#Rebecca’s Comedic Acts

[hotvintagepoll]

Propaganda

Miriam Hopkins (Design For Living, Trouble in Paradise)—miriam hopkins had great range as an actresses, truly a woman who could play a passionate outburst for either dramatic or comedic effect and sell the ever-loving hell out of it. she's wonderful in the witty and sophisticated comedies she made with ernst lubitsch, great examples of movies that could never have been made after the hays code; the frothy musical comedy the smiling lieutenant where she plays a naive princess who accidentally gets betrothed to maurice chevalier, the polyamory classic design for living where she gary cooper and hot vintage shadow king fredric march are a throuple, and the ineffably exquisite comedic masterpiece trouble in paradise in which she and hubert marshall are sexy jewel thieves trying to con sexy rich lady kay francis, but will emotional complications ensue???? watch to find out!!

Joan Fontaine (Rebecca, Suspicion, Ivanhoe)— Check out the screen tests of other actresses for Rebecca to fully grasp how subtly and effectively she plays the role. Competence porn! Good acting before the method!

This is round 2 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut]

Miriam Hopkins:

She is an incredibly charismatic and versatile actress who brings a certain captivating je ne sais quois to each and every one of her roles that makes her impossible to ignore. Her pre-code films were considered quite risqué, with her part in a thrupple in Design For Living, and some saucy scenes they had to cut from Jekyll and Hyde. She also had a strong career in early television, so good that this queen literally has TWO Hollywood Stars, TWO!! One for TV and one for Film

Also she is Gorgeous, capable of being the girl nextdoor and also a stunning blonde bombshell. She's not as well known as some golden-age Hollywood stars but she's really incredible and I recommend everyone watch her films

In Trouble in Paradise she plays a pickpocket who flirts by stealing from her criminal boyfriend and I fell in love

queen of the pre-code era. often her roles were of carefree, flirty and lighthearted but intelligent women. famously in the movie where she was part of a fredrich march/gary cooper throuple.

Linked gifset

She's got this sly slouchy confidence that just draws you in. Almost no one wore 30s fashion as well as her

We all know that Design for Living is THE pre-code movie and she is so iconic in it. Her eyes are everythingggg. Also everyone look at her in a suit in She Loves Me Not please

A Frequent collaborator of Ernst Lubistch, Miriam Hopkins like up the screen in her comic roles, as is especially sexy in her pre-code performance in Design for Living; probably one of the first movies to showcase a coded polyamorous relationship. She toes the line between adorable and sexy, and had the acting chops to back it all up.

Joan Fontaine:

ABSOLUTELY too hot to have played Jane Eyre like what were they thinking.

[iwillfightgodandwin]

(Minor spoilers for Renfield. Warning: This in a small rant about Renfield and how people criticize harshly on things that don't need to be.)

As an actor, I fucking love Renfield (2023). There is the beautiful colouring of the movie, the blending of 1930s film techniques with 2020 techniques, interwoven story telling with even little things coming up later, perfectly crafted relationships dynamics and each character has their own motives through the movie.

That being said, A LOT of things I've seen people talk about in the movie is generally negative. People agree that it's a decent movie, but some of the things people have a problem with don't make sense from a film/acting standpoint.

I've seen people say that Rebecca was unnecessary as a character and that her arc didn't mesh with the rest of the movie. I disagree. Renfield needed someone to show him that he didn't need to bow down and he COULD stand up for himself. However, the vampire hunter trope has been overdone. It would be tiring if Renfield teamed up with someone who knew what they were doing. So they gave us a parallel story. Someone who was heading in the same direction with the same goals, but not the same path.

I saw one person complain about how many different genres they stuck into the film. Let me be clear, it's a Comedy/Horror. They added Action into for several reasons. One of the main ones is because in a good action sequence you can get really good comedic bits. I also believe the person made a comparison to Marvel with it's setup. Honestly? It's just the way the film industry is heading right now. More action, more banter, more real in a way. Marvel is just one of the few big ones jumping onto the bandwagon, give it a couple more years, you'll see everyone doing it.

I also saw someone say (negatively) that Renfield was a bit of a thriller as well and to that I say "please google what a thiller is." You could classify 90% of action or horror movies as thrillers.

And to the people who say "what about the drama and romance? Those are in the film too!" Every movie nowadays has to have a romance arc. Trust me, as an aroace, it bothers me too. However the romance in the film never went anywhere. It was basically onesided and was pretty authentically dissolved into a friendship by the end. As for the drama, you try making a movie about toxic relationships without it getting too real.

All in all, there are some thing about the movie that aren't the best. There are some moments where too much was put in, and there were a couple where not enough was. But that's the beauty in film making, not everything has to be perfect, especially in a comedy.

I've noticed a growing trend in the past few years where movies (especially independent ones with a small fanbase) will get heavily criticized. I can barely enjoy movies nowadays without someone talking about how a movie was trash, or how it failed. It's disheartening, not only as a fan but as an actor as well.

I don't know, maybe this is a sign to start making videos on film techniques in movies. Balance out some of the negativity.

[blackbird-brewster]

CM 17x03 Quick Thoughts as I scrubbed through the episode

Hate this deepfak BAU shit already. Porn of the team??? A bit meta and so obviously pointed at fans. Cool cool cooll

JJ Just had a lighter on her👀

"helping you is my Kink"????? This show is a farce

"Since the dawn of the Internet there have been making disgusting images. A sad group of lonely perverts making what is is, anime? " - - - showrunners just say you hate fanworks.

Seriously loving the JJ & Luke friendship though.

Annnddd PFT makes his second appearance in CM and once again it's Paget vs Paul and I KNNNOOOWWW how hard that would be for them to act serious. You don't play comedic spouses for 15 years and not make each other break character 🤣🥂

Of couuurrrssseeee it's a site exclusively of JJ 🙄🙄🙄 god seriously. Showrunners we get it you hate sapphic fanworks.

Ofc Brian is going to pin Emily.

Well barely any Tara. Barely any Rebecca. I am so disinterested in this season so far

[jennyfair7]

Vintage Earl Review

With all the Earl love going around I did some digging and found my handwritten notes from when I saw him in 2005! It was my first time seeing POTO on the West End and it was amazing 😍

The performance was June 14, 2005 (evening) with Earl Carpenter, Rachel Barrell, and Oliver Thornton. I’m not positive as to the rest of the cast other than Rohan Tickell as Piangi, since I went back to see Earl again the next night and Rohan was on as u/s Phantom 😭 (I did enjoy Rohan, though!) The first few groups of notes are in order then it starts to skip around as I remembered things. I originally posted a full review on PFN from an internet café AKA a computer in a McDonald’s you could rent to use the internet 😅 Transcription below the cut!

Hannibal Piangi :D 

ToM - Rebecca Caine cadenza Fab!  Snooty voice - ROME is...

Mirror - see all of him! v. impressive powerful, commanding

Mirror - see all of him! v. impressive powerful, commanding

POTO - “sing for me” :) cadenza fab - live?

MOTN - touch me, trust me - takes her hand (guides hand) up to touch mask  “sweet intox” - touches her hair/ear - tucks her in

STYDI - FAB! crossed out portions of 🎵  - anger so good! scary in a way - she cries a bit. he looks toward her whispers “no” & seems distraught - “dreams of beauty” - gestures to the mirror bride - burns in hell/heaven - growls, seems to be cursing heaven

- Buquet actually scary

- Prima Donna fab - Firmin chucks newspapers offstage :D

REPRISE - looks off, almost falls back, catches himself - clenches hand on angel

- Carlotta voice good, diff. comedic timing - fewer ppl onstage

ACT II - Masq FAB, staircase looked huge

(Christine en pointe, Buquet dummy looked like him)

(- Rachel gets mad, upset - w/ Raoul, w/ Carlotta, w/Erik)

PONR - voice would catch, steamy, Rachel sang to him, he leaned forward, watching in hopeful anticipation

AIAOY Rep - so halting & sweet, hopeful

FL - FAB - reaches thru w/ the veil @ the end -falls to his knees, almost buries his face in her skirts, holds ring out, she pushes it back, cries - keeps his head down  (she turns away, he grabs her wrist/hand on “Christine”) - turns to look at her, so hopeful - she holds ring out, he whispers no (all unbelieving), walks backwards, waves no to the ring

Wishing - FAB, shivers

(”soar” - so pure & light)

WC - first graveyard trio -leapt down the stairs as he went about on the mausoleum

- Oliver ripped his shirt open, dramatic dive!

- Red Death entrance - was looking away, then he looked forward - dramatic

- be my guest, sir - AW [Anthony Warlow] Hyde-like growl/breath

- kiss (2nd) - brought a hand up to her face

“leave me” - fell to ground, almost in fetal position

- before cutting down, looked @ Christine like, “what do I do?”

“poisons our love” - put hand on her back

- chandelier falls more quickly than I thought/had seen

- Earl overall is a physicall commanding Phantom.

[bruhstation]

what other characters are involved in the story that do not have refs?

hiro hideki. a time traveler from 100 years ago. generally wise and gives good advice, he's attentive and quick to notice change. he’s also incredibly good at noticing small details of a person or place, like how someone’s face changes when they smile. his memories are all over the place, sadly. all he knows is that he arrived at sodor heavily injured exactly 5 years ago out of nowhere and lived in solidute inside the forest until thomas met him.

after retrieving his lost memories and realizing what had happened to him (and eventually, his old hometown and loved ones), he went back to japan and stayed in kotohira for 3 months to process the weight of his situation. his arc (hero of the rails) serves as a turning point in the story, making thomas and percy start to have differing opinions on their adventure, and generally turn the tone of casa tidmouth from light and comedic to darker and cosmically horrific.

scott ficus gresley, gordon's only remaining brother. he's the driver of the flying scotsman (boy, what a coincidence) and is frequently on tour. he's friendly and proud, and he likes to tease gordon by calling him "gordie" or "little brother". however, there's this insecurity inside of him regarding the fear that he'll never be able to put whatever remained of the gresleys back together. sometimes he thinks that gordon is annoyed at him. overall, he and his brother have a generally good - if not a rivalry on one side - relationship.

rebecca nassif, a young newcomer that came to sodor to support her family (they initially had no idea). appears in act 2 when shit starts to hit the fan. gordon took her under his wing as an express driver trainee, and she looks up to him immensely (though she sometimes wishes he wouldn't overwork and be too hard on himself). she became a prominent character in act 2 after.... several important characters went missing out of the blue.

much to thomas and gordon's dismay, she was unaware of the mysteries and occurrences sodor has to offer. they hope that rebecca won't lose her spark someday.

nia wanjala, also a newbie. she appears in act 2 when things starts to get concerning. she and rebecca became friends over the fact that they are the newest recruits in the north western railway and the ones with the least experience. unlike her friend, however, she quickly catches on to the realization that sodor isn't as quirky or happy as she initially thought with how her senior coworkers kept talking about memorable drivers that went missing. she now rocks back and forth between striving for what she considers is safe and what she considers is beneficial to everyone around her.

there are many more characters, but for now these are the more important supporting cast.

[faust-lane]

Hi 👋

I just saw your crossover (Agent 47 x Ilsa Faust) & I absolutely love it.

What made you think of this Pairing ?

And will there be a fanfic ?

Hello! It was an role playing game I had with my friend that made me think of that. I'm not certain if there will be a fanfic, but maybe I will write something if I have progress in the game.

The plot basically is Ilsa getting into suicide mission that involves a huge conspiracy regarding government AI system that prevents crimes and The Syndicate wants to get their hands on it. She is left alone against an army of disavowed agents (just like herself) and is suddenly saved by a mysterious man that calls himself Agent 47. Someone hired him to protect her and the AI she was trusted with by the Creator. The plot itself is bound to Victoria as well as Solomon Lane and the rivalry between to AI that represent cold strategic thinking (Sol) and human morales (Machine) that were initially meant to be working together, but the government saw no use for the Machine, since it was more of a burden to them that affected the success of their operations (fuck morals, fuck humanity). (We wanted to compare Agent and Ilsa to these AI's since they both share some qualities with them. Sol would try to recruit Agent, but would fail since he is bound by a contract, and the Machine has chosen Ilsa as her asset since she was in complicated situation ans couldn't refuse, also, she has all the qualities Machine needs. We wanted to show how this strange companionship is actually is working out to be very efficient).

So, we have this strange team of Agent and Ilsa that is slowly going insane under the pressure of this situation she finds herself in, since it's all so mich bigger than her and so much is at stake. In her past, Ilsa was trying to investigate the Corporation that was creating and providing killers such as Agent, but she didn't succeed, so seeing Agent 47 in person and being a part of a contract herself is a big shock for her as well. I always wanted to play few comedic scenes with Ilsa, Agent and Victoria together as found family trying to pose as someone absolutely normal (they're undercover) but there's absolutely NOTHING normal about these three goofballs. We wanted to discover all these characters personalities and how they would act if they were brought together by complicated situation.

Also, I've never really played Hitman, but recently I bought few games and I will play it. Maybe I will get an idea and post something, but for now,all I have is my rp that is a little stuck right now since I burned out, and fanart.

Glad you liked it. It's actually a crossover of Mission Impossible, Hitman and a little bit of Person of Interest, since there's also such character as Machine, which is an AI.

Also we kept joking what Ilsa literally looks identical to Diana. Especially in MI5. Rebecca Ferguson is one of the most popular fancasts for Diana.

My friend introduced me to Hitman almost 10 years later since I played it as a teen and he showed me the depth of the character, basically, making me fall in love with Agent 47

(Yes and Michael Fassbener was in a movie with Rebecca, I think they could actually be great casting if there's another decent Hitman movie)

And I think Thomasin is great as Victoria.

Thanks for your question, I think It might've reignited my interest in this story...

[voluptuarian]

Having watched Vertigo yesterday, I just felt like recommending some vintage movies because there's a lot of good shit out there

The Big Sleep - One of the classics of film noir-- like, this and Double Indemnity are the top of the "noir of all time" lists. Out of the two, this is easier to get into, and funner to watch. The film is famously not too concerned about figuring out the plot, and much more interested in the chemistry between Bogart and Bacall and simmering in one-liner after one-liner. It's a solid noir and a good time.

Rebecca - I don't think I really need to say anything about this one, its reputation fully precedes it. I will say, black and white sets a mood in a way color is hard pressed to match, and this film really takes advantage of that.

Some Like It Hot - comedies are touchy about aging, but this one absolutely still holds up. The first time I watched it with my sister it made her laugh so loudly she almost got us found out for watching tv after hours. Also the first thing I ever saw Marilyn Monroe in-- I'd never gotten the attraction before, but 20 seconds of screen-time and I was magnetized.

Gaslight - Without giving too much away, basically a new bride is slowly tricked by her husband into believing she's going mad. I don't need to talk about Bergman's acting skills, but seeing her go from happy and naive newlywed to neurotic wreck makes her ultimate role in the finale just feel fucking TRIUMPHANT. Also watch for Angela Lansbury as a BABY in what I believe was her screen debut.

The Innocents - an adaptation of The Turn of the Screw. I already mentioned the artistic effects possible with black and white-- I'm not sure I've ever seen them put to better use than in this film. From lush, dreamily shot scenes of luminescent white flowers and floaty dresses, to candle flames reflecting against wet black window panes, every shot is Art, and the full-on gothic imagery as the plot speeds along is gorgeous. The kid's performances are genuinely unsettling, and Debra Kerr's usually rational presence makes it all seem more plausible. Basically nearly everything that worked in Haunting of Bly Manor was lifted directly from The Innocents.

In a Lonely Place - another noir, this one of the not-even-flirting-with-a-happy-end variety. It's one of those movies where the chemistry between the leads makes or breaks it, and in this case, it's definitely the former. Watching these two sitting together at the bar, or making eyes across the kitchen, you KNOW they're in love, you want them to be happy together, and you still feel that way even as things escalate and you're yelling at Gloria Grahame to dump him and clear out of town as fast as possible.

Roman Holiday - simply put, a really lovely movie. Audrey Hepburn really is very likeable and fresh in this and the romance is sweet-- and then bittersweet. The setting of 1950s Rome is great for visuals and atmosphere, as well as opportunities for plot; if I was a depressed and overworked young princess, I too would want to play hooky in this dreamy city.

His Girl Friday - my mother dislikes this movie intensely because all of the characters are awful people. She's right, but that doesn't stop them being funny. Another comedy that still works-- the dialogue in this film is so sharp and the comedic timing is relentless. The plot revolves around a newspaper reporter, Hildy, her ex-husband (also a reporter), and her new fiancee; the ex and the fiancee jocky for position while the newshounds attempt to get the scoop on an important story, and the plot unwinds at breakneck speed, throwing out wisecracks like sparks as it goes.

[bigassbowlingballhead]

so according to variety magazine/website both rise of pink ladies and city on fire do quality for emmys. so in both shows which actors deserved the honors and why

for rise of the pink ladies

the girls

Cheyenne Isabel Wells (Olivia) i think deserves at least a nom for rise of the pink ladies, she was so good all season at everything. Her comedic timing, dramatic beats. She was believable as a teenage girl hopelessly in love with her teacher and trying to move on past him to someone better and more age appropriate.

Tricia Fukuhara (Nancy) absolutely deserves recognition for her comedy. She had me in stiches every time she appeared on screen. She may not have had that much of a storyline until the later part of the season, but she delivered every time. Her intensity of the comedy really sold it for me.

Supporting girls

Madison Thompson (Susan) I'm a little biased, because I'm a sucker for a "defrosting ice queen" trope. (think brooke davis, naomi clark, blair waldorf)

her storyline was tragic and she started off so frigid and sealed off, rightfully with what's happened to her. But watching her soften and open up, she really did an incredible job.

I do think they might manage a nom for original score or original song. (the cynthia and lydia one, the name is escaping me)

As for city on fire

Jemima Kirke (Regan) broke my heart some many times especially in the flash back where it explains the rift between her and William. And then during the blackout in the finale with Keith, she really carried the adult storyline for me.

and as much as I love and adore city on fire, I don't really see any other acting noms coming from the show, however, art direction????

Rebecca Lord-Surratt (art director) city on fire was one of the most beautiful things I've seen this year. I loved everything about the stylistic choices made and like the popart motif worked into the real world through Sam's eyes???? so incredibly well done.

[chiffonlime643]

Renfield and How it Handles Toxic Relationships and Trauma

// TWS: continuous mentions of manipulation, toxic/abusive relationships, trauma, etc. Please be careful!

!!! Disclaimer !!!

I am NOT a licensed professional; this is all from either personal experience or research/knowledge I have previously had. Please do not take things in this essay too seriously. (also yes i know it's a dark comedy but comedic movies can have serious undertones in them too)

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Renfield is a movie that was released on April 14th, 2023. It follows Count Dracula’s (played by Nicolas Cage) assistant/servant, Renfield (Nicholas Hoult), and his efforts to escape his current lifestyle.

The movie has significant undertones, ranging from toxic, co-dependent relationships to extreme corruption of government. While the ‘undertones’ are more prevalent, they are still sometimes put in a more comedic light, to replicate the movie itself, as a dark comedy.

If you remove the comedic points, you’ll find a relatively serious movie with genuine character development and story.

Beginning with Renfield’s journey.

He was turned to Dracula’s assistant centuries before, going off of the original Dracula movie. Since then, he has been caring for Dracula and bringing him humans to feed off of. You can tell he’s sacrificed a lot in the process, essentially tossing away his own wants and needs for Dracula; and while it isn’t completely focused on, it leaves him with a sense of longing and apathy. 

He realises this after going to many anonymous meetings about toxic relationships, which is portrayed primarily as a way to find victims, but in reality is a scapegoat to listen to people talk about similar experiences to his. 

So when he saves many innocent people and gets called a ‘hero’ by someone, something changes in him. He truly comes to terms with the way he is treated; has been treated for many years. He goes to one more of those meetings, and begins his new life. Almost instantly, you can see genuine happiness and content, both with the way he acts, and his actions, in turn. 

It leaves a connection with the viewer and Renfield- a want for him to stay safe and happy, away from Dracula.

The events of the story play out, with Rebecca’s (Awkwafina) story being especially fleshed out.

Later, Dracula learns of Renfield’s disobeyment.

He arrives at Renfield’s apartment, acting nonchalant and almost kind. Renfield lies to him, saying that he had retrieved many bodies to feed Dracula. Of course, due to previous information and context clues, it was expected that Dracula knew the real actions Renfield had taken.

What was a silly, comedic, yet slightly anxiety-inducing moment turned to pure dread. Dracula becomes increasingly angered, to which Renfield attempts to stand up to him.

This is one of the most serious parts of the underlying message.

Many people in toxic/co-dependent relationships take a long time to realise their situation, and even longer to stand up to their abuser. This is typically due to the extreme emotional manipulation the other may use.

While it did take Renfield quite a while to fully realise and come to terms with his situation (a few centuries at least), he is portrayed to almost instantly stand up to Dracula- which is fantastic! To be that prepared to stand up to someone like that is very hard. 

Which is why the viewer’s heart breaks when Renfield eventually closes in on himself. When he is cornered, and clearly afraid.

This can be seen as him being afraid of a vampire with God-like powers- which does make sense.

But it hits even harder when you see it as just Renfield and Dracula; how Renfield is so fearful of what Dracula could do, despite Renfield’s vampire-like powers. He could defend himself.

So why does he nearly break down?

People who are/have been in abusive relationships like this, between friends, partners, positions of power, etc. can understand this reaction.

You get scared of what the other is going to do.

When viewing this scene of Renfield and Dracula through a lens of a realistic toxic relationship, instead of one between a human and vampire, you feel Renfield’s experience differently.

Obviously, he is scared due to Dracula’s vampiristic abilities. But, there’s something else there. Earlier, he was attacked, nearly killed, due to making a mistake with the bodies he brought to Dracula. Then, he was healed.

This brings us to another part of the toxic relationship.

Renfield is constantly revived/healed by Dracula. Yes, Renfield does technically do this for Dracula as well, but much less, and in different circumstances.

And, judging by the previous scene where Renfield’s scar was reopened by Dracula, then healed, a significant amount of these injuries followed by healing could be caused by Dracula himself.

This is one of the main building blocks of a co-dependent relationship. What people in co-dependent relationships are often manipulated into believing are statements similar to this: “I am keeping you safe. I am keeping you alive. I am helping you. You cannot survive without me. You will not survive without me. You need me.”

Through this action, Dracula is essentially telling Renfield that he needs him. That Renfield would die without Dracula.

This is reinforced when Dracula directly says this to Renfield.

The previous time Dracula was ‘killed’, Renfield was being told by the Church that he would be free from Dracula, saved.

To this, Dracula instead implanted the thought that Renfield would be killed by the Church, that he wouldn’t survive. Not without Dracula.

This co-dependency built on emotional manipulation is what toxic relationships thrive on. Renfield feels he cannot leave because Dracula is the one keeping him alive. 

So, bring this back to the scene where Renfield first stands up to Dracula. All the previous events of pain, of manipulation, slowly being stacked back onto him as Dracula continues his angered yelling. 

The scene gets significantly harder to watch, as time goes on. It begins with Dracula first having an outburst towards Renfield, then consistently berating him. 

I have yet to watch the original movie (no idea where to find it), so I have no clue whether or not the claims made by Dracula about Renfield’s greed/abandonment of his family is true, but if they are not, Dracula is also gaslighting him- a commonly used form of manipulation, especially in co-dependent relationships.

Renfield makes an effort to stand up to Dracula, to stop him, to which Dracula laughs at his efforts, then tells him that he isn’t worthy of love- another way for people to keep a hold on their victims- slowly backing him into a both literal and metaphorical corner. 

He threatens others that Renfield is in contact with. Keeping victims away from other outside people is a common practice for abusers to keep a hold on them as well.

After Dracula figures out who he needs to kill, he throws Renfield’s book at him, before disappearing. After Renfield is hit, he goes into a really defensive position, trying to shield himself from other possible attacks. He is clearly surprised when Dracula is gone instead, which implies that this may be common, and that Dracula suddenly disappearing is not the usual.

He realises, almost instantly after glancing at the logo on his book, that Dracula was going to kill his friends.

The carnage that ensues after is, obviously, terrifying for Renfield.

However, after Dracula confirms that after what Renfield did, he would be destroying the entirety of the human race, just because Renfield wanted to be a part of it again, Renfield is left on the edge of a panic attack- just sitting there, holding the meeting leader’s hand, despite him being a corpse.

At the scene of the crime, he goes with the police with no attempt at escaping their grasp despite him being framed, which matters especially since his friend was the one to find him there. His face throughout the scenes prominently don a solemn, given up look.

Rebecca is cornered after putting Renfield in the car, by both corrupt policemen, and the crime family who is linked to their corruption.

This movie has a significant part of its story driven by the town having a severely corrupt police force- most people dislike the cops in this movie, and I completely agree. However, they can't really be removed from the story, as they are important to show the severe corruption. I feel a better course of action would be to have Rebecca's character stop being a cop by the end of the movie, but that is just my opinion.

Corruption is like this in real life, and it affects many people and places. While I am most definitely not the person to talk about it, the movie’s plot including the way government corruption works and how anyone in power can go mad with it soon enough, actually helped the story- especially Rebecca’s backstory, which we will get into later.

Later on, after Rebecca and Renfield go to the café to meet up with Rebecca’s sister, Renfield talks about his experience.

He talks about the manipulation Dracula uses to get people under his thumb, and Renfield’s (at that time) greed and desire for more power that got him into this situation.

Rebecca, understanding of this, talks to him about how life can throw you situations that are hard to manoeuvre around.

 After it is revealed that Rebecca’s sister has been captured, the two head to the Lobos’ house, to which a long fight ensues.

Rebecca reaches Dracula first, and he begins trying to manipulate her- it is hard to tell whether or not she is somewhat susceptible, but she definitely does not fall for it.

She had a plan. A plan to trick Dracula.

Now, whether or not Renfield was aware of it or not is also hard to tell, but judging by the way he is portrayed, it appears to be he was unaware.

Instead of overly yelling for her to not fall for it, it almost feels like he’s come to terms with it. Like he knows that she can’t say no. This would make sense, after all; he fell into Dracula’s trap the same way.

And as Rebecca is embraced in Dracula’s arms, Dracula stares at Renfield with a triumphant expression.

To Renfield, it’s over. Dracula won. She’s enveloped in Dracula’s lies too.

However, she turns off the blinds- burning Dracula and accidentally guiding the three of them to the torture room of the house.

Renfield is killed- or at least severely injured- by the bats Dracula turns into temporarily.

Rebecca is left to fight Dracula, and he drags her into the air after taunting her. She shoots him in the foot, causing his blood, which has reviving/healing powers, to revive Renfield. 

To which, he stops Dracula’s fangs with his own hands, drags him to the ground, to which Dracula appears behind him and puts him in a chokehold.

Renfield is (now physically) stuck in the same position he has always been in, controlled by Dracula.

However, now he has himself to guide him- his self-love, his strength.

Dracula asks “Do you know what you are?”, expecting Renfield to give in, to answer with what Dracula wants, to keep Renfield under his thumb.

Instead, Renfield gets out of the chokehold and pins Dracula to the ground, continuously punching his face in while repeating similar lines to that of the earlier scene where Dracula cornered Renfield- but this time, Renfield has all the power. He admits that he was the one to give his power to Dracula; it wasn’t taken from him. While Dracula overpowers him eventually, Dracula is caught in a protection circle laid down by Rebecca.

This is a parallel to the introduction sequence, where Dracula is saved from a protection circle by Renfield- instead, now he’s trapped in it thanks to the both of them.

The two completely destroy the physical body of Dracula, tossing the remains down the drain.

With that, now that Dracula is gone, he uses some of Dracula’s Blood to help Rebecca’s sister and revive his previously-mauled support group.

Finally, after centuries of confinement to Count Dracula, Robert Montague Renfield is free.

-------------------------------------------------------------------------

So… how did Rebecca fare through all this?

Her character, upon the release of Renfield, was not entirely liked by most. Oftentimes, people thought her character was annoying and selfish, other times they disliked her being played by an actress who has been in many other movies and was thought of as annoying, once again.

I do not care about the personal strife between people who like/dislike Rebecca or the actress, Awkwafina, who plays her.

However, whether or not you like her character, she is rather nuanced and has trauma of her own, along with her (sadly very rarely seen) sister.

Rebecca is seen as a strong, smart policewoman with an ‘idgaf’ attitude towards most things and people. Despite this, she is given very small jobs within the district.

She is very angered at this (and the police’s corruption and ignorance when it comes to the Lobo family), and continuously calls the police out on their negative aspects.

Part of her anger, however, is due to the loss of her father, who worked as one of the best policemen and was murdered.

We are never entirely told the circumstances of her father’s death, however. It is implied that the police station did nothing about it, and that he was killed by the Lobo family after investigating some of their crimes. Rebecca is fully aware of this, as well as her sister.

While Rebecca is willing to face the corruption head-on, her sister tends to do so silently, being careful with her job.

The two bicker a lot, but it is shown that they care about each other a lot.

So when Rebecca’s sister is captured and then killed, it strikes a nerve.

She seems slightly less careful while fighting the Lobo family (though she wasn’t very careful before), while also very calculative- more than she had shown previously.

So when she talks to Dracula about reviving her sister, both Renfield and the audience feel that she actually will do it.

She doesn’t join him. It’s a shock to most, especially due to her losing an important family figure at such a young age and only having one other person, who at that point, was on the brink of death/already dead.

For her to take that risk so they could take down Dracula is amazing, especially since her character was shown to care about family first, everything else second.

(and I'm still very annoyed she stayed a cop by the end)

[kudosmyhero]

Legends of the Dark Knight (vol. 1) #67: Going Sane, part 3: Breaking the Surface

Read Date: April 21, 2023 Cover Date: January 1995 ● Writer: J.M. DeMatteis ● Penciler: Joe Staton ● Inker: Steve Mitchell ● Colorist: (Digital Chameleon) ● Letterer: Willie Schubert ● Editor: Archie Goodwin ◦ Jim Spivey ●

**HERE BE SPOILERS: Skip ahead to the fan art/podcast to avoid spoilers

Reactions As I Read: ● mm, pizza sounds good about now. with pineapple. (don't @ me) ● this Joker storyline is really quite tragic, with Joseph ("Joe Kerr"). you know it can't end well. I just hope Rebecca survives. it's like a train wreck happening in slow motion. ● this is the first story I've come across so far (that I can remember, anyway) that Batman was found as Batman and unmasked by his rescuer

● the art style is growing on me ● Bruce has a shattered femur and a compound fracture of a rib. damn. ● the doctor thinks he was in costume due to a party. they're in a town called Accord, 200 miles north of Gotham. the water carried him a damn long way… ● back to the present, Batman reveals to Jim that he's back, but he prevents him from getting too close. he doesn't want Jim to see how hurt he is. ● omg Batman is smiling. that's kind of terrifying

● heheh, the poor doctor made the mistake of sneaking up on Bruce. he nearly attacked her by reflex ● Bruce sees the small-town life and probably for the first time in his life feels a sense of peace. he doesn't know if he wants to go back to his old self. ● omg, Bruce is wearing flannel, working in a garden, and looks happy… ● back in the present, he's still trying to get up to where he was physically ● 👏👏👏👏

Synopsis: Joseph and Rebecca find themselves outside the dilapidated Comedia Theater with Joseph telling her how he loved the place as a kid. Rebecca doesn't understand, as she was told he just moved to the city less than a year ago. Joseph plays it off as a harmless josh. Batman begins again on his search for Joker nearby while various flashbacks of his missing time come to his mind. He recalls how Dr. Lynn Eagles, from the upstate little town of Accord, did emergency surgery on him for his various life-threatening injuries. She comes to call Bruce "Lazarus" during his time there.

Batman appears to Captain Gordon in his office and assures him that he will find Joker and bring him to justice, while hiding his apparent ache from his still recuperating body. Batman confronts Dorothy Bruckner, the widow of recently deceased Dr. Elias Bruckner. An alcoholic and failed plastic surgeon, Dr. Bruckner catered to criminals wanting new faces. Batman easily deduces from Dorothy's reaction that Joker hired him to do something about his skin condition and killed him when the job was done.

Flashbacks take Bruce back to his downtime in Accord. Bruce asks why Lynn would take him in like this, to which she replies that simple intuition says that he is a good man. The idyllic quiet life in Accord makes Bruce think of possibly giving up Batman, and finding peace within himself in such a town. Lynn tells Bruce that she once moved to Gotham City for a few months but eventually returned to Accord because she hated the big city scene. Bruce likewise tells her vague truths about his life in the city.

In the Batcave, Batman is still retraining his body to act as it once did, when it hits him. Councilwoman Elizabeth Kenner's comments that Joker made her watch old comedic films, spurs Batman to cross-check rentals of such films at local video stores. Seeing the name of Joseph Kerr makes Batman wonder why Joker would be so obvious in this deception.

In a flashback in Accord one night, Lynn confesses to Bruce that she did indeed love Gotham City, but one night she came upon an intruder in her apartment, held her at gunpoint, and proceeded to rape her. The tragedy led her back to Accord to heal. After a few years, she returned to the city to spend the day there. However, on the way back to her hotel, she was confronted by a man with a knife. She reveals that this time she was saved by Batman, and that was the reason why she helped Bruce the whole time, and returns his costume to him. Upon hearing this, Bruce returns to Gotham City.

Batman visits Joseph and Rebecca's apartment and sees a picture of them. Joseph's innocent look casts doubt in Batman that he is Joker. The superintendent, Mikey Sansonia, tells Batman that Joseph and Rebecca went on vacation in Pennsylvania weeks ago and that they are to be married. This solidifies for Batman that this is a just a deception by Joker to throw him off the trail. However, in another part of town, Joker reappears.

(https://dc.fandom.com/wiki/Batman:_Legends_of_the_Dark_Knight_Vol_1_67)

Fan Art: Cheeze Luis by nefar007

Accompanying Podcast: ● Batbooks for Beginners - episode 12

[shadowqueen402]

Do you think that it would be funny if Rebecca Smith gets the permission to beat Prim up in the “Perfect” Ending of The “Perfect” Vacation like in a act of karma for what Prim has done to her friends? Like Rebecca would pull up some object as a harmless yet hurtful weapon (I.E. Water Gun, A bo which is a Japanese Stick Weapon, any referenced object, ETC), and when she is done beating her in a comedic slapstick manner, she be like “She’s all yours” to her partner and let her surviving friend do the rest.

Yes!!

Not only would it be funny, but it would be satisfying!

Bonus points if, despite fearing him, she lets Reala do the honors!

[reallyunluckyrunaway]

10 Underrepresented Horror Movies to check out for Spooky Season. (List originally written in May of 2021):

1.) Happy Death Day

This movie is great if you want a (mostly) comedic movie with a horror edge to it.

Like I said, this is a horror comedy first and foremost, with a time-loop twist…

It’s fun, fast paced, and has a surprising amount of character development and conflict throughout.

2.) Get Out

Delightfully refreshing.

This movie mixes horror with meta humor and racial commentary. I thought it did a great job creating a feeling of unease throughout, and it managed to have a fleshed out and intriguing protagonist that you can really root for.

The music gave me Coraline-vibes for some reason— what with all the harp/string based instruments, and with the unsettling chanting throughout its soundtrack.

Overall, it’s a movie that mixes typical horror conventions with a couple of modern twists.

3.) Freaky

This movie isn’t without it’s faults, as the dialogue and the tropes are often very cliche…

Purposely so... But it was still a bit corny at points.

But it grew on me as it went on.

There was some great character acting, and much like Happy Death Day, it takes a familiar concept and adds a horror-style twist to it. (Which makes sense, considering they’re both directed by the same person.) This time, the gimmick is the tride and true, good ol' body swap.

There were a ton of classic slasher/ horror movie references and meta moments, and it was rich with humor. Plus there's a group of diverse leads that helm this movie… they bounce off each other well, and have a ton of chemistry together. It's just an all around fun, freeeaaaky, horror movie.

4.) Suspiria (1977)

Suspiria does a brilliant job obtaining an eerie and eye-catching atmosphere, with the use of primary/secondary colors and it’s haunting original soundtrack... It’s also the first (and only) Giallo film I’ve ever seen.

The plot is pretty straightforward. But the real artistry, is in the atmosphere it sets and in the strange surrealism and mysteries it presents.

It relies much more on supernatural thrills and horror than your typical Giallo film typically does. But it is certainly a welcome change here, it's a movie meant to be experienced. Using it's strange, uncanny nature to garner thrills in the audience, both sonically and visually.

5). Doctor Sleep

The sequel to the horror classic, The Shining.

As far as sequels go, I found this movie outstanding. They did a fantastic job recreating the iconic settings, and with the character casting. The villains were really unnerving. They presented a real danger to the heroes, (Rebecca Ferguson did a fantastic job in particular). The powers were dynamic and unique. And even though it ran at a fairly long runtime, it flew by very quickly.

6.) Halloween (1978)

John Carpenter and Debra Hall are masterful, as a directing and scoring team. The soundtrack is tense and iconic, and this is the horror movie that popularized the slasher. This movie had shockingly little-to-no gore, and mostly relied on building suspense instead. The way that this movie makes you search for Michael in the frame is amazing, and not something I've seen too often since.

7.) The Descent

(Probably?) The of the most well known horror spelunking movies…

This British-Australian movie stars an all female cast, and kicks some serious ass.

It had some serious build up, and some of the better executed jump scares I’ve seen in a horror movie.

There's themes about trauma, and not knowing who to trust. And what follows, is a story about a group of adrenaline junkies. that inadvertently get themselves lost in a cave.

Though it eventually veers into a creature feature.

The cast were convincing and distinctive as their respective characters, and the cave scenes were brilliantly claustrophobic.

The sets were impressive. The (original) ending is incredible… And the characters were capable, (and maybe just maybe,) equally as vicious as the cave dwellers.

(note: it is so important to watch this with the og ending!)

8.) The Lighthouse

This is one of the weirdest movies I’ve ever...experienced.

Shot in black and white, on Kodak Double-X 35mm footage, this movie really commits to the time period it’s set in.

Robert Pattinson and Willem Dafoe really bring their A+ game here, and really commit to portraying the compelling tale of strangers that slowly start to lose their sanity, while cut off from the rest of world.

The set design is immaculate and the aforementioned lighthouse is truly impressive in scope.

It feels like one big fever dream, and has the watcher yearning to know who’s actually telling the full truth. There’s a lot to unpack and analyze: from the painting inspired shots, (ie. Hypnosis.) and it's references to mythology, and even explores themes like sexuality, isolation, etc.…

It does a ton of interesting things visually, too.

If I had to describe this movie… I’d probably look to how the director himself put it: “You know, does Prometheus ever encounter Proteus in any classical mythology? Not that I’m aware of, but maybe that’s happening in this movie. And so, therefore, Prometheus is taking on some of the heroes that wrestle with Proteus’s characteristics as well as his own.” —

9.) The Banana Splits Movie

Basically, it’s Five nights at Freddy’s meets the Banana Splits show. (A REAL 1960s children’s program that actually existed.)

It’s a crazy ass horror movie that takes real life kid show characters, and makes them the bad guys...

So, if you’ve ever watched a television show, and thought that there was something just... inherently creepy about it, than this one’s for you. (Especially if you’re into crazed-animal animatronics.) (I'm looking at you fnaf fans)...

It was insane, gory… and while it’s admittedly not the greatest horror movie in the world, it certainly ran with it’s ridiculous concept and knew exactly what it was going for. (Not to mention that it also has some pretty decent practical effects.)

10.) Carrie

Sooo seventies, and sooo awesome!

This movie is another horror classic based on Stephen King’s first published work.

It's definitely more of a slow burn, saving most (if not all) of the terror until the third act.

So, if prom night movies seem boring to you, Carrie is here to shake things up… And nothing spices up prom night quite like religious overbearing parents, pigs blood, psychopathic kids, and a telekinetic massacre… right?

[nwr77]

Never Newer

A.K.A. the frustrations of AEG; short story, 1225 words

"Can you believe that!!" Thomas unceremoniously stormed into Edward and Henry's apartment, where the two of them were having afternoon tea in company of their adopted families (Gordon, Rebecca, Bill, Ben and Philip) and Percy, for some reason.

"Told you you wouldn't like it!" Percy shot back without looking as the twins started giggling hystericaly and elbowing each other. Philip and Rebecca both leaned forward, curious about the reason behind the commotion, while the supposed "adults" looked at each other, slightly horrified. Thomas groaned.

"Okay, I admit you were right. But you knew that it would make me more curious if you said that!" he pointed his finger accusingly, to a quite comedic effect.

"I'm sorry," Edward interrupted cautiously "but what are you all talking about?"

"Well..."

"Bet you fifteen quid it's some stupid bullshit" Gordon whispered, careful so that only Henry could hear him.

"I'm not taking that bet, there is no way I'd win."

"Honestly, fair."

In the meantime, it seemed that none involved (or even informed) were completely willing to share.

"Well...?" Edward prodded.

"..."

"... I watched All Engines Go..." Thomas finally admitted and the table seemed to explode. The yellow trio roared with laughter; Philip, Edward and Gordon were stunned into silence; Percy dramatically mourned the "loss" of his friend's "innocence"; and Henry went on a tangent about "why would he do that" and "he should have known better than to give those (word so bad it should not be repeated) a chance". It was... pretty chaotic.

"It was only the pilot episode!" Thomas amended, frantically waving his hands in an attempt to ease his friends' reaction.

"THAT'S NOT ANY BETTER!" Henry cried out, throwing his hands up, and walking out "I'm going to Hiro's, don't wanna hear anything about that shit!" he left with a slam of the door.

"So, uh, I guess we should... talk... about it... now?" Gordon asked, uncertainly and awkwardly. Thomas' eyes widened, not quite liking the idea, but it was lost among the cheerful agreement and gleeful smirks of the others.

"Okay, first things first, because I know Hen generally hates all the TV shows about us, I gotta ask; is it really that bad?" Edward asked, not fully believing their husband's opinion (and perhaps their scepticism was not completely unfounded, given that he'd rage quit the show they used to act in). Somewhat surprisingly though, both Thomas and Percy nodded their heads - Thomas with the face of someone who was deeply traumatized, while Percy was more mock-serious than anything.

"Gordon was the wise mentor figure in that!" Thomas wailed, and everyone instantly turned to the A1, trying to picture that in their minds. Eventually, Rebecca spoke up;

"How?" she asked, flatly. She loved her dad, really, she did, but he'd never been the wisest or most fit to teach anyone at all - she suspected the only reason she learnt anything from him was because he had a soft spot for her almost from the get-go.

"Well, he seemed to be a completely separate Gordon from ours! Like, Percy and I still had some of our personalities, but-"

"Wait a second!" Gordon cut in "but I'm younger than both of you! Tell me you weren't the ones I was mentoring."

"Us. And Diesel."

"Fuck."

"I know..." Thomas nodded, solemnly "and Diesel seemed to be our friend, can you believe that!?"

"He's not that bad!" this, Rebecca could understand, though she neglected to realise Diesel had a soft spot for her as well.

"Oooh maybe you were meant to be friends this entire time!" in contrast, Bill and Ben found the reason of complaints hilarious "Yeah, like soulmates! I mean, you're basically same engine, different font!"

"You take that back!" Thomas lunged at the twins, and began a chase around the apartment. Philip also jumped up in the moment, but to grab and protect the teacups instead; he gathered them in his arms and even retracted his wheels to make sure they got to the kitchen safely. Moments later, Edward walked in with the plates and cake.

"You know what I'm taking back? Telling you all that I don't have a favourite kid." they winked at Philip, who just stared for a moment pefore pointing a finger at himself in disbelief. Edward laughed;

"Well, you're not destroying my living room right now, are you?" at that, Philip joined in the laughing.

"I'm so going to hold that over their heads."

"Go right ahead. Do you think they've calmed down a bit by now?"

Philip peaked out to look;

"Not really, but the Gresleys seem to have them restrained, so it's probably safe to get back."

"Well, I'll get the cookies, they should calm down for them." Edward sighed before the two of them made their way back into the living room. Philip's assesment had been correct - Rebecca currently had Thomas pinned to the wall, elbow to neck and one leg blocking his, while Gordon held the twins like cats by the necks (or, in this case t-shirts that they were trying to get out of). Percy was busy taking photos, no doubt to make memes out of them later on. Edward cleared his throat.

"I've got the strawberry jam cookies, and you'll get to eat some if you behave and not antagonize each other." Like a spell, everyone calmed down immediately, not wanting to miss out on the homemade "lovebird cookies" as they've been dubbed by James. Edward waited until everyone go situated at the table again before speaking.

"So, are you all calm and ready to finish the conversation?" There wasn't much response aside from some nods, as everyone busied themselves with the cookies. It went for solid couple minutes before the silence was broken by Philip:

"Uh, Perce? Don't you have work in, like, half an hour?"

"Shit, yeah, thanks for the reminder! Take photos if something funny happens again, kay?" Percy hastily threw on his flannel before rushing out of the flat. Edward shook their head, amused.

"Well, do you have anything else to say about the show, or can I call Henry back?"

"Not much, I guess... Oh! They made Carly - you know the crane Carly, Cranky's surely-not-girlfriend Carly - a moving engine! And, like, who the hell is Sandy? Do any of you know a Sandy? And the purple one... Well, I guess that one could have been Kana, but the rails she appeared on were not adjusted for electric engines so.. Also, for some reason they treated wheels and tenders like legit, extandable, movable body parts! Like you watch it and have to contain screaming that engines don't work like that! Like, honestly, Eddie, be glad you and Hen are apparently not featured almost at all in that... that... thing!"

"I don't know if I would call that not much, lad" Edward ruffled Thomas' hair, breaking the stunned silence that enveloped everyone "but I'm glad you got it out of your system. Now, if you excuse me, I have a husband to call back home."

"Speaking of home, we'd better be going too" It was Gordon who spoke up, but everyone evidently shared the sentiment, as they all started gathering their things, with Philip helpfully bringing the rest of table contents into the kitchen. Edward nodded ear already pressed to the phone, and waved as they left. Henry picked up relatively quickly;

"I take it the subject is over?" he said in lieu of greeting.

"Yeah, you'll be pleased to find they didn't include us again" Edward replied softly, smile evident in their voice.

"Thank fuck."

[cherish--these--times]

Okay. This is random. But nobody’s talking about this and I need to get it out. I am 99% sure that Keeley’s single tear in her scene with Rebecca in the new episode was CGIed. I do not know what to do with that information other than it’s the first time I’ve ever seen this done and it makes me question the future of acting tbh. All the more baffling when we know how gifted a performer Juno Temple is. And because that scene was comedic in nature it’s an odd move to make. Please someone react to this and share their thoughts. I don’t know what to do with myself 😂 I’ve looked everywhere and nobody picked up on this. Watch the scene again but the more you do the more obvious it becomes. At least to me.

[oldtvlover]

Never mind, tonight then She Led Two Lives, also from 1994. Cast: Connie Selecca - Rebecca Madison Perry King - Jeffrey Madison A Martinez - Mike Lewis Patricia Clarkson - Desiree Parnell J. Smith-Anderson - Angela Anderson David Wohl - Harvey Parnell and many more Story: Connie Sellecca plays Rebecca, a very immature woman who clearly doesn't know what real love is. She feels abandoned by her first husband, Jeffrey (Perry King), who's a surgeon and doesn't have much time for her, which is the normality in such a well-paid and high-end profession, especially if you work in a hospital. Her attitude annoys me because Jeffrey provides her the lifestyle she always wanted (as a socialite), with only a part time job as a professor in a university out of town. She is academically ambitious and her husband, although not perfect, is very supportive. When she meets Mike, her old high-school sweetheart, things get complicated. She doesn't tell Mike she's married and starts a whirlwind love affair that leads her to marry him on a whim just because Mike is a very pushy man and she wants to continue to live in this romantic fantasy world. Foolishly, Rebecca believes she can keep two separate lives and love two men at the same time, since she only sees Jeffrey (her first husband) on the weekends. She tries to convince herself that she loves both men for different reasons: Jeffrey is dependable and safe and Mike is passionate and makes her high. This movie is not high art, it's rather entertaining because it's a trainwreck. They try to make it dramatic but it's borderline comedic. I really wanted to throttle Connie Sellecca for acting so silly and believing she could hold the charade forever. If you ask me, there is no way I would have cheated on Perry King because he's PERRY KING. LOL. - by germaniaosorio on IMDB Thoughts: We start with Rebecca being led into prison where she begins to tell her inmate her story. In the (cursed) 7th year of their marriage, Rebecca and Jeffrey live a good life but Jeffrey works as a surgeon and is always busy, yet he tries to answer his wife's needs. When her father dies, Rebecca is offered a job at the local college which her husband agrees to and they're on a weekend relationship. Back at college, she meets her old college sweetheart, Mike, and well, begins an affair with him. To make matters worse from the start, Rebecca doesn't tell Mike that she's still married and soon enough, he pushes her into more and well, they marry as well. Rebecca really tries to separate the two marriages but it could only fail - and it does so miserably. The men never meet, yet are being at the two different apartments but Rebecca weasels her way out good anytime. Never mind, after some time Jeffrey manages to have some free time just as Rebecca wants to tell Mike the truth, yet Jeffrey catches them kissing passionately. Only now is Rebecca forced to tell both the truth and well, she gets divorced - twice, though both men wanna start anew with her but she moves away to California.

It's based on a true story but this really sounds complicated. Well, strange story.

[themovieblogonline]

Downtown Owl Review: A Respectable Effort From Rabe And Linklater

Downtown Owl, the debut film from the duo Lily Rabe and Hamish Linklater, ventures into the delicate balancing act of comedy and drama against the stark backdrop of a small North Dakota town. Based on the 2008 novel by Chuck Klosterman, the movie attempts to weave together the disparate lives of its characters in the lead-up to a life-altering blizzard. While Rabe and Linklater’s ambition is palpable, and the production quality of the film under their joint direction, alongside producers Bettina Barrow and Rebecca Green, cannot be faulted, Downtown Owl ultimately struggles to fully encapsulate the depth and nuance of its source material. https://www.youtube.com/watch?v=Q4HGKpcOKAc The casting choices, with Rabe herself stepping in front of the camera as the new-in-town English teacher Julia Rabia, and support from Ed Harris as the reflective Horace Jones, are commendable. Newcomers and seasoned actors alike, including Vanessa Hudgens as Naomi, August Blanco Rosenstein as Mitch Hrlicka, Jack Dylan Grazer as Eli, Finn Wittrock, and Henry Golding in supporting roles, deliver performances that highlight their characters' individual quests for connection and meaning amidst the monotony of small-town life. The Bad: Where the film stumbles, however, is in its pacing and narrative execution. The attempt to juggle the significant emotional arcs of Julia, Horace, and Mitch often leads to a fragmented viewing experience. Each character’s story, rich with potential, is underserved by the necessity to shift focus, leaving their narratives feeling somewhat abbreviated. The richly detailed environment of Owl, meant to serve as a character in its own right, occasionally fades into the background rather than amplifying the stories unfolding within it. The Good: From a directorial standpoint, Rabe and Linklater's debut demonstrates their clear respect for Klosterman’s material. Their decision to remain faithful to the setting and time period is visually rewarding, with the cinematography capturing the bleak, frozen landscape that mirrors the isolation felt by many of Owl's inhabitants. Nevertheless, their transition from the intricacies of theater direction to the broader canvas of film seems to encounter a learning curve. At times, Downtown Owl could benefit from a tighter narrative structure and a more dynamic interplay between its central characters. The humor, though present, wavers in its effectiveness. The film aims to juxtapose the absurdity of daily life against the backdrop of impending doom brought by the blizzard. When it hits, it highlights the inherent irony and resilience of small-town living. The comedic elements clash with the film's poignant moments, undermining the emotional impact. Notably, the performances of Ed Harris and Lily Rabe stand out. Harris, as Horace, offers a grounded, introspective portrayal that anchors the film, providing a necessary counterbalance to the ensemble cast. Rabe brings authenticity and depth to her dual role as lead actress and co-director. The production design and costume departments deserve praise for their attention to period detail, transporting viewers to the 1980s. The immersive experience is sometimes hindered by a faithful yet unseamless script. Linklater’s screenplay manages to capture Klosterman’s voice, yet struggles to condense the novel’s broader themes into the film's limited runtime. In terms of thematic exploration, Downtown Owl makes commendable attempts to address the universal search for meaning against the forces of nature and societal expectation. The blizzard symbolizes life's uncontrollable aspects and the characters' challenges, highlighting nature's power and human fragility. The metaphor is powerful but lacks exploration of existential themes. Overall: Ultimately, Downtown Owl is a film of unfulfilled potential. It brings together a promising cast, an evocative setting, and a compelling premise. But, it fails to coalesce these elements into a fully satisfying narrative whole. For fans of Klosterman’s novel, the film offers a nostalgic return to the world of Owl. For newcomers, it may serve as an intriguing, albeit uneven, introduction to the themes and characters that populate Klosterman's work. As Rabe and Linklater's directorial debut, the film displays a genuine affection for storytelling and an earnestness in execution that is commendable. It represents a first step in what one hopes will be an evolving filmmaking journey for the pair. While Downtown Owl may not reach the heights it aspires to, it demonstrates the potential for growth and refinement in Rabe and Linklater’s directorial talents. https://youtu.be/yf4xdn2LUBk Read the full article