#Jason A. Morris

[reaganroo]

hi guys

i was told to put my au here so

tell me if you want more because i have some locked and loaded

bye

1 2

[onlydylanobrien]

Dylan O'Brien, Rachel Sennott, Cory Michael Smith, Ella Hunt, Gabriel Labelle, Lamorne Morris and writer-director Jason Reitman photographed for Deadline at the Deadline Studio during the “Saturday Night” press day at TIFF in Toronto, Canada. (September 8, 2024)

📷©: deadline.com

[freckledjoes]

JOE KEERY with some familiar faces from Fargo @ FX and Vanity Fair "Celebrate Fearless Television Emmy Party" - January 13 2024

(don't repost my gifs or edits)

[demifiendrsa]

SATURDAY NIGHT – Official Trailer

Poster

Synopsis

At 11:30pm on October 11, 1975, a ferocious troupe of young comedians and writers changed television – and culture – forever. Directed by Jason Reitman and written by Gil Kenan & Reitman, Saturday Night is based on the true story of what happened behind the scenes in the 90 minutes leading up to the first broadcast of Saturday Night Live. Full of humor, chaos, and the magic of a revolution that almost wasn’t, we count down the minutes in real time until we hear those famous words…

[postmodern-blues]

A full live breakdown of my reaction and thoughts to the Variety interview because I feel like I’m going crazy.

- I fucking KNEW Reitman was going to reduce each cast member to one aspect of themselves. I FUCKING CALLED IT. Pretty sure I laid it out in a dm exchange with @mrs-jake-blues. Reitman, you goddamn bastard.

- “Like that Peter Jackson documentary about The Beatles- What was it like when certain songs were written?” Make a documentary then. What the fuck are you doing making a biopic style movie when you had access to all the people you wanted to interview. Tell the truth rather than making the story into a movie and the people into characters. I can’t tell you how excited I’d be if they were making a documentary about the first SNL episode.

- SO glad that Rosie Shuster’s actress got to speak with her directly. That is a comfort, in fairness.

- I’m still furious about who they picked for Gilda. Young hollywood beauty standards are a disease. They could have spent 2 extra minutes finding someone who was as interesting and distinctive as Gilda. someone jewish even

- “I wanted to talk to Lorne, but Jason didn’t think that was a good idea” what the fuck does that mean. Are you kidding me? Why??

- “The internet is very abundant” girl come ON

- “Oh, I didn’t have to meet him and I didn’t have to try and figure him out because he’s a different man” are you saying that people fundamentally and irreconcilably change as they grow older and more famous, retaining not even a spark of their former selves? Jesus Christ just one conversation man

- “One of the things that Jason was really clear about with us as soon as we got going was that we were trying to capture the spirit of this moment in time and the essence of these people at this moment in time” I don’t know man that just seems like a super weak excuse for why the still living members of the cast and crew weren’t more involved. Why does your movie have to be some kind of ultra special time capsule if the people it’s about didn’t really get a say in how they were portrayed?

- “We didn’t have to think about them ten years later or even think about them once they had been affected by fame” that would be much more interesting though. You know that, right? Because then you’d be forced to write and portray them as complex people rather than stock characters for your boy wonder self insert fantasy

- “We were representing them, not recreating them.” What???? It sounds like you’re doing the opposite, actually.

- “Being on set and seeing everybody in their wardrobe, it was like, oh my god these are like superheroes or like shakespearean characters that everyone is familiar with that we’re getting the honor to show our interpretation of” Okay if he’s talking about the actual CHARACTERS, like Emily Litella or the bees or whatever, FINE. But you can get the same thing just by putting on a conehead mask on halloween. But if he means the players?? Insane thing to say. They’re not characters, they’re people. Two of them died young. There is an excess of storytelling and mythology surrounding them, but they are in fact people. To call them characters and to claim you can have an “interpretation” on them is laughable. This is the kind of shit that gets biopics torn to shreds. You can’t just take the history of a living human person and reduce it to an acting exercise. You’re doing everyone a disservice.

- “Dylan’s voice is insane in this movie” Unbelievably offensive. At least I’m getting some confirmation that O’Brien is attempting a Canadian accent but girl wtf is wrong with you why would you say that? Dan Aykroyd actually sounds like that! It’s not insane; it’s his fucking voice! Christ alive

- “I did not do a lot” And there it fucking is folks. My worst nightmare made flesh. Every single fucking nitpicky thing I’ve said about this movie made manifest and validated in one little sentence. The guy playing the most interesting guy ever to grace showbusiness: Dan Aykroyd, who is a fascinating, multilayered, quirky, abundantly creative, unlikely genius, who has given us the greatest and most beloved films in the past century. He didn’t research to play that guy. I’m shaking with fury it’s just so unbelievable. And Reitman has a direct line of access to the actual living breathing human man! The man who, as author Daniel de Vise described, went so far as to offer the details of his route to school for de Vise’s newest book. Aykroyd would be willing to talk, I know it. Jesus H tap dancing christ I cannot even fucking believe it. Worst case scenario.

- “In that way, you followed Jason’s direction” die

- “The idea is to capture one piece of essence of the character. You can’t actually replicate a person.” Insane shit. I thought the idea was to capture a moment in time? This is just further solidifying my fervent belief that this could have been a documentary. A documentary can do WAY more and go WAY deeper than a movie with regard to historical stuff like this. ESPECIALLY when you have the people in question sit down and explain themselves. You can’t replicate a person, so why make them characters? Why not try your hand at documentary filmmaking instead of making this all about you, Reitman?

- “I was in terror that I’d ruin my career over trying to do this.” “Are you serious?” Okay at least Chevy’s actor gets what a big fucking task this is. Everyone else is acting like it’s no big deal to do no research and stumble your way through playing one of these people. At least he respects that this is a legacy worth PREPARING FOR

- “You spend a lot of time in this film watching these people not performing but living” GREAT POINT. ALMOST LIKE YOU SHOULD GET TO SPEAK WITH THE PERSON AND GET A SENSE OF THEIR VOICE AND MANNERISMS. HMMM

- I really respect Chevy’s actor right now actually. Not only did he go in depth with interviews trying to get a sense of Chevy as a person, but he actually seems to have picked up Chevy’s inflections and mannerisms and such in a way that is convincing. As someone who has watched a lot of Aykroyd interviews (as many as say someone playing him should) I can list specific vocal and physical habits of his for you in detail. I get the sense this guy could do that for chevy, that gives me a small sense of relief.

- Thank GOD Garrett’s actor got to speak with him. Garrett is fucking old, guys. Can you imagine if instead of a shitty poorly researched biopic starring bland young people, we could have an in depth and stylistically pleasant documentary starring all the still living people who were involved before a lot of them die?? Because remember most of them are in their 70s and 80s??

- If they make Garrett “the black one”… if they make his whole character about how he’s the only black guy. I’m literally gonna kill myself. Super inspiring guys. Great job. I don’t really have any reason to think they will but the way they talk about him just irks me slightly

- “He was going through a lot more than just having to perform” something you’d only know by talking to him, once again.

- “Jason was spot on with his writing” based on everything I have seen I am very much inclined to disagree. Jason doesn’t seem to give a shit about reality

- “The one thing I’m not going to do is I’m not going to watch any of the first season of SNL” from GILDA’S actress is CRAZY. How do you know what her characters and physical comedy are like then?? What the fuck that is so insane. Why would you do that??? My confidence in the quality of the Gilda performance just dropped back to zero.

- “Our dressing rooms were designed and catered for our characters’ personalities” weird as shit. Stop calling them characters.

- “There was this clip of Gilda that I had never seen before” Literally insane. Unfathomable.

- “Gilda was the fairy dust, Garrett was looking for his identity, Chevy is an ego that needs to be humbled, Aykroyd is this genius that’s like filtering a firehose through a straw, each one had like one thing to focus on that was their journey” Congratulations Mr. Reitman you’ve officially read the introductory paragraph of a 500 page book about SNL. Usually a sane person would finish that book before presuming to turn its subject into a movie. But fuck man whatever.

To be completely honest the thing that kills me is the smugness with which he delivers all of this. It’s like he feels entitled to this story because his late father was of the set that produced this era of comedy history. And Ghostbusters, I get. Ghostbusters is Ivan Reitman’s legacy, and it makes sense to pass it on to his son. I love the new Ghostbusters movies. But this is different, man. This isn’t yours. And everything about this interview and the promo just oozes with presumption. I truly believe that if he really gave a shit about telling this story in a way that was meaningful and paid hearty homage to the people involved, he’d make a damn good documentary. He has the connections to make it happen and the stylistic eye to make it memorable. It could be the next STEVE! (martin). But he chose to make a biopic comedy, and he chose to tell his actors not to research, not to speak with the subjects of their portrayals. And he seems to think it’s some kind of big flex that his actors don’t know shit about the 70 somethings they’re playing because “it’s just a moment in time”. Horseshit excuse, dude. This group of people matters to me. The complex dynamics and the internal grappling with fame and the comedic theses of each one (I mean, comedy MEANT something to Gilda Radner. She performed with purpose. To fail to watch the most famous examples of her prowess is absolutely inexcusable), it’s all important. And Reitman is acting like it’s not. All that’s important is that his name comes up in the same sentence as the legends he wishes he was. Fuck all the way off.

And seriously, I mean, I know I’ve been snarky about the Aykroyd portrayal without any real reason, given how little we’ve gotten of him, but the confirmation from the horse’s mouth that O’Brien barely did any research justifies all of it. Absolutely revolting development. My confidence in this movie (such as it was) has waned to absolute zero. I will not abide by this being how these people and this show are remembered. Congratulations, guys, you Bohemian Rhapsody’d one of the most important moments in comedy history. Exeunt.

[perseusjacks0n]

The cast of Saturday Night at TIFF 2024

[watchoutpaul-hemightkickyourhead]

not putting michie on here bc I want a fair fight lol

[manzkageking]

My oc Daniel x Jason

[justinsentertainmentcorner]

Marissa R. Moss at Rolling Stone:

In 2016, at what became an ill-fated celebration to hopefully usher in the first female president, there was not one country music performer at the Democratic National Convention. There were pop stars like Demi Lovato, Lenny Kravitz, and Lady Gaga, but there wasn’t a single performance that drew from the country or Americana worlds. This was a mistake, clearly: The attitude was that country music and Southern/rural stuff was for Trumpers, and to be avoided at all costs, and that doesn’t end well when you’re trying to win an election, or understand the American public at large on a level deeper than “red state bad.” There are blue voters in those red states, if you get them to the polls, but you have to speak — or sing — their language to get them there.  

The first night of the 2024 Democratic National Convention, wherein we’ll once again make a go for a female president, looked and sounded a whole lot different from eight years ago. There weren’t big pop-star performances (though surely they are coming), but there was country: a country artist, Mickey Guyton, and a country person, Jason Isbell, singing “Something More than Free” with his unmistakable Alabama drawl in front of an image of a barn with an American flag on it. These signifiers have been generally reserved for Trump rallies when it comes to the Venn diagram of music and recent politics, with country music’s conservative core latching on to the jingoist beat in earnest since 9/11, though the alliance between the two dates back far longer. 

By opening their convention with Isbell and Guyton, Kamala Harris and Tim Walz seem to want to change that, with the cherry on top appearing in the form of a Harris/Walz camouflage baseball hat released a few weeks ago — it sold out instantly. But it’s country artists like Jason Aldean, who appeared at the Republican National Convention and engages in the workingman’s sport of country club golf with former president Trump, who like to own this sort of symbolism. His 2019 album, 9, even contained a song called “Camouflage Hat.” That’s the genius work of this one small bit of Harris/Walz merch. The hat reclaims the rural and Southern identity that mainstream Democrats have long ignored, all in with the power of one nifty little cap. Ella Emhoff proudly wore hers last night, while Walz displayed his own — also camouflage — Jason Isbell hat backstage. 

Meanwhile, it’s the Trump supporters who are the ones getting country music wrong, soundtracking their TikTok videos in support of the ex-president with none other than The Chicks’ “Not Ready to Make Nice,” which was written after their expulsion from Nashville in the wake of anti-Iraq War comments and their refusal to apologize. This baffling phenomenon by the right seems to come from either an inability to Google, or an assumption that everything country music must be conservative, and it’s hard to decide which is worse. 

Between Jason Isbell, Maren Morris, Mickey Guyton, and The Chicks, the DNC was eager to embrace country music. That is a good thing, as Republicans don’t have a monopoly on the genre. #DNC2024 #2024DNC

[perfectday1972]

cory michael smith, ella hunt, jason reitman, rachel sennott, lamorne morris, dylan o’brien and gabriel labelle for ‘saturday night’ at tiff24 via instagram

[fxrvernxw]

[onlydylanobrien]

Dylan O'Brien, Rachel Sennott, Cory Michael Smith, Ella Hunt, Gabriel Labelle, Lamorne Morris and writer-director Jason Reitman photographed for The Wrap at the The Wrap Studio during the “Saturday Night” press day at the Toronto International Film Festival (TIFF) in Toronto, Canada. (September 8, 2024)

📷©: TheWrap on Twitter / X

[alittlerightalittlewrong]

Jason: You make me want to commit arson.

Daniel: Aww, I love you too man.

Jason: *turns away, blushing*

[demifiendrsa]

SATURDAY NIGHT - New Trailer

Poster

Synopsis

At 11:30pm on October 11, 1975, a ferocious troupe of young comedians and writers changed television – and culture – forever. Directed by Jason Reitman and written by Gil Kenan & Reitman, Saturday Night is based on the true story of what happened behind the scenes in the 90 minutes leading up to the first broadcast of Saturday Night Live. Full of humor, chaos, and the magic of a revolution that almost wasn’t, we count down the minutes in real time until we hear those famous words…

[cycat4077]

Good stories have 3 types of characters. The characters who represent what we should strive to be. The characters who represent the people who are incapable of change. And the characters with the potential to change.

This literary device has fascinated me since I was a high school student reading "In the Heat of the Night". It was then that I realized that some characters are like "Sam Wood"; they start life off with prejudices but have the potential to change their way of thinking and become better individuals.

I have carried this with me ever since, trying to see the humanity in everyone and trying to first understand the cause of someone's actions before jumping to conclusions. 

This does not mean that I condone crimes or racism or prejudices of any sort. People should be held accountable for their actions. Period. However, I also try to uphold an optimistic view of the world and hope that with proper information and facts, those with that potential are able to change in time.

Part of why I enjoyed Fargo season 5 so much was because the characters were complex. No one was perfect. Everyone was fallable.

More specifically, we had several characters who represented the values we should strive for in ourselves: Dot, Witt, Wayne, and Indira. These characters showed us their humanity and willingness to put others before themselves.

We also had characters who represented those who cannot change: Roy and Odin are but two examples. These characters represent those whose view of the world is so twisted that they do not possess the humanity to ever change.

But we also had characters who represented those with the potential to change: Gator, Lorraine, and even Ole Munch. Each started the season set in their ways. They only had one goal in mind but through the events that happened, either to them or to someone close to them, they found it inside themselves to see their world differently; to consider the world from someone else's point of view and how their actions could affect it. In Ole Munch's case, it was the kindness and forgiveness offered by Dot that gives him his path forward. For Lorraine, it was the solidarity of being a woman, and seeing the abuse Dot suffered that allowed her a change of heart. And for Gator, it was his blindness that finally set him free of trying to be like his father.

These characterizations were intentional and, matter-of-factly, a product of excellent writing. 

In my Tumblr world, I like to dive deeper than the good vs evil we see on the surface and try to understand the characters' motivations and trajectories. It just so happened that an actor that I respect was playing one of these morally gray characters. This is why my focus on Gator was so heavy. I enjoyed trying to understand his character and appreciated the way Joe Keery was able to depict it on screen.

I have been raised to see the world from others' point of view before I make conclusions about who they are and how they act. I try to look for the humanity in everyone, even if it may not be immediately apparent.

Tumblr is also my safe space. It is a place I have turned to for 13 years to express my love of fandom and to connect with others who share this excitement. If I have ever made anyone uncomfortable on here, I apologize. It was never my intention. Politics has no place on my blog, and it never will. This is my safe space for enjoying fandom away from real life. I will not judge other Tumblr users, and I expect the same in return. After all, every single one of us is fallable in some way. We can all grow and be better, and my choices, both online and in real life, will always be made with others in mind. 

Tumblr is not a place for judgment before we get to know others. It is a place to respectfully share our love of fandoms without the fear of that judgment or of being labeled. It is a place to support one another. This is how I have, and always will, conduct myself while on this site, and I appreciate all the lovely people I have met along the way. ❤️

[perseusjacks0n]

Dylan O'Brien and the cast of Saturday Night for The Wrap at TIFF 2024