entirely get Krall’s beef with the Federation. I don’t get that whole “being a soldier and having conflict makes you strong and having people you can rely on and connections and community makes you weak.” That seems pretty obviously false. It also doesn’t really seem, not that I’m an expert, but particularly in line with military ethos either.

BUT the idea that he had a life that was comfortable to him as a soldier and then the Federation comes in and forms Starfleet and says, actually, we’re going to pull back on the soldiering and up the diplomacy and the exploration and the science--yeah, I could see that. I DO think Starfleet is military but even if you must insist it’s not, it’s clearly based on and formed from the military, and it has certain military functions. So obviously the first people to join or be folded into Starfleet probably were more explicitly military.

So he’s one of those people. Now he’s supposed to be a scientist and a diplomat and an explorer and he doesn’t like that. He’s given this very prestigious and interesting mission and jumps at it. Starfleet warns him, you might go beyond where we can reach, we might not be able to help you. That’s fine. But then when his ship is stranded and he is lost, he gets angry--maybe somewhat irrationally, but understandably--why?? Why did the Federation do this to him? What was even the point? When he put himself in danger before, at least he knew why. But just flying around space for the hell of it, and this is the cost? So that’s what creates his anger.

I thin this could be tied into Kirk’s diplomacy at the beginning--if the scene were written to not be a comedy bit where Kirk looks like an incompetent buffoon and is completely disrespectful the whole time. He’s good at this job and we should say it. But we could emphasize that this IS a diplomatic mission often, just as often as it’s a military or scientific mission. Maybe we could include other bits of their missions, too, to play up the variety of things they do and roles they play.

Another thing I think could be interesting, going back to my point about Spock, Vulcan, and using the first two movies and expanding on the world building... what if Spock wanted to leave Starfleet for better, more well-defined reasons, and we used that? Paralleled the two? Connected the two?

Because I think Vulcan in the AOS verse is very interesting and the movies didn’t do nearly enough with it. First, we have the Romulans showing up way earlier, at least visibly: in TOS, no one knew what they looked like or their connection to Vulcans until Spock is in his late 30s. In AOS, it happens not long after he’s born. So he’s growing up probably with more anti-Vulcan racism floating around the Federation. THEN Vulcan is destroyed. Now it has nothing and it needs to rely on the rest of the Federation, which must be both humbling and frustrating to many Vulcans, on top of the extreme tragedy of losing everything. Most of their population, a lot of their history, their manufacturing, their scientific facilities, their resources, their animals, literally whatever else you can think of that a planet has--all gone. Now all of the survivors have lived some period on an alien planet, by definition, and they’re probably very dependent on the Federation not just to set up the new colony, but to replace all of the resources--natural and Vulcan-made--that they lost. And they’re a founding Federation member, Earth’s first contact. They’re especially important. And now they’re weak, and reliant on others.

So maybe Spock, early on, hears from New Vulcan and they’re not doing well. Maybe we hear from Sarek or T’Pring (...I’d just like to see reboot T’Pring). Maybe it’s not about, or just about, having children, but about being from an important and ancient family, and being seen as a hero for his part in the Narada mission, that makes him want to go and help rebuild their government (taking his mother’s place perhaps? she was on the High Council) or their scientific facilities, or the VSA, or their space travel capabilities--you know Vulcan had space ships of their own, outside of Federation ships. This would be the perfect place to showcase that tension between wanting to be independent--out of pride, out of fear, even--and needing help, because Vulcan could not survive without the Federation, probably less than 10 years out from the original planet’s destruction.

And then you feed it back into Krall.

So I could see like... well the tension, and then Krall comes in, and he's angry that the Federation "abandoned" him, but we actually explicitly address this. Maybe Spock gets to interact with him and say "I get it. You had a life and a mission and a purpose that was comfortable for you. Then the Federation came in and changed everything. A lot of my people are also feeling upset for similar reasons. But here's why actually you're wrong."

So anyway as you can see I’m smarter and more interesting than Simon Pegg.

I also hated, speaking of writers of this movie, the gay Sulu thing and HEAR ME OUT on this. It’s homophobic. His husband doesn’t have a name? Might not be his husband at all? Looks like he could be his nanny or his brother? As B said “at least grab his butt or something.” That was the most sanitized, no-homo depiction of a gay person I’ve ever seen. He’s gay (see, progressives and queers! gay! you like that right!) but DON’T WORRY STRAIGHTS--he’s in a monogamous relationship and has a child, he’ll show nothing but the most platonic physical affection with his male significant other, and the plot point will be so minuscule you’ll need a microscope to detect it. Also, we’ll throw in a no homo joke about two male characters not wanting to hug and we’ll make sure Kirk and Spock interact as little as possible, because we know they give off Big Queer Vibes every time they’re together.

Yes the last point is a little unfair but can you blame me for being angry about all the “look how hip to the times we are” back-patting that went on in 2016 when canonical bisexual Kirk is RIGHT THERE and we could have had ex-boyfriend Gary Mitchell instead of Unnamed Nanny??

Also Sulu is a hella random choice because again, like... he may not have had an s.o. in TOS but nor was there any indication he was gay. So it seems a LITTLE like they picked him because (1) his original actor is gay and gay people can’t play straight people duh so probably Sulu was Gay All Along I mean did you not get vibes???; and/or (2) asexual Asian stereotypes preclude giving Sulu any kind of love interest, male or female, that is actually... sexual, outright romantic, anything.

Anyway I can’t remember if I had any other thoughts, but I’ve said quite enough I think.

I miss Kirk so much... real Kirk... even my version of AOS Kirk who is probably not even characterized that well but at least I worked with love!!!

[aion-rsa]

Christopher McQuarrie: Nightmare on Elm Street Shows Movie Theaters Can’t Be Replaced

https://ift.tt/eA8V8J

Edgar Wright has assembled a treasure trove. That’s the best way to describe what it feels like to be a cinephile reading the March 2021 issue of Empire magazine. In an approach more persuasive than any weighty think piece on box office numbers, or an introspective Op-Ed from a film critic, the Shaun of the Dead and Baby Driver filmmaker made the case for cinema by compiling a list of anecdotes and stories, big and small, from fans and legendary filmmakers alike. Because when the lights go out in a darkened theater, we’re all the same audience for a brief, fleeting moment.

Thus in Wright’s special edition feature, the likes of James Cameron can offer revelries about being terrified by Wait Until Dark, and Steven Spielberg can still marvel at how David Lean’s arid mise en scène in Lawrence of Arabia caused a whole audience to become dehydrated—sending them fleeing for the concession stands after one particularly brutal sequence in the desert.

But the most persuasive story may belong to Christopher McQuarrie, the Oscar winning screenwriter of The Usual Suspects and writer-director of the two most recent (and best) Mission: Impossible movies. For rather than a simple reminisce, McQuarrie offered a splendid example about the difference between seeing a film with an audience versus watching it at home.

As revealed in McQuarrie’s own words, one of the filmmakers’ earliest lessons in moviemaking came when he worked as a security guard during his high school years for a New Jersey movie theater. In that rough and tumble cinema, whose atmosphere he compares to the opening credits of The Sopranos, McQuarrie said he would watch “the audience while they watched the movie – a nightly focus group that I later realized was my film school. And as you might imagine, I saw some amazing crowd reactions there.” None, however, matched when he himself attended as an audience member a double feature preview of two upcoming films: The Breakfast Club and A Nightmare on Elm Street.

Two of the landmark teen movies of the mid-1980s, Breakfast and Nightmare were wildly different experiences, offering uniquely singular types of catharsis. But it was McQuarrie’s description of the thrall that director Wes Craven cast over kids with A Nightmare on Elm Street in its theatrical release which perhaps best underscores the magic of cinema.

“The girl next to me (on whom I had a mad, unrequited crush) spent the whole movie with her arms around my neck and her legs in my lap without her ass ever leaving her seat,” McQuarrie wrote. “A grown man stood up midway and screamed, ‘I CAN’T TAKE IT ANYMORE,’ before running out, only to storm back to his seat a few minutes later, announcing to no-one, “I HAVE TO KNOW HOW IT ENDS.” He articulated exactly what I was feeling. I was petrified. But I felt strongly that if I left, I’d never sleep again.”

Leaving the theater feeling traumatized but thrilled, it took years for McQuarrie to gin up the courage to watch the movie again on the newfangled technology of VHS.

Said the filmmaker, “It was mid-afternoon. There was no audience, no unrequited crush half-hocking me. The movie had almost no effect whatsoever. There is simply no substitute for seeing a movie in the dark with a few hundred strangers (and an unrequited mad-crush for a neck-warmer if you can manage it). It’s not just part of the experience, it can often be the very heart of the experience itself.”

McQuarrie’s story is one in a sea of great recollections that Wright’s assembled. Also in the pages, you can find Simon Pegg recalling the “orgasmic” euphoria of seeing Darth Vader turn toward good to save his son—made all the better by a rush in the audience realizing the sudden redemption was coming—during Return of the Jedi; or Jordan Peele recalling how he has never experienced a more grueling tension in a horror movie than that of his 11am audience for Paranormal Activity, who were simultaneously conditioned about when to tense up. Greta Gerwig even has a sweet, very Lady Bird-esque memory about growing up around the Sacramento theater showing Titanic.

So we’d recommend getting your hands on a copy of the magazine if you can find it, and have a nice reminder about why cinema must one day safely return. Or as Daniel Craig described it, “Sometimes art needs a little ritual around it to awaken the magic.”

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The post Christopher McQuarrie: Nightmare on Elm Street Shows Movie Theaters Can’t Be Replaced appeared first on Den of Geek.

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[introvertguide]

The French Connection (1971); AFI #93

The current movie under review  is one of the biggest award winning police action dramas ever created, The French Connection (1971). The film was nominated for 8 Academy Awards and won 5 Oscars in 1972 for Best Picture, Best Director, Best Actor (Gene Hackman), Best Screenplay, and Best Editing. The story also includes Roy Scheider prior to his Jaws fame as a buddy sidekick. In fact, this movie was part of a string of great “buddy” movies that included In the Heat of the Night (1967), Midnight Cowboy (1969), Butch Cassidy NS the Sundance Kid (1969), The Sting (1973), and All the President’s Men (1976). The French Connection has a lot of interesting Americana connections that I want to discuss, but first let’s go over the plot. Of course that means the usual:

SPOILER ALERT!!! LEGITAMATELY!!! A LOT OF PEOPLE KNOW THE GENERAL STORY AND PROBABLY THE PLOT OUTLINE WITHOUT EVER SEEING THE FILM!!! CHECK OUT THE FILM FIRST AND THEN COME BACK TO AVOID SPOILER DETAILS!!!

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The movie starts in France where an undercover detective is following a heroine smuggler named Alain Charnier (Fernando Rey). This detective is then followed home by Charnier's hitman, Pierre Nicoli (Marcel Bozzuffi), and is assassinated. Charnier plans to smuggle $32 million worth of heroin into the United States by hiding it in the car of his unsuspecting friend, television personality Henri Devereaux, who is traveling to New York City by ship.

Flash to New York City, where we see detectives Jimmy "Popeye" Doyle (Gene Hackman) and Buddy "Cloudy" Russo are staking out a club trying to nab a perp. They get a tip that some low level mobsters are part of a deal to sell a bunch of French heroin to gangs in America. Out at the Copacabana, Popeye notices Salvatore "Sal" Boca and his young wife, Angie, entertaining mobsters involved in narcotics. They tail the couple and establish a link between the Bocas and lawyer Joel Weinstock, who is part of the narcotics underworld.

Popeye goes to a bar that seems to serve only black patrons and shakes down everybody there. He secretly has an informant in the group and learns that a massive shipment of heroin will arrive in the next two weeks. The detectives convince their supervisor to wiretap the Bocas' phones. Popeye and Cloudy are joined by federal agents Mulderig and Klein, both of whom Popeye is not a fan of.

The drug car arrives in New York City. Boca is impatient to make the purchase—reflecting Charnier's desire to return to France as soon as possible—while Weinstock, with more experience in smuggling, urges patience, knowing Boca's phone is tapped and that they are being investigated.

Charnier realizes he is being observed. He "makes" Popeye and escapes on a departing subway shuttle. To avoid being tailed, he has Boca meet him in Washington D.C., where Boca asks for a delay to avoid the police. Charnier, however, wants to conclude the deal quickly. On the flight back to New York City, Nicoli offers to kill Popeye, but Charnier objects, knowing that Popeye would be replaced by another policeman. Nicoli insists, however, saying they will be back in France before a replacement is assigned.

Soon after, Nicoli attempts to shoot Popeye but misses and hits an innocent bystander instead. Popeye chases Nicoli up on a roof and eventually onto an elevated train that Nicoli makes and Popeye does not. Popeye commandeers a car and races to the next stop while barely avoiding traffic. Realizing he is being pursued, Nicoli works his way forward through the carriages, shoots a policeman who tries to intervene, and hijacks the motorman at gunpoint, forcing him to drive straight through the next station, also shooting the train conductor. The motorman passes out and they are just about to slam into a stationary train when an emergency trackside brake engages, hurling the assassin against a glass window. Popeye arrives to see the killer descending from the platform in an attempt to escape. When the killer sees Popeye, he turns to run but is shot dead by Popeye.

Popeye and Cloudy have a lengthy stakeout of the car that connects all the mobsters and has the opportunity to impound it when some gangsters see it and attempt to strip it. He and his team take it apart searching for the drugs, but come up empty-handed. Cloudy notes that the vehicle's shipping weight is 120 pounds over its listed manufacturer's weight. They remove the rocker panels and discover the heroin concealed therein. The police restore the car to its original condition and return it to Devereaux, who delivers the Lincoln Continental to Charnier.

Charnier drives to an old factory on Wards Island to meet Weinstock and deliver the drugs. After Charnier has the rocker panels removed, Weinstock's chemist tests one of the bags and confirms its quality. Charnier removes the drugs and hides the money, concealing it beneath the rocker panels of another car purchased at an auction of junk cars, which he will take back to France. Charnier and Sal drive off in the Lincoln, but hit a roadblock with a large contingent of police led by Popeye. The police chase the Lincoln back to the factory, where Boca is killed during a shootout while most of the other criminals surrender.

Charnier escapes into the warehouse with Popeye and Cloudy in pursuit. Popeye sees a shadowy figure in the distance and opens fire a split-second after shouting a warning, killing one of the feds, Mulderig, that he had been partnered with. Undaunted, Popeye tells Cloudy that he will get Charnier. After reloading his gun, Popeye runs into another room and a single gunshot is heard.

Title cards note that Weinstock was indicted but his case dismissed for "lack of proper evidence"; Angie Boca received a suspended sentence for an unspecified misdemeanor; Lou Boca received a reduced sentence; Devereaux served four years in a federal penitentiary for conspiracy; and Charnier was never caught. Popeye and Cloudy were transferred out of the narcotics division and reassigned.

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So this film has some of the most well known scenes in cinema history and I say this because they are copied a lot. The first scene when Popeye and Cloudy are on a stakeout, Popeye is disguised as Santa and receives a knife wound in his hand. This came back years later in Hot Fuzz! when Simon Pegg, as a police officer, was stabbed through the hand by a man dressed as Santa. In the Jackie Chan film Rush Hour, Chris Tucker goes into a bar pretending to shake down the group when he actually knows the group and jokingly asks his informant questions. 

Maybe one of the biggest aspects of the realism of the movie that director Friedkin insisted upon, was that the two cops that Popeye and Cloudy were based upon were in the movie. Jimmy Doyle was based on a cop named Eddie Egan and Buddy Rosso was based upon his partner Sonny Grosso. Egan and Grosso broke up the actual French Connection back in 1951. A book by Robin Moore that shares the name of the movie details the bust and this is what the movie was based on. For extra realism, the two real cops played the chief and one of the feds. Well, I say promote realism although Friedkin did not like the book and didn’t follow it as closely as he claims. There was no chase or shootout in the book. That was all there for drama.

The ending title cards were very interesting because it reminds the audience that 1) Friedkin cut his teeth with documentaries 2) the movie wasn’t going to show the whole seven month drug bust and 3) all the bad guys got away or got slaps on the wrist and the two cops were transferred out. This was a huge bust that didn’t really work out (although it stopped the trafficking) allowing the mobsters to escape and putting a stop to two careers. It is what I like most, however, because I don’t want to see a realistic movie in which the only interesting scenes are the ones that are not based on any facts. 

So should this movie be on the AFI list? Yes. It was the basis for gritty TV cop shows like The Streets of San Francisco and Starsky & Hutch. It has one of the greatest car chase scenes in cinema history. It won many awards and is known by those who haven’t seen the film. It is definitely AFI material. Would I recommend it? Well...not to kids. It has a ton of overt racism that is pretty uncomfortable to watch as well as some pretty terrible police work. The two cops were on set and they were OK with this? The film claims to be based on a real bust and the only cinematic parts of interest were made up. These white cops keep going into black bars and knocking everyone around but just chase after the French guys. White men are all detectives and assassins and mob bosses while anyone of color are just props to be knocked around to move the plot along. I would watch it again as a piece of cinema history and it is a progenitor of the 70s cop dramas, but I wouldn’t show it to my students because I don’t want them to think that it is OK for the police to rough up any number of black people as long as it might bring information about a mob boss. It is a good story with a bad message that needs some maturity to recognize the faults.

[canadachild9]

I watched episodes 1, 2, 3, and 4 before I decided it would be wise to call it a night. I gotta get up relatively early tomorrow for a farmer’s market. With that said, I am not happy that this is the episode I decided to end on because CLIFFHANGER, BABY.

Anyway, I’m making things simple for myself and explaining my thoughts so far in a concise manner. With pictures!

Spoilers below the cut.

Episode 1

Episode 2

Episode 3

Episode 4

Random thoughts

- Everything is gorgeous! I mean geez! Half the time I lost track of the dialogue because I was so distracted by the visuals. And the music score is beautiful and the voice work is fantastic.

- Rian and Mira were so cute and flirty and sweet... and it hurt because I knew what was coming.

- Deet is the most precious thing in the goddamn world! She’s so sweet and innocent and friendly and ugggggghhhhh she’s killing me. Those asshole Stonewoods who were being mean to her can just go stick it!

- Also, did Deet have two dads??

- Maudra Argot is a delight.

- Aughra is as enjoyable as ever. She has so many relatable moments and is pretty damn fearless and sassy. And I love her dress.

- I hope the Archer comes back at some point because I love the puppet’s design and his banter with Aughra.

- I love Brea so much. I can see why Anya has been singing her praises for months because she is so amazing. I was expecting her to be a bookworm and a sassmaster, but I wasn’t expecting her to be so compassionate and friendly.

- Gurjin is an absolute sweetheart. A beautiful himbo who does not deserve the crap he’s put through. Ah but what a brave himbo he is. “Eat sog!” Classic. A+.

- I was anticipating the ‘sucking of the essence’ thing to be uncomfortable, but I wasn’t prepared for it to be so horrifying! Jesus, poor Mira!

- skekMal is... how do I put this?... uh, he’s the scariest motherfucker in this show (so far anyway). It’s rare that I throw that word around, so you know I mean it when I say this guy is just... *shivers* I hate him.

- Admittedly, I - like many - find the Skeksis repulsive, but certainly not enough that I cringe at them. Even in the original movie, they never made me sick or anything, not even during that dining scene. However, that one bit of skekSo picking at his finger and all that puss was coming made me gag. I’m not even joking. I gagged.

- Simon. Freaking. Pegg.

- Brea outsmarting Cadia was amazing. What a queen.

- I almost feel guilty about having Rian be the butt of a lot of jokes in whatever memes I’ve made because holy shit this poor guy can’t catch a break. I want to give him a hug.

- Speaking of Rian, his and Deet’s first meeting was adorable. <3 I laughed at when he had a sword on her and was like “Who sent you?!” and she started rambling about Maudra Argot and the Sanctuary Tree and you can just see the look on Rian’s face suddenly morph into “I don’t know wtf you’re going on about, but okay.”

- Hup is precious. He and Deet together are precious. Ugh I want to bundle them both up into a ball of cute!

- I saw Ordon’s death coming. The second he first appeared on screen, I was like “You’re dead. You’re gonna die.” I mean he’s a decent character and all, but I couldn’t get attached to him because I was just waiting for the moment when he would get axed off.

- I know I already made a separate post about this line, but... “Alright. Together then.” Okay, now I’m convinced Rian is Jen’s dad. Unless proven otherwise, this is a fact.

Honestly, there’s so much else I want to say, but I’m tired and I should wrap this up now. I can tell you one thing, though, I am going to be on edge all day tomorrow because skekMal just kidnapped Rian and I’m as worried as Deet and Hup are.

[can-you-free-me]

Get To Know the Blogger - fill it out, then tag 10 people you follow

Tagged by: @lifewithoutcosette and @fallingawaywithbellamy 

Name/nickname: Annette

Height: 5′8″

Shoe size: 10 (8 in men’s)

Birthplace: California

Languages: English, very bad Spanish, even worse Japanese

What are you wearing right now: Dark wash jeans and gray “piano mushroom” t-shirt and dark blue socks

Favorite color: I really like mustard yellow lately. Also emerald green. Ooh and the Simulation Theory pink/blue bisexual colors

Favorite TV show: Fuuuuck. I can’t narrow it down to just one. One of my favorite shows of all time is The Mary Tyler Moore Show (don’t get me started cuz I’ll write too much about it). Space Ghost Coast to Coast. Twin Peaks and Twin Peaks: The Return (another one you don’t wanna get me started on). Firefly. Star Trek: The Original Series. And I’m sure I’m forgetting some.

Favorite movie: Uh oh. We could be here a while. I love films but I don’t talk about them here much. Here are 10 recent faves with some overly flippant commentary:

Hot Fuzz. Marry me, Simon Pegg. It’s for THE GREATER GOOD

Grand Budapest Hotel. Quirky humor and fun visuals and wonderful performances. Probably my fave Wes Anderson film. 

Dawn of the Dead (1978). Best zombie movie. Fite me. Also lots of “vintage shopping mall interior” beauty shots for weirdos such as myself.

George A. Romero’s Martin. Dark, sad, strange little grimy 1970s film but I love it. Is Martin a monster or just fucked up and misguided? Romero lets us make up our own minds. 

Avengers (2012). Best comic book movie. Tom Hiddleston as Loki... *sweating* I’ll never forget seeing this in a packed theater and everyone collectively losing their shit during the “puny god” scene

Drive. I love a slow burn. Also Ryan Gosling in that scorpion jacket.

Doubt. Meryl Streep and the late Philip Seymour Hoffman screaming at each other while Amy Adams does adorable things.

Twin Peaks: Fire Walk with Me. I can’t recommend this to anyone because it’s hard to watch sometimes and you have to see the TV show first but HOLY FUCK WHY WASN’T SHERYL LEE IN MORE MOVIES

Possession (1981). Another one I can’t recommend to most people because it’s so fucked up but Isabelle Adjani is a fucking force of nature.

Ordinary People. This film brutalized me emotionally but I love it so much. Mary Tyler Moore kills it as the icy mother and I fucking love Donald Sutherland in it too. And much has already been said of Timothy Hutton’s performance.

Pride and Prejudice (2005), Moulin Rouge, Lord of the Rings, Men in Black, The Fifth Element, Star Trek I-IV and VI, Back to the Future, UHF (so dumb but I love it), Ghostbusters, Poltergeist, Alien, Re-Animator (ridiculous but fun if you can handle gore), The Great Muppet Caper (for real), The Empire Strikes Back, Carrie, Jaws, Harold and Maude, The Exorcist, The Godfather, The Sound of Music (a very important film to me as a child), and many more.

Favorite band: Muse is my muse. But also Bastille, Carpenters (I would die if it meant Karen Carpenter could come back), The Beach Boys (Pet Sounds is almost perfect and I love some of their weird experimental shit; they’re my Beatles), Simon and Garfunkel, ABBA, Rush, XTC (WHY DON’T MORE PEOPLE KNOW THEM), Coheed and Cambria (not ALL their albums tho), The Shins, Gackt, L’arc~en~Ciel, X Japan, Yoko Kanno (the queen of anime OSTs), Selena (would also die if it’d bring her back), and waaaaay too many more; please don’t ask me about film music or I’ll be here all day

Favorite author: I don’t follow authors that closely, to be honest. I’m weird about books. But I have enjoyed Terry Pratchett, Stephen King and Carrie Fisher in the past. I also love L.M. Montgomery (the author of the Anne of Green Gables series). 

Last three songs you listened to: I’m not gonna bother listing them, I’ll just say I was listening to the album Doom Days again earlier.

Last three movies you watched: Rocketman (need to see it again cuz it blew me away), John Wick 3 (with friends; never saw the other two haha), Suspiria (2018) (W T F)

Last three books you read: 

(These are all biographies)

Room to Dream, by David Lynch and Kristine McKenna

The Princess Diarist, by Carrie Fisher

Out of this World: The Story of Muse, by Mark Beaumont

Following: 95

Followers: 150??????

Any other blogs you have: @good-times-bad-decisions, sideblog for non-Muse things, heavy on the Bastille for now but generally a huge conflagration of bullshit

1 fact about you: I can’t shut the fuck up once you get me talking. Obviously.

@tofuthebold, @cupiscent, @gentr0py, @1-ufo (and anyone else who wants to. as always, don’t feel obligated if I tagged you)

[garyfuckingking]

My 10 pages long essay and Powerpoint on The World’s End and Gary King

(aka why The World’s End and Gary King are two of the most precious things that exist, aka why I love The World’s End and Gary King)

(Based on my own original idea and written after I read this post - @ineverhadadoubt thanks again for sending it to me-

Also please check out this amazing post about the pubs in the movie.)

(I thought I’d tag some people that seemed to agree with my original post and might be interested in reading this. It’s fine if you don’t btw: @smashing-anarchist-poet @jessefandomunited @shakespeareanmemes @jesusinanalcove @aknownlegend @snovyda @smuggsy @immortal-gamora @doodlerdoodle @zane-garrett @lady-dragonfruit @nogoatshere  @hum4n3rror @theforceawakcns @duskteeth - wasn’t gonna tag everyone, some I couldn’t even tag so that’ll do-)

Before I begin, I’d like for you to be aware of a few things. 

First off, this is gonna be a very very veeeeeery long post so bare with me if you can. I’m probably gonna keep apologizing for the lenght of it in between two things I’m talking about but I’m passionate, sorry.

It’s also a very big post because there’s pictures and a lot of gifs tbh. 

Like... i think like, don’t even try to read this on your phone? Idk what it will do to it. tumblr mobile ain’t that strong i think

There’s so much to be said about this movie.

TW: There’s going to be mentions of suicide, depression, addiction, ...

Also, I’m probably going to forget a lot of the points I’d like to illustrate and talk about, that’s one of the downsides of running on a three hours of sleep schedule. 

You can check the tags for some trivia on this whole post.

So if anyone wants to add something, feel free. I’d love for people to give me their opinion on the movie, etc. 

I’m also probably not gonna mention the direction of the movie too much. I love Edgar Wright with all my stone-cold heart but if I have to talk about how much of a fucking genius he is when it comes to comedy and his movies, we’re literally gonna be there all week, plus I’m not actually planning on writing a 10 pages long essay -or am I?-.

If you haven’t seen the movie, SPOILER ALERT. Seriously though. There’s some stuff in the movie you probably don’t want to know by reading this if you’re planning on watching it and I’m going to talk about everything so.

Finally, I’m going to talk about why I think the movie is not as popular as Shaun of the Dead and Hot Fuzz, and the rest will mostly be about Gary King and why he’s a great character but also why he’s an important one.

Well. Let’s go. This is gonna be a wild ride.

In this essay, I will...

Ok, in all seriousness.

So I guess there’s supposed to be an introduction here. This is very unprofessionnal, and I’ve learned how to write essays so shame on me. Oh, well. We’re here to talk about Gary Fucking King. It’s ok if it’s a mess, the guy’s a living mess on his own. So, when Simon Pegg comes to mind, the Cornetto Trilogy usually does as well. At least, the first movie that you probably think of is Shaun of the Dead. And often, Hot Fuzz is mentionned as well. But I never ever hear anything about the World’s End. God, even Stephen Colbert got the name wrong while talking to Simon, calling it “The End of the World”. Granted the movie wasn’t the subject, but... Why did it happen? Why is The World’s End seen as “the weakest one”, as “not as good as the first two”, is the one people don’t remember, and is assimilited to other weird claims of the sort? 

I personally feel like it’s because it’s more layered than the other two movies, actually, it’s a bit more complicated. I’m not saying here “if you didn’t get it you’re dumb” or “only smart people will get the message”. Not at all. I had to watch it a couple of times before I started to get a lot of things about Gary and the movie in general, and even today, when I watch it, I notice new things and tiny details that I never realized were there before. That happens with the whole trilogy because the three movies are amazingly well done, but I feel like it’s harder to grasp with The World’s End. But why? 

I think it’s because we directly know what Shaun of the Dead and Hot Fuzz are about. The three movies are about more than an apocalyptic scenario or living surrounded by a cult made of murderers. There’s always a message behind the main themes. 

With Shaun of the Dead, it’s kind of a given, really. The little introduction of the environment shows you that it looks like the town is filled with z****es before they even actually arrive and just with that, the scene is set, we know what -behind the parody and other elements of the film- Simon and Edgar decided to criticize about society (it becomes deeper with Shaun’s character but I’ll get to that later, same with Angel).

In Hot Fuzz, the critic of society is a bit more subtle, but still there for people to see. That’s the point right? Send a message without making you feel like you’re “being thaught a lesson”, or something like that, and these movies do it brilliantly. Because that’s the thing. People watching the Cornetto Trilogy sit down in front of their screen to have a good time, have a laugh and go one with their day. But The World’s End is different. It’s still extremely funny, but it doesn’t give off the same vibe as SotD and HF. You feel like there’s something more, you feel that it’s actually a tragic movie. 

Yes, it still has the same kind of message, here with how much of a fuck up a human being can be, how humans are stubborn even if they make mistakes, but that it’s part of life and a word with “perfect beings” wouldn’t necessarily be better. It’s about growing up and accepting that you have to leave your childhood or teenage years at some point, and all that stuff surrounding these themes. You think it was the better part of your life, but often... it isn’t (again, I’ll come back to this later). It’s just harder to grasp because of the tone and maybe because people don’t like to hear this kind of things.

So the problem is, people often miss (or dismiss) the point. 

I don’t think you know about this but there’s this French website called Betaseries. 

On it, you can have an account and have a list with the tv shows you’re currently watching or the films you’ve watched or want to watch.

You can download subtitles for the new episodes you wanna watch if you need them, you can rate movies, comment to give your opinion, you can tick which episodes you’ve seen so that you can keep track of what you’re watching and not forget where you’re at, etc. Pretty useful website, I’m always on it.

So, I obviously went to see what people thought of The World’s End. It’s got a good enough rating, really, 3.62 out of 5 stars. It’s not a four or a five but only because of two users who didn’t like it all that much. So I read their reviews. One was a 2/5 and one was a 3/5: 

“To summarize the movie: the world is invaded by a pacifist extra-terrestrial entity that kills human to exchange them with clones but that accept to leave the planet if you ask (with insults, please!) ???

To use one of the movie’s favorite expression: WTF?????!!!!!

I liked the story of “Shaun of the Dead” better ^^”

“Having liked "Shaun of the Dead” and “Hot Fuzz”, I was impatient to see Edgar Wright and Simon Pegg’s new movie, unfortunately, it isn’t as “good” as the last two. Technically perfect, the story drags on and the mid-life crisis Simon Pegg’s character goes through becomes tedious after some time… but not everything’s good for the trash! The English humor is really present, the play-on-words, the references… you don’t mind watching it. I feel like you need to watch it a second time to appreciate its real worth.

Naturally, watching it in VO is absolutely necessary.”

The other people that commented had all 4 or 5 stars and were only saying that the movie was very funny, therefore enjoyable and good.

I think that’s the thing. When you think “Cornetto Trilogy”, you think “having a good time”. You watch it, you can see that there’s a message behind it, but you don’t spend your time focusing on it or looking for it, because it’s usually pretty simple to get. You pay more attention to the comedy, the references, etc.  

And that is where The World’s End becomes different. It’s not focused on the comedy or the references (well, yes it is and it’s still incredibly funny, it was meant to be), but you have to focus on what is actually going on with Gary King to get it all. That’s why the big meanie leaves “just because they asked”. Remember what it says before leaving (and destroying the world btw)?

That’s something that’s been said to Gary a few times throughout the movie, but here, it’s clearly aimed at the three of them, hence at the humans, because they’re speaking for their entire race. That’s why it leaves. Because the message is “it’s pointless arguing with humans, they’re going to do whatever they want anyway, you can’t change their mind, etc., they have to learn thanks to their own mistakes so you have to let them make them, not force them to be perfect.” This kind of things. 

But when you read the reviews above... These are the only two reviews where you can see that they really tried to get what was going on, but maybe missed it, and because of that, they didn’t like the movie all that much and rated it badly. Gary King isn’t just going through “a mid-life crisis”. He really isn’t. There is so much more to him that it drives me actually crazy that this movie isn’t as praised as the rest of the trilogy. Literally nuts.

With that being said, I think it’s time to really get into who Gary King is, why he is such an amazing character and why there’s more to him than a “mid-life crisis”. So I’m going to talk about him (obviously), about his effect on others, about his relationship with his friends, his addiction, etc., and why it just makes the plot so much better. I hope you’re still with me. And that it’s been understandable up to this point because I really can’t express my ideas the way I want to easily, sorry about that.

The Cornetto trilogy doesn’t just have these hidden messages, morals, … A common thing between these movies is that the characters played by Simon Pegg are all flawed. They’re just flawed human beings. And these characters have to work on themselves to become better. The plot is usually what makes them realize things and help them grow to become their best self.

In Shaun of the Dead, Shaun is going nowhere with his life, he’s stuck in a routine with a dead-end job and a relationship he’s screwing up because Liz is the only one working on it. It’s not that he hates his life, but he doesn’t do anything to make it better either, he doesn’t really see the point. . He’s just there so he does what he’s got to do, but he doesn’t get out of his way to do more. And like Pete says, Shaun needs to sort his life out and do something. Here, killing z****e is apparently the way to a healthy and more positive life. (and no, I will not say the z-word and you shouldn’t either)

In Hot Fuzz, Nicholas Angel puts his work before anything else. That’s why his very serious relationship ended, it even caused him to be disliked by his colleagues and superiors. Like Janine says, he won’t ever be able to turn off if he doesn’t find someone he cares about more than his job. And throughout the movie, you see how Nicholas becomes, but also how other characters become thanks to him. I could talk about this masterpiece, about the foreshadowing in it and especially about Danny Butterman for hours on end but I’m not here for that today.

Also, Shaun had Pete to tell him what was wrong with him. Nicholas had Janine to tell him what was wrong with him. Who does that for Gary King? Because again, Gary is a very flawed character who needs to change as well. But first, we have to ask ourselves one question:

Who is Gary King?

Let’s get some answers.

Well, I’d give you a lot of answers if I had them but… we don’t really know much about Gary King, do we? Well, what we know about his past is what he told the people in the rehabilitation session. That he was The King. But it’s only later on in the movie that we’re able to get new details about him that help us get a clearer idea of who he is. 

The King, the leader of their little group, the popular kid, is also selfish and self-centered. He’s injured his friends with his reckless behavior, he injured himself, he was already a heavy drinker and was using drugs. We don’t know much about his real past, about his family, or else. We know he hasn’t spoken to his mother in eight months when the movie takes place. He arrived in a psychiatric hospital after a suicide attempt but hasn’t told anyone, clearly. His mother doesn’t even know. He doesn’t like the way the hospital was “helping” him and after a quick decision, he got out of it to regroup his old friends and make an attempt at the Golden Mile again. 

We know he isn’t happy. He’s bitter and sad, clinging onto a past he thinks better than anything else he could ever have. Addicted for most of his life and depressed to the point where he tried to kill himself. In the movie, he clearly just tries to reassure himself about his life, always lying to himself and to others.

Whenever reality catches up to him, he shies away from it, he’s not even able to look at Andy anymore. And the problem is, his friends are the reality and he’s the lie. He’s convinced himself of things so much that he believes in them and he can’t hear another version of the events that have happened, he needs to keep his embellished memories intact because he’d rather believe in a lie than in what he is.

He desperately needs the attention, because he’s so alone. He needs to live in his lie, to relive that great night, that moment when he could seduce Oliver’s sister, when his friends would have followed him to the end of the world, to finally prove himself right. And like Andy says, he’s never wrong, is he? He’d rather lie about his mother dying than face rejection and where he’s at. He’d rather have people stay with him because they pity him than because they want to be with him.

He lies about it as a last attempt to convince Andy to come along to Newton Haven, after also giving him money he had been owning him. (I’ll talk about the rest of this scene later on, it’s a very important thing to mention.)

And then, when reality is thrown at his face by Andy again, he miserably tries to get his sympathy once more, despite Andy not having it:

Just after that scene and right before they find out the truth about his mother, Peter says “I can’t help but feel sorry for him”, what Gary intended to do. He manipulates and is upset that things don’t go his way, no matter for what reason he is actually manipulating them. He wouldn’t admit it’s because he’s lonely and unhappy and that because he needs them to feel better, he’s fine with hurting their feelings again.

When he leaves the table to go to the restroom, he looks at himself and finally lets some real emotion out, only to realize what he’s doing.

He’s not proud of it. His friends have changed, yes, but he hasn’t. He’s still the same impulsive and selfish young man he used to be, but now he realizes that’s not how life works. Life doesn’t just go his way like it used to, or like he thought it used to. Life happens to you, you're not in control, and he probably realized that months ago, as he tried to end it.

Still, when the teenager arrives in the restroom, he puts his walls back up again directly, tries to show off and to befriend the young man by impressing him. He sees himself in him, a young and free man who just enjoys his time with his friends. 

That’s why he was looking at them this way earlier in the pub:

Or when both groups crossed path outside in the afternoon. Yet, when the boy doesn’t respond and ignores him, he gets upset again and is ready to provoke a teenage boy for not paying attention to a drunk guy inviting him to drink with him and his friends. 

Yes, the alcohol and the built-up frustration of the evening made him provoke that boy, but it doesn’t mean he’s not aware of the gravity of his actions every time he does something. He’s clearly aware that he manipulates his friends, that he only thinks about himself. It’s always in very short moments that you see him look away or having a hard time processing everything, because he knows the way he acts and as much as he hates himself for it, he can’t help it. To the point where he uses the terrible situation of Newton Haven, no matter if they might die, to finish the pub crawl. Why? He doesn’t care if he dies. At all. It’d probably be easier for him. 

He can’t stand himself, but he can’t be someone else. He got upset at the boy’s silence, taking it as an insult, a way of being disrespectful towards him and in his head, no one should disrespect Gary King. There was a time when he loved being himself but like Sam rightfully says:

So with that in mind, what is Gary King? 

That, I believe, is one of the most exciting part of the character. He’s as much the villain as he is the hero of the movie. 

He’s a villain in his behavior, always has been. He liked being a “bad boy”, but he really did hurt his own friends and has been selfish for a long time. A lot of things that he did and still does make him a villain in this story. Yet, he doesn’t flinch in front of danger, he throws himself in battles the way he used to when Peter would get bullied. He fights for his life and stands his ground in front of the “big boss”, speaking on behalf of the entire human race so that the enemy would leave them be. He’s obnoxious, but he’s also very lovable. Again, like Sam said:

He wouldn’t be able to make someone else happy, or maybe for a while, but he probably wouldn’t be able to resist getting back to his old antics. He’s not meant to live a quiet life with a family, he needs his freedom, as he calls it, but deep down, he’s never actually been a Bad Person™ . He does care about his friends, in his own fucked up way, but he’s too damaged to do any good around him, it doesn’t matter if he’d like to or not.

That’s why he leaves again in the end. He can’t stay there and face everything that has happened. He saw his chance to start all over again and let his remaining friends be happy together, without getting in the way. He did the right thing by getting sober, but he regained his freedom, is still a rebel by staying with a bunch of blanks and not humans, and he’s with the version of his friends he’s always wanted to be with again. Maybe it’s a bit unhealthy for him to stay with these specific blanks, but it’s a better coping mechanism than alcohol and drugs. He’s his true self, but he’s sober and definitely feels better, like he belongs there.

Now, the time has come. Let’s really introduce his friends, talk about his relationship with them before talking about how he takes responsibility for his actions and how he deals with change. (yes I’m sorry this is endless)

All his friends have little stories to tell about his behavior during the movie. He injured all of them as well as he injured himself, and even if Oliver is the only one who didn’t receive a scar, he got his own birthmark removed because of the nickname they would always use. Gary was the only one using it still during the movie, despite being told off.

I’ll introduce them using Gary’s words in the beginning of the movie. It allows us to see the way he perceives them. Keep in mind that it’s the only way he could ever see them at that point, as he doesn’t know what they became and who they really are at that point in their lives. What we, as viewers, know, is that they seem to have all become pretty successful when it comes to their careers, and they just seem to have a good life in general, compared to Gary who is in that hospital and dealing with his addictions.

So, we’ve got Oliver Chamberlain. Gary introduces him by saying: “Ollie was funny, he fancied himself as a bit of a player, but really, he was all mouth. We called him O-man because he had a birthmark on his forehead that looked like a six. He loved it.”

He certainly did not love it. Like I said, he got the birthmark removed because it annoyed him so much to be called O-man. We don’t know much about Oliver, really. He manages a boutique estate agency in North London, he’s doing good, he’s always working. His sister is Sam Chamberlain, Steve has had a crush on her since high school and Gary had sex with her in the disabled. He’s in a sort of competition with Steve to win her over. We know Oliver was already acting like a business man in school. During their first attempt at the Golden Mile, he was out of commission after the 6th pub.

He’s also often mentioning Gary’s drug abuse throughout the movie. 

He was clearly uninterested in going back to Newton Haven, he was very reluctant at the idea, but Gary succeeded in tricking him to go back. During the movie, Gary says a couple of times that Oliver is doing really good, as he didn’t go that far in the crawl the first time. He obviously doesn’t know he has been replaced by a blank in the middle of the crawl but he does say that he likes the new Oliver, the one that seems to be fine with following him around, who is able to go on with the crawl and encourages the others to join the party.

Now, Peter Page. Gary says: “Pete was the baby of the group. He wasn’t the kind of kid we’d usually hang out with, but he was good for a laugh. And he was absolutely minted.”

The cool guy hanging out with the most bullied kid in school? He indicates there that his wealth was one of the reasons he was friend with Peter, despite saying that “he was good for a laugh.” You can see that they get along pretty well during the movie, once Peter is relaxed with the alcohol. They joke around and laugh together quite easily. During the first attempt at the Golden Mile, after smoking marijuana in The Smokehouse, he was left on a park bench while Gary, Steve and Andy kept on going. He still works with his father and became his business partner. He’s the one who sold The Beast to Gary back in the day.

The scar Gary gave him was when Peter let him drive his 50cc Suzuki. Gary rolled over his leg.

He clearly was looking up to Gary at the time, probably because he was defending him whenever he’d get bullied.

There are a few moments where you can also see how submissive Peter still is, traumatized by the extreme bullying he went through in high school. He hates confrontation. He hides behind his newspaper when his kids are “fighting” at the table. It’s impossible for him to say anything when he meets his bully in one of the pubs and whenever a fight explodes, he’s the first one to try and hide, not fight.

He was killed and replaced after finally standing up against the blank that replaced his bully.

Steven Prince. Gary doesn’t have much to say about him: “Steve was a pretty cool guy. We jammed together, chased the girls. I think he saw us as rivals. Sweet, really.”

Like Oliver, we don’t have many information about his life. He had his own construction company, and he was bought out in ’05. At the beginning of the movie, he’s going out with a 26-year-old fitness instructor but the person he truly loves is Oliver’s sister, Sam. Gary and Steve got along just fine, but with what Gary says, you can see he thought he was better than Steve in different ways (shocking, I know). Gary and he used to play music together but stopped when Gary sold Steve’s bass to buy drugs.

In 1987, so when they were around fourteen, while they were playing cricket, Gary accidentally pushed Steven onto a broken bottle and Steve was left with a scar… well, on his ass. Now, we don’t know the origin of the bottle, but you certainly don’t need it to play cricket, from what I know? We also don’t know what they were drinking, so maybe I’m reaching by saying it could have already been Gary’s if he was already drinking alcohol, but we wouldn’t know so again, I might just be reaching! not confirming anything. Still, Gary injured him as well.

He wasn’t really happy when he saw Gary again for the first time, but still ends up going back. During the first Golden Mile, Steve was still there at the end. Even if they didn’t finish it, he was with Andy and Gary on the hills at sunset. 

Now, Andy is the most important one, obviously. It wasn’t a surprise. Simon and Nick always play the two main characters and they always have a very strong bond. And Gary’s relationship with Andy is quite fascinating to say the least. For someone with as much pride as Gary King, talking about the way he feels is not all that easy. At least not without disguising it a little. Before we get into that part, here’s Andy’s introduction. This time, I’ll just explain who he is, and then show Gary’s words because I’ll talk about them more.  

So, from what we know, Andy used to play rugby when he was younger. When the film takes place, he’s a corporate lawyer, he’s married and has kids. He seems to be doing quite well, even though we learn he and his wife are separated at the moment and that he's trying to get her back.

During the first pub crawl, he made it to the end of the night with Gary and Steve, ending up on the hills at sunset and failing the Golden Mile. Back in ’86, Gary injured him as well when they reenacted the knife game from Alien. Gary accidentally stabbed him in the middle finger.

We know that he remained friends with Gary until December 1997. Gary overdosed and Andy, while being extremely drunk, attempted to drive him to the hospital. He crashed his car and he had to go through a life-saving surgery that lasted for 12 hours before getting arrested. At that point, Gary who had made a “miraculous fucking recovery”, as Andy puts it, had abandoned him on the scene of the crash. After these events, Andy stopped talking to Gary and also stopped drinking.

It seems that “the accident”, as it’s referred as in the movie, drove them amm apart. We at least know they were still talking to each other in ’92, two years after they left school, because that’s when they decided to stop calling him “Fearless Leader”.

So they probably kept hanging out until the accident. Gary was certainly the glue sticking the group together but finally took it too far.

Now, when talking about Andy, Gary says this: 

“And Andy. Andy was my wingman. The one guy I could rely on to back me up. He loved me, and I’m not being funny, but I loved him.”

Why would he be funny by saying that? Because admitting he loves his friend makes him less of a badass? No, he really liked his friends. But he loved Andy so much.

And I’m not talking as a shipper or anything. I’m really not. Actually, I’ve never shipped Gary with anyone if I have to be honest. Like Sam says, he’s not boyfriend material. I’m talking about platonic friendship. A very strong friendship that still existed despite “the accident”. That’s why Andrew keeps following Gary until they arrived at The World’s End, because he still cares, and he can’t watch him destroying himself like that. That’s why they all went back. Because in a way, they cared. They kept complaining but seeing everyone wasn’t that bad. They did laugh together, even with Gary, despite being pissed at him. They also weren’t expecting much of him, they know him:

But Gary’s relationship with Andy is special.

Andy is kind of the one who made everyone come back. They clearly didn’t go back for Gary. They went because of Gary, but each of them has asked if Andy would be there first. Probably because Andy’s presence would mean that if he could get past Gary’s mistakes, then maybe they could and should give it a try. And Andy went back with the hope that maybe Gary has changed, even just a little bit. When they are sitting outside while Gary’s playing Need for Speed (for someone who hasn’t seen it, this might sound like a weird as fuck movie), he says this:

Well, of course, he then learned he got money from the other three and gets mad, but you know. He did hope for a split second that he wasn’t exactly the same and that maybe, it was really because of what he told him in his office that Gary wanted to do that again. That’s also why he cuts him some slack at the beginning)

Speaking of the dialogue in his office! Remember I said I would come back to that scene at some point? Well, here we are. Yes, you might have forgotten because this post is very long and I ramble but if you’re still with me, well… it’s not almost the end but we’re getting there.  Anyway! So, Gary lies about his mom dying and that’s the following conversation:

Again, maybe I’m reaching, but he seems so honest that I wouldn’t be surprised if he was actually using his mom’s death as a metaphor for his own suicide attempt. It got him thinking about the old days. He never really stopped thinking about them. He still has The Beast, he still has the tape Steve made him and that he was still always listening to, but these last months were probably extremely rough for him and got him really thinking about all of this in a more depressing way than he ever did. His life had been going downhill since he got out of school, but he finally hit rock bottom really hard.

He says his mother has always really liked Andy, but he might as well be speaking about his own feelings. He even says that he likes the guys, but that Andy was the best friend he’s ever had (and probably the only one he ever felt this way for.)

He has a weird behavior around Andy. He’s always acting so confident, but throughout the movie, he keeps seeking some kind of reassurance from Andy. Either because he wants his approval but also because he wants to prove himself right, or because he wants to believe everything is fine between them.

He has a really hard time expressing his true feelings, probably because he’s used to hiding them all the time. Every time he does express them, we can see how miserable he is and why Simon calls him “a walking tragedy”.

This leads me to the three most powerful dialogues in this movie, I think. I mean, in my opinion, they are the most telling about Gary’s truth, even though the movie is sprinkled with hints on what’s going on, like with this very obvious line:

We clearly know that it was something that was told directly to him, we know where, despite him acting like it’s just some trivia.

So the first dialogue I have in mind is the one with Sam. Sorry, loads of gifs are coming your way:

I feel like for the first time in the movie, he’s kinf of done with his own behavior and he’s ready to have a serious talk and admit some important things. Like when he says Steve is better than him, because he knows he’s a fuck up but now he’s ready to admit it. And in a few lines, you see something else. No, it’s not all about that night, it never was. Life doesn’t have purpose for only one night in your life. Yes, maybe it was the happiest night that there ever was, if it even was, but it doesn’t mean shit, really. But Gary holds on to it like his life was depending on it. Well, in this scenario, it kind of is. Sam tells him that it doesn’t have to be all about that night, kind of letting him know he has the choice to leave it behind and finally move on. And she can see that he gets it. But then, if Gary can’t hold onto that night, he at least wants to keep some things from it, hence his questions about the disableds. Sam agrees, giving him at least that because either way, he’s losing against his own life. If at least he’s trying, she can let him hold onto that memory.

It makes me think of the moment Gary tells Andy that the Golden Mile is all he’s got. There could be so much more, but Gary feels like he’s got nothing else, unlike his friends who have “everything”, like he says. That’s wy he fights for it, because it’s what’s important to him, like Andy is fighting for his marriage.

The second dialogue would be this one: 

No, it wasn’t his fault that Andy crashed the car. He didn’t overdose on purpose, and Andy chose to drive him to the hospital while drunk and driving four times over the limit. But he did choose to flee the scene and leave Andy to die. And Andy wouldn’t be so angry and resentful if it hadn’t hurt him so much. It hurt him because he loved Gary. 

Remember, when introducing Andy, Gary himself says that Andy was the one guy he could rely on. You’d think it would be the same for Andy, but Gary betrayed him.

Before the third dialogue, I want to elaborate on this, on Gary taking responsibility, kind of? He doesn’t talk about his mistakes.

Every time someone points out one of his past mistake or how his behavior is inappropriate, he changes the subject or tries to get his way.

He doesn’t want to face the things he’s done because he knows he can only blame himself for these situations and he already hates himself enough, he doesn’t need to be reminded of these things again and again.

And it’s also because he wouldn’t like to see his friends discover the way he really feels. Whenever his suicide attempt could get discovered or whenever he thinks about it, he quickly tries to hide the truth.

At first, I’m pretty sure he thought that Andy knew about his attempt, because he’s so surprised when he asks to see his arm. Then, when Andy tells him what injury he wants to see, he’s in full defensive mode and changes the subject again, trying to prove he’s him thanks to his memory, and not a scar.

Andy was ready to bash his head right in if for one second he believed he was a blank, but even then, Gary won’t show his arm, because he can’t let them know he hit rock bottom.

It’s the same with Sam:

The same old gary. Gary doesn’t like change. He hates it. He hates to see that his friends have changed and he knows that in a way, he changed as well, no matter how hard he tries to remain the same old Gary, the one that was happy.

When he learns that there are robots and that it’s not them that have changed but the town, he’s ecstatic.

And finally, the third dialogue I was talking about:

Getting help put Gary in emotional pain, even worse than what he already had before, because of the way he was treated. He hated it, he felt so miserable. Feeling like he’s living a lie, like nothing is what it’s supposed to be, feeling like he has absolutely no control. He doesn’t, not on life, but he could decide to do better. He just doesn’t have the courage.

Andy was already caring, way before that. And he’s always known Gary needed help. At that moment:

Andy wants to finally put the limit. It’s true, it’s the last one. Then, Gary will have completed the Golden Mile. Then, what? That’s not the point but what would Gary have done after that? He would have no purpose and like he says, the Golden Mile is all he’s got. Still, Andy doesn’t let him have one more drink.

Back in the tenth pub, he seemed to happy that Gary was accepting to let it go, to have one last drink and put an end to the crawl. He was still hoping for change.

I feel like this scene just shows how hard it is to overcome addictions just by yourself. He tried, when he got in the hospital, and he ended up leaving. He was really drinking his last beer, at that moment, but he couldn’t resist, once again, and had to have the other two. He really wanted to try, but the temptation was so strong.

Andy follows him because like his marriage, Gary is important, and he fights for what’s important to him.

Maybe Andy was able to make it on his own after the accident, but Gary isn’t Andy. He knows that Gary can’t make it on his own. He was never able to. It doesn’t mean he isn’t strong. Andy knows how strong Gary is, living through his addictions for so long, seeing that he tried to kill himself. He knows he’s strong, but it doesn’t mean he can’t have some help from people who really care about him. Now, he knows that can’t happen unless you force him to. So if he has to actually physically fight Gary to stop him, he will, because he knows his friend wouldn’t be able to stop unless being actually knocked the fuck out. He could let him have the last pint of the Golden Mile, but it would mean he allows him to do what he wants one more time. He puts a stop to it because the Golden Mile doesn’t matter, Gary matters. If he has to shatter his last chance of completing the crawl, even if he’s so close he can almost feel the beer on his tongue, he will if that’s what it takes to make him come to his senses.

Besides, he knows that Gary regrets what he’s done, both in the past and that day. He doesn’t constantly mean to hurt his friends. He does it because he can’t help it, but like Sam says, he’s not a bad person.

By the way, I often wonder what would have happened if they had forced him to show his arm when checking everyone’s scars. If Andy, Peter and Steve had discovered about his suicide attempt at that point.

Would they have understood that Gary was on a suicide mission, at that moment?

And that it was only making it all the more exciting for him?

This is Gary King, everyone. 

Also, funnily and terribly enough, he relieved the night the same way he first lived it back in 1990. Some gifs and images as evidence:

Which begs the question; was the first night even that great to begin with?

I think I covered everything I had in mind (not bloody quite but well). I don’t even know. It wasn’t supposed to turn out like this but I’m glad it did, I got to ramble about my favorite trilogy for hours on end so. And also... I’m pretty sure I was trying to prove something with all this but my point is: I’m in love with Simon Pegg. 

No, ok. Again. Seriously. 

The World’s End is such an underrated movie. And Gary King is such an important character. The movie depicts human nature in the realest way, with all its flaws. And Gary King is depicting mental illness, was written by someone who went through this kind of things. The movie is very personal for both Simon and Edgar, actually. I don’t know much about Edgar, to be perfectly honest. I love his movies, he’s an genius, but I don’t know much about his personal life. I just do know this movie is important for him too. I do know that Simon has dealt with alcoholism, if I’m not mistaken he’s been sober since 2010, he knows what it’s like to battle addiction and depression.

The movie doesn’t romanticize these problems one bit. It shows how bad it can be, and how it can be perceived as by people not knowing much about these things. Remember that comment talking about the fact that the “mid-life crisis” Gary’s going through gets annoying after a while? Welp.

Could you imagine actually living in Gary King’s head for more than an hour. Unbearable. Especially since he’s aware of some of the fucked up things he’s doing and must hate himself for it. 

Yes, there’s the humor and the crazy robot stuff going on on the side, but that was my point at the beginning. That’s why the big weird entity that invaded earth isn’t the big villain of the movie.

I always say the same thing about villains. Take Thanos in the MCU for example. He’s the fucking worst and yet, his actions are justified. Careful. Not excusable, justifiable. You understand that there’s a point for him, that he firmly believes in what he’s doing, that he’s sure his actions are what’s supposed to be done to make Earth a better world, that what he does is right. Yet, because we’re rational and fucking decent, we know that’s not the way you solve problems. Here, the enemy believes it needs to replace humanity with perfect beings, to… make Earth perfect, or something. You know that it’s pointless, because like they show, only three humans in Newton Haven were spared. Earth is filled with flawed humans, you’d have to replace everyone to make it better. And yet, these actions are “justified” by a thought process. Doesn’t mean turning humans into compost is excusable. That creature’s definitely a villain, but not the main one in the movie.

The end of the world ain’t even a bad thing in the movie. On the contrary. A lot of people survived and Andy himself says things are simpler. They’re kind of back to the Dark Age and they realized that all their problems seemed very small in comparison to such events, and they’re happier.

Here, Gary is his friends’ enemy, he’s the blank leader’s enemy, and he is his own worst enemy. He hurts absolutely everyone, himself included. Because of his own addictions and depression. That’s what can really happen in real life and that’s something I really like about the movie.

And he ends up alone. He took the decision to leave but you don’t have a dumb female love interest that falls for the bad boy and make the worst decision she could by getting with him at the end so that we’d have a happy end and so would Gary. Sam’s very honest with him, she tells him how things are until he finally understands and agrees with her. He makes the right choice (“for once,” like he says) and makes her save herself and is fine with her ending up with Steve.

He’s always known the truth, but he had to accept it and he does. It’s difficult, but he does.

I don’t think Gary’s end’s a happy one. I have mixed feelings about Gary’s end because I don’t think he’s going to be satisfied on the long term and he does deserve some happiness at that point in his life. He excluded himself from everyone and is still stuck in that circle of not growing up. He’s definitely happier and he’s sober. But what is going to happen? He’s going to grow old and the blanks won’t change and then what? How is he going to feel about that? 

It’s a real ending, not a cheesy one. But at least he always has that option of coming back at some point. He did once. And he would be more welcomed, and he’d act the right way.

Like he told his teacher back in high school, all he ever wanted was to have a good time. With the four blanks, he’s traveling and having his own fun, he does what he wants, he has the freedom he always wanted to have, he kind of found his path. That’s all he ever wanted, he just found a new way to do so. At least, he’s got that, and he knows his friends have what they want as well. Earth is destroyed but Steven is with the love of his life, and Andy got back together with his wife and lives happily. 

Well. I think that’s about all I wanted to say. I hope. That was long enough. I just hope you guys are still reading, and that you “enjoyed” this thing that took me forever to write. I’d love your opinion. I’d love it if it made other people watch the movie or enjoy it more than they did at first. I just love this movie so much. And I just love Gary King so much. 

I rest my case. Lets’ Boo-Boo.

[radwolf76]

FLASHBack: Week 25 - Savlonic

Time for us to check in with the titans of the Flash Animation genre, as the first Thursday of the month means First-Class FLASHBack. Because there was a request for this, we're again turning our sights on Weebl. Music has always been a big component in Weebl's Flashes, all the way back to some of his earliest Flashes from 2003 such as Scampi, or Bonjour (Caution: pixelated penis), to more recent works such as 2013's Business Cat (a song very similar to one that another of FLASHBack's "First Class" artists, Weird Al, would release a year later, Mission Statement, except Weebl's song contains 100% more cat.)   So, it was a natural fit, when in 2008, the exciting new electro-pop band Savlonic asked Weebl to make a music video for one of their songs. Electro Gypsy was released on July 17th of that year. Two thirds of the band, Roscoe Thunderpants and Evangeline D'isco, also did an exclusive interview for Weebl's Stuff website. (Drummer Kandi Flaus had a prior commitment. The video is loaded with references to pop culture, from a Flux Capacitor on the titular Gypsy's robotic horse (mounted in the orientation that Doc Brown originally sketched it, no less), to a Matrix homage (specifically the "We need guns. Lots of guns." scene), to a recreation of the Astro Cat Meme from 2006 using Evangeline as the cat, to a shout-out to Weebl's own parody of the trailer for the first Michael Bay Transformers, in the form of a movie poster for Big Ass Badgers II.   Except of course, there was no exciting new band. Savlonic was merely another invention of Jonti "Weebl" Picking's. He provided the voice of Roscoe Thunderpants, although the singer's look was modelled off of the keyboardist from the band Sparks, Ron Mael. Evangaline D'isco was voiced by his wife, Sara Darling, who was a radio presenter on the Station XFM, a title she shared with the likes of Russell Brand, Ricky Gervais, and Simon Pegg. Originally voiced by a pitch-shifted Sara Darling, Kandi Flaus's role would be taken over by Katt Wade. Virtual Bands were nothing new in the animation world though, not even in Flash Animation, as the Brothers Chaps, creators of Homestar Runner (and also "First Class" alumni), had spawned their own Virtual Band, Limozeen, six years earlier.   Savlonic's next song, Tiny Japanese Girl, was released on 22 April 2010. This video would take on a predominately red color casting for it's background, something that would become a signature in future videos (perhaps in an effort to distinguish Savlonic videos from Weebl's other songs). Mr. Thunderpants assumes the guise of the king of the kaiju, Godzilla, while Evangaline and Kandi don kimonos. Other Japanese clichés include cherry blossom trees, geta sandals, and Mount Fuji. At the end of the video, in keeping with the theme of the song: tiny Japanese girls, D'isco and Flaus take on the role of the two twin fairies that accompany Mothra, activating the giant lepidopteran to save Godzilla/Roscoe from the militarized monster patrol.   Their third song, Wandering Eye would be put out on 8 June 2011. This video marked Weebl handing animation duties over to another Flash artist, Peabo, who departed from the chibi stylizations of the previous two, rendering the band in more realistic proportions while still being generally cartoonish. For the first time Evangaline's bangs are lifted to show her eyes. Roscoe's moustache is given more width to make it less Hitler-like. Like last week, there is an implication of rodents being used for lewd purposes.   On 26 March 2012, Savlonic's fourth song, The Driver hit YouTube, and Newgrounds, as well as Weebl's own site. Roscoe's moustache has gone full-on painter's brush to further deter the Hitler comparisons. Peabo shows off some high technical prowess in this one, with panning rotations around complex-shaped vehicles, as well as some wonderful wind effect on everyone's hair and Roscoe's tie.   Computer Guy, their fifth song, would drop on 27 May 2013. Heavily inspired by the Tron franchise, this was also their reddest video yet. The band are performing at the whims of the titular Computer Guy, literally hardwired in to be peripherals to his system. Midway through the video, when he cranks up the rock out percentage sliders, we see Kandi Flaus actually drum with both sticks for the first time, showing how he has total control over them. No one machine is meant to handle that much rock however, and there's an overload and an explosion that disconnects the band. They bust out with some hoverboards (real hoverboards, the kind that don't have wheels because they actually fucking hover instead of just rolling on the ground like a decapitated segway), and fly over to his tower to do some perfect superhero landings (hard on the knees). At the end is a huge plot twist which I won't spoil here.   On 11 February 2014, a Kickstarter was launched for a Savlonic album in digital and physical forms. It raised £34,768 against it's £12,000 goal, resulting in an album titled "Red". It consisted mostly of the existing five songs plus remixes of the same. A sixth song was produced new for the album, and on 22 August 2014, Spelunker was released. Peabo gave Evangaline a new hairdo this time around, and Kandi has a new style as well. Roscoe's and Evangaline's cave explorations are supported by top-side assistants Damian Bevan and Andrew Neidig, who both donated £1,000 or more on Kickstarter to be in the video.   On April Fools day of 2016, Savlonic launched another Kickstarter for a second album, titled Neon. This time around they shifted their branding to the retrowave/synthwave/outrun aesthetic. Weebl also brought in another new Flash animator to collaborate with, Anthony "Kr3id" Price. They were able to raise £40,778 of their £30,000 goal. On 19 September 2016, a video for the track Broken was released. As before, the video featured cameos by the highest paying kickstarter backers. The song is about hard feelings over a strained relationship and the video's premise is that these feelings come out in the middle of a recording session. Kandi, upset over the band being on the verge of falling apart, again begins to use both drumsticks, and as before, eventually destroys the stage with the force of her rockin' beats. Before that happens however, Evangaline and Rosco both use their keytar and microphone as futuristic weapons to trash the studio. When the band is plunged into the undeground tunnel below their studio when everything falls apart, D'isco and Thunderpants turn their musical weapons on each other while a disgusted Flaus decides to hop into the band's car and drive off, homaging both The Driver (the car), and Wandering Eye (her keychain).   2016 was a busy year for Savlonic, as there was also a release of a remix album for Neon, and also an album called the Rosco EP, which was a collaboration between Jonti Picking and Daniel "Kaspar Funk" Dobbs. Then, at the beginning of 2017, the second video from the Neon Album was released on 6 January. Hi-Lights picks up where Broken left off, with drummer Kandi Flaus driving away by herself. This marks the first time that Katt Wade takes over voicing Kandi. While the video starts out as a pure example of the Outrun aesthetic, two thirds in, there are hints of her car being chased by some ghostly green-eyed dark specter of some kind. We're only shown hints of it following behind her car, with Kandi glancing worriedly in her rearview mirrors. At the end of the video, she's apparently captured, and shown bound to some kind of sci-fi table as we catch more reflections of the ghostly green faces in her eyes. The video ends with "To Be Continued."   However Savlonic's next video would not pick up that storyline. Instead, on 19 January 2018, I Was Made for Loving You would be released to promote the band's cover tunes album, Emulat0r. The video itself is not much to speak of as it's just the band painted up to look like the song's original artists, KISS. They stand there while an elaborate stage rotates around them. It was a bit of a return to form for Weebl, as many of his early Flashes were based on simple looping visuals. A few weeks later on 2 February 2018, a video would drop for Johnny Massacre's track Beastman Blitz, which featured samples from Savlonic's Broken. This video marked the first time that the virtual band had been integrated with a live action person.   In May of 2018, Weebl went back to kickstarter to raise funds for yet another Savlonic album, Black Plastic, raising £37,055 of a £32,000 goal. Nearly eleven months later, on 18 Mar 2019, Weebl would team up with Arkanell to release a video for the song Action Causes Reaction, animated not in Adobe Flash, but in the Unity 3D engine. The change in toolsets was needed to support the making of a video in 360 VR. The video is heavily Tron themed, but it also has a blocky, voxelated look similar to Minecraft.   That's about all I have on Roscoe Thunderpants, Evangaline D'isco, and purple-haired drummer Kandi Flaus. Next week, a different purple haired girl, and her angry squirrel.

[twotwinks]

benthan for 001, and benji for 002

I hope you realize what you’ve unleashed here- It’s so ungodly long that I’m adding a cut to save your dashes.

001 | Benthan

When I Started Shipping Them

So I went back through my posts because I very vividly remember when I realized I’d fallen for this ship. I first mentioned that I might have started shipping them in the tags of a post on September 15, 2018, and after I acknowledged it, I was sold on it. So I’ve shipped these precious soft boys for just a little shy of two months!

My Thoughts

This is so vague and mean, I don’t even know where to begin… I just… I love them a lot. I don’t think I’ve ever really felt this strongly for a ship before. I mean, I’ve had OTPs before, but never an OTP that actively made me want to rip my heart out because I just can’t handle the emotions it causes, positive or negative. It’s also the first ship I’ve ever written fic for, and it honestly just feels so natural, it’s so easy to write romantic stuff for them and virtually impossible to write something platonic. Plus, without this ship, I never would’ve made any tumblr friends. I’d still just be sitting on the outskirts, randomly reblogging stuff and trying desperately to come up with decent content for my fandom blog. Now I know Ruth and Cassidy and Stanislas and everybody else, and I have so much fun seeing everyone’s posts and participating when I’m brave enough (even though I still sometimes wonder if I fit in, and even if I don’t, I’m just grateful everyone still plays along with me) and honestly it’s one of the brightest parts of my life right now. I see a note or a message or someone tags me in something and sometimes it makes me want to cry because people are thinking about me. So I love this ship even more for that.

What Makes Me Happy About Them

There’s just so much. There’s so much to be happy about them. I love the way they smile at each other. I love how loyal they are to each other. I feel like they fit the “I’d follow you to the ends of the earth with only mild complaining” better than anyone else, because they would, they’d do anything for each other. And even if you look at their relationship as platonic, that’s an incredibly strong friendship, and it just warms my heart.

What Makes Me Sad About Them

The fact that one day one of them is probably going to end up dying trying to save the other one. I’d really like for them to leave fieldwork so they can live happy and safe together for the rest of their days, but I know that Ethan would never be able to live like that. Fallout told us that much. And you can bet that as long as Ethan is in the field, Benji’s going to be right by his side.

Things Done in Fanfic that Annoy Me

I dunno, really. Most of the Benthan fic we’ve got is pretty solid. Some of the smut’s a little weak, but I only occasionally venture there, so it’s not too big of a deal. One thing that does sometimes bug me, even though it’s literally the most nonsensical and ridiculous thing to be bothered by, is when they’re referred to as boyfriends or use terms of endearment on each other. I have no idea why it bothers me, it’s such a perfectly reasonable thing!!! I guess maybe I feel like they’ve just been friends with each other for so long and they know each other so well that they wouldn’t bother labeling it. At the end of the day, they’re still just Ethan and Benji, just like they’ve always been. I don’t know. I know it’s stupid, but it can still sometimes throw off the whole vibe of the fic for me. Which is ridiculous. I’m ridiculous.

Things I Look for in Fanfic

Good characterization. That’s such a big thing for me, especially now that Ethan and Benji have been my daydreaming muses for so long now. Their voices are so strong in my head, especially Benji’s. So a fic has to have really good characterization for me to love it. I also really like reading (and writing!) anything that deals with Benji’s trauma and hurt/comfort with Benji as the victim. He just deserves to be taken care of. Poor guy’s earned a hug or ten.

Who I’d be Comfortable Them Ending Up With, If Not Each Other

I suppose I’d be okay if Ethan and Ilsa ended up together. I really don’t want Ilsa to be demoted to the love interest, though. She’s such a good character, and Fallout already did her so dirty. But she’s the only other person I could see Ethan having a chance of being happy with. As for Benji, well… I think I’d just prefer him to stay a Single Pringle. If Ethan (or I!) can’t have him, no one can! I know Benji/Brandt is also a pretty popular ship, but it’s honestly just not my cup of tea. I can’t see it (or maybe I’m just too blinded by shipping Benthan so strongly).

My Happily Ever After for Them

Preferably for them to never ever set foot in the field again and buy a little house together where they host cozy holiday dinners and snuggle together on the couch after long days of training new agents and teaching them about the importance of the team dynamic. But, as I explained earlier, that’s unrealistic for these two. So, if they must remain in fieldwork, I pray that either they both manage to last long enough that they’re forced to retire (and then Benji will have to help Ethan cope with not being able to prevent bad things, so not exactly ideal) or that they both die together in the field, at the same time, so that neither of them will have to live with the guilt of losing the other (again, not ideal because then they’ll be DEAD).

Who is the Big Spoon/Little Spoon

Benji is the little spoon I don’t care if he’s taller I WILL FIGHT YOU ON THIS. Benji likes being held. It makes him feel safe after all he’s been through. Grounds him, you know? Gives him a sense of security. And Ethan likes holding Benji, because he knows that no one can hurt Benji when he’s there in Ethan’s arms, and even if Benji has nightmares, Ethan’s already right there to help him.

What is Their Favorite Non-sexual Activity

They are cuddlebugs. They snuggle everywhere, every chance they get. I don’t know if cuddling counts as an activity, though. I think they also like reading to each other. While cuddling. Because I can’t imagine a scenario where they could reasonably be in physical contact and yet wouldn’t be. So yeah. They like to cuddle.

002 | Benji

How I Feel About This Character

I… I love him. So much. Probably more than I should. Rogue Nation was the first M:I movie I saw, and I’d been kinda passively watching it until the high speed chase scene. I’d looked up from my crochet enough to notice Simon Pegg (who, at the time, was still just Scotty to me – can you believe that???), but then he started screaming during the chase, and I started paying attention, because hey, that’s exactly what I’d probably do in that situation, I like this guy. And then by the end of it Benji owned my heart, because Simon Pegg is a phenomenal actor and made me feel all of the emotions when Benji was strapped to the bomb. Mostly because Simon’s eyes are incredibly expressive, something I first noticed towards the end of Star Trek Into Darkness and still notice in most of his films. Then I went back and watched all the films, and I made small involuntary happy noises when he showed up in M:I:III. And he was so cute in Ghost Protocol. I nearly had a breakdown in the theater towards the end of Fallout (you know when I mean!) because I’m so attached to him. I actually legitimately said “Oh thank god” in the theater when it all worked out. I might have even cried a little. I was so worked up that I didn’t even fall for the bait-and-switch at the end. I didn’t have the emotional capacity to even process it as a possibility. So yeah, I think I’m unhealthily obsessed with Benji Dunn.

All the People I Ship Romantically with This Character

Ethan. It’s literally just Ethan. Ethan or bust.

My Non-romantic OTP for This Character

Benji and Ilsa are bros. Fire-forged friends. They’ve both gone against each other once or twice, but now they know where their loyalties lie, and they’ll help each other out when they need it. Total bros.

My Unpopular Opinion About This Character

I don’t know if I have one, really. Although I always kinda imagined Benji as a really good baker, or that he at least enjoys baking in his free time, but then I discovered that apparently a lot of people headcanon him as an awful cook? So maybe that’s one.

One Thing I Wish Would Happen/Had Happened with This Character in Canon

I just want his trauma to be addressed. He tries to talk about it in Ghost Protocol, and Jane and Ethan both look kinda worried, but then Brandt just jumps in and SHUTS HIM DOWN, and nothing more is said about it. And he’s been through much worse since then. Even if it’s just a simple, “Hey, you okay?” from LITERALLY ANYBODY. I’d take it. (I’d prefer it even more if Benji got a hug out of the deal. He needs a hug, poor baby.)

My OTP

Benthan. In case you haven’t figured it out by now.

My Crossover Ship

I have never actually considered this. And I’m not sure I will. I’m just so invested in Benthan, I don’t think I have the capacity to ship Benji with anybody else. I can’t even think of anyone he’d click so well with. (I’ve always been bad at the crackship thing anyway.) Maybe a lone Nick Frost character somewhere. Those always make for good ships, right?

A Headcanon Fact

Hmm… I’m really bad at this stuff, aren’t I? I either give away my answers way ahead of time or can’t come up with anything. Well, outside of Benji being a baker and my fun-to-think-about idea that all Simon Pegg characters are actually related to each other, I usually headcanon Benji as a pretty panicky sort. When I write his internal monologues, I usually get going with these long, looping, drawn-out sentences that all circle back and compound on each other and just make everything so much worse for him. He’s a worst-case-scenario kind of person. Even when things work out, he drives himself mad constantly running through the what-ifs. That’s probably me just projecting onto him a little, but I feel like it’s worked out okay in the few fics I’ve written. I also headcanon that he’s a big-time stargazer, especially when he feels overwhelmed, something that I originally chucked into a fic because I needed something for Benji to do (and also as a I’m-probably-the-only-one-who-got-it nod to Star Trek) but now I firmly stand by it as something he does.

There. That’s that. I started this two hours ago. I probably should’ve been in bed an hour and a half ago. This is ridiculously long. I hope someone finds my obsessive ramblings enjoyable instead of just irritating.

Thank you for giving me the chance to gush like this, Ruth! It feels like I never get to talk about the things I love often enough. At least not to people who actually want to hear me gush about them!

[thesswrites]

Global Terror

Fear is a universal constant. Everyone on earth is afraid of something; it might be irrational like the number thirteen or clowns, or a very abstract concept like death of a loved one, but everyone knows fear, down in their bones. A lot of factors will eventually decide what an individual fears - someone who was stung by a bee as a very small child may well develop a fear of flying insects in later life, for example, while someone who was in a car accident is likely to find car journeys stressful in future. While individual experiences are likely to define our fears, the experiences that we share as a culture are equally likely to define our more abstract fears. This in turn will define trends in horror media in a nearly self-perpetuating cycle of societal fear response. This essay takes a look at various cultures and their reactions to societal terrors as shown in horror media, beginning with some of the less examined cultures and ending with the 'melting pot' that is, for better or worse, the perceived core of mass media.

Europe is an interesting source of horror, largely because of its early fairy tales being the progenitor of most commonly-used modern Western horror stories. Eastern Europe as a whole has lived with monsters for a very long time, from the narrative perspective. While the vampire mythos has existed since ancient Greece, and the forerunners of the modern vampire were British and Irish (John William Polidori first with the much-forgotten Lord Ruthven and Bram Stoker with Dracula), Romania and Slavic Europe have a surprising number of myths about vampires. Slavic and Romanian folklore is, in fact, so riddled with monsters that it's almost impossible to be truly afraid of them, as most fear is, at its root, of the unknown. That combined with the ease and blamelessness in which one can become a vampire in Slavic folklore means that there is an entirely different kind of horror involved in tales involving the blood-drinking undead; combined with the fact that everything from birth defects to an animal jumping over someone's open grave can make a vampire, the only way to truly find the fear and horror from these creatures is to become these creatures, at least from the narrative perspective. Films like Night Watch, Let The Right One In and Not Like Others delve into the lives of these cast-out souls, and the horror is found in the tragedy of their haunted, hunted existence and their battle with their own natures, not in the fates of their victims.

There is another purpose to the focus on the monster as the terrorised party in Slavic culture; the fear of standing out. Up until fairly recently, to stand out in Eastern Europe was the worst thing, when survival largely depended on keeping one's head down and not being noticed. Particularly post-World War II, the idea of birth defects or living 'impiously' by local standards being an offense punishable by death is a familiar one to those in Germany, Poland and Russia, even if that last is largely because of a significant guilt for letting it happen to countries that were ostensibly under its purview beginning with the Molotov-Ribbentrop Pact. All told, in the tale of 'the different need to be exterminated because the world says they're wrong and dangerous', countries with their chequered history are likely to show sympathy for the different. Since supernatural creatures have been used as an allegory for the different and bizarre for at least a century, that makes it entirely unsurprising that that entire section of Europe will find the horror in being the 'different' one, rather than being the one hunted by the 'monster'.

Great Britain is a particularly interesting case, given its approach to life as a whole. The British Empire, and the two islands in general, have suffered a great many highs and lows, to the point where 'Keep Calm and Carry On' was effectively its motto long before they quasi-officially adopted it during World War II. Also, its folklore is full of just as many horrors as those found in Eastern European folklore, though British folklore mostly focuses on trickster beings that live somewhere in the middle of the Venn diagram covering spirit, monster and god. All things taken into account, it's surprisingly difficult to find a truly terrifying British horror story. The 'Keep Calm and Carry On' mentality mean that even the great classics, such as Dracula and Frankenstein, convey more of a clinical if occasionally suspenseful retelling than a conventional horror story. More modern British entries into the hallowed halls of horror show the other side of British esprit de corps - the ability to laugh at themselves in even the most dire of circumstances. This is a country that deals with terrorist attacks by stating in a ha-ha-only-serious way that "I've been blown up by a better class of bastard than this", flagging up that the surest show that this was an emergency was that a popular sandwich bar chain had run out of chocolate cake, and interrupts live coverage of the incident to air a popular soap opera. These are not a people that seek visceral terror as a form of entertainment, simply because it's so difficult to achieve. Even the few things they do find scary are often subject to parody; for every 28 Days Later apocalypse scenario, there's a film - usually by or starring Simon Pegg - to parody it, a Shaun of the Dead or a The World's End or, most recently, a Slaughterhouse Rulez.

However, looking at that example, as well as classics like Dracula, Frankenstein and Dr Jeckyll and Mr Hyde, there is one thing that the British seem to fear: a breakdown of the normally accepted rules of conduct, be they scientific, political or societal. Victor Frankenstein brought on his own doom by over-reaching himself in his field, and compounded it by ignoring his responsibilities to his creation. There are too many examples of this to count in Dracula, though the most notable is the fate of poor Dr Seward, who delved too deeply into things he should not have touched. This trend continues in microcosm and macrocosm in British cinema today; The Quiet Ones follows scientists tormented because they breached a realm of study best left unexplored, whereas 28 Days Later and 28 Weeks Later touches on both "Science Shouldn't Go Too Far" and "What Happens When The Rules Stop Working?".

Going to the other side of the globe for a moment, some of the front-runners of the horror genre are from the Pacific Rim. Japan and South Korea are renowned for their dark, suspenseful horror films, with Japan adding extra bombast with disaster movies whose messages and cultural impact have stood the test of time even if their special effects have not. The disaster movies are easy ones to dissect from a cultural standpoint; nuclear radiation and its effects, as well as large-scale property damage, have been a stark scar across the Japanese consciousness since 1945. Like the aforementioned car accident victim attempting to ride in a car without panicking, the radiation fears and mass-destruction imagery of the Godzilla movies are an almost guaranteed poke to the hindbrain.

Going back further in the consciousness of the region, however, we come to the underlying cultural fear evoked by the more subtle horror films of both Japan and South Korea. From Ringu in Japan to South Korean films such as The Wishing Stairs, the largest driving force for the supernatural plot elements are guilt and revenge, evoking the honour code that has driven both nations for a very long time, while also touching on the horrors left after their various wars of attrition with the 'death of innocence' trope. However, while Japan focuses on these themes in a more general way, South Korea often approaches the matter in a somewhat more focused - and, to the modern eye, disturbing - way in that many of its defining offerings to cinematic history touch on the latent homophobia of the nation. The Wishing Stairs, Whispering Corridors and particularly Memento Mori all focus on teenage girls, and all of them either imply lesbian relationships or outright feature them. It's unclear whether this is a call to arms, trying to see homosexuality as something more acceptable by framing it as a trait held by a sympathetic character, or a show that 'queers get what they deserve'. It's certainly seen as a common enough situation to be nearly commonplace in movies of that type, though blending it into the horror genre so completely frames it as something to fear.

Across the Pacific, we find Hollywood, and the so-called 'melting pot' that is the United States. Arguably the primary source of the world's entertainment media, the US should theoretically produce a range of horror as broad as the cultural heritage of its people. In a way, that's the case, as American horror authors and scriptwriters often borrow from the folklore of other nations or even simply remake them. However, as these are framed in the American idea of what 'scary' is rather than tapping into the cultural fear that inspired the originals, these remakes seldom come off as well unless they deviate significantly from the source material. Even going back past the days of cinema, consider HP Lovecraft - while born in the United States, America at that time was still only a few generations removed from being a British colony, rebuilding on its own after a bloody civil war. It had hardly been long enough for the nation to develop its own cultural identity, although it was clearly trying. Lovecraft began that in terms of horror; while still deeply entrenched in the "break rules to delve into things you should not examine and be damned" mentality of British horror, his deep-seated racism showed the first glimmer of a largely American fear of the black population, so recently freed.

Nowadays, however, US horror is a difficult subject to examine because of the subgenres on offer in the wider horror genre. Paranormal romance, for example, has taken a great deal of the horror out of classic movie monsters like vampires and werewolves, with the 'action-adventure' label making them one more antagonist to shoot. These days, the true horror in US entertainment media comes from a source whose very mundanity makes it all the more terrifying - other people. Born of urban legends as much as real-life serial killers, slasher movies are the one movie genre that is very specifically American (the British being too inured to the idea of the knife-wielding stranger by Jack the Ripper to really bother with it). Despite supernaturally-born outliers like Freddy Krueger, slasher-killers have always simply been troubled individuals, from Norman Bates to Jason Voorhes to the convoluted chain of Jigsaw killers. The Purge franchise takes it one step further, casting everyone in the immediate vicinity as a potential killer just waiting for the opportunity. While the actual reasoning behind this cultural paranoia is unclear, the fact that most entertainment media is optioned by committee under the auspices of swathes of marketing data means that there is at least a vocal minority of the American public that identifies enough with this mindset to engage it on an emotional level. Given the shape of US politics today, this is worrying on so many levels it's impossible to discuss them all in an essay of any reasonable length; it would probably take a proper academic paper written by someone with several degrees and preferably no personal investment. Perhaps someone living somewhere sane like Switzerland.

So what does all this tell us about the cultural makeup of the countries under discussion? It certainly indicates that Slavic Europe and the Pacific Rim are still haunted by the spectres of a particularly violent past, and that Britain has an inborn need for order that may or may not have originated with the loss of the Empire. The United States, meanwhile, shows some deep-seated paranoia, a fear of itself that shows no signs of abating and even seems to be ramping up as the years go by. It's entirely possible that the entire world needs whatever the cultural equivalent of therapy is, but given the cathartic nature of entertainment media, this is supposed to be a form of therapy from the cultural standpoint. At least most of the rest of the nations seem to be recovering, though they will always still be suffering from whatever the cultural equivalent of PTSD is; Britain, in fact, has recovered well enough to laugh about it, although given the shape of the sociopolitical landscape, they may have recovered too well and be doomed to repeat the lessons they refused to learn from history. The United States, meanwhile, appears to be wallowing in its own divisiveness from a cultural standpoint, with the primary indicator of the things it fears showing a nation that would be happiest alone in a bunker surrounded by land mines with a high-powered firearm, shooting at anyone who gets too close.

There’s no great sociopolitical message here, unless it’s one that a reader wants to find for themselves. It’s just fascinating from an anthropological standpoint how much what people - on a cultural level - are afraid of can sometimes tell us about what kind of people they are.

[haveievermentioned]

Hey, uh, can people read and comment on some of my fics?  I haven’t gotten any comments or kudos in the last few weeks and my stuff is usually ignored with no comments so if I could get some feedback or just acknowledgment someone is reading it, that would be great.  Here are some of my favorite fics I’ve written: (Mostly Kingdom Hearts but I also have Daredevil, Bioshock, Castlevania, and others)

1) Snow Angel One of the first fics I wrote, it’s a drabble about Zack being in the Realm of Darkness with Aqua. Hope to Relieve Boredom is after it.

2) Winepress My “BIG” fic.  Based on the Castlevania TV show.  Starts off as a continuation of S1, morphed into a fix it fic for S2.  Alucard spills his blood to save Trevor and Sypha, They offer their blood in return.  This forms a bond between them called “Winepress” and has unknown consequences. 

3) Not According to Plan  Inspired by Edgar Write being up for the next Bond movie (He didn’t get it.)  Edgar Wright likes to put Simon Pegg into his British films.  Bond is a British film, but Simon Pegg is in the American Spy film series, Mission Impossible.  Clearly, the only way to work this out is Bond kidnaps Benji.  

4) Beekeeping A post good ending Bioshock fanfic.  Jack’s on the surface, living with the girls he rescued and just musing about his life and what it means now.  

5) Ian finds the Doctor  Written during Matt Smith’s tenure, Ian Chesterton is teaching his class on science when a police box appears and three people he doesn’t know step out.  Eleven has to convince Ian he’s One.  

6) Here Comes the Bride My baby.  I worked on it for over 10 years.  (On and off)  The first chapters are a bit rough but it picks up very quickly.  Sora, Riku, and Kairi end up in New Orleans right as Constance’s year of Mourning is up.  Nothing goes to plan for anyone.  Constance and Sora are wooing each other, Kairi starts wondering if she should stay in New Orleans, and Riku is suddenly the only person aware that the house is haunted.  

7) Tell me it won’t hurt BOTW Link and Mipha muse about legacy and what their roles meanwhile dancing around the fact they maybe like each other.  (We have access to Link’s thoughts but he doesn’t speak)

8) Grade School Contests Miles and Phoenix get into a competition... as adults.  With jobs and responsibilities on the line.  

9) The Warriors of Balance Round 1 Ienzo leads his own faction in Dissidia, of warriors he summons from other Square Enix properties and related distribution. 

10) Prairie Rose Written for the Ladybug BIg Bang over a year ago, it deals with a lost Kwami and their new owner. 

11) Lover of the Light Cyan and Elayne wooing each other.  

12) Dread Pirate Roberts My first fic to really blow up.  Foggy’s suggests they watch The Princess Bride in college. 

13) Roxas’ attempts at being different Sora’s heart crew (and Neku) Hanging out. 

14 Poisonous Friends Written for the Ties that Bind zine. It details Riku’s first meeting with Maleficent and the Disney Villains. 

15) Kingdom Pokemon Kingdom Hearts pokemon AU where everyone has one pokemon that’s a nonbattle partner.  Starts off in Chain of Memories.  So far only Sora’s side is done, but Riku’s will be done soon.  Changes happen because to start off... Axel’s houndoom recognizes that Sora has Ventus’ Espeon.   There is also the Back Up Princesses and The Committee and Keyblade Wielders vs Kefka.  If ANY of these titles strike your fancy, please read/kudos/comment. I come from the era of comment and critique on everything you read.  So the lack of any feedback recently is hitting me hard. Thank you.