#Tom is a chaotic character is his own right

[freckled-forests]

Alex Rider is a good show because the core trio is so evenly balanced Alex can DO the stuff and Kyra can THINK and HACK the stuff and Tom holds EVERY OUNCE OF COMMON SENSE

[andradrawsstuff]

An in-depth character analysis of Skipper: pt 2

So, tv Skipper is a bit of a contrast to movie Skipper, as I stated in my MASSIVE ramble in part 1 💀 Even though he’s so different, he does have his quirks and some decent character development. It’s also great to see how much Tom’s voice acting evolves over the seasons and I thank him so much for putting his heart into it 🥺

This is also going to be a long one I am so sorry, I tried

This version of Skipper started off pretty similar to his movie counterpart as the show was finding its footing, but soon evolved into his own version of himself as the series went on. In early season 1, we see Skipper be somewhat down to earth and have quite an honourable attitude. He’s not super shouty-screamy and we see him being pretty domestic, which is probably because season 1 is pretty slice-of-life compared to the other two seasons.

I think the main points to mention here are in Happy King Julien Day and Assault and Batteries - in hkjd, despite all sorts of interruptions Skipper gets a little angry, but doesn’t really act upon it, he just minds his own business. Eventually he confronts Julien, but remains civil throughout the entire thing. In Assault and Batteries, he takes the batteries but does so sneakily to minimise confrontation. And when Julien chases him, he doesn’t fight. Throughout the entire episode (and a good bit of the show), he remains somewhat civil and tries to minimise confrontation with Julien. He’s also pretty sweet at the end when he offers a high five like bro that’s adorable I can’t-

We also get to see some decent character development for him in season 1, as there’s a lot of Skipper-centric episodes. In Needle Point, Skipper realises he should take the shot so that Private doesn’t get sick - he takes accountability for his actions, and his conversation with Private is pretty sweet. I love that you get to see Skipper being sweet (especially with Private) in the series, since they’ve had the time to show a bit of his vulnerable side here and there.

But I think that the most important character development point in Skipper’s story is Miss Understanding - Since the start of season 1, Skipper was pretty sexist and it gets so bad that he thinks he can’t do anything he did before because he’s a girl. He eventually saves the guys and the episode comes to a resolution.

But here’s the thing, not once is he sexist after that (Unless I’ve missed a few things here and there but I think he genuinely learns his lesson) which makes me think that his sexism is intentional on the writers part bc they do make it a point that it’s wrong, so w tpom and it’s pretty neat and rare for an early 2000s show to cover. This is why I love love love season 1 Skipper - he’s flawed but in a realistic way and he usually makes an effort to fix his mistakes. He’s also quite nonchalantly chaotic like in the movies, whereas in later seasons he’s more aggressively chaotic if you catch my drift? Idk how to explain well lmao.

As for his other traits, he’s pretty paranoid and egocentric, but still as suave, sassy and sarcastic as movie Skipper. He’s defo got a lot more of an “I’m right and you’re wrong” attitude than his counterpart and is a fair bit grumpier which is pretty funny. He’s got a bit of a hero complex here (eg. Treasure of the Golden Squirrel) and at first he’s arguably more chaotic good than neutral compared to the movies, but it’s not such a big change that it makes it bad in any way. I mean, he still kinda has it out for the humans and chooses violence without a second thought which is hilarious to me 💀

As the series progresses, Skipper starts to get increasingly paranoid and aggressive, and a lot of his negative traits start to show more. In early season 2 he’s fine but you can tell when the writers were starting to lose the plot both with the characters and stories in late season 2. It kinda feels like his character took a 180 turn and went backwards, but honestly it’s not that noticeable and I just happen to love analysing these things. I mean, it also happens to Kowalski, who around the same time starts becoming a bit of an asshole and gets worse in season 3 - in Snowmageddon, he’s rlly dismissive of Private and Fred.

I think Skipper also ends up suffering what I like to call the “Sabrina Spellman treatment” because he starts making mistakes and refusing to take accountability, usually pinning the blame on someone else without repercussions. I guess it’s the only real “problem” I have with his character in the series but honestly it’s just something that tends to happen as shows go on for a long time and it’s not all that bothersome. But the thing is, he starts getting better again in season 3 and he gets more character development (eg. Snowmageddon where him and Marlene work rlly well as a team and Antics on Ice where he’s pretty much doing everything for Private 🥺) so idk what happened there 💀

Overall, tv Skipper is still a loveable little guy and I find it so funny when he gets angry out of nowhere, my fav crazy Skipper moment being the one where he swears he’s never gonna end up in Hoboken and starts screaming his lungs out 💀 (absolutely top-notch voice acting as always ofc).

But with this, I hope that you’ve enjoyed my ridiculously long character analysis and feel free to tell me your thoughts, this is all just my opinion after all :)

If you’re somehow still reading this I congratulate you, you get a gold star ⭐️

[theroundbartable]

Celebrities I think would go well with one of the tumblr vibes:

Neil Gaiman, obviously. He's our cryptid.

Fight me on this, but Ryan Reynolds is deadpool in the flesh and deadpool has like, created this site or smth.

Tom Felton. Honestly, does he have a blog here called drarryking? I bet he's here already in hiding.

David Tennant. But like....on accident. He wouldn't understand shit on this side. He's already living a pseud and would take a new one specially for tumblr and post totally normal stuff and like... Visit this side once a month, cause he get's like 5 reblogs out of it. Then he sends a cat meme which goes off and he'd be totally lost. He would also, unironically, text neil Gaiman for the next season of good omens in the ask box and get a "wait and see" answer out of it.

Colin Morgan. I just think it would be funny, if he were here, not even with a pseud or posting anything at all. He'd have like no Interactions, he'd just be here on an empty blog to see what's going on and is silently surprised that the merlin fandom is still alive. He wouldn't even do it often. Just like... Once a year on accident, when he suddenly remembers that he has a blog here. On the Chance that he interacts, he's instantly blocked, cause we think he's a bot.

Taika Waititi. The poor chaos of this man. He's a creator. He'd post memes and updates of his works and still somehow end up among the average tumblr user ratio.

Mary Shelly. If she were alive. Or maybe that doesn't matter in her case.

Alice Oseman. But that doesn't count. She rose from the tumblr grave and made herself known to the outside world. She was born here and here she will live. The outside get's to see what she accomplished, but we are her roots and the grovel that shaped her.

These are all the people that I know. I'm bad with names and mostly watch cartoons. Lel.

People who I think shouldn't/ wouldn't be on this side:

Anthony Head. I want him here though, lol.

Bradley James. Yes, i'm going through the merlin cast first. And Bradley is cool and all. But he doesn't have the vibe.

Angel Coulby. I dunno. I think she's above this hellsite. She'd be falling from grace and I simply cannot imagine it.

Katie McGrath. Albeit a close one.

Michael Sheen. He's chaotic enough. But I can't imagine it. Maybe i'm reading too much Aziraphael in his character. But he's the chaos on a good website, while David is the good on the hellsite.

Elliot Page. I dunno. I think he would go to a cooler website, like instagram or i dunno. Even facebook. He'd be welcome here, and I think he might visit from time to time. But I don't think he'd have a blog of their own.

Daniel Radcliff. No?

jensen Ackles. I don't think tumblr could handle him

Misha collins. He's here. Kinda. In spirit. But he can't quite reach us. He's the ghost that haunts us. He can't have a blog.

Disclaimer:

#this is a Personal headcanon. You can disagree or agree with all of these and I won't be offended. This is meant as a joke.

# some of these people might already be here. Reality overrules my headcanons.

#i realise I mostly know male actors. But Not knowing things is my right as a person.

#please add your own ideas, or disprove mine. This could be fun :)

[mobius-m-mobius]

I cannot believe that season. truly just. there was not a single episode I didn't sit down to without a genuine conviction that *this* would be the episode where they spit all over everything I loved about the show. I braced constantly throughout the episodes as they kept setting themselves up for Very Stupid story choices only to pull the rug and go "HAHA surprise, idiot!!! We've given you exactly what you wanted <3". until the final episode which was NOT what I wanted and also exponentially better storytelling and character development than any of the ideal scenarios I'd constructed.

something deeply meta about it all. truly a chaos season for the chaos god, where the most chaotic, unexpected, transformative thing they can do is to be good.

Spent the day processing my love for this season only to have your message sum my thoughts and feelings up perfectly, thank you so very much for sending it 💖

Same as you, not for a second did I go in truly expecting anything from s2. Owen and Mobius have my heart, always will, so primarily the show was a vehicle to provide whatever crumbs of his scenes and chemistry with Tom I could get and with the start of every episode I braced for the moment that would get ruined in some way, only to be continually hit with everything I've ever wanted in a show or pairing right up until the finale. Which, while not what I would've chosen, was beautifully crafted and an almost Shakespearean tragic romance that will haunt me for the rest of my days and is still infinitely better than the nightmare scenarios I'd been floating around in my mind so at least there's that and it's impossible not to be thankful for eps 1-5 for giving content anyone could dream of and more 😅

Besides the obvious ending, I'm mostly crushed our Loki and Mobius didn't get a proper goodbye but honestly believe Loki decided to seek out s1 Mobius instead knowing s2 Mobius loved him too much to ever let his sacrifice happen and it would've been too much to bear, so having made his mind up already he at least tried to visit a version most likely to validate his choice. Just wish the Mobius now waiting until the end of time had at least a similar opportunity, but I'm just thankful he didn't lose his memories and could make his own decision that his faith in Loki is what's carried him before and will continue to do so now.

The flip of their characterization from order or chaos is exactly what has me convinced Lokius will reunite because how can they not with such an open ended future?? Even in separation they revolve around each other and they're the only ones left wanting. Mobius and his life are in ruins with nothing but the passage of time and possibility of some spent with Loki ahead while Loki's surely going to find a way to meet halfway when the choice of order has not only made him potentially the most powerful being in existence but one who spends eternity looking at the only person who ever saw him back.

[zalrb]

So I saw this tweet:

https://x.com/logankenny1/status/1716391512307576945?s=46&t=jR-79KdUQuYpe1B06LLy9g

And it refers to this tweet:

https://x.com/vesperlynds/status/1716278778911989818?s=46&t=jR-79KdUQuYpe1B06LLy9g

And i guess I just wanted to know what your thoughts are? Personally idk if this is true because I’ve never noticed something like this while watching any movie. But thinking back to the Wolf of Wallstreet specifically, I don’t think it’s true for that movie just because I specifically think he elevated Jonah Hills performance. But I’ve also never seen him outside of a Scorsese movie so that could just be Scorsese knowing how to direct him.

It's funny because I hadn't seen these tweets but I had an inkling of what they were going to be about before I read them and I have to say that I have never gotten the impression that he elevates other people's performances the only exception being -- and it's funny because it's the only time I've ever thought he had chemistry with a scene partner -- Kate Winslet. I can see the collaboration there and while Winslet got all the praise for Revolutionary Road, I thought his performance overtook hers despite the fact that I also thought they were collaborative.

But I also don't think he's ungenerous either. It's more like I've gotten the impression that other people have to meet him with the same energy or bigger energy, more gravitas, and not kind of shrink in the Leo-ness of his acting and then they can do something together. So for instance for Wolf of Wall Street, they knew Margot was right for the part when in the audition, she's not cowed by Leo, she gets in his face, and I think she slapped him which wasn't scripted and she thought she blew it but they were like no this is what we need. For Jonah, I don't think he elevated his performance but I remember the first time I watched it and not knowing how to feel about the movie was because I thought they were both acting in different movies, I thought Leo was acting like he was in a drama and Jonah was acting like he was in a comedy. When I watched it again I realized that it worked that way and that Jordan is actually a pretty funny character ("I'm a master diver, do you hear me? A MASTER DIVER) but Leo's humour, to me, got cowed by Jonah's natural ability to be funny and it felt a bit like competing forces but Wolf of Wall Street is actually a perfectly calculated chaotic mess of energies that work.

For The Departed, he's with heavy hitters, he's with Jack Nicholson, he's with Martin Sheen and then Mark Wahlberg has his own big energy so we're not sucked into the Leo-ness of his acting. I wonder if that would've been true if he had more screen time with Matt Damon who I've said is kind of just a guy.

The Aviator, I mean he goes toe to toe with Cate Blanchett, but it's Cate Blanchett, she has gravitas, she has poise, he has to meet her energy.

I'm also very aware that so far I'm only naming Scorsese movies, lmao.

But when you have something like Gatsby, I mean granted it's Gatsby, but do you even remember who else is in the movie or is it just Leo and a Lana Del Rey song?

And that also requires thinking about the roles he chooses because it's more than just being the lead. You have something like Inception, JGL, Elliot Page, Cillian, they all hold their own but they're all characters who are sort taking point from Leo's so their energies are going to be a bit different, Tom Hardy -- I really feel like this is the only Tom Hardy role I actually enjoy -- matches his energy but he's pretty much the only one.

Catch Me If You Can, his character is supposed to be larger than life, he's a teenager giving the FBI a run for their money so he has to exude a certain energy but when I think of Catch Me if You Can, I almost forget Tom Hanks is also in it because Leo and his performance take up so much space and I don't even necessarily mean that his performance is so good it blows everyone else out of the water, it's like what that first tweet said, there's no space or air around him, he takes that all up and I don't think Tom's energy matched that even if he's supposed to be a more understated character.

I don't know if any of that makes sense, lmao.

[kiwibirdlafayette]

Hi friends. Remember how I said I could write an essay about c!Tom Syndicate and his characterization.

guess what I did LMAO

Ted talk below ft. My personal interpretation of Tom’s Mianite character in mainly S1 and a little into S2 based on how I perceive his actions and interactions -

Disclaimer: If I feel off the mark it's possible, and if you disagree with what’s said, that's also totally fine.  I’ve never watched the entirety of Tom’s POV, I aim to someday and will inevitably add onto this. Also. All mentions of characters refer exclusively to the RP-verse, none of this pulls into consideration dynamics of the irl CCs, ofc.

-or, me overanalyzing what drives him, why he comes off as solely and only “evil and chaotic” (despite being a lot more complex than that) and how the difference in the dynamics of devotion make the killing Dianite at the end of S1 all the more impactful, as it directly influenced how he perceives relationships with others through the season, and drove the change in dynamics with the others through S2.  

From the start, we come to know two universal truths about Tom’s dynamic with his god in Season 1- 1) Dianite, as the god of Evil is ruthless, and isn’t forgiving when Tom messes up, and 2) Tom’s loyalty lies in whoever will reward him the best regardless of whatever he need go through, even if those promises of glory are empty. 

So, like, while it’s kind of defined that while Jordan's devotion (and borderline 'blind faith'; but a topic for a different essay) gets him adoration and love from his goddess, when Tom is devoted to his god, he gets gifts. Every time he kills for his god, or completes a task of some sort, Dianite awards him with fancy armor and swords and stuff and the like. And when he’s failed, those things get taken away. What this does is create in his head the concept of a ‘devotion transaction,’ where loyalty, love and affection is something you have to earn the right to hold onto; and can be stripped away at any time. I think this act alone is what shapes Tom's whole relationship with love and loyalty; and shaped the dynamics of his relationships to a type of dependence and a constant need to prove himself to maintain those ties. 

Or alternatively, the only way to stay close to someone is to do everything in your power to keep their favor, lest you be smitten down, or worse, abandoned completely. This plays into whereas Jordan's devotion to Ianite is a ‘I will do anything for you even if it kills me or may not be for the greater good because I love you so much I trust your every word’, (becoming a love language of acts of service out of unconditional love) Tom’s devotion comes more from a place of fear to appease or be killed because Dianite has him in a literal-metaphorical death grip, translating into his love language of overwhelming clinginess to what material and emotional ties he has and lashing out when it feels like those he can depend on are against him and seem to be trying to sever those ties (World War Mianite). 

The lashing out could also be a thing he picked up from Dianite who does that when Tom seems to be betraying him, but I don’t particularly want to get too much into that. The bottom line is mainly that he hates being alone, he hates having no one to depend on, and that notion alone is enough to make him take desperate measures.

Because despite wanting to be a lone wolf, or so badly to be on his own, he needs other people to survive, just like he needs Dianite to survive. On his own, one could say he’s kinda pathetic /lh, unrealizing how much his friends actually lift him up from that. 

I can’t remember who put it how, but I really align towards the idea that Tom isn’t inherently a bad person, nor intentionally wants to be the villain of the story- He just wants to have fun in the end. However, he’s so dependent on his god because in a way Dianite acts as his lifeline, the guy who picked him up because he wasn’t Mianite’s kind of champion in the same way that Tucker was, Dianite's the guy who helps him out when the ‘good guys’ are only ever against him. Almost in a way he leans on Dianite, he puts his devotion before most other things even if it means putting aside fucking around times because if he can't prove himself to his god, then it opens up the possibility that everything he's depending on could go away. His god is not merciful, his god could drop him at a moment's notice, and he'd have to be godless among his peers who have Mianite and Ianite (respectively) behind them to back them up. And Tom wouldn't have anyone. This of course, not to say that he thinks that Jordan, Tucker, and Sonja, etc. are solely and only against him (and don't care about him) but more so that at the beginning, he cares more about self-preservation in an anarchy server dominated by war then necessarily accepting that his friends don't want to kill him at every turn. It isn’t till the end of the season when we see that shift, and how that builds towards his infamous betrayal of his god.

So that reliance on Dianite, and focus on what Dianite wants versus his own needs/the need to connect better with his friends (who he is taught by Dia are only against him because of who he follows'') translates into the "overexaggerated evil chaos destruction" that became his primary character archetype where instead of the chaos being fueled primarily by his own funky little brain, he basically does all that he does to appease Dia and keep the god on his side, and ultimately keep him alive. Because from a nuanced perspective, it’s not really that he’s following Dianite, he’s Dianite’s mercenary- or, instead of it being a “we help each other out”, its a “you do my dirty work” kinda thing.That difference in dynamic ends up isolating himself from the rest of TR also then giving him that validation that yes, he can be independent from those Mianite plebs and 'doesn't need nobody' (ironically all while continually being unconsciously chained to Dianite) However as the season progresses (and in my personal headcanon involving Syndisparklez) his attention starts to shift once he realizes that he belongs to that group just as much as Jordan, or Sonja does despite being on the opposite side of Mianite and Dianite’s feud. And unlike Dianite, they indulge on his wanting to just have fun and mess around, versus the “everything is a puzzle piece falling together in working towards some specific end goal and every little mess up only sets us back” mindset that Dianite imparted through the way he defined devotion when it came to his champion. And once he starts to slowly accept that kinder reality and hang more with his friends (god alignments aside), he loses that emotional and material tie to Dianite (but never loses the dependency of never wanting to be on his own) and starts to depend more on his friends, clinging to them as he had wanted to, involving himself with more things they did because it gave him a space to just be him. 

And it is this arc of moving away from "fighting for his god to prove himself so that he's always being there for him” into ‘wanting to prove himself to his friends to show he does care and that everything not be a turf war'' that feeds into the impact of the cumulative event of him killing Dianite at the end of S1. It serves as a literal act of severing any ties he had with devotion and putting the ties between him and his friends at the forefront. At the same time, it symbolically visualizes Tom pulling himself away from Dianite’s grip, telling himself he doesn’t need Dianite: he is capable of pulling off chaotic stunts on himself, able to hold his own against the Mianitees and Ianitees, and isn’t just some pathetic little bastard man that was pulled out of the ground. And the by becoming Mecha-Dianite, Tom essentially becomes a pseudo-physical manifestation of his liberation from Dianite's chains where he doesn't have to depend on anyone. He can depend on himself, he is capable and he doesn't need to drive himself into the ground trying to prove his worth.

In season 2 when Dianite comes back, Tom has this different sense of self about him, because this Dianite is different, and he’s different. He holds onto the Mecha-Dia status like a badge of honor; he won’t fear this god. And he finds eventually he doesn’t have to. This Dianite isn’t inherently "evil", in fact, he’s near opposite. He still rewards Tom, but not in the way S1 Dianite did where he was breathing over Tom’s shoulder just waiting for him to inevitably fail some specific mission; in fact, since he’s dead he’s barely there. S2! Dianite also has greater affections to Mot, whom he treats more so how Ianite treats Jordan, where loyalty-devotion translates into genuine love. And in a way I think that fact plus his newfound separation from the notion that he needs his god to survive prevents him from falling back into old mindsets. Instead, he redirects a similar, but different emotional dependency from what should've gone to his god, now to Jordan (in not necessarily a romantic sense, despite what my normal behavior on this account might suggest).

Because even though he might have persona-autonomy, and isn't bound to a single individual defining his worth, he's still not someone who thrives on complete and utter independence. Tom still remains someone who needs and relies on having someone to fall back on to help him out, give him things, build things for him and so and so forth - and the need for that kind of connection continues to drives him to be so energetic and passionate for his relationships with others-- but instead of it being out of fear, it's out of affection. A kind of nuance in someone's love language where time spent together is driven not by needing it otherwise you have nothing, but clinging onto someone because they've brought into your life a "stability" (in quotes cause nothing about Tom isn't volatile) that keeps you alive, and fuels a different kind of fire. Even if he can't prove he's the best to them, it doesn't really matter anymore, because he needs them out of seeking a type of unconditional love since being completely alone or isolated would just drive him batshit. While a state of self-identified independence juxtaposed against emotionally dependency was so hurtful to him in the past, it has shaped into something that ended up more positive; as a way of becoming infinitely bonded to those he cares about, giving them his all and fighting with all his heart to hold onto them.

if you made it this far. thanks for reading my brain worms ily smooch smooch /p <333

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

PS. hopefully this art makes more sense now ;]

[theboytatu]

the neos as succession characters

(since there are way more neos than fixed cast members i'm taking a creative license and using in universe extras)

taeil - just a waystar employee that is really efficient at his job. for some reason he always seems to be around the higher ups but no one knows what his job actually entails. he comes and goes and when logan is like "who the fuck is that guy?" the camera just pans to him like :-D

johnny - literally cousin greg. he got off the train from chicago and immediately got himself tangled in a corporate fraud scandal. he posts vlogs to his failed youtuber channel like "hanging out in my cousins' yacht" and "we gave ten thousand dollars to a hobo to smoke a dead rat"

taeyong - naomi pierce. he's already a manic pixie dream girl so it'd be great to see him run into a torrid love affair w kendall and do coke together while they keep ignoring each other's red flags. also taeyong is so hot he would pull off naomi's dresses better than her

yuta - shiv. he's already a chaotic neutral but i feel like he could really do shiv's character justice and stop her from being a cringe failed girlboss in the process. yuta being the head of his own company would literally be a win for feminism btw

doyoung - tom. rip to all of you but i'm right. he already sings like he's literally on the brink of divorce and his wife is asking him to have a threesome w a girl but then wants him to only watch - all while trying to keep afloat a corrupt company where he got the short end of the stick to be "the face of the operation"

jaehyun - connor. he's already got the failed acting career so it makes sense that he'd turn into a patron of the arts for his paid gf

jungwoo - willa. (hiii jaewoo shippers!) he could literally make willa the most interesting character of the show and i think he'd enjoy humiliating the roys a lot. but he'd become besties w yuta's shiv

mark - cousin johnny's friend from college that is studying law but can't yet give much legal advice because he still hasn't gotten to that class. they smoke a ton of weed at one of johnny's amusement park gigs and he's the reason why johnny threw up in his costume and got fired

haechan - the tabitha to some poor fuck's roman. idek if he's actually tabitha all i know is he's there for a good time not a long time and promptly runs off with the roy's hush money after catching logan snorting coke off a hooker's ass or something.

ten - literally stewy. he's both morally and sexually ambiguous but everytime he shows up everyone is delighted. ppl keep asking for him whenever kendall goes somewhere like "hey why didn't you bring stewy?" before he goes and cries in the restroom

kun - kendall. he has three bored ape nfts and then word gets out that kun roy purchased nfts and the stock price crashes cause everyone sells theirs. look me in the eye and tell me that would not happen exactly like that

yangyang - kendall's dealer probably. like he's just around enough for it to be funny because everytime he shows up kendall is like "did i call you?" and thinks he forgot. roman has a psychosexual gay crush on him and asks for some ketamine at a party before yangyang dabs and shuts him down.

xiaojun - one of tom's cringe failed friends from college or something. he just shows up once or twice per season but he always seem to be slightly uncomfortable and gets roped into weird social situations with the roys

hendery - a friend of roman from like his weird fashion circle that doesn't do much and hangs around at the roy's parties before making fun of kendall kun

winwin - a model that shows up once in an episode w the roys and fucks off to never be seen again, yet the fandom never seems to shut the fuck up about him

[mendaciumhq]

CHARACTER NAME: barty crouch jr

CHARACTER FACECLAIM: maxence danet-fauvel

CHARACTER AGE/DOB: feb 4th 2004 / 19 years old, almost 20

CHARACTER PRONOUNS/GENDER IDENTITY/SEXUALITY ETC: he/him, genderfluid, bisexual/romantic

CANON OR OC: canon

CHARACTER FANDOM: hp/magical world

CHARACTER PROFESSION IF RELEVANT: barty has an apprenticeship on the committee for experimental charms. this is in order to keep up appearances during his time as a death eater to retain his cover. now he's a double agent, it's even more important to keep him busy while working on what he needs to. it also keeps his parents somewhat off his back.

SCHOOL INFORMATION/HOUSE/ETC: hogwarts, slytherin

ALIGNMENT IN THE WAR & OPINIONS: for a long time, barty was entirely dedicated to the dark lord. he took the dark mark at 16, one of the youngest, and was entirely caught up in not just the ideology of importance, but in the way voldemort was with him. barty was always been exceptionally smart, but never quite good enough for his father. barty realises now that voldemort sought to manipulate that detail for his own gain, but at the time, barty truly believed that voldemort saw something in him, and that he'd found a place of importance. he used it as validation for every dark and cruel thing he had to do along the way. when barty becomes aware of regulus' plan through pandora, when he spends this time thinking regulus is dead, all because of things tied to the dark lord… it changes something in barty. he's still a selfish, self centred bitch, but barty had always loved his friends dearly. his loyalty to them in fact, seems to win. and it's turned him angry and spiteful to the dark lord. something that has only gotten worse since evan's 'disappearance'. now, he's working somewhat alongside the order, but mostly, it's about his friends and himself and sticking it to the dark lord.

THREE CHARACTER AESTHETICS:

ink smudges on your hands

a single shot of moonlight in a dark forest

sneaking around with your friends at 2am

ONE SONG THAT REMINDS YOU OF YOUR CHARACTER:

family line by conan gray

ANY IMPORTANT CHARACTER NOTES/FURTHER BIO/HISTORY: from a young age, barty knew it was incredibly important that he be the smartest in the room. it was something pressed upon him by his father in particular-- the idea that he should bend to nobody (except him, of course, on all fronts). blood purity wasn't spoken of as the meaning here, but barty paid attention to his surroundings. picked up on the pureblood families associated with. it was subtle, but he came to understood it was a part of his life. but more than anything, was the idea of knowledge based superiority.

he had to be the quickest, the smartest, the sharpest. there could be no room for error, and he must only do great things in life.

it meant barty tried desperately hard in school. he did well, exceptionally so, top of his many, many classes. but it took work on some fronts, while others came with ease. but always, in the back of his head, his fathers voice: do more, do better, what else could you succeed at? so while barty definitely did well, more than above average, it also meant his personality leaned more to chaotic outbursts. he would get into trouble randomly, for seemingly ridiculous things. never vicious, never cruel-- or, if that was going to be a thing, it was only to people who deserved it, ones who hurt his friends first, and never in a way that would get him caught.

it was all what led to catching the eye of the dark lord. tom riddle came into barty's life the way he did for most: through parties, pureblood events. tom seemed to always be there, watching, waiting to recruit the right person. barty didn't truly know what he was getting involved in until he was already in too deep. too tangled up, with tom knowing every detail of his life-- barty desperate to show off, to gain approval.

it should be known, that while barty feels remorse over the things he has done in the name of the dark lord, it's still very complicated and he's still a deeply selfish and at times, cruel person. there's no line he won't cross to achieve what he needs to.

OOC INFORMATION: 

NAME/ALIAS: alex AGE: 29 PRONOUNS: he/they

admin alex app.

[wozman23]

Alan Wake II - My Spiral into Its Madness

[THERE WILL BE SPOILERS HERE. AND THEORIES SURROUNDING THE ENDING. IF YOU PLAN ON PLAYING ALAN WAKE II, DON'T READ THIS. GO PLAY IT!!!]

After trudging through every square inch of The Dark Place, credits have rolled on Alan Wake II, and the platinum trophy is mine! It's such a phenomenal game! It's got so many qualities and small details that make it such.

First off, after a decade of hoping for a sequel, I'm just so happy that it has finally come to fruition! And I'm so pleased that its... RETURN... was in such a superb manner. Director Sam Lake himself said that he's “happy” that this is the Alan Wake II we got. It wasn't Remedy's first draft. Both Quantum Break and Control spun off of Alan Wake failed sequel concepts. Over the last 13 years Remedy has honed their skills, and introduced and iterated on many concepts since the original Alan Wake. And the result here is a culmination of all those years of hard work.

Connected universes and multiverses are hip right now. This has been a concept in video games for quite some time, with people suggesting that merely an Easter egg like a newspaper mentioning a “deadly virus” in Uncharted 3 means that The Last of Us and Uncharted coexist. Some people even go as far as to say that because there's also a Precursor Orb collectible in Uncharted, Jak & Daxter also reside in that universe. At a certain point, it becomes a bit absurd. But Remedy has really found unique and interesting ways to tackle the concept of a shared universe that always feels organic and never forced.

Remedy doesn't own all of its IP, particularly Max Payne or Quantum Break. Yet they've found creative ways to incorporate characters and ideas from both of those franchises. And it feels as if these plans have been in place since their Alan Wake's inception, if not earlier. I never played their Max Payne games (only Max Payne 3) but I'm hoping the talks of them remaking them changes that. Because I'm really excited to see not only what they were about, but how they'll almost uncertainly tie even more things to their connected universe.

Alex Casey is certainly a nod to Max Payne. They share many similarities, even down to the Sam Lake likeness. Yet within Alan Wake, he's also just the lead character of Alan's past novels. Does he even really exist? Was he simply birthed into the world by Alan's writing? Multiple times, events contradict themselves so that were never really sure what the truth is. And I think that's one of the most fascinating things about the Alan Wake franchise, and their other works by extension. Every single character in the world is a walking contradiction, an enigma. Alan Wake, Thomas Zane, Alex Casey, Saga Anderson, The Anderson brothers, Tim Breaker... every character intertwines like a chaotic ball of yarn.

I think this is never more clear than with Thomas Zane. At face value, he's an auteur, a muti-hyphenate, who became trapped in the Dark Place after his own events at Cauldron Lake. In the original game, he acts as Alan's guiding force, often a deus ex machina. Who or what exactly he is or was was one of my biggest questions entering the sequel. I'm still not sure. Oddly, he looks just like Alan. Ahti, an eccentric character we'll talk about later, even refers to Alan as Tom. And much of Tom's work is credited to Alan Wake, either through their Americanized names, or Finnish names. It wouldn't be crazy to say that Tom doesn’t even exist, and is merely a plot device, a character created by Alan himself to deal with his own situation. Yet somehow the inverse could also be completely true. Maybe Tom created Alan to deal with his own trials of being trapped in the Dark Place. Maybe he wants Alan to replace him in The Dark Place...? Then there's the Clicker, a switch that apparently was cut off of a lamp that Tom had, that Alan also had a kid to help him combat his own fears of the dark. It's also known as an OOP – an object of power – thanks to Control's Federal Bureau of Control, postulated to somehow act as the key to making written art come true. The ambiguity and overlapping with everything is both intriguing and maddening. And that nebulousness is exactly why I love Alan Wake and Remedy so much.

The same questioning could be applied to every other character. Has everything just been created by Alan to deal with his situation? Is that situation even real, or all in Alan's head? How do you tell the truth from the lies? At the end of the original game, The Dark Presence, manifested as Barbara Jagger, tries to convince Alan that his entire world is a delusion, a ruse created by him so that he doesn't have to deal with the fact that he was actually the one responsible for the death of his wife. It's a short interaction, and it's brushed off by Alan as an attempt by her to stop him from defeating her, but who's to say that it's not the truth? Maybe everything we're playing is merely a dream. Maybe Alan's bad temper or addictions either drove her away or got her killed...

Alan Wake II really doesn't answer a lot of questions. It more-so just doubles down on this approach of contradictions and confusion. I'm really no more certain who Alan, Tom, and Alice are, or whether or not they even all exist. And now we've just added more characters and more questions.

I tried to go in blind. I really only knew that Alan was in The Dark Place and there was a second playable character, Saga Anderson. I feel like I put a few details together early in the game as to who we were interacting with. I knew we'd be running into Tom. Yet despite knowing Saga's name, her lineage reveal took me by complete surprise! I think the differences in race from the Anderson brothers made me never even consider that. However, because of it, I do have a theory on one of the game's biggest unanswered questions: Who is Saga's father?

Mr. Door, Warlin, is a wild card. We really don't know anything about how he operates or what his motives are. But I have some theories! Some of which I came to. Others which I agree with after falling down the rabbit hole of internet debates. Warlin is Saga's father. There's really not much to go on. Tor and Door himself say a few things that seem to suggest it. Then there's the man researching Door, Tim Breaker, played by Shawn Ashmore – who also gave his likeness to the lead in Quantum Break, Jack Joyce. I don't remember a lot about Quantum Break, but his use of white boards can't be coincidence. Nor can his name which is one character shy of “time breaker.” This has to be another situation of skirting IP. Tim does have family in the world of Alan Wake via the Breaker family in the Bright Falls Sheriff Office. Are these two characters one in the same, mirror images in opposing universes? I'm curious to finding out more about this as well, and what role Tim plays in everything.

The internet also helped with with a few theories as well. Early on, Tim mentions a “redhead.” I assumed it was a reference to Jesse Faden, the protagonist from Control. But it would also reference Beth Wilder from Quantum Break. In these situations, both characters share character models, which isn't unheard of for multiple project from video game studios. But here it just feels like it has to mean more. Could they also be multidimensional counterparts? Clearly as is the case with Casey and Breaker, names don't have to be the same. Yet the person essentially is.

Then on the flip side of things, you have characters who don't look alike, but feel like they're counterparts as well. Mr. Door and Quantum Break's Mr. Hatch share some interesting similarities. Door... Hatch...synonymous...? The unfortunate thing here is that I'd assume Mr. Door was originally intended for Lance Reddick, the actor who played Mr. Martin Hatch, before his untimely death. (Lance is mentioned in the credits.) But a recast was required. Again Martin... Warlin... all to similar as well...?

One thing is for sure: I need to play Quantum Break again.

Details like that also make me consider some other absurd theories. Are Alan and Tom counterparts from differing dimensions? Perhaps either Alan or Tom doesn't truly belong in the dimension we're witnessing. Maybe that crossing of universes is responsible for so much of the chaos, similar to the show Fringe... which also featured multiple dimensions and Lance Reddick. Let's make it canon!

Ahti probably knows, and he's perhaps the most interesting character at this point. Appearing first in Control, as a janitor, he seems to be omnipresent and all knowing. He reminds me a lot of Tom from the original game. The janitor trope has come up many times before: Neil Flynn in Scrubs, Mop Girl in Disenchantment, Ahti... what's that about? Now, finding his way into the world of Alan Wake, he just creates more questions, straddling the line between eccentric old Finnish man and god. Him singing was great. Actor Martti Suosalo who portrays him won a BAFTA for his role in Control, and deserves so much praise here as well. I just watched a podcast with Sam Lake talking about how talented he is as an actor and singer in Finland.

Maybe I need to replay Control as well... There's also so much lore here about Altered World Events, Objects of Power, and parautilitarians to further explore. As well as plenty of direct references to Alan Wake that may now be a bit more enlightening. But back to the the all knowing and the omnipresent.

The Old Gods of Asgard occupied that role in the original game, and still do somewhat. Here we learn that they're immune to the effects of Alan's writing, and by extension so is Saga. While her mother, Freya, is dead in this time line, she would certainly be as well, should she or one of her doubles appear.

I love The Old Gods of Asgard so much, as characters. I'm curious to see what's in store for them considering the conclusion of the game. But I mainly like them for the musical contributions that come from the real life band Poets of the Fall! Remedy has done a terrific job commissioning music throughout the franchise. The songs that served as transitions between chapters in the first game were great. Here, they're even better! Not only is the Old Gods stuff amazing, but the other collection of artists really impressed even though they're outside of my typical genre of choice: rock. I'm not even sure what genre to put a lot of the stuff in. Many of the tracks feel kind of industrially, like a female version of Nine Inch Nails, or maybe Billie Eilish. And their excellence makes me want to explore more artist in that vein.

I talked about this last time when I wrote about Alan Wake. More games need to commission musicians to create unique songs for them. Everything here feels custom crafted for Alan Wake. Similarly, one of my other favorite games, Psi-Ops: The Mindgate Conspiracy - which I'm still hoping somehow gets a sequel after nearly 20 years - also commissioned a band, Cold, to write the song "In My Mind," and it was also perfectly executed.

I think Remedy's dedication to partnering the project with excellent music is also indicative of another of the strengths of Alan Wake II. It's a story about an artist, that values artist. The overall art direction is beautiful despite it dire and macabre tone. It's intermingled with beauty. I just read today on twitter about how all of the graffiti scattered throughout The Dark Place was created in collaboration with graffiti artist, Irwin Suimuri. So many times, the art and artists in games do not get the credit they deserve, so it's lovely to see people appreciating some of the finer details in this large project.

This reliance on art and sound really comes to a head at the point that many are calling the game's best moment: it's musical section. Apparently it was almost cut because it was hard to execute, but Sam stubbornly stuck to his guns and made sure it shined. I had a grin on my face the entire time, especially watching both Alan and Sam dance. (Was it Casey or Sam himself since he's also appeared in the world?)

The first game had glimpses of humor, mainly through the comic relief that Alan's agent, Barry, provided. Because of that, he's one of my favorite comic characters in all of gaming. One of my only disappointments with Alan Wake II is that he never appears. Yet somehow the game is even funnier. It's also far darker and more gruesome. So that dichotomy is even more impressive.

There were also the Koskela Brothers, who made some genuinely gut bustingly funny videos. Jaakko's fumbling of the pronunciation of quinceañera was probably the most hilarious moment in the game. Their inclusion was much appreciated. And there's the whole other rabbit hole to go down about their parallel to the Huotari Well incident which makes one wonder who or what is exactly real in the world. Plus, the town of Watery and Coffee World were great additions as well. There's nothing better than a decrepit theme park. Pat Maine had some fun, odd radio shows as well, obsessing over Wendy Davis and her Family Beef Jerky. Hickory teriyaki! It could be that he's losing it, or maybe like the Anderson family, he's immune to the changes in the story and remembering the past.

Another common praise that I see coming up time and time again is how the game seems to project a love for Finland, and feel Finnish. The platinum trophy itself is labeled "Sisu," which is defined by Wikipedia as "a Finnish concept described as stoic determination, tenacity of purpose, grit, bravery, resilience, and hardiness... to express their national character. It is generally considered not to have a literal equivalent in English. In contemporary psychology, sisu is shown to have both beneficial and harmful sides which can be measured using a designated scale."

The Koskela Brothers, Ahti often slipping into Finnish and singing "Yötön Yö," Wake and Zane sometimes being referred to as Seine and Viekko. It all makes me want to move to Finland, or at the very least, learn the language just to see if they've tried or try to slip anything past us English speakers.

Another thing I did know was that the game was going to stray from its original design quite a bit, which was a concern for me going in. There was a lot more emphasis on exploration (and thankfully less collectibles). Combat wasn't as center stage as the original either, with encounters feeling fewer and farther between, in favor of new, unique investigating and writing mechanics. Overall it didn't feel anywhere near as action driven, and because of that combat seemed a bit more one dimensional. While there were probably just as many weapons, and more choices for explosives, it didn't feel as if the game was encouraging you to experiment with the combat mechanics as much. So I mainly relied of my favorite guns, and the occasional flare. Wolves, which were a scrapped enemy type from the first game were present, but with their middling execution, I think I'd have preferred keeping the uniqueness of the various possessed objects the original had, whether they were beams or barrels, or a menacing tractor or train. One feature that I'm glad got axed though was the driving mechanics, which were very unrefined in the original. I did really enjoy the inclusion of audiovisual “jump scares.” On more than one occasion I got spooked. And the atmosphere, particularly in the Overlaps, where worlds felt as if they were blending together was a really cool touch. I do think I'd have still been okay with a form more similar to the original, but I do know some criticized it. The changes did really encourage me to really take my time with everything. I tried to explore every nook and cranny over my leisurely 31 hour play though. Letting the game breathe more gave it a nice ebb and flow. I often didn't want to put it down, staying up way past my bedtime, exchanging my enjoyment within it for the tiredness I'd face the next day at work. I managed to find nearly every collectible, solve every rhyme, and close out most of Saga's cases. There were a few things I used the internet to track down, I missed petting one deer, and a few cases weren't closed. But I enjoyed every second of it! I also really enjoyed Alan's portrayal in this installment. In the first game, he was unwavering and pretty clear headed. But 13 years in The Dark Place and with The Dark Presence - regardless of how long it has felt to him - really started driving him mad. We started to see cracks. I assume even the smallest details are crafted by Sam Lake. I felt like the Alan Wake is and has always been Scratch twist was brilliant. There's this back and forth about who is who, and who is writing Return, and even Initiation. And early on to me it felt like Alan's flowery prose was swapped for clunkier lines of thought and sentence fragments. I thought, "Boy, Scratch is such a shit writer." Turns out, it's probably just Alan going crazy, or his mind being invaded by The Dark Presence. At some point it's also mentioned that no one has ever returned from Cauldron Lake unaffected, which should have been some foreshadowing that the real Alan was never going to return completely as himself. Yet up until seconds before Scratch escaped from his jail cell, I assumed an unaffected Alan. Then later, there's the ultimate payoff that the two are one-in-the-same when it's revealed that the thing tormenting Alice is actually not Alan's doppelganger who made it to her reality, but just Alan bleeding into that dimension.

It's not very often that I finish a game and question what the hell I'm going to do next. I've got Super Mario Bros. Wonder ready to go. Jusant is ready on Game Pass. And Spider-Man 2 - which despite being from my all-time favorite developer - which got put on the back burner because I wanted to prioritize Alan Wake II, should be on the way since I picked it up a few days ago thanks to Wario64 mentioning a sale online. But I really don't want to play anything right now. Its a odd phenomenon that happens every so often after a truly great game. I saw someone else online say this as well. The only other time I can think of this happening in recent memory is with The Last of Us, a series I regard as the best ever. I'm kind of sad Alan Wake has now come and gone. In listening to the soundtrack afterwards, I began to weep seconds into RAKEL's "Follow You into the Dark." It's nearly an alien feeling for me. But the finality of finishing up the game and being so grateful for it existence really got to me. And I think those companion music pieces probably exemplify best what makes the game so damn great. Whereas most games feel like games comprised of various works of art, broken down into chunks like art design, sound design, visual effects, etc., Alan Wake II feels like the inverse. It's a collection of beautiful works of art, like custom songs, and custom graffiti, and all of those other more mundane components that go into making a game, that somehow work together to form this amazing game with a riveting story.

I'm sure I'll pick up one of those other games soon. With Mario I expect a series of levels of varing degrees of difficulty. It's a tried and true formula that we've seen in gaming for 30+ years, with a fresh coat of paint. With Spider-Man 2 I expect the modern AAA game: fancy graphics and effects, a large open world, and plenty of side missions to keep me busy and extend play time. It will be Spider-Man 1 with a few more bells and whistles. In both cases, those experiences will probably be fairly "game-y." By contrast, Alan Wake II was created with such a bold vision, reckless ambition, and an overall love that made it feel completely unique, transcendental of video games, and more like an experience than a cliche video game.

Right now all I want to do is talk about Alan Wake II, and go down the rabbit hole of reading about others' experiences with it and their own theories.

It's such a treasure. It definitely wouldn't exist in its current state had it come out around 2013. The wait was horrendous. But like Sam, I'm so happy it exists in 2023. The thirteen years it took felt like an eternity. But during that eternity Remedy continued to toil away at quietly adding more to the Alan Wake lore even when they were busy with other projects, not working directly on the franchise. Alan Wake II feels like a great sequel that builds upon the strengths of a great game. But it also feels like it contains great elements from the projects that they've held us over with since the original. The seamless blend of live action videos feels like the evolution of ideas in Quantum Break. And the connected universe idea pulls heavily from Control. Without those games, Alan Wake II may just not have been quite as special as it turned out to be.

That being said, I hope it performs well commercially, enough to justify a sequel within a much shorter time period. Because I'm so obsessed with the world, and Remedy's grand schemes. I'd like to know who Mr. Door, Tim Breaker, and Ahti actually are. I'd like to get a better idea of what their motives are, as well as those of Tom. I'd like to see what the crazy old Old Gods are up to. I'd like to know if Logan is okay. I'd like to see if Alan and Alice can triumph and return to a normal life. I'd like to know if the Bookers, the latest artists to visit Bright Falls, will play a larger role. I'd like to learn more about all the cool little details and ways that Alan Wake, Control, Quantum Break, and Max Payne intersect. I don't expect much of that to actually be answered, because a lot of the fun of the franchise is pondering the unknowns and unknowables. So maybe I'm really just looking forward to another riveting story, more great music and art, and even more questions that make me wonder what the hell is really going on.

BRING ON ALAN WAK3!!! Hopefully before I'm 53.

[cursepoem]

Year in Review 2022 — Part 6 — Top Ten Movies

10. Top Gun: Maverick (dir. Joseph Kosinski) I'm an easy mark here, ever-fascinated by the arc along which Tom has orchestrated his career, and whatever we call this current era. To call him a singular performer sells it short; it's hard to think of a single artist or performer in any field that has functioned in such a way, throughout all these enigmatic phases. There's a very reasonable impulse to draw him in the lineage of Jackie Chan and Buster Keaton, but neither of those guys were fucking sex symbols, they didn't have the spectre of an actual cult lurking just out of frame, they never played Frank T.J. Mackie! (No fault of their own, obviously.) Tom has just had so much baggage, both earned and not, so much meta-text informing his work and our reading of it, and through it all he continues to exude the same magnetism all the while contorting himself into this physical martyr for our entertainment. He simply cannot exist unless he is killing himself onscreen for us, physically, metaphorically, all of it. And what's more, the guy just really fucking loves movies. The near-maniacal agency he's asserted on virtually every level of production, the collaboration he's cultivated with McQuarrie, deep down the man still has this childlike wonder with what movies can do, and say what you will about the guy, but after everything that is a beautiful and rare thing that should be protected at all costs.

So on to Maverick. This is the perfect vehicle for the Tom experience; he gets to employ all the painstaking precision while pouring on the nostalgia to remind us all what going to the movies is about. Sure, I expected to enjoy this movie, but I was not prepared to feel the depth and swell of feelings that I did. It was e-mo-tion-al. For something as obvious and dumb as Hangman's third act reversal to genuinely send my lip aquiver means you're just doing something right from a moviemaking perspective.

9. Pearl (dir. Ti West) Ti West is a guy I root for, but do not exactly ride for. He's at his best when playing with pastiche, devoting himself to classic genre tropes and aesthetics often beyond even the point fetishization, and the results are varied. He's a guy that seems to have more good ideas than you can actually point to in his movies, which isn't necessarily a knock or even his fault I don't think. It's no coincidence that his best achievement by far is also the first time he's really spent exploring character, when his other films were often antagonistic to them (I'll never get over Greta Gerwig's death in House of the Devil). Pearl is such a refreshing turn, a promise that yeah, there might be more to this guy than his VHS-era horror movie dioramas lead on.

And really, it's Mia Goth who deserves all the credit in the world here. Looking at her filmography, the choices she makes, the artists she seeks out, she has proven herself to be a legit little weirdo in the best possible way. That so many people try and fail at faking this quality makes it all the more satisfying when someone like Goth genuinely goes all in. I honestly feel fortunate that these two have found one another; in Ti West, Goth has a director who will never tell her no, who will push her to go bigger, broader, past all reasonable sense. And that's precisely what his movies have always needed, something larger than the scaffolding he's so complacently proficient at building. Her performance her is manic and fascinating, animated and chaotic in a way that repulses and seduces in equal, unsettling measure. But for all the goose-stabbing, all the apocalyptic dance numbers, all the immolation, the most striking part of her performance is a shockingly tender monologue. The camera stays still for what feels like the first time all movie and the unexpected deftness of the writing shines through with what is revealed. All the while, Goth delivers it masterfully, vulnerably, and it somehow works. Between that scene and the insane closing credits alone, this was one of the best performances this year.

I also have to mention how cool it is that these two pulled a trilogy out of nowhere. Even though I didn't really care for X (it's pretty much the worst of West's tendencies all at once), shooting the two back-to-back and announcing a third feature the same week that Pearl opened shows that West in some new and totally invigorated mode. Beyond the effect of his collaborator, he's found a way of working within budget constraints that seems to energize and inspire. It's almost dare I say it Soderberghian, and you know i'm an easy mark for that. Here's hoping that MaXXXine reaches the bar these two have set with Pearl.

8. Triangle of Sadness (dir. Ruben Östlund) Östlund is a Renaissance painter of cringe, able to cull a veritable gyre of political and philosophical tension out of a single moment of everyday awkwardness. Triangle is deliberately uneven, pushing you away and winning you over in turns throughout; there is ample exposition (thankfully more thematic than plot-wise, though) leading up to the (unfortunately literal) explosive setpiece before becoming a much more raw movie in its back third. In stranding his principals on a desert island, stripping them of signifiers of wealth and the power structures they suggest, Östlund literalizes his metaphor in a pretty ingenious way. He takes on the familiar tropes and gags from any shipwreck scenario while turning a cynical eye on his characters as they establish new, lopsided power structures informed by altogether base and sometimes arbitrary human currencies.

Between this, the loathsome Glass Onion, and The White Lotus, we're seeing a whole lot of commentary on the rich, with this year's Infinity Pool signaling that we're far from through here. To me, this is a fool's errand, a surface-level pandering to what's left of Twitter, willfully turning a blind eye to anything deeper than limp satire. Dear lord the last thing I need is to be explained that Elon Musk is bad, actually, by Rian fucking Johnson by way of Edward Norton, of all people. Triangle at least has the benefit of being mostly fun.

7. Petite Maman (dir. Céline Sciamma) Sciamma's latest is as haunting as it is clever, throwing out all the usual trappings of its magical realist framework to instead delve into the rich emotional resonances that it allows. The result is heartbreaking and beautiful, a tender meditation on memory and family that, looking back now, suggests a brutal double-feature with Aftersun, both films artfully interrogating the relationship between child and parent through time. Can't think about either too hard or for too long or I'll lose my shit.

6. Three Thousand Years of Longing (dir. George Miller) This one was an unexpected gift. Not knowing how Miller would follow-up Fury Road after so long, and with the threat of a prequel ever looming, I had no clue what to expect from this very welcome diversion. Miller's fairytale hits all the beats you would want it to, its delightful frame narrative soaking up all the chemistry of the leads before giving way to lush enactments of timeless parables. It's a joy to see the use of all the memorable visual effects flexed in Fury Road to be employed here for such a different outcome. DJ Big Driis plays his djinn with such a believable world-weariness, so perfectly balancing his desperate impatience with obligatory deferral. The games he and Tilda play around one another,

5. AmbuLAnce (dir. Michael Bay) What a fucking banger. Instant classic, already firmly cemented in the Bank Heist Mount Rushmore. What is there to say, really; this is a movie that has your jaw on the floor, heartbeat racing, adrenaline pumping for the entire duration. Any movie that can elicit such an intensely visceral reaction surely can be forgiven its faults, none of which are anywhere egregious enough to puncture your awestruck suspension of disbelief or distracting enough to interrupt the breakneck pace. And pace is everything here, rushed along by the plunging drone shots that punctuate the converging plotlines, new tricks alongside the maestro of explosions' familiar touches. Whoever is asleep at the wheel of the Fast franchise better be taking notes; the past few entries have all been desperately missing just an ounce of the juice that Bay squeezes out of every shot here. They just don't make 'em like this any more, and with this one, Bay seems to put everyone else on notice to step the fuck up.

4. Tár (dir. Todd Field) Let me just get this out of the way up front so there's no confusion on where I stand here: Lydia Tár is a real person and she did nothing wrong. The third feature from the acclaimed co-inventor of Big League Chew, Tár revolves around an absolute powerhouse of a performance. It is a rigorous and commanding film, one that demands your attention and almost punishes you for being anything less than totally enraptured by it. It is rare that I would use the word "relevant" to describe a movie and even rarer that I would consider that quality to be among a movie's strengths, but I was honestly taken with how it handles some very contemporary cultural questions. The Juilliard scene is so jarring, the tension between us not yet knowing if the film is condoning the diatribe of its title character or poking fun at it. The discussion that it invites can be a fruitful one, and one that should lead to somewhere more nuanced than this aforementioned binary so long as we avoid the pitfalls of certainty that both of its principals cannot seem to stray from. I found it surprisingly satisfying to see a scene like this play out here alongside so many lesser, groan-worthy attempts to tackle "cancel-culture" (to think that that Spotlight-but-make-it-Me Too movie was out around the same time! I could barely make it through the trailer.)

Beyond the cultural conversation though, and honestly in its own way strengthening it, this is a ghost story, one that unfolds with a masterful subtlety. Mood and tone take over, warping the shared perception of both the viewer and title character as guilt deepens and takes on external forms. It's reminiscent of Personal Shopper in these ways, where we feel haunted not by what is depicted but how. Through this haunting we're able to see with a sort of dramatic irony how Tár internalizes and navigates the thorny trappings of her own life and fame and influence that she's so confident in dispelling when it comes to others. For her, it is not even a question of forgiving some genius virtuoso or other for their shortcomings or foibles; she barely acknowledges they exist at all; art and genius absolve. We watch her squirm as the heat gets turned up, making frail attempts to cover her tracks all the while deluding herself into thinking she's maintaining the haughty guard of her persona. The eye on her remains cool and almost objective, Field's deft restraint allowing us to bring our own experience into the character. I think that's a lot of what's polarizing about the movie, and what makes it so powerful; it's become so rare that we are allowed our autonomy as an audience, that we're not told precisely how to feel about characters we can easily deem either good or bad.

Also, for as seriously as Tár takes herself, the film itself has a wonderful and cutting sense of humor, from Cate Blanchett threatening a child to the hilarious knife-twist of the closing scene.

3. Decision to Leave (dir. Park Chan-Wook) One of the deepest and most wrenching love stories I've ever seen on film. Decision to Leave is in some ways more grounded than the sumptuous The Handmaiden, but twists and diverts from its detective story frame in unexpected ways to follow these two doomed and inextricably linked characters. With these last two especially, Park slyly belies the early notoriety earned with his still shocking Vengeance trilogy, revealing himself (or maybe just reminding us) that he is just simply one of the most skilled and creative technical directors out there. Decision to Leave is unforgettable, it is mean, it is precisely my kind of feel-bad flick. That chainmail glove is just about the coolest shit I've ever seen.

2. Nope (dir. Jordan Peele) The most effective proper spectacle in recent memory, assisted greatly by understated promotion, impeccable sound editing, and a sublime sense of scale. Peele has such a sense of the enigmatic, weaving all these striking, unforgettable images that resonate with one another as his films unfold. In an age where trailers tend to show every major plot point, we take for granted just how unsettling and captivating it can be to not know where a movie will go from once scene to the next. The opening of Nope is so transfixing precisely because you have zero context and Peele exploits this tension to its fullest throughout.

One of the many things that astounds me about Nope is just how many narrative and thematic levels it's operating on. This is a movie about making movies, about the new and brutal ways that American people are becoming further disenfranchised, about a reflexive type of contemporary isolation, about desensitization and stunted attention spans, about legacy ... I guess it's about aliens, too. It's a western, it's science fiction; the use of genre does so much to inform each of these readings. It's so packed full of ideas and nothing is wasted, nothing is arbitrary. As with Arms Across America Us, here Peele continues creating his own winking Mandela-effects; don't lie and tell me you didn't scour the internet to see if Gordy's Home was real or to research the identity of the "Plate 262" rider. Peele has such a way of capturing, of inventing, a collective imagination.

As with his other features, the casting here is spot-on; Peele has an incredible way of working with actors, of capturing chemistry. Keke Palmer and Daniel Kaluuya are so much fun to watch together, such perfect foils to one another. Steven Yeun's Chris Kattan monologue is an absolute all-timer.

With each effort, Peele makes me think more and more of Hitchcock, of Shyamalan. I watch his movies and just feel so fortunate that we have his singular voice right now, especially at such a nadir of moviegoing. This guy is operating within a rich tradition of the spectacular, masterfully employing genre to interrogate potent and present anxieties. His works are time-capsule pieces, perhaps the most telling of our era. I just want him to keep making whatever the hell he wants with whatever amount of money he needs to do it.

1. Aftersun (dir. Charlotte Wells) This movie just simply does things I've never seen before, operating in some of the subtler and more poetic reaches of what cinema is capable of as an art form. We're witnessing memory as it is formed and recalled simultaneously. This is slowly revealed in flash-forward, leading up to the jaw-dropping climax that is stirring to the core, a frenetic fever-dream frame narrative that punctuates the softness of the impressionistic and nostalgia-drenched camcorder brushstrokes. Paul Mescal's character is a ghost haunting the reflective surfaces of resort swimming pools and mirrors, an indefinite form captured obliquely against the screen of a turned-off television. His daughter can only ever conjure him in these fleeting and enigmatic ways; he is not his own person yet to her, only sketched in the ways she that sees and needs him. Such is the inevitable tragedy of the relationship, made all the more harrowing by the simmering turmoil he bares in private that she can only naively intuit. This film is so intimate and personal it almost feels like my own memory, my own aching and secret guilt reflecting on the selfishness of childhood, on taking something precious and formative for granted after it's too late to recover. This movie just fucking wrecks me in irreconcilable ways the more I think about it.

[itsallyscorner]

I was wondering if you can write something about reader x marvel cast where they go on the tour bus with James Corden. Maybe reader is dating a costar (you can choose who)

💌

We Are Avengers

Pairing: Marvel cast x reader, Sebastian Stan x Fem!reader

Summary: Basically what happens during James Corden’s Star Star Tour😌

Warnings: None :)

Hello darling, thank you for the request! I apologize that it took so long for me to write, but I’ve been busy with school and I’ve been lacking motivation in general. But thank you so much for this request, it gave me the chance to rewatch one of my favorite Marvel cast videos so thank you for that as well, it never fails to make me smile. I hope you don’t mind that I chose Seb as the co-star you’re dating! Also, yes, I know I’ve been writing a lot of headcanons but writing this as a headcanon seems like the best way to write it for me😭 I’m gonna add in some pictures that the cast took with their disposable cameras, so enjoy😉

｡･:*:･ﾟ★,｡･:*:･ﾟ☆

(GIF from Pinterest)

✧───── ･ ｡ﾟ★: *. ☽.* :★. ─────✧

When it was mentioned that you and some other members of the Infinity War cast were going to be on James Corden, you were very excited.

You enjoyed making appearances on late night talk shows; Jimmy Fallon, Jimmy Kimmel—they were always fun to be on. Though you’ve always loved making appearances on James Corden’s show.

When you first heard about being on The Late Late Show, you were expecting to do a typical interview in the studio that would lead to playing a game later on in the show.

What you didn’t expect was to be led out to the parking lot with the rest of the cast, only to be greeted by a double decker bus with James’ face plastered alongside it.

At first you were all a bit confused but one of the producers came up to you all and explained the segment you were all filming.

Everyone was buzzing with exhilaration waiting to get on the bus. One by one you were called up, you being paired with Sebastian.

Wait, he would make you go up the stairs first so he can stay behind you, making sure you don’t fall. Omg and he would place his hand on your lower back too😭🥺

“Wow—Marvel’s own power couple, it’s such an honor to have you both on here. Thank you for coming!” James greeted the both of you. Partially acting because the cameras were rolling.

You and Sebastian beamed at him, proud of the title the fans and your cast mates have given you both over the years. “It’s always a pleasure to see you, James.”

James gives you both your name tags, pausing mid way while he was handing Seb his. James’ gaze shifts between you and Seb, “I’m sorry, you’re just both so beautiful.”

Seb bashfully thanks him, pulling you towards the seats, as you giggle behind him.

You and Seb sit towards the back, behind Don and Tom.

You all sit tight, talking amongst yourselves as you wait for the bus to start. In the seats were disposable cameras and some Late Late Show merch.

The bus hasn’t started driving yet, but you were all having too much fun with the disposable cameras.

Everyone was just taking pictures of each other. You and Seb took a couple selfies and some stolen shots of the others, mostly Anthony.

You even got a cute shot of Don and Tom:

Yes I know they used disposable cameras but I decided to tie in my ‘Polaroid’ series into this even though they’re not using Polaroids—just go with it😭

Being the more social one in the relationship, you were going up and down the aisle talking to everyone.

Seb stayed towards the back with Anthony and Winston. While you were at the front talking to Lizzie and Chris.

Being sad when you were all told to go sit down because you had to leave Lizzie.

Though it probably wasn’t shown in the video, I just KNOW that the filming for this segment was chaotic as fuck.

Chaotic in a good way.

But the whole bus was loud I just know it.

You could hear Mackie across from you talking loudly and laughing that contagious laugh of his.

You, Lizzie, Pom, and Zoe attempting to talk to each other from different spots on the bus over everyone else’s voice.

Chris and Paul can also be heard laughing all the way from the back.

James feeling like a parent because it felt like he was babysitting a bunch of toddlers.

The whole thing was freaking chaotic from the start, I mean ya’ll started the ‘tour’ with Benedict and Chris rubbing sunscreen on James’ legs.

Everyone passing around the sunscreen after, because it was sunny as hell and no one thought of wearing sunscreen.

Seb being a cheeky asshole and ‘accidentally’ smearing sunscreen across your face.

“Sebastian!” You gasped before a flash of light went off on you. When your eyes recovered from the flash you see Seb holding up a camera at you, snickering to himself.

James began to act as your guide, pointing out things like a coffee shop and explaining what it is.

All of you being childish and pretending to not know what a coffee shop or what a line is.

Laughing at Don when he got out of his seat and took a picture of the coffee shop. Like how he got into an over exaggerated position just to take a picture was funny.

Everyone being childish and acting as actual tourist in Los Angeles. Like pointing things out and asking about them or taking pictures of literally everything you drove by.

When Reggie Watts began that sing along thing everyone joined in, bopping and dancing along to the beat.

Like you guys are just having a really great time, happy to be in each other’s presence.

You could hear Sebby singing along to Reggie beside you, and you couldn’t help but just adore him singing and having fun.

He’d notice your stare, he may have had sunglasses on, but you could see the crinkle of his eyes from behind his sunglasses as he smiled at you.

“Na, na, na, na, na, na!” Seb repeated, leaning towards you to press a kiss on your temple.

Throughout the whole ride, he’d have his arm along the back of your seat or have it across your lap.

After the sing along, James went back to acting as a tour guide. He pointed to a red building—whatever it was—and deemed it as “Barbra Streisand’s holiday home”.

Josh Brolin, who was sat along at the back of the deck, raised his hand. “Excuse me! I—uh don’t mean to interrupt, but I have to use the bathroom. Can I use the bathroom?”

James pretending to cringe and telling him that in order to use the bathroom you have to be in three or more Marvel movies to use the bathroom—end credits don’t count.

Everyone being childish once again and yelling “OHHHHHHH!” Like a bunch of school kids.

James points to Tom, “Tom Hiddleston do you need the bathroom?”

Tom, with his soft voice and a small shrug says, “I’m actually okay!”

James then points to you and Seb, “My lovebirds at the back, Sebastian, (Y/n), do either of you need the bathroom?”

You and Seb glance at each other, “Nah we’re good.” Your boyfriend answers.

“Yeah, I used the bathroom before we came here.” You look behind your shoulder at Josh, a smug expression on your face, “Unlike some people.”

Josh flipping you off while everyone laughs at him.

Since Anthony and Seb aren’t sitting together, I just know that Anthony would be yelling at Seb from across the bus to get his attention.

No seriously, I saw them in the background of the video and even heard Mackie yelling lmao😭😂

“(Y/n) call Sebastian!” Anthony yelled at you from across the bus, pointing to the man beside you with a grin on his face.

You chuckle and nudge Seb, “Your boyfriend’s calling you.”

Seb would shake his head at you and turn his attention to Anthony; who just wanted to take a picture of Seb from his side of the bus.

James trying to get spoilers out of all of you but thankfully you all aren’t Tom Holland or Mark Ruffalo.

“Does anyone on this bus die in the next Avengers?” James asked. Suddenly you were all quiet, not a word coming out of any of you.

Until Paul began to scream his infamous line, “snITCHES END UP IN DITCHES!”

Getting confused when James suddenly asked the bus to stop and ran off the bus.

Next thing you know, you’re all hopping off the bus and walking into a comic store with a Spider-Man statue at the front.

Seb motioned to the statue and looked back and Anthony, “We gotta get a picture with that.”

Anthony instantly agreeing—he was willing to do anything to tease Tom Holland.

Seb’s not that huge with PDA, but he always needs to be touching you. So he’ll be interlocking your hands with his the moment you walk off the bus and all the way into the comic store.

Feeling thrilled to surprise the people who were shopping at the store.

You all walked around, mingled with some fans, taking selfies with them, and signed a few things.

You were looking at some Funko Pops with Lizzie when you felt a small tap on your leg.

You looked down to see a small girl looking up at you with wide eyes full of admiration. In her tiny hands was a Funko Pop of your character.

You and Lizzie instantly coo at the toddler, crouching down to her level so you can talk.

“Hey, sweetheart!” You greet her, taken back when she suddenly wraps her arms around you into a hug. You laugh wrapping your arms around her small figure and hugging her back.

“I love you so much!” She squeals into your ear, arms tightening around you. Your heart swelled as she excitedly babbled about how much she loved your character and how you were her favorite.

“I love you too! Oh my gosh, you’re so cute!” You decide to carry the toddler, who you later learned was named Lila. Her parents scolded her for distracting you from the other fans in the store, but you brushed them off, your attention focused on your tiny fan.

You carried her around while you met other fans and signed more comic books and merch.

You even introduced her to your other cast mates.

Sebastian’s heart absolutely melting at the sight of you with a baby.

Homie wants to wife you up one day and seeing you with a baby made his baby fever sky rocket.

“Lila, this is Sebastian! You know who he plays right?” You ask the toddler in your arms. Sebastian ducking a bit so he could hear her over the commotion in the store.

“Yeah, he’s the wiener soldier!” She replied. Both you and Seb had to hold back your laughs at her answer.

Lila bragging about how she loves you more than Sebastian.

Seb having to agree because he doesn’t wanna make a toddler cry.

Before you all left, you took pictures with Lila and her parents and signed a bunch of her merch.

^ the boys got their picture.

You guys get back on the bus only to come back to rolls of paper under your seats.

You all sang the “Avengers” song, singing screaming the lyrics dramatically.

Don and Anthony bringing on the vocals.

Before you guys get off the bus you all take a selfie together.

Leaving Chris Hemsworth on the bus and walking off the bus with your heart all warm and fuzzy because you had an amazing time with your boyfriend and your friends :)

This is so long holy shit

｡･:*:･ﾟ★,｡･:*:･ﾟ☆

🏷 Tags ↴

*if there’s a line through your username, Tumbr won’t let me tag you*

Marvel Cast/ Avengers Tags

↪︎ @ximaginx @lozzypoz321 @sunwardsss @pokemonbong @pjokotlcmarvel201 @whoslili @111111111111111sblog @marvel-is-a-mood @blckyungblood @astroponyo @universemarvel @imthebadguyyy @roseke @bi-myself-forever @httpscarletwitch @millenniumloki @cristin-rjd @swords-are-cool @melaninfalconbucky @deamus-liv @elvish-sky @catsandbooksandsstuff @ellajoy419 @moonlight-babe99

Sebastian Stan Tags

↪︎ @theresnoplatypus @wintersoldierlover @peacelovehobbitness @milea @sunwardsss @thedenimjacket @roserose26

General Tags

↪︎ @quxxnxfhxll @just-here-to-escape-from-reality @thegirlwiththediary @agustdowney @bi-lmg @rqmanoff @sesamepancakes @stardustofreading @dracoswhore007 @swiftmind

[evilspiritsgoneloose]

HII YUMI!! HRU?

I have 2 ideas so im am going to make them sperate lol

Can I get headcannons for a reader in a hype house with the dsmp? What would that be like?

Anyways I hope you are doing well!! Ily and have a great rest of ur day

Till next time we talk 💞

I really love this Idea. I already feel the chaotic energy without thinking about it.

I'm gonna limit it to 11 Persons, because I feel most comfortable writing about them and also to not let it get as chaotic as it already is.

I had too much fun writing this head canon.

Anyway, I'm doing pretty good. I'm grinding on my Minecraft world :) I hope you're doing great as well.

This is a little short but I still hope you have fun reading it

Living together with the DSMP

Headcanon

_______

!Warning! Pure Chaos, Grammatical Errors (please just oversee them, if there are there)

Characters Mentioned Dream, Wilbur, Philza, Sapnap, Karl, Niki, George, Tommy, Tubbo, Ranboo

Word Count 517

________

Masterlist

This is to 100% a Mr. Beast Idea and you were one of the first contestant he asked.

Why wouldn't you say yes to such an offer?

On the first day everyone would show off with a camera in hand, Volg already on going.

You would live in like a big mansion where everyone would have their own room.

Despite having an own room, Privacy isn't going to be top priority.

On a sunny day. Tommy would crash into your room and drag you outside to have a pool party.

Phil turns on the grill and makes everyone some delicious goods.

He would also be the more mature part and watches over everyone so nothing gets smashed, or broken.

Tubbo trying to push Ranboo into the pool.

The Feral Crew just sitting in one corner with sunglasses on. Checking out the food Phil makes.

Every two weeks, Tommy would upload a very chaotic Volg on his Tom Simons Channel.

As chaotic as it is, help would be just around the corner.

Having trouble with cutting a video? Ask right away. No need to google.

Problems with Technology? No problem. Philza, Dream or George are glad to help out.

Also... Cooking Stream on George's Channel with Dream sitting in the off throwing in some sassy or flirty comments.

Karl and Sapnap are just messing around with George.

For sure, some ingredients gets thrown in someone's face.

Ranboo watching from far behind, being disturbed by the scene.

No need to worry about Food.

Either someone is brave enough to cook something, or the delivery man is already on his way.

Cake made by Niki.

One calmer stream would be with Niki

You two just sit in her room and talk about various topics. Let chat send in some videos for a good laughter.

At some point Wilbur interrupts you both and make the stream a little more chaotic but he soon gets dragged out by Phil.

Before I get to the next stream Idea... Hear me out.

Movie Nights once a week.

At first, everyone argues about what movie to watch, but in the end You and Phil craft a wheel of fortune with a bunch of movie headlines written on it.

Where ever the pin lands on, the move will get shown this night.

Dream orders everyone's favourite Meal.

All are squished on one large Couch, munching on their food and watching the movie.

Another totally chaotic stream would be a Jackbox stream.

The Rap battles also get performed in Real-life.

Imagine Sapnap and George insulting each other face to face, with water bottles as microphones.

Niki roasts everyone without thinking twice.

Just Tommy trying to cheat by looking at other phones while playing until he gets caught and sat on a lonely chair.

There would also be days when it's silent.

On such days, everyone sits at their Pc playing some games by themselves.

From time to time you could her a faint scream from either Tommy or George when taking off the headphones.

Of course, every room is soundproof, so others can sleep when a loud child is streaming.

All in all together, it would be a very chaotic experience, but everyone has got their back in case something goes wrong.

[monimccoythings]

Disney Marvel is not going to allow a Venom or Deadpool movie to be as feral as they are. They will be a bit chaotic but controlled caothic, not too wild. If Tom Hardy fought against the writers of the first movie to release the venom movie as chaotic as possible, I can't imagine how much he would have to fight if Disney had the rights.

Also say goodbye to the homoeroticism, because Disney will only allow any LGBT moments if its a side character who only appears in five scenes, or if it's the main character it is briefly implied and never brought up again. Then Disney execs will act as if they invented queer rights because they allowed a queer character to appear in a movie for 5 secs and will not shut up about it in forever.

And I'm not talking about the animated shows, because every inch of rep they have there had to be fought and earned by the creators risking their projects and entire careers. Disney did not put that there on its own. Just ask Alex Hirsch.

I like disney movies, they are an important part of my childhood, but putting Venom, which has a huge LGBT content (specially in the comics), and Deadpool, confirmed pansexual who isn't afraid to flirt with men and talk about his own sexuality, in the MCU could basically ruin the rep, the originality of the movies and their chaotic energy.

However, a small part of me is hopeful Disney will allow them to just be as they are without twisting them onto something that can fit inside the MCU. I really really hope I am wrong.

[lokitvsource]

‘Loki’ miniseries producer-lead writer-creator Michael Waldron chats about Marvel’s favourite troublemaker finally harnessing his true power and wit while at the behest of the Time Variance Authority 

“Everyone has been asking ‘when are we going to see Loki’s real power?’,” starts Michael Waldron, as he animatedly dives into the upcoming Loki miniseries, starring Tom Hiddleston. “To have six episodes to explore his power has been so liberating because just from a ‘pure superhero abilities’ perspective, we wanted to explore the awesome stuff he can do, and also dramatically too.”

On board as Loki’s creator, executive producer and lead writer by Marvel Studios’ president Kevin Fiege, Waldron is itching for the series to drop already. It is evident as he gesticulates expressively as he puts forth how much Loki as a character means to him.

Last we saw the Norse trickster god, he had a giant purple hand wrapped around his neck. The shocking demise of Loki at the hands of the mighty Thanos in Avengers: Infinity War broke the hearts of millions everywhere. What would the Marvel Cinematic Universe (MCU) be without his quick-witted jests and pranks and devilish smile?

In 2019, the announcement of Loki, fans already speculated that it would take place in one of the Marvel Universe’s alternate timelines — and they were right. Dissecting and peeling back the layers of the multiverse has been “thrilling” for Waldron, director Kate Herron and the series cast and crew. “It’s a new sandbox, a new corner of the universe to play in. It was certainly a challenge to define the rules of these spaces, the Time Variance Authority and how these branching timelines work. It wasn’t just about going ‘anywhere’ it was about going ‘anywhen’.”

At the D23 Expo in 2019 when the project was first announced, Waldron called himself and Herron “custodians of the fans’ love for Loki.” Though he was not a comic-book reader growing up (he admits he came to truly know about Loki through the MCU), storytelling remains an utmost priority for Waldron, who almost reminds us that “this is television we’re doing.”

He continues, “We can pick our spots and slow down in a way a feature film never could, and we can do long and quieter dialogue scenes and build tension and emotion in the way best television has been doing.” But Waldron was keen on creating his own original storyline; taking existing elements from past Loki comics and existing TVA bits and putting his spin on them.

So far, the MCU has been extended into successful miniseries such as WandaVision, following Wanda Maximoff’s evolution into the Scarlett Witch, and The Falcon and the Winter Soldier, detailing Sam Wilson and Bucky Barnes’ partnership.

Loki meets bureaucracy

In the series, Loki is seen tumbling into the hands of the regulation-body Time Variance Authority, headed by Mobius (played by Owen Wilson). The best storytelling comes from an out-of-comfort-zone experience and seeing natural troublemaker Loki at the mercy of the TVA’s bureaucracy is sure to be a spectacle.

At this, Waldron chuckles, explaining that “it was a blast” to tip the scales for Loki while making room for his inevitable naughtiness, Waldron says, “It was a chance for our writers’ room to delve into some therapy, if they ever had to go to the DMV (U.S. Department of Motor Vehicles). While we were writing the show, I was in the process of getting a new passport. And you go back to work and go ‘ugh, you’ll never guess the bureaucratic red tape I have had to deal with! But we got excited, too, and were like ‘That’s the TVA!’ so we used that.”

This in mind, he continues, “Taking an organisation that is so soul-crushing by-the-book, so to speak, in their managing of time and dropping the most chaotic character in all of the MCU smack-dab in the middle of that is just amazing juxtaposition. It’s a great way to have both entities drive one another crazy, instigating a lot of amazing conflict right from the start.”

Waldron-Hiddleston-Wilson trifecta

Waldron — who has worked on notable projects such as Community, Rick and Morty, is writing for upcoming wrestling drama series Heels, and producing Doctor Strange in the Multiverse of Madness — has nothing but high praise for Hiddleston and his versatility as an actor and storyteller. It was integral that he pushes Hiddleston’s boundaries.

“That’s where the collaboration between writers and actors is such a joy...when you push one another,” he explains, “and my goal from day one was to tell a story of Loki that had never been told before. There had been 10 years of stories of this character and we hope folks would’ve seen a fully-realised redemptive arc. Now we are starting with this version of Loki at the end of the first Avengers film. So it was our responsibility to not retread old ground. Tom was more than game for that, in fact, he wanted to do that and go deeper into Loki’s shape-shifting identity.”

Probably one of the best surprises is Owen Wilson thrown into the mix. Known for being the early-2000s romantic-comedy must-cast, seeing him take on the meticulously attentive and seemingly diabolical Mobius will be a delight. So what about Wilson struck a chord with Waldron? “I am the perfect age [33] to have grown up with Owen Wilson in Wedding Crashers, Zoolander and Armageddon. I love Owen and he is so great in this show.”

Waldron elaborates on how Wilson and Hiddleston bring varying energies to the show. “Loki is proper and pompous, Owen is folksy and down-to-earth – so right away, energies clash in a way that’s harmonious. But what he shares with Tom is a hard-to-even-put-into-words unique charisma. They [Owen and Hiddleston] both have natural comedic abilities and they can have a purely dramatic conversation and they could play off one another’s energies and make certain the right moments funny and right moments dramatic. I didn’t even have to set up punchlines to get laughs in this show!”

[lokiondisneyplus]

Warning: This post contains spoilers for Loki episode 5.

The penultimate episode of Loki introduced several new variations on its titular mischief-maker — including Jack Veal's Kid Loki, Deobia Oparei's Boastful Loki, and Tom Hiddleston's ill-fated President Loki. But of all these new faces, perhaps the most memorable was Richard E. Grant's aptly-named Classic Loki — an older, world-weary version of the Asgardian god we know and love.

Decked out in the familiar green-and-yellow suit from the comics, Grant's Loki is older and perhaps a bit wiser than his younger counterparts. Years of isolation have left him disillusioned and lonely, missing his brother Thor, but that spark of mischief is still buried deep underneath — and he ultimately sacrifices himself to help Loki (Hiddleston) and Sylvie (Sophia Di Martino) escape the Void.

It's a delightful showcase for the 64-year-old Grant, who says he's thrilled to be able to carve out his own chaotic corner of the Marvel Cinematic Universe. Ahead of the series finale this week, EW caught up with Grant to break down his big sacrifice — as well as his newfound friendship with Owen Wilson and his pitch for a Loki spin-off series.

ENTERTAINMENT WEEKLY: To start, I have to ask about your costar: How was working with Alligator Loki?

RICHARD E. GRANT: Alligator Loki was fantastic because in reality, he was three stuffed sofa cushions that had been sewn roughly together to react to. [Laughs] The fact that I was the only person that could understand what he was saying was just fantastic. I think it's the perfect segue into having Classic Old Loki and Alligator Loki as a sub-series to go to next.

So it's safe to say that you would be willing to reprise this character down the line?

If I had a muscle suit, most certainly. I was denied that. I saw the costume design, and I was very familiar with Jack Kirby's original illustrations from the '60s, so I thought, "Ah, this guy's got muscles!" As I had been born without any, I was finally going to get in a muscle suit. I got to Atlanta [to begin filming], and they said, "There's no muscle suit! You're just wearing this!" I said, "But I look like Kermit the Frog!" They said, "Nope, you're not having a muscle suit." So I was very, very upset about that. [Laughs] Short-changed!

I was going to ask about your first impression when you first put on the costume!

That's what I asked: Where are the muscles? Where are the Stallone/Schwarzeneggers here? Because they're missing! This is what people will expect! This was in the costume drawing, and they're not here, and I don't have them! I was very upset.

When they first asked you to join the show, what was that initial pitch like?

I had known Tom Hiddleston socially for some years, and we'd always joked that we could feasibly play father and son because of our vague physical similarities and hairlines, certainly. So when I got this offer at the beginning of last year, before COVID, I thought, "Alright, this is that moment that I had hoped would come at some point." I thought I would play his father, but I'm playing a variant of him. So that's how that came about. I was thrilled.

Tom has been playing his version of Loki for a decade now. Did you get any guidance from him, or have any conversations with him that you found particularly helpful?

He is a walking Loki-pedia, so he was very, very informative about the whole etymology and the history of the Norse gods and Loki. He's also brilliant at imitating people. He goes on chat shows and imitates famous actors absolutely to the letter. I don't have that talent. So when I read the script of episode 5 that I was offered, I saw that [this older version of Loki] described himself in his backstory of being the god of outcasts — rather than the god of mischief, which is so absolutely embedded in Tom's interpretation of the role. So I thought, well, [if he's] the god of outcasts and is somebody who's been isolated for years and living on these planets and is willing to betray himself by going back and being arrested by the TVA and making the ultimate sacrifice, offering himself up to Asgard, I thought, well, this is somebody who is more in the twilight zone of his life, as am I. As opposed to a young man, who's full of mischief still.

So, I thought that was a way into interpreting this character, rather than trying to do — and something I couldn't possibly succeed at doing — a pale imitation of Tom Hiddleston.

I'd imagine that would be tricky, but it would also be a fun challenge: You're basically sharing scenes with all these different versions of the same character.

Exactly right. And I love the fact that he was the one person who could communicate with the alligator. I love that.

So would you now consider yourself fluent in alligator?

Indeed. I am the Doctor Dolittle of the Marvel universe when it comes to speaking to alligators. I speak alligator fluently. Put that in the contract of when I'm doing a series as Classic Old Loki, with muscles and the alligator. It'll have subtitles, so the audience can hear what the alligator is saying, and everyone else is saying, "What is he saying? What is he talking about?" That'll be the way.

I also wanted to ask about your big finale, where we see your Loki conjure Asgard. What do you remember most about filming that final moment?

Huge wind machines, blue screen in every direction, and following a camera on a crane that was maneuvering around the ceiling of the studio, and then swooping down. I was having to shout at it, and then finally laugh in the face of my own immolation. So it was a great thing to do, with these huge air turbine wind machines that were blowing four tons of air at me from every direction. It was exhilarating.

Did you have any practical elements around you at all, or did you have to imagine and conjure it all yourself?

Most of it you had to imagine. The actual landscape that you walked on was real grass and this sort of rocky landscape, but all the other elements — all the ships and all that stuff — was put in afterwards. We didn't see any of that.

The Loki palace that looked like a sort of bowling alley, that was all for real. Everything that you see in that scene was actually built and practical.

Was it chaotic to film in the bowling alley with all those different versions of Loki, bickering and bantering?

Because there was so much action involved, it was paint-dryingly slow, because action takes much longer to do than five pages of dialogue. I prefer talking, as I'm not exactly an action man, as you can see. [Laughs]

Was there anything about joining the Marvel universe that you weren't expecting or that really surprised you?

I didn't expect to find true love with Owen Wilson. We're having a surrogate baby together in October.

Oh, congratulations!

He was just so hilarious to work with. He's just one of the greatest characters I've ever met. He is so open and curious and amenable, with this sort of dry sense of humor. There seemed to be no divide between Owen Wilson acting his part and then just being Owen Wilson. I don't know if he was scamming me, but he was an absolute delight. I loved him.

Was there a particularly memorable day on set with him?

Yes, when we conceived our twins. [Laughs] No, my daughter encouraged me to post this thing on Twitter and Instagram, where he said, "Richard, I'm going to give you some acting advice. Put your camera on." I said, "Yes, okay!" I owe him for that because it got like 640,000 views already in a few days, which on my Instagram feed is off the chart. It's nothing for Beyoncé, but for mine, I'm pretty gobsmacked.

[peppersonironi]

DUKE THOMAS ISN’T THE SANE ONE! A guide by Pepper

So, I have seen so many people writing Duke incorrectly, and I wanted to do something about it. In fanon, he is described as the sane bat, who would rather stay home and safe, and absolutely never join in shenanigans. Now, I know there are a lot of things wrong with canon, but Duke is one of the better parts! He is an interesting character who is actually just as chaotic as the rest of the gotham vigilantes. And so it it is quite unfair to his character to say he is the 'Arnold from the Magic Schoolbus' of the group. He's really not.

So I decided to make a list of ten instances in the comics where he disobeys Bruce, acts reckless, or is just a bat! (also for a Batfam Group Chat I’m a part of, someone asked for these) I hope this helps people understand his character better, and maybe even inspire them to write more about him? Seriously, Tag me if you do. I'm starved for good Duke content!

Feel free to add more in the comments, these are just what I could think of off the top of my head! (Hence the kinda weird order, sry)

1. He's a vigilante

Okay, so this is a bit obvious, but I still think it needs saying. You think that a guy who dresses in bright yellow and patrols the most crime-ridden city in the world during the day is 100% sane?

2. We Are Robin

Also obvious, but still. This guy joins a group of untrained teenage robins who just want to make a difference. And they do! It's still pretty reckless, though. 

3. He tried to take on the Riddler

In case you didn't know, in the beginning of New 52 (Zero year, specifically) the Riddler essentially held Gotham Hostage. He had some spiel about someone giving him a riddle he couldn't solve, and letting the city go. You know who decided he would be that person? Duke Thomas! He trained in brain-teasers, and puzzles, tirelessly worked. He became quite the adept riddler (not the villain). The kick? He was a child! (Look at the above panels, isn't he cute?) Duke was young, yet determined. And if that's not a bat quality, I don't know what is.

4. He escaped the cops by jumping off a bridge.

Oh no! Duke is in a police car! Oh no! He's on a bridge! What's he going to do?! Why, jump out and off the bridge while proclaiming "I am Robin" of course! Seriously, look at that panel and try to argue that he is the responsible goody-two-shoes of the family.

5. He talked down an enraged Damian

Basically, Damian was manipulated into joining the court of owls. Duke, who refused to believe that Robin genuinely joined them, fought him and talked him down. Now, this is Damian we're talking about. Sure, the kid is absolutely adorable and can be incredibly caring (Fight me on this, I dare you. Also, frick you DC), but when he's on a rampage, there is little that can stop him. So of course Duke decides to take care of it!

6. He actively tries to have a relationship with Damian.

Okay, so this one is a little weak, but I wanted an excuse to share those panels. Aren't those two great?! But seriously, Duke ignores that this tiny child could kill him in more ways than he could count, and even invites him to a movie! He also isn't afraid to tease the kid, unlike other members of the family. Knowing Damian can honestly be hard sometimes.

7. Comes back to the city when Bruce told him to get out.

During the I Am Bane arc of Tom King's Batman (I'm shuddering. So sorry for invoking his name!) Bruce tells the batboys to get out of Gotham and STAY out. the others are like 'we're not gonna listen, right?' and Duke is all 'you can't ignore BATMAN!' and walks off saying he's gonna listen to Bruce. This seems like pretty damning evidence, right? He's actually sane? The others got attacked by Bane and hung, but Duke didn't. Well, then you look at the next panel! (it takes place later in the volume) There he is, disobeying Bruce, and hanging out in Gotham. Not just that, he's out in costume! No, Duke couldn't just hunker down in an apartment, he had to go out and take down crooks, and warn Jim Gordon. I think that's pretty self-explanatory

8. Goes out while Injured

Those two panels are back-to-back in The Cursed Wheel (originally printed in All-Star Batman, later put into Batman and the Signal). As you can see, Bruce tells Duke to get rest. Duke was just attacked by Zsasz, and suffered multiple injuries. He wakes up, and the thing that would make the most sense would be for him to go to sleep, right? Well, he instead gets suited up and goes out to work on a case. Pretty much every bat has done this at some point. Not quite the smartest move, right? A touch reckless, wouldn’t you say?

9. That whole thing with Green Lantern

(sry for the weird sizing, I don’t have the comic to take screenshots) 

So there are two parts to this. First of, you have Green Lantern flying into the batcave, looking around, and there’s no Batman present. So what does Duke Do? Well, he certainly doesn’t stay back and contact Bruce! Nope, instead he attacks a member of the Justice League, a member of the Green Lantern Corp. Later on, you know what he says? He thought he would be fine because his suit is bright yellow. That’s it. A bit crazy, right?

Secondly, he gets roped into exploring the cave with Hal (I thinks it’s Hal, been a bit since I read this though). The Lantern has some thing going on about stuff in the cave, but that’s not important. What’s important is that Duke went along with it. He was curious enough to ignore what Bruce would say (Call him, yet anything remotely green out of the cave), and joins in! He does’t say “this is a bad idea” or “we shouldn’t be doing this” nope!

9. When he ran off with Cass to test his powers

Oh no, Duke got shadow powers! What’s he gonna go? Why, go off and have fun experiment of course! Duke and Cass head out to test and work on Duke’s newly presented abilities, and specifically don’t tell Bruce! This is information he would like to know, of course. It’s important to know if your newest protege gets more powers. But no, they go out of their way to sneakily test the extent of his powers. They get caught, of course, and then get chewed out (They get caught in costume, but the next panel they’re in civvies. I find that outrageously funny!). And here’s the kicker: they don’t really apologize! Sure, Duke gives a half-heart apology, but he doesn’t really mean it. Not even under the full extent of the Batglare™.

10. Rescuing Bruce with practically no training

I’ll skip all the plotty stuff, so just know that Bruce was out alone and in some deep doo-doo. Duke was back at the cave, working stuff out with Alfred. He realizes that what Bruce is doing is a trap. Now, just so you know, this is back when Duke was JUST taken in by Bruce. He doesn’t even have a codename yet! Barely any training. So you know what he does? He heads out anyway, and rescues Bruce. Now, check out that music he’s playing. Later on, it’s revealed to be Duke’s fave band. You know the name of that band? “Batman’s @^$&@” I’m not even joking. (I’m not sure what bleeped out, though later on it’s referred to as “Batman’s #$%” So I assume it’s ass?). So on top of being reckless, he plays a heavy metal band with a name that’s … special to say the least. He has guts, you gotta admit (Oh, and he seemed so gleeful when he told Bruce the name of the band!).

And there you have it! This list is far from complete, but I think it’s a good start. Feel free to reblog with your own, or any questions/comments! I absolutely love to talk about Duke, so don’’t be afraid to message me! Also, correct me if I wrote anything incorrect here. It’s been a while since I’ve read some of these, so I may have gotten some stuff wrong.