#also again 'the plant messiah' is really good

[blubushie]

ABOUT ME

READ THIS BEFORE YOU SEND ASKS/INTERACT. ASK BLU ANYTHING DAY (ABAD) is on the first full weekend of every month!

MINORS: Block the "#blu lewd" tag OR I WILL BLOCK YOU and do not DM me unless it's to ask to join Blucord. This goes ESPECIALLY if you're 16 or under. Adults on the internet are not your friends, and I am not comfortable speaking with you privately without a third party present.

G'day fellas! You can call me Blu, and I can be invoked like some Lovecraftian horror by mentioning Sniper in the TF2 tags. King of Sniper Lore (and Australia), Messiah of Bludaism, also known as the "Sheepshagging Roorooting Horsehumping Mountainfucking Melonpiping 13x-Divorced Breastmaster Hitman Inenrt Dingoboy Piss Cheese Jorts Bludysseus Blu'nt Bushgod Sniper Blog" despite not being a Sniper blog (and not actually shagging a sheep or rooting a roo or being married to start with or caring all that much for cannabis, I'm a psychedelics bloke). I'm just Like This.

Been told I'm the "Sniper kin of all Sniper kins." Not sure what a kin is these days but from what I've heard I'm content with not knowing.

This is my only blog. I have three sideblogs. One is @blu-doods, where I post my shitty stick figure art for laughs, and the other two are @art-reblugs, where I reblog art on (I reblog art here too, but the pickings are far more slim) and @post-reblugs (same as art but for text posts).

Again, not a Sniper roleplay blog. That said feel free to call me Sniper as a joke because I do very much enjoy it. Just keep in mind that I am my own person and not a fictional character. There's a real person behind the screen.

Sometimes I go on tangents and start infodumping. You can find the masterlist here. Also please read my DNI list and check out my pronouns page (I spent so much time on it).

My ask box is always open to whatever you want to say. Questions, comments, infodumping, or whatever else comes to mind. I particularly enjoy things relating to TF2, astronomy, nature, classic cars, and weapons. :]

If you find a weird animal or plant and want to know what it is, send me a picture with the location and there's a fair chance I can ID it! ("Location" doesn't need to be city, just state or general region!)

If you're looking to do art or something of me, please see this post for a guide to what I look like and this post for my rules on what is and isn't acceptable!

We now have a Discord server! If you want to join just DM me, but please ask only you and I are mutuals or we interact often :]

My avatar was done by the incredibly talented @grumpygrumblet!

SOME INFO ABOUT ME

I have autism, selective mutism, and some other issues that aren't really important. Point is that sometimes it can be hard for me to talk or properly put my thoughts into words. This makes me come across as cold sometimes. I'm not good at communicating with words and I'm better at expressing it in person where I can rely more on touch. I apologise if I seem rude because I'm not trying to be. Let me know and I'll try to articulate what I mean to say in a gentler way.

I'm 23.

Bushstraight. AMAB transmasc. Weird bloke.

I grew up in Alice Springs and spend most of my time in the NT. On the first Friday of the month there's a good chance you can find me at the Daly Waters Pub. CU in the NT! (Not now though because I'm stuck in America for the foreseeable future. Oops. Try me again in 2025!)

I hunt professionally for pest control. Usually it's invasive animals like pigs, cats, or feral dogs. I'm also licenced to occasionally deal with nuisance native wildlife like crocodiles, but aside from assisting in relocation efforts I've yet to be called out for a crocodile. I'm alright with this—I really don't want to shoot a crocodile.

I also hunt to feed myself and my dog. Her name is Misty and she's an Australian Shepherd/Golden Retriever mix. You can see her here or by checking out my "mistyposting" tag.

I used to participate in kangaroo culls and by law I have to shoot them in the head so if you ever want to know what it's like to pop skulls, reckon you can ask me. Also on the kangaroo thing: if you're Australian and from 2020-2021 ate kangaroo or bought kangaroo dog food or leather, there's a chance I'm the one what got it to you.

I'm a bushie. This means I'm a survivalist who lives out in the bush. I technically live in a van (ute + camper in the tray) but if there's good weather I'm usually sleeping outside unless it's an area with a lot of dingos (they don't usually bother people but I'm not going to take risks with my dog). I have no permanent residence and I move from place to place for work. Occasionally I have to go into cities for work (I'm looking at you, M*lbourne) but these are thankfully rare occasions and only when I'm strapped for cash.

Sometimes while clearing a squatter's land I'll find Psilocybe mushrooms and take them back home and get high when I'm done working. It makes for an interesting experience and my favourite thing to do is lay on the top of my van and watch the stars for a while.

I have a mullet and I am awful proud of it. It's easy upkeep since I can cut it using the mirror of my van.

I've drank my own piss on more than one occasion. The first time was because I was dying of dehydration out in the bush and it kept me alive for 2 days until I found water. The second time was for science. Certified Piss Kink Guy. (Editor's note: I do not in fact have a piss kink.)

I have infinitely large balls.

I am a bogan. I am proud of that too. Viva la boganism.

I am Ameristralian. I was born in the US and came to Australia when I was 2 years old—both of my parents are American but my parents lived in Australia for work. I grew up in Australia but when my parents split Dad went back home to California to buy back my grandfather's station and I spent most of my high school years in California (years 10-12) and lost my accent. I now live in Australia with a very thick American accent so I get the "lost tourist" spiel a lot and I reckon I'm never going to stop having to prove I'm Australian. It's gotten me into pub fights before and will continue to do so. I had a stroke in 2023 and now have my Aussie accent back LMAO

I've been told I'm "Sniper IRL." (Cheers, bloke I met in a Sydney pub, for getting me into TF2 by telling me this.)

I fucking love crocodiles to a possibly dangerous degree. Technically I love everything nature and especially animals, but crocodiles are just something special to me. I blame Steve Irwin and the fact my favourite thing to do as a nipper was go up to Darwin with Mum during the dry season and go croc spotting.

I like TF2, nature (particularly plants and animals), astronomy, and history. My special interest is sniping. I also love science and medicine. PLEASE ASK ME ABOUT THESE THINGS BECAUSE I LOVE TO TALK ABOUT THEM.

I swear a lot. I will not apologise for it. Fight me, cunt.

Please ask me about the shit I've seen out in the bush. I have so many stories. Actually, just ask me anything. Just talk to me in general, please. I need it.

I like knives (penchant for Bowie knives and machetes), firearms (penchant for antique bolt-actions), and old cars. I think pre-1970 Land Rovers are pretty spiffy. I can alternatively be invoked by incorrectly stating what model of Land Rover Sniper drives. It's a bloody 1965 Series IIA!

DO NOT ATTEMPT ANY OF THE SHIT YOU SEE ME DO ON THIS BLOG. I AM A PROFESSIONAL AT WHAT I DO—ATTEMPTING TO REPLICATE IT IS LIKELY TO RESULT IN SERIOUS HARM AND/OR DEATH. DO NOT GO INTO THE OUTBACK UNLESS YOU ARE WITH A GROUP AND HAVE AN EXPERIENCED GUIDE WITH YOU.

If you wanna learn the rest of the lore, you'd best delve the blog. ;]

I can also be found on AO3 also under Blubushie.

A GUIDE TO MY TAGS

IMPORTANT BLOCK TAGS

blu lewd: Horny asks and reblogs of suggestive art. I'm making a tag for this since I've been getting so many asks from thirsty anons (I love you, thirsty anons). MINORS: BLOCK THIS TAG OR I WILL BLOCK YOU.

haemocyanin: Usually reblogged gore art (blood is not included in gore, I'm talking viscera). Also includes discussion of gory topics. THIS TAG IS STRICTLY GORE. Please block this tag if that makes you uncomfortable.

blu slew: Discussion of hunting. May contains photos from hunting. This includes animal death/animal gore, so anyone who is uncomfortable with seeing this PLEASE BLOCK THIS TAG.

blu a fuse: Angryposting. Will include venting—if that bothers you, block this tag.

blus blues: Venting/sad hours/personal, generally depressive, journals. Basically me screaming into the void about how shit sandwich my life is. May include discussions of trauma so if that bothers you, block this tag.

blu jarate: Anything that mentions piss in referral to urine because it's brought up a lot on this blog (not in a kink way, just in general). Block this tag if piss makes you uncomfortable.

blu boos: A personal medical journal of sorts. Block this tag if talk of injuries disturbs you.

Postbin: Hate asks. Will probably include transphobia or homophobia or intersexism because people pick on the easiest things ay? Block if you don't want to see people clowning on me.

GENERAL TAGS

💙: Random thoughts or stuff from me. No worries, I don't ramble often. Also contains reblogs of things I just Vibe With that don't fit any of my other tags. Formerly #bluposting

💬: IRL quotes. Usually things between me and my father, but sometimes includes other people.

blu news: Updates on my life. This may include failsafes.

blu whos: Answered asks. Please send me asks or talk to me in literally any way as I often spend weeks without even seeing another human out in the bush and let me tell you it is NOT good for one's state of mind. I may not like people but humans are social animals and it's a terrible Catch-22. Ask me about my work or life or my fic or about TF2 lore or Sniper or literally anything please.

abad: Discussions or asks from Ask Blu Anything Day, a monthly... Event? Where some of my ask rules are suspended. ABAD is your licence to go nuts in my ask box, and the rule of ABAD is that I have to answer everything honestly.

mercposting: Catch-all TF2 tag. As I get asks about TF2 often, this is the tag used so I don't clutter the main tag.

blu drew: My sketches. I don't do digital art so all of it is traditional and usually of varying quality. It's typically animals or plants I see out in the bush.

blu bushie: My adventures in the wilderness.

🍄🍄🍄: Contains discussions of drugs.

🍄: Triposting! These are trip reports from the times I get high on various different drugs, but usually mushrooms. Also contains any posts I reblog or make while under the influence of drugs. (Formerly #blu flew)

🍺🍺🍺: Contains discussions of alcohol.

🍺: Drunkposting! Contains any posts I make while under the influence of alcohol.

learnin the blus: Random thoughts/rambles regarding my fic.

blu hoohs: NOT MY ART. Just stuff I've REALLY liked and reblogged. My own art is never tagged with this.

blus clues: Me speculating on headcanons and lore, usually about TF2. I love lore speculation.

sniperposting: Shit specifically about Sniper since I seem to talk about him so much. Also things from my life that Sniper would also probably do.

bushman: Reblogs relating to survivalism, bushcraft, camping shit, and general bushman activities. Also includes reblogs of things related to these.

blu planet: Reblogs relating to nature and the natural world.

blu zoo: Discussions of animals and plants. May contain pictures of things I see on my adventures!

stockman: Discussing my former job as a stockman.

blu pew: Weapons, mostly firearms and knives.

true blu: Things specifically relating to Australia. Usually cultural things.

code blu: Things relating to medicine. This especially applies to bushmedicine.

blursed: Reblogged shit that I think is cursed. Usually text posts, sometimes images.

blusome: Just uplifting things I see and reblog. Everybody needs some added light every now and then.

blu spew: Funny things. Titled for me spewing out my coffee in the morning when I see them.

blu polls: My polls.

blu views: The VERY rare occasions I discuss politics. Most of this is either about firearms or rarely nature conservation.

mistyposting: Posts relating strictly to Misty.

moonyposting: Anything relating to Mundy, my emu. On this blog he's referred to as "Moony" so as not to have him confused with Mundy from my fic (or canon Mundy).

blu tunes: Anything relating to music.

blu chew: Anything relating to food.

ford blu: Anything relating to cars.

blu id: Posts where people ask me to identify animals and plants.

blu marbled jack: Anything relating to Jack. This is because I once saw him eat an entire block of cheese.

ask game: Ask games I find.

answered asks: Answers to things I've asked.

blubook: Posts relating to literature. It's a pun about the Australian boobook, a type of owl. Get it? Because owls are smart? And it's reading? Nevermind.

fanart: Art specifically of me because I get a lot of it (and adore it when I do)!

blucord: Discussing things that go down in the Discord server.

blu muse: Poetry I write (because apparently I'm doing that again).

blu misc: Anything that doesn't fit into the rest of these tags.

blu queue: Queued posts.

blu reviews: Submitted posts.

bluroarer: Things I'm tagged in.

smoke signals: Back-and-forth discussions in reblogs.

dozposting: Posts about my lovely lady, @eyes-like-iron-fangs-of-rust

horseposting: Me talking about horses. I fucking love horses.

dream journal: Where I log my dreams.

eminence: Me infodumping about DND/my DND character Redd (cuz Redd + Blu = eminence purple).

PMP: Info relating to my job as a pest management professional.

matildaposting: Me discussing my late 70s Dreamer camper or other campers.

🌌: Wereshitposting—late-night blogging I get up to when the world is quiet and I can't sleep.

Also I'm writing a Speedingbullet fic on AO3 because it's boring out here and I have brainrot so go read that I guess, cheers. Chapter 10 is my magnum opus.

Here's the link to the original F/M version of the fic, and here's the link to the M/M edited version of the fic. The M/M version isn't as good and there may be pronoun errors here and there because the F/M is my primary focus and how the fic is originally written. The M/M version is also discontinued at Chapter 7 as I couldn't work Jesse's backstory properly into Jake. Sorry, folks.

If you're looking to do fanart or something I have a reference for Jesse and Suki. I also have an appearance detail for the rest of BLU team. (If you do fanart of Jesse and Mundy together I will love you forever and ever.)

[oveliagirlhaditright]

I haven't gotten to watch the third season of "The Chosen" yet (three more days and it should be up on the app, according to Google. Yay!), but I think season two episode one is my favorite episode so far.

Just... the storytelling in this episode was so good! I mean, it is in all the episodes, but it especially was in this one to me.

I love how this episode started with a flash forward to after the crucifixion/resurrection, when everyone is gathered and John is trying to get their eye witness accounts to write his gospel.

This was a good way to open the season for quite a few reasons. One: because it kind of served as a bit of a recap in case you'd forgotten some things (as the disciples went over their stories again, a bit). We also got a preview of Nathaniel, who we hadn't yet met in the story. But it also hinted at the heavy weight of things to come, of course!

And the parallels! Ahh! I think the parallels are the reason I really love this episode. The show is no stranger to parallels, of course, but this one really excelled in them. Mary starting the episode during the thunderstorm, by telling John that she can't hear thunder without thinking about him and James. And then in this episode, we see why that is: Jesus giving him and Big James the nicknames "The Sons of Thunder."

And we also see John trying to figure out how to start his gospel, which will be "In the beginning was the Word, and the Word was with God, and the Word was God...." which of course parallels Genesis 1:1, "In the beginning, God created the heavens and the Earth." But it goes even further than that: the Samaritans in this episode ask Jesus to read something from one of the first five books of Moses and Jesus asks John's opinion on it, and together they decide on Genesis 1:1. Jesus then reads it, and ahh!

His reading of that, while John then reads the start of his gospel during a flash forward again (in finally having figured out what he'll write), and them paralleling each other so beautifully? Marvelous. It also seems like--as John is moved to tears in the moment that Jesus reads that scripture--that while he'd realized that Jesus was the Messiah, he hadn't yet truly realized He was also God until that moment. And when he did, the reaction was beautiful

And Jesus' message to James and John--when they wanted Him to strike down the Samaritans in anger--about how they think they're so much better than them, and they're not... That they're there to plant seeds that will last generations, not burn bridges. Glorious.

There are so many powerful messages in this episode, like seeing the story of the Good Samaritan from the point of view of the thief... and having him be sympathetic, and Jesus forgive him and heal him? I can't! I can't!

[lesfeldickbiblestudy]

What is the only way to be saved during this present age of grace? [convertplayer id="nMsTZKi9a" width="700" height="525"] Now let’s look at the Gospel as outlined in I Corinthians Chapter 15, and beginning with verse 1. I never tire of repeating it, and I hope you never get tired of hearing it. I Corinthians 15:1   "MOREOVER, brethren, I declare unto you the gospel which I preached unto you, which also ye have received, and wherein ye stand;"   "...wherein ye stand" is a positional term. That’s why he writes in another place that we are not to be blown about with every wind of doctrine. Some people are so shallow in their understanding of Scriptures, that they see someone on television or someone can come to their door and they have a good line, and a nice approach, and they fall for it. We are supposed to be so well versed in the Scriptures that something like that won’t happen. We are to be like an anchor, steadfast, immovable. Now verse 2. I Corinthians 15:2,3   "By which also ye are saved (it’s only by this Gospel that you are saved. It’s not by something else), if ye keep in memory what I preached unto you, unless ye have believed in vain." And now here comes Paul’s Gospel in verse 3: "For I delivered unto you first of all that which I also received (here he’s talking about what we saw in Galatians in our last lesson, how that by revelation, "He made known unto me," Paul says. This is what the Lord revealed to him. We will find that Paul’s Gospel is not based on the Judaistic Law, or just on the fact that Christ was the Messiah of Israel, but it’s that The Messiah of Israel, The Son of God, died on that Roman Cross, shed His Blood, was buried and rose again, and here it is), how that Christ died for our sins according to the scriptures;" This was in the Old Testament. It was all in the pre-eternal mind of God, that all of this would fall into place.   I Corinthians 15:4-6a   "And that he was buried, and that he rose again the third day according to the scriptures." That’s the Gospel! And to prove that Christ rose from the dead we see in verse 5 and 6 the following. "And that he was seen of Cephas, then of the twelve: After that, he was seen of above five hundred brethren at once;..."   Paul tells us that he also saw Him in person. Paul knew that He was alive. Now back to Romans 1:16. That’s The Gospel – that Christ died for the sins of the world. And that’s what Paul expressly desires to get across to people. It’s so hard for people to comprehend that this is all they have to do. Just believe the Gospel for Salvation. If you really believe He will save you. Now you know that I’m not an easy believer. You know that. I’m not just talking about making a mental acknowledgment and you’re all right. No, what I’m talking about is a Holy Spirit driven belief, that my eternal destiny is based on what He did for me on that Cross. And we will be seeing more and more of that, especially when we get into Romans Chapter 6, where Paul just begins to draw that simple analogy of a little seed that’s planted in the ground, but before that plant can come forth, and bring forth fruit it must die first. So the whole analogy is that, "When Christ died, we died. When He was buried, we were buried. When He arose from the dead, we also arose out of deadness in the old Adamic sin nature to a new life." Verse 16 again: Romans 1:16   "For I am not ashamed of the gospel of Christ: for it (The Gospel, not our works, or denomination, not anything that we can do, but rather The Gospel) is the power of God unto salvation..."   One of the newer translations waters this down by using the word ‘salvation’ as a better way to heaven. Salvation is much more than a better way to heaven. Salvation is that all inclusive work of God on our behalf, whereby we are forgiven: He justifies us, He sanctifies us, He glorifies us, He baptizes us into the Body, He seals us with the Holy Spirit, He fills us with the Holy Spirit, and on and on you can go in all t

hat was accomplished on your behalf by an act of God instantly the moment you believe. And you’re not going to necessarily feel any of those things, but they have happened to you if you were genuine in your belief. But how do I know that these things have happened to me? The Book says so. And that’s where faith comes in. That’s what The Book means when it says we are saved by faith and are to live and walk by faith. Taking God at His Word. So, you just simply have to know what The Book says. When you come to Salvation, and say, "I don’t understand this or feel any different," remember The Book says that it has happened. And that is what God is pleased by. Remember Hebrews 11:6: Hebrews 11:6a   "But without faith it is impossible to please him:..."   You should be able to say, "Yes, I know that I’m forgiven," not because I’m so perfect, or any better than anybody else, but simply because I believe what this Book says! I can’t make it any plainer than that. So when an individual realizes that he’s in the cesspool of sin, in that old slave market, and there is no hope of getting out, unless the power of God takes him out; God pulls him out of that deadness in sin, and gives him new life, sets his feet as the Scriptures say, "On a Rock," and does all these things for him. That’s what believing does! After that, you become a totally new person in your outlook on life, in your desires, and you don’t work for that. Remember, you won’t become a mature Christian overnight. It’s going to take time. The Christian life is like coming into physical life. We come into the Christian life as a babe in Christ, just an infant that needs tender loving care. An infant that needs nourishment, and protection. That’s what a new believer is. But God doesn’t expect a new believer to stay a babe in Christ. He expects them to begin to grow in Grace, and knowledge and wisdom. To grow in a new lifestyle. Over the years I’ve told my classes the basic fundamental aspect of a Christian life, the part that will immediately become visible to our friends and relatives, and yes, the whole community; a true born again child of God is going to be a good citizen. Have you ever thought of that? When we are a practicing believer, we will be a good citizen. In other words, you won’t find a true child of God giving the police department fits. Now there may be isolated instances, that’s always a possibility. But the basic believer will be a good citizen, and a good parent. He will be a good grandparent. He will be a good child. He will be a good teenager. Now that doesn’t mean we are perfect. Nevertheless, we will be the kind of person that will enhance society. If you could have a community of 100% born again believers, then you would have a pretty decent place to live. I’m not saying that it would be perfect. It’s just like the local church, no church is perfect. I said on this program once, if it was perfect I’d like to find it, but I wouldn’t dare join it because it would be no longer perfect. But, for the most part, God’s power unto salvation has imparted all these things on our behalf and they will make us different. That doesn’t give us the right to walk around like we are perfect, or better than everybody else. But what we have is an imputed position that God has accomplished on our behalf. We will look at that more in depth later in Chapter 3. Romans 1:16b   "...for it is the power of God unto salvation to every one that believeth; to the Jew first and also to the Greek."   I said at the close of the last lesson that there were many things in there that normally people would think should be. Over the years, I have taught to be aware of what is not in Scripture that many of us think should be. Well, here is a good one. Let me read this verse the way a lot of people think it should have been written. This is just an example: "For it is the power of God unto salvation to every one that repents, and is baptized, joins the church, gives ten percent of his income, does good works, and believes."&n

bsp;But it doesn’t say that does it? There are a lot of these things that people just automatically think are requirements for Salvation, and they’re not! They are all right in their rightful place after Salvation. But so far as our salvation is concerned it’s based totally upon our faith in the Gospel, and what God has said concerning the finished work of the Cross.

[botanyshitposts]

You seem like the kind of person who would have strong opinions and/or interesting facts about air plants to share. also please explain them to me because no dirt?? how tho??

ohh man...love those little lads. to be completely honest i’m neutral on them as houseplants, but their biology is kind of hardcore. 

the ‘air plant’ genus (as in the air plants sold in stores and stuff) is called Tillandsia. they’re native to central and south america. i love the first hand account of them in Carlos Magdalena’s The Plant Messiah --which is a really good book and one i recommend to anybody wanting to read something both plant science specific and accessible to non-academics-- and i always end up thinking about it when i see them anywhere day to day, because it’s a really vivid and kind of haunting description of how these plants live in the wild. it’s kind of a longer quote (pages 169-170), but it’s crazy to think about knowing how they’re most well known in north america as houseplants of all things: 

“The National Reserve of San Fernando, about half an hour’s drive from Nazca, is devoted to the rich wildlife areas of the sea and the fog-dependent vegetation by the coastal hills. It is one of the best national parks in Peru for biodiversity, boasting 90 species of desert plants, 90 species of fish and crustaceans, 252 species of birds and a host of animals and reptiles. The Humbolt Current flowing along the coast is relatively cold, like the sea in an early summer at Brighton beach, and cools the air above it. This spreads over the hot land at night, and when the hot and cold air collide, fog or mist forms, which waters the plants. 

I and the rest of the team, including Oliver Whaley and William Milliken from Kew, left the main road at night, and and arrived in the vast desert that runs between Nazca and the coast as the sun rose. There was hardly anything alive. Our shadows were many metres long and projected themselves endlessly over the dunes as we drove. 

There is nothing along this strip of the coast for about 300 or 400 kilometres, and in some areas it is not thought to have rained for thousands of years. Our plan was to cross the desert through the centre, reach the coast, then drive from north to south before returning to Nazca. We started at 4 a.m. to avoid the midday heat of the desert, and only got to bed at around 1 a.m. the next day. With no stop for sleep, we drove for over twenty hours straight. 

The red desert, with its weathered stones and sand, was how I imagine Mars. It felt like we were driving over ground that had never been disturbed before, but after a while, we found some tyre tracks and decided to follow them to avoid further damage to the desert. All around us there was nothing. 

We drove up a mound twenty metres tall to survey the landscape; in the distance we could see ripples in the sand. As we came closer the ripples became lines of Tillandsias, known as clavel del aire (air carnation) or clavelinos (little carnations) in South America. They can survive in the harshest conditions imaginable, where even cacti do not grow. All the lines faced the same way. The wind blows through the Tillandsias and the angle of the leaves makes ripples in the same; as the ripples increase in size, the Tillandsias grow to compensate. The bodies of some Tillandsias have been found to extend three or four metres down into the sand. Thanks to the results of carbon dating, they are believed to be growing from a seed that germinated 14,000 years ago, making them older than ‘Methuselah’ -- a Californian bristlecone pine that is nearly 4,900 years old. 

When we looked closely we could see the condensation on the Tillandsia leaves; behind each plant, in the shadow, the ground was wet where the water had dripped from the leaves [...] Even though it was almost impossibly dry, it was still able to bloom, all because of the fog.”

so, to contextualize this a bit, yes, air plants are usually epiphytes that grow on the branches of cacti and in trees and on telephone wires and pretty much on/around whatever they can latch onto, but the native population Magdalena is describing here literally lives on the dunes and holds the formations together. this is a photo from the San Fernando website: 

wild. like. could you imagine being an air plant sitting in one of those instagram hanging globe things in an earl may in the american midwest and meanwhile other members of your species are thousands of years old and are physically holding a remote expanse of desert together

anyway. magdalena describes how these plants get their water by absorbing it from fog that rolls inland, but he doesn’t describe the mechanisms they use to do that. the leaves of these plants are covered in tons of delicate microscopic scales; they can develop on the roots, too, and their structure helps water condense more efficiently from the fog, which in turn facilitates Slurping Activities. this is a picture of a leaf tip from one i took on a microscope in plant anatomy last semester: 

honestly one of the coolest pics i got from that class. look at this. they’re such intricate structures when you look at them this closely, and yet you have these same plants living on a landscape so remote that it takes 20 hours on a dune buggy to get out there, so desolate that a Kew gardens botanical horticulturist compares their habitat to mars. they live in tons of different environments, of course --when your range is like, from texas to argentina, you gotta have some wiggle room to make shit work-- but it’s just cool. like. i know people love them firsthand for their lives in captivity and their aesthetic value, but you gotta admire that kind of resilience in the wild. 

[pet-genius]

The Death Eaters as a Cult - Part 1

This is a very lightly edited old Reddit post, that I'll publish in parts because the whole thing is like 7000 words. Analyzing Voldemort, the DE and their dynamics, Dumbledore and Harry in comparison, and individual Death Eaters. Hope you like it!

Some say Voldemort is a cartoon villain, or wizard Hitler. I think he is very realistic, and that the focus on his political aspirations ignores interesting aspects of him. I cannot prove that JKR had cults in mind when she wrote Voldemort and his followers, but this is how I read them. It’s nearly impossible to define a cult, so, for the purpose hereof, I’m going with “a group dedicated to the worship of a person”. Many cult leaders in real life present themselves merely as “god’s voice” or “the messiah”, but Voldemort specifically didn’t bother to hide behind a power higher than himself.

Tom Riddle comes from humble beginnings, like many cult leaders - he’s raised in an orphanage. He already has delusions of grandeur, only in this case they’re not delusions, because he really is magic, which makes it all the more dangerous. Look how he reacted to discovering he was a wizard, and how Harry did.

Immediately following the revelation that Lily and James did not die in a car crash, and that Harry is famous, and that he survived an attempt at his life by the worst wizard in history:

Hagrid looked at Harry with warmth and respect blazing in his eyes, but Harry, instead of feeling pleased and proud, felt quite sure there had been a horrible mistake. A wizard? Him? How could he possibly be? He’d spent his life being clouted by Dudley, and bullied by Aunt Petunia and Uncle Vernon; if he was really a wizard, why hadn’t they been turned into warty toads every time they’d tried to lock him in his cupboard? If he’d once defeated the greatest sorcerer in the world, how come Dudley had always been able to kick him around like a football?

“Hagrid,” he said quietly, “I think you must have made a mistake. I don’t think I can be a wizard.”

Heart-breaking. Harry doesn’t believe he can be special, he blames himself for the way he’s treated.

This is Tom Riddle:

“I know that you are not mad. Hogwarts is not a school for mad people. It is a school of magic.”

There was silence. Riddle had frozen, his face expressionless, but his eyes were flickering back and forth between each of Dumbledore’s, as though trying to catch one of them lying. “Magic?” he repeated in a whisper.

“That’s right,” said Dumbledore.

“It’s... it’s magic, what I can do?”

“What is it that you can do?”

“All sorts,” breathed Riddle. A flush of excitement was rising up his neck into his hollow cheeks; he looked fevered. “I can make things move without touching them. I can make animals do what I want them to do, without training them. I can make bad things happen to people who annoy me. I can make them hurt if I want to.”

His legs were trembling. He stumbled forward and sat down on the bed again, staring at his hands, his head bowed as though in prayer.

“I knew I was different,” he whispered to his own quivering fingers. “I knew I was special. Always, I knew there was something.”

His megalomania and violent nature are already apparent, as is his preternatural control of his magic. It also hints at rudimentary legilimency.

Dumbledore spells out that young Tom Riddle equated magic with immortality and liked to collect trophies, and that Tom Riddle liked being special, as he resents the name Tom for being too common; he already lives behind a mask and only shows his true face in shock. This, and not Dumbledore’s magical prowess, is what always scared Tom. Voldemort knew Dumbledore knew what he was. That was the only tactical advantage Dumbledore had.

It’s also one of JKR’s strokes of brilliance: Dumbledore saw Tom for what Tom was, and others never did until it was too late, not because he was that clever, but because he knew from experience. Dumbledore had allowed himself to fall for a charismatic but heartless man before, and it took Ariana dying to slap him awake. Dumbledore knows good people can be led astray: It happened to him. It has nothing to do with intelligence or “goodness”. Gellert was able to give Albus exactly what Albus lacked, stuck at home taking care of Ariana: the promise of freedom and a bright future, and the companionship of an equal. Albus fell for it, despite warning signs that should have been obvious.

Later, we know Tom is chosen by a wand of yew and phoenix feather. Both yew and phoenix are associated with immortality; yew trees are very long-lived. Compare this to Harry’s wand, holly and phoenix feather: both these characters will experience death and rebirth, except Tom Riddle’s wand tree is yew, and Harry’s is holly.

From Wikipedia: “The Christian church commonly found it expedient to take over existing pre-Christian sacred sites for churches. It has also been suggested that yews were planted at religious sites as their long life was suggestive of eternity, or because, being toxic when ingested, they were seen as trees of death.” Also from Wikipedia: “Christians have identified a wealth of symbolism in the holly tree’s form. The sharpness of the leaves help to recall the crown of thorns worn by Jesus; the red berries serve as a reminder of the drops of blood that were shed for salvation; and the shape of the leaves, which resemble flames, can serve to reveal God's burning love for His people.”

The two orphans’ wildly different views of death are also apparent in their wand trees. Voldemort will murder to attain his goals; Harry will sacrifice himself. That the phoenix feather came from Fawkes is also meaningful - Dumbledore taught both magic in some capacity, but he never could defeat Voldemort, because they’re too alike. One of Harry’s advantages in this battle is the integrity of his soul, which cannot be compromised.

Next, Tom Riddle is sorted into Slytherin. For a child who is already prone to megalomania, the house values bring out the worst in him, and under Slughorn, he grows into a manipulative, cunning, ruthless young man. I’m not blaming Horace for Tom being a psychopath, but some of the particular ways his psychopathy manifested in seem to have been directly due to Slughorn’s influence. Slughorn is a blood-supremacist, who was convinced Tom must come from fine stock. Slughorn tests drinks for poison using house elves; Tom Riddle tests the effectiveness of his Horcrux’s protection on Kreacher. Slughorn emphasizes the importance of connections and outright praises Tom for knowing more than he needs to, and encourages an attitude of “it’s only wrong if you get caught.” But Slughorn, prejudiced and cunning as he is, is not violent - he is academically curious about Horcruxes, but he finds them repugnant. Tom’s heart is not so faint - at the point of asking Slughorn about Horcruxes, the diary is already a horcrux, and Tom has already murdered his father. This is how Dumbledore describes Tom’s original gang, who were the proto-Death Eaters:

As he moved up the school, he gathered about him a group of dedicated friends; I call them that, for want of a better term, although as I have already indicated, Riddle undoubtedly felt no affection for any of them. This group had a kind of dark glamour within the castle. They were a motley collection; a mixture of the weak seeking protection, the ambitious seeking some shared glory, and the thuggish gravitating toward a leader who could show them more refined forms of cruelty. In other words, they were the forerunners of the Death Eaters, and indeed some of them became the first Death Eaters after leaving Hogwarts. Rigidly controlled by Riddle, they were never detected in open wrongdoing, although their seven years at Hogwarts were marked by a number of nasty incidents to which they were never satisfactorily linked, the most serious of which was, of course, the opening of the Chamber of Secrets, which resulted in the death of a girl. As you know, Hagrid was wrongly accused of that crime.

Dumbledore explains what motivated people to join Tom: some were afraid, some ambitious, some cruel. He controlled his so-called friends, and already started framing others for his own crimes (Hagrid’s framing was followed by Morfin’s and Hokey the house elf’s).

This is followed by Tom’s attempt to become a teacher (Dumbledore spells out his motivations: He is attached to the school, he wants to study its magic, and he already wants to build himself an army). He is denied, oddly chooses to work for Borgin and Burkes, a choice fueled by the desire to trace down more items to make into Horcruxes. Through the memory of the meeting with Heptzibah Smith, we see that Tom was definitely charming when he needed to be, and knew how to make people feel good. He did not use magic to trick her into showing him her precious locket and cup: he used muggle manipulation - flattery, making an old and forlorn lady feel valuable, perhaps even flirting with her (she’s certainly flirting with him). He was pleasant enough that Ms. Smith eagerly looked forward to his visits - but as she showed him her treasures, he was caught off guard by hearing about his mother and how she sold the locket, and she saw him for what he was, although she quickly fell into denial. Sadly, she was murdered two days later.

Why rely on Horcruxes to gain immortality? Tom must have known about Nicholas Flamel and the Philosopher’s Stone, and the Horcruxes require someone else to perform the resurrection ritual. Either making the Stone is so hard that it would deter Tom (unlikely), or he already expected to rely on followers who would find him and revive him - he certainly seems to have expected his followers to have searched for him earlier. Maybe Horcruxes were appealing because they require murder. In any case, this is followed by the memory of Tom asking Dumbledore for the DADA job again, a decade later. Tom has spent a decade gathering followers, and he has already changed his name to Lord Voldemort. This is reminiscent of real life cult leader David Koresh, and the leaders of the Children of God, Aum Shinrikyo, etc. The meeting between Voldemort and Albus is interesting, because it’s clear that Dumbledore had tried to teach Tom about the power of love:

“The old argument,” he said softly. “But nothing I have seen in the world has supported your famous pronouncements that love is more powerful than my kind of magic, Dumbledore.”

“Perhaps you have been looking in the wrong places,” suggested Dumbledore.

This did not help. Tom never learned - how could he? At 16, he was already a murderer - who could love him now for who he was? He could never be truly loved, and he could never truly love another, and he underestimated the power of love for his entire life, leading to his downfall - twice (were that it was so simple in real life).

Voldemort is trying to obfuscate the nature of the relationship, like all cults - they never admit this is what they are.

“I am glad to hear that you consider them friends,” said Dumbledore. “I was under the impression that they are more in the order of servants.”

“You are mistaken,” said Voldemort.

But LV can’t lie to Dumbledore, who changes the subject. He denies him the DADA job again, and the curse is placed on the job. LV’s ascent is due to begin in a few years. Hagrid tells the story:

Anyway, this — this wizard, about twenty years ago now, started lookin’ fer followers. Got ’em, too — some were afraid, some just wanted a bit o’ his power, ’cause he was gettin’ himself power, all right. Dark days, Harry. Didn’t know who ter trust, didn’t dare get friendly with strange wizards or witches...

Voldemort isn’t just interested in immortality. He wants complete control. He wants everyone fearing him - even fearing his name. He has people isolated and distrustful, fearing for their lives.

But we know his reign of terror was dreadful - what I’m interested in is the way he treated his own followers. We know little about how he treated them in the first war, but we do have what Sirius had to say about Regulus’s fate:

From what I found out after he died, he got in so far, then panicked about what he was being asked to do and tried to back out. Well, you don’t just hand in your resignation to Voldemort. It’s a lifetime of service or death.

We know the real story of Regulus’s disappearance, and it’s different. Kreacher tells us that Regulus died in the Horcrux cave - but more telling is that Regulus forbade Kreacher from telling his parents what had happened to him. Why did he feel the need to do that? This suggests that Regulus knew LV destroyed traitors’ families, which is a tactic used in cults and other abusive dynamics. We know LV would leverage Draco’s welfare against Lucius for his failure in the Department of Mysteries, too. We know also that instead of going to Dumbledore, or to his own brother, Regulus chose death – unless he was really dumb, and I don’t think he was, he must have been manipulated into believing that was his only option, or his world made no sense after his faith had shattered. So many people never readjust to life outside the cult.

Voldemort “dies” about two years after that, having successfully recruited about 400 followers (“the death eaters outnumbered us the Order 20:1” - Lupin). We can’t say if all these people were genuine Death Eaters or people who had been Imperiused or otherwise coerced, or allies like Narcissa, but that coercion is used to recruit shows that Voldemort did not take his own followers’ ambitions and wishes into account. People who use outright coercion don't suddenly draw the line at manipulation.

[marv3l-drag0ns]

Wrote part of a vent piece. ————————————————-

Gamzee felt a little lost. He probably was. Goatdad had left him again, and it had been about two and a half perigrees since then. Gamzee could feel his stomach tightening every day, and he had finally decided to try and remember what the schoolfeeding had said about forageables. 

It wasn’t going super well.

Gamzee couldn’t remember what plants were good to eat and which would liquify his insides, and it was nearly morning. He would have to go another day with nothing in his stomach, and Gamzee honestly didn’t know how long he could last like this. He was only 3 and a half, but he felt like he should be able to do more. 

Gamzee just managed to make it indoors by the time the first rays of the sun nipped at his heels. Collapsing against the closed door, Gamzee breathed deeply. 

——

Opening his eyes, Gamzee stretched in the shallow pool of sopor in his recuperacoon. He hadn’t added any more in, trying to make the supply last as long as possible since Goatdad still hadn’t returned from his… sabbatical. It was getting to the point that Gamzee had tried his absolute best to go swimming and maybe even catch a fish, but the rolling bubbles and the nick on his ankle dissuaded him from going out too far. He had managed to remember what herb was good to help seal wounds since his metabolism slowing also slowed his healing time. He didn’t want to bleed out.

Gamzee did manage to get a fish later from a nearby stream, though. It was a little shiner, and somehow jumped out of his hands the instant he shifted his attention for a millisecond, but that pride stayed with him.

Goatdad’s lack of presence really hurt, but Gamzee soldiered on. It would work out. He knew how to read, and he practiced his prayers every day, though he couldn’t remember exactly why right now. His mind kept getting foggier and foggier as the days passed.

——

Gamzee opened his eyes to a dimly lit room that looked like the inside of a carnival tent. He could just barely distinguish the prescence of lights and laughter- or screams, he couldn’t really tell. As he looked around, he noticed a pair of shrouded figures standing behind him, almost comfortingly.

They didn’t talk, not yet. He got the feeling that he wasn’t ready, wasn’t worthy, to hear them speak yet. 

That didn’t mean he didn’t ask them questions. Questions like “who are you?” and “which way do you swing- brother or sister?” and “can I stay here?”

They didn’t answer directly, but they made their meaning clear. Gamzee remembered goatdad showing him a scripture from the Mirthful Messiahs- a holy text detailing the rituals and understanding the Church fostered between its members. He had forgotten during his hunger. 

He wishes he could join it now.

The Mirthful Messiahs- for who else could they be? They were the most imposing trolls here- gently ushered him up off his chair. They were neither male nor female, brother nor sister, only them. Gender was only a means to a joke for them- if it was funnier to be male, they were male, and vice versa. They had no connection either way.

And as for staying there? The Dark Carnival was were you went once you died fulfilling your mission for the Church. He could join them someday, but not today. This was merely… a wakeup call. 

He got the feeling this joke of theirs would make sense once he made it back. Maybe. 

Either way, Gamzee thanked them profusely- they had inspired him and given him hope. The Church of the Mirthful Messiah seemed comforting in its laughter and lights. It was only a hope that he could emulate the Messiahs in the waking world.

——

Gamzee opened his eyes. The recuperacoon was empty- the sopor had been used to make pies after he found a dusty old book filled to the brim with directions for food preparation. Changing the filling of a pie to sopor was no hard task- the bake time hardly changed.

Gamzee’s mind was still fuzzy, maybe even fuzzier, but this was a good fuzzy, one that made him able to ignore the gaping wound that Goatdad had left in his bloodpusher. The hole had been filled by the Messiahs anyway- they were an inspiration, and the one troll he had managed to connect with about them agreed. Even if they blocked him a few days later after saying that they didn’t want to involve him in the rebellion. Whatever that was.

Gamzee had been doing some thinking either way. What the Messiahs had said about gender, about not relating to it- it made sense. Gamzee wasn’t sure if he was just going with the advice of the Messiahs, but it felt so similar to what he felt, that he had honestly considered starting to go by genderless. 

He- they, they supposed, though it didn’t really matter, in the end- they were hoping to make the Messiahs proud. They had found the book on herbs, and managed to bring some back for drying and storage in their hive before they got eaten by some grazebeast in the forest. It helped, this calm and repetitive task. 

They could make it. 

Their husktop dinged.

[twelvemonkeyswere]

so I rewatched Dune (with subs this time) and I still don't understand the hype. My impressions are of course my own, but I think the main issue why it doesn't work for me is that it doesn't explore its main themes in an interesting way and, mostly, that it's a lot of telling, not showing.

It does have some good visuals, but a limited color palette that ends up being a detriment to the story (the desert lacks color! their people lack color!). Timothee has a very short range of acting so he just mumbles most of the time while looking bored or confused, which might be in character, but makes it very difficult to believe anyone would like him enough to support him without already knowing him. Paul as the protagonist isn't particularly interesting for me, either, because I don't really know what he cares about except his friend Jason Momoa, whose work as a strategist and commander we barely see, in favor of listening to stories about what he does. We don't learn how the superpowers aka the Voice works, either, for some goddamn reason. We only see Paul failing at it once and then succeeding at it the next time he tries it, more than an hour into the film. And then it never gets used again, not even by his mom, who *can* use it properly and there's no apparent reason as to why she wouldn't.

I also disliked some of the framing of the Fremen. I didn't understand why the Fremen who welcome him and his mom did so happily *after* he killed one of their own, because apparently just by fulfilling the Amtal no one has a problem to let them join? Even though they were super ready to kill them five minutes before? One thing is to accept your leader's word, imo, and fulfill your word. But another to be happy about it. Zendaya even gives Paul her grandmother's knife for some reason, despite him being the colonizer. She says it's so he dies with honor, but why would she give him that chance? Minutes before she had already told him that she wouldn't have let him hurt her friends. Was he going to die with honor then? Maybe she admires that he is defending his mother, but we don't know. And I know they are probably trying to say the Fremen are kinder and more understanding or compassionate than the colonizer will ever be, but it's such a narrowed perception of how to *show* that. Because if Joe Biden's son ever came into my house I wouldn't give him my grandfather's tools, fuck that shit.

We haven't even seen a worm properly! I guess it's so we see more of them later but it's annoying we don't even get descriptions of them by the ecologist T.T We don't get to see how she actually cares about the native ecology either until for like, 2 lines, because they mostly use her to infodump about extracting spice to the other characters. And we get but a glimpse of her work with the succulents! She doesn't even get to talk about her plants, we just see Jason Momoa seeing them. And the only full worm we do see is in the *dark* because, idk, maybe they were hard to animate? Didn't even contrast it with Timothee's clothes for like, size comparison, because his mom is wearing the white robe.

We are told the main character has been bred to have protagonist syndrome and everything comes easy to him, but we don't *see* him pick up things faster, we don't see him doing anything, instead we get people *saying* he does and we ought to believe them.

For me all these things mean to me that the movie relies heavily on telling, and not enough on showing. I understand the basic premise is that House Atriedes is wrong, the empire is wrong. They do that in the most obvious ways. They *tell* you it is, at the very beginning, with the Zendaya voice over. Then you hear all the shady things they are doing in Dune, which obviously means they are bad. We see the politicians talking *about* the Fremen in a way and speaking *to* them in another, which is all very good, but we never go beyond that. We get *some* of the signs the Fremen look for in their messiah, but we don't know what they are soon enough for them to have weight when the audience sees them. We don't see wall paintings, sacred images, or people talking about the prophecy. Maybe it's on purpose, because of the POV being Paul. But for me the overall effect is that the story doesn't care about them, instead of only the colonizers not caring about them.

And, my biggest problem of all, is that we don't see the direct consequences of the colonizers' presence in Dune. We see the machines, we see the army. But we don't see the effects of the spice extraction, for example. We get *told* the Fremen mostly have to live outside the city walls, but we don't see guards enforcing imperial law inside the city either, or people having to purchase food only through them because their lands have been ravaged. We don't even see the workers who help around for the extraction, but we hear them say they won't abandon ship during an emergency just so Lord Daddy looks good when he says he will save them. We see the empire's lies they tell Javier Bardem, which is okay, but why would he believe the new lord? Without anything to prove it *to his people*? One thing is to think Paul is the messiah, but his father? We don't see much of the people *inside* the city either, except of them praying. And we didn't even get to see if the guy who waters the sacred palm trees (most interesting character imo) saw his palm trees getting burned, which *should* be a monumental moment given how much attention they give them. And we didn't see who gets hurt during the attack, either. These people were being bombarded by the empire, because of the empire's desire to finish House Atriedes, also part of the empire. And the film doesn't even spare some time to show how the people are affected, to showcase the injustice committed against them. We don't see their temples being destroyed, or people running and screaming away from it. There's no WEIGHT to it. We don't even see how this all affects the environment, despite having an ecologist right there. What is her dream? How does she view the paradise that Dune can become? How does she worry about her planet? We don't know, we never learn what she loves so much about her desert, which IS her home. We never get to see that.

Besides, and this is of course very personal, but I insist, this white boy should at least get his cheeks pink under the sun. I know he gets advantages because he has protagonist syndrome but I'd like some sign that these people are NOT adapted to the weather, to the planet, to the desert. They keep saying the desert isn't kind to humans, but we don't see the desert being unkind to them. "The people who live here welcome and protect the outsider" is hardly an outstanding take in Hollywood, and I understand these books are old. But for that same reason I think it's something that I just don't think is particularly praise-worthy in a modern film. It might be okay, I guess. There are definitely very interesting ideas here, that I'd love to see developed. I just don't see why people call it a masterpiece.

So in the end all I'm saying is that most of what we know, we learn because we get told. I know it's a lot to do as an adaptation, but I also think it's just... kinda meh as a movie on its own. If you like pretty cinematography, ig this is more than enough. They also keep putting dramatic music while characters *walk* (and I like LOTR so the device doesn't bother me), and it feels like kinda trying to balance out the fact there is not a lot of tension in most scenes. It also gives me the sense that the director wants you to think this movie is deep and epic, instead of letting you be the judge of that. idk man I just think if you have to keep reminding yourself the film "is setting up everything for the sequel" then your movie mostly failed as a story on its own. Maybe its purpose *is* to set up everything for later but if you can't use the main conflict of the film to explore your themes without NEEDING people to know the future, then maybe it's not a solid enough script. For me, the main conflict in this movie is "adjusting to Arrakis", but its heart is not in "I'll show you Arrakis through Paul's eyes," it's in "look, I'm doing something impressive." And I just don't vibe with that.

[deadendtracks]

things i think this version did really well:

1) the ornithopters. I don't mean this flippantly, those were really fucking cool

2) alot about jessica. Great acting, managed to get a lot in re: her motivations and character and relationship with Paul through show don't tell

3) chani -- I just think this is aces casting so i'm hopeful she won't just be paul's hot love interest

4) duncan idaho -- brilliant casting, the character who really stood out to me tbh

5) liet kynes -- ditto. i think the character erred a little too much on the side of obviously being a believer and a fremen, in the book it was ambiguous for far longer, but i can forgive this as a function of compressed storytelling. the actress was luminous and really great though.

6) Rabban is also perfectly cast. And the costume as an A++ homage to Lynch's film.

7) the stillsuits! great design. Even if everyone fails to wear the full headcovering/mouthpieces when they should in the desert, for Film reasons, which I get. It was better done than in Lynch's version imo, though the design was obviously heavily indebted to that film.

8) the way it would be creepy to land in a new place and have everybody already thinking you're the messiah! especially since it was *planted* by the bene gesserit. that was well done and nicely integrated without a whole lot of obvious exposition dumping.

things i found disappointing:

1) the relationship between Leto and Jessica just wasn't there. It was sacrificed a bit for the relationship between Leto and Paul, which I felt it did pretty well. But I didn't get a sense of why Jessica's choice to give Leto a son was so huge -- also as someone else somewhere commented, the sense you'd come away with is that she did it in order to try to produce the Chosen One, rather than for love? Which I think is a) true and b) makes the character very different, though I'm not totally opposed to that version of the character.

2) the gom jabbar scene -- idk, this was down to TC's acting, and I'd have to see it again to be more specific about what bothered me.

3) the hunter seeker scene -- FOR FUCK'S SAKE CHALAMET, THE THING SENSES YOU THROUGH MOVEMENT SO MAYBE HOLD STILL FOR MORE THAN 2 SECONDS ahem sorry that *really* fucking bothered me, and that is probably a directing issue -- the director should have caught this! THIS IS HOW THE FUCKING THING WORKS, IT SENSES THE SLIGHTEST MOVEMENT, IT SHOULD HAVE KILLED HIM LIKE 9 TIMES IN THAT BRIEF SCENE. HE MOVED THROUGH THE WHOLE FUCKING SCENE! JUST WAVERING AROUND THE PLACE CONSTANTLY! probably this is where my book nerd is showing but c'mon. Paul should freeze and barely breathe in this scene; the only reason he lives is because the housekeeper comes in and the seeker goes for her!

4) i get why a lot of the political stuff was cut, but it also sort of reduces the plot to bare bones action movie stuff, which i kinda found boring to be honest. The whole ... fabric of Dune the book is all the political manuevering and how it all smashes together. there's a great comment in that article I linked that really nailed it.

5) Apologies to fans of TC but I just really deeply dislike him as Paul the more I think about it. He was just *mopey* and depressed in a bunch of scenes in a way that bothered me and really isn't true to the character in the book. Paul's actually pretty excited to go to Arrakis at first? like he's not... self aware of his own position. Maybe this is a good change, idk, but it didn't really work for me, feels like it doesn't give the character anywhere to *go.* The one bit I did like is his vision of himself standing on a ship with Chani looking triumphant and evil, lording over his jihad, that expression was great! So maybe he'll be better in the next movie, idk. I get he's supposed to be playing teenager, but it came off more like 2021 CW show teen than intergalactic royalty of the future teen, if that makes any sense.

6) all of the rest of the supporting characters. Halleck, Hawat, Yue especially, just... not enough fleshed out for me to care unless I superimpose my book knowledge onto the film. Very little sense of what Hawat even does or how key he is to anything. Very little sense of how impossible Yue's betrayal should have been, though I liked his scene with the Baron a lot. No sense at all about Paul's affection for Halleck or why he'd even like the guy. They sort of gave Duncan a lot of Halleck's traits, I think.

7) yeaaah the optics of the fight with Jamis were *really* bad. the actor was great though. lots of people better at this than me have commented on various critiques of the racial and cultural and religious issues involved in both the film and book.

8) a couple of really specific changes/omissions in dialog (iconic lines) that sort of... stripped out a lot of the meaning of scenes. Like the bene gesserit not telling paul that the gom jabbar tests for humans? idk, she says it at the very end but it's not really... there... in the way it should be, and it's a curious change. also! "for the father, nothing" to Jessica -- maybe they wanted to preserve the whole ambush as a surprise for people who haven't read the book but it's important! the Atriedes go into it knowing it's a trap, the tragedy of Jessica knowing the whole time that Leto will die is important, idk idk why you'd leave that exchange out when you include the scene it would go in?

ok i will stop.

[ranvwoop]

I've seen you talk abt it before but what's one-shot? You make it seem so cool, I'm very interested :]

AA thank u. Thank you for the opportunity to yell. It's so good. I am going to offer you a Spoiler Free OneShot Rundown BC it's,,, so good. I played it years ago, and like, it's still in my top games. I care them very much.

If you're a Ranboo Enjoyer tm I'm gonna go out on a limb and say you're probably acquainted with Undertale/Deltarune! (If anyone isn't, go watch his playthrough somewhere on YouTube vod reuploads, it's super good!!). OneShot fans don't. Exactly like being compared too much to Undertale since Undertale was everywhere and immediately overshadowed everything and is not the end all be all of meta fiction and OneShot came first guys but— it's a good starting point.

So like, the whole thing with Undertale is that the game knows it's a game and knows that you're the player, and your character is just sort of a vessel for The Player, and Flowey is like. Aware of that. Or whatever. I can't actually remember how undertale went oopsies.

OneShot is that but dialed up to ten, so to speak! The player character is referred to as a god by the characters, with the main character as the messiah sent to save the world with your guidance to restore the sun to its place at the top of a very large tower, and then they can go home. You also will get attached to them, and have to make some hard choices regarding what's best for the world and what's best for your lil buddy and their new friends you meet on the way! But, there's an Entity that does not want you to succeed. (I'm not being cryptic, that's the name of the antagonist hehe.)

And like, it gets really meta. I'm honeslty kind of iffy if it's a good stream game, actually, considering it needs you to close the window a lot and plants things in funny places like your desktop screen or your files in some cases! As well as taking some information from your computer to give you a little scare. But... it's so so good it'd be so worth it.... as long as mister streamer man knows and can prepare for stuff..

There's also a free dlc route which gives a lot of backstory about what the entity is, how Niko got there, and how they know about you and just !!! AAAAA. It's a very spoiler heavy game. But almost all of the puzzles require a lot of thinking outside of the box and, well. Meta computer stuff.

And they're committed to the emotional pain, too. In the original release, if you closed the game and didn't finish it in one sitting, you'd get a message saying that you killed Niko when you opened up the game again. That was taken out of the final release, Niko can't die and you won't be penalized for closing the game other than confusing and upsetting Niko, but. It's sure designed to be played in One Shot. It's cruel. In a very very good way.

bonus points: Niko's adorable! (And nonbinary! rights!)

evidence: baby

bonus points 2: it's got robots and objectheads, both of which are pretty cool!

bonus points 3: the soundtrack is very cool!! some of the song titles have spoilers, but this one is Neat and Spoiler Free.

In conclusion, I think that a) this game deserves far more recognition. I have reccomended it personally to every one of my friends. They are tired of hearing about oneshot and b) streamer man playing it would be fun because he is a softie and it is some existential foolishness wrapped up in Emotional Attachments and Pretty Game. I would also reccomend anyone reading this to play it, just cause like... it's a good time. It's a really good time.

[dailyaudiobible]

10/04/2021 DAB Transcript

Jeremiah 2:31-4:18, Colossians 1:1-17, Psalm 76:1-12, Proverbs 24:21-22

Today is October 4th, welcome to the Daily Audio Bible, I am Brian, it is great to be here with you today, it’s great to be with you every day. But today is today and it's great to be here with you today. As we come around the Global Campfire and let it all go, whatever that thing is that snagging at us that are those things, these pressures, these obligations and responsibilities. These fears, these uncertainties, we are allowed to carry them around as much as we want. That's not necessarily a healthy thing to do and we are also given permission to not carry them around. But let's at least give ourselves permission to not carry them around right now, like we’re around the Global Campfire now, we’re safe right now. And, what’s gonna happen now is we’re just going to read the Scriptures and let them wash into our lives and so often something that we need is there and so often when we leave this place, the things that we have to pick up and carry, they don't have the same weight. Things shift and so let’s just let it all go as we move forward in our journey and take the next step forward. Which leads us back into the book of Jeremiah, which we just began yesterday. So, we’re just getting going in Jeremiah. When we get to the New Testament, we have new territory there as well. But first Jeremiah chapter 2, verse 31 through 4, verse 18.

Introduction to the Book of Colossians:

Okay, so we concluded the letter. Paul's letter to the Philippians yesterday. Which brings us to the 12th book in the New Testament, which is another letter from the apostle Paul, this one to the Colossians and the Colossians were people who lived in the city of Colossae which was not a place unfamiliar to Paul. It’s about 100 miles from where he spent a lot of his time in Ephesus and Colossae is, I don't know that it’s an archaeological ruins or site, at this point it’s been identified, but not really excavated. It sits in modern-day Turkey. But during Paul's life, Colossae wasn't an archaeological ruin at all. It was a bustling city and it had everything that you can imagine that bustling city in the Roman Empire would have, a lot of mingling of culture, a lot of mingling of philosophical ideas, a lot of mingling of spirituality and some of this mingling had made its way into the Colossian church. And so, Paul writes this letter as a response and similar to Ephesians and Philippians, Colossians is generally considered to be a prison epistle, so another letter that Paul wrote while he was awaiting trial before the emperor and the letter generally has two sections, to two themes. The first is a doctrinal issue. There had been people coming into the church and we’ve seen this before. This is a little different though, people would come into the church, they were fellowshipping in the church, but also teaching things like Angel worship, and some just other rituals that were not part of what Paul was teaching. And so, Paul addresses this in this letter by showing us once again this high, high Christology, this awareness that Christ is supreme over all creation, over all angelic beings, over everything. He writes in his letter that the universe, the very universe is created by and through Jesus and is…is sustained through the Lordship of Christ. And then Paul also addresses something we’ve seen before this, circumcised versus uncircumcised controversy that was dominant in the early church. We’ve seen it in other letters where people come in and I like no you got obey the Jewish customs, you’ve got to essentially become Jewish, then follow the Jewish Messiah, follow those customs, which Paul was very, very much against. We've had lots of conversations about that, in Colossians Paul is still against that teaching and so we’ll once again hear him make corrections and once again we have a letter that was sent to actual people in an actual congregation giving us insight into what was happening in their congregation. And since we have a collection of letters from Paul, we see the themes, the commonalities, the different things that the early churches were facing and for that matter, their distinctions and the different cities. But we get a really good glimpse at the struggles that were going on among our brothers and sisters that are our spiritual ancestors. And as we read these letters, we find that maybe context changes a little. The cities definitely change, the regions definitely change but the things that we find ourselves wrestling with, in dealing with, within ourselves and with…with in our fellowships, within our communities of faith, we still have this kind of stuff going on and so these letters, Colossians being the one that were about to read, serve as opportunities to be corrected, to find a path again, to get our NorthStar back and walk in a direction that is profitable for the kingdom of God. And so, we begin Colossians chapter 1 verses 1 through 17 today.

Prayer:

Father, we thank You for Your word. We thank You for this new territory into this letter to the Colossians that we are entering into, we ask that You lead and guide our hearts and we might understand what we need to understand, plant the seeds of the Scriptures in our lives. And may they yield the fruit of the Spirit, that we may have a bountiful harvest not only for our own hearts, may it spill out into our marriages and our families, may it spill over into our faith communities, may it spill out into this world that we may be that city on a hill, that we may be a light in the darkness, that we may illuminate the narrow path that leads to life. Come, Holy Spirit into all of this we pray. In the name of Jesus, we ask. Amen.

Announcements:

dailyaudiobible.com is home base and that's the website, it’s where you can find out what's going on around here, how to get connected around here, how to pray for one another. I mean there's all kinds of resources in the Daily Audio Bible website. You can access all this using the Daily Audio Bible app as well. There is little drawer icon in the upper left-hand corner. So, things like the Daily Audio Bible Shop where there are resources for the journey that we find ourselves on. Now that we’re moving into the final quarter of the year there are a number of resources there in the Daily Audio Bible Shop. Also, the Community section, that is, that is how to get connected. The different social media channels that you can follow Daily Audio Bible on and that is that's, if you taking the journey, that's a good thing to do because that allows us to make announcements, etc. etc. and so check that out. The links are all in the Community section.

If you want to partner with the Daily Audio Bible you can do that at dailyaudiobible.com too. There is a link on the homepage or if you’re using the app, you can press the Give button in the upper right-hand corner or if you prefer the mail, the mailing address is P.O. Box 1996 Springhill, Tennessee 37174.

And as always if you have a prayer request or encouragement, you can hit the Hotline button in the app, the little red button up at the top, or you can dial 877-942-4253.

And that's it for today. I’m Brian, I love you and I'll be waiting for you here tomorrow.

Prayer and Encouragements:

Hi, Daily Audio Bible family, this is God’s Life Speaker. I am calling on behalf of my son, Joshua, who you all have prayed for, for years now. He's 21 and at graduate school and he has been in a state if not well for quite a while and last night I was talking to him and it just broke out into prayer with him and we just need whatever is taking him down, fighting for his soul, to go, to be cast as far as the east is from the west. Family, please let’s stand together for these mental health issues these young people are having in the name of Jesus. We ask that Your mighty hand come over Joshua and anyone that is in need of being delivered from this spiritual realm that is of darkness and they feel they're in a pit and cannot come above. But You’re there and we love You Lord and you're allowing this to go through Your hands. In the name of Jesus, we ask that You would deliver these people, bring them up, may they long to love You. May they overcome these things, may they be refined and may they be magnifying Your name. I ask it in Your son's precious name. Amen.

Good morning DABer family this is the Burning Bush That Will Not Be Devoured for the Glory of our God and our King. I am calling for our sister Alyssa from Montana. Sister, I am praying for you. I prayed for you when I heard your prayer request and for those that didn’t hear, she is legally blind. She had COVID recently and lost her senses of taste and smell, and that is definitely hitting her a hard. My sister, I want you to know that I prayed for you and I believe that the same God who raised the dead can restore your senses. And so, Father God, I pray Oh Lord, that you restore her senses and…and give her just divine healing of her body that she will be whole, Father. And God, I thank You Oh Lord, because you love Alyssa and I pray that you just guide her as she awaits Your miracle. Thank You God for miracle after miracle in the name of Jesus I pray, Amen. We love you, my sister. May God bless and keep you and cause His face to shine upon you and give you peace and giver you your sense of smell and give you your sense of taste. God Bless, bye.

Hello there, DAB family. I love this community. Thank you so much. This is my first time. I just wanted to reach out to my Aussie friend there, in Canada. But my Aussie friend there that just requested prayer for his, I believe it’s his brother or friend. I know about mental illness. My mother had schizophrenia so, it is very difficult to have a loved one with this illness and just pray protection over him, bring him home Lord Jesus. Bring him to his place of peace, Lord and just comfort him right now, in his grief Oh Lord. The grief, can sometimes overwhelm but you have given us peace, so bring him to that place. Lord Jesus, and I also want to pray for the mom that reached out from Wyoming. I pray for wisdom and strength for your daughter to make the right decision. That she will just know from your wisdom as a mother, that she would listen to you and open her heart to take Godly advice. I pray Father that she will make the right decision. I also would love prayer for my…my daughter in Australia and my son, who are now not talking to me. They’re just going through, they’re adult children, they’re going through hard time with this pandemic. Just please pray that God would touch their hearts and they would come back to Him. Bless you all. I love you all.

Hello Daily Audio Bible family. This is Becky in Orlando and I would like for all of our Daily Audio Bible prayer warriors to come and circle around our new sister in the Daily Audio Bible family. Her name is Myra, she’s from New Jersey and I just met her in one of our hotels. Myra has been dealing with some horrible things that have happened to her where she just got attacked while she was in New Jersey. And she’s dealing now with PTSD. And if we could just pray for Myra. Anyway, I’ll start us off, Dear God, if you could please send the Blessed Comforter, the Holy Spirit, to tend to Myra, to give her comfort that only Jesus can give to her, to mend her wounds, both psychologically and spiritually. And, we know that this can be done because You are just the most amazing God and I pray that she listens to the Daily Audio Bible everyday and that it brings her comfort. And I pray that anybody else that’s listening to this would be able to get just the word that Jesus knows and God’s knows, the Holy Spirit knows all the plans that we have that He has for our lives. Sometimes the picture, we can’t see the big picture but He has such big plans and we don’t understand what His plans are for us at the time. So, please allow God’s plans to you know to unfold in her life and I pray that she just keeps on listening. So, Myra, from New Jersey, welcome to the Daily Audio Bible family and God Bless you, my sister. Alright, thanks Daily Audio Bible prayer warriors around the world. Alright, bye.

Hello, this is Nelly. I just want to let you all know that I’m praying for you all. And it’s such an encouragement to be part of this Community. I just pray that you also pray for me as I’m struggling with very dark and depressing thoughts. It’s been such a struggle. I haven’t been able to sleep. I’m just asking for prayer, thank you. I love you all.

[matrixreimagined]

The Dream Chronicles Chapter 7

I always forget to post this here! lol

A03 Story Link

A03 Chapter Seven

Trinity woke with the ship.

The gentle hum of the systems rebooting, coming out of their overnight stasis. She heard the lights in the hall flicker on and reach their gentle hum.

She opened her eyes.

Neo was still lost to sleep, his face relaxed and content. She ran a hand down his cheek. Stubble was starting to form. The hair on top of his head was also quickly growing into what looked like a buzzcut. It was cute, she thought, but his haircut in the Matrix had suited him much better. It somewhat softened his features.

It would grow back, she knew. Just as hers had done, fifteen years ago.

She wished she could just stay and watch him sleep. But there were things to do and everyone had been slacking since finding the One. Morpheus was letting it slide because he was so excited himself, but they needed to stay on top of things. Especially repairs. The last thing they needed was for the ship to break down while everyone on board was celebrating and watching Neo kick ass all through the construct.

Sighing, she tried to slip out of his arms, only for his grip to tighten, pulling her back to his chest with a dissatisfied groan.

Try as she might, she couldn't help the smile on her face. For a poddie, Neo was already shockingly strong.

"Don't you dare," he muttered.

"I need to shower," she replied, squirming as she tried to fight his vice-like grip.

"Smell good to me."

She smirked. "I'd like to keep it that way." She slipped down and out of his arms, quickly stepping to her feet.

His eyes cracked open, a lazy grin on his face. "Want help scrubbing your back?"

"Some other time," she promised, grabbing a fresh set of clothes from her shelves.  She leaned down to press a kiss to his forehead. "I'll be back soon."

Neo hummed, closing his eyes. "Miss you already."

She hurried to the wash. It appeared that no one else was up yet. She could not hear the subtle creaks that came from the crew moving about on the metal ship.

While there were two bathrooms on the ship, only one contained the showers. It was usually a fight in the morning to get there first and Trinity nearly always won.

She kept her time to a minimum, scrubbing her body down and soaping her hair, all the while knowing it wouldn't make much of a difference. In a few hours, she'd be covered in dirt and sweat from running repairs.

Still, it was soothing. And while water was plentiful in Zion due to the recycling plant, on a hovercraft, they were much more limited. Most ships allowed for showers every two days. As the Neb rarely made port in Zion, they tried to conserve water the best they could. Meaning, oftentimes, they were limited to twice-weekly showers.

The urge to get back to Neo was surprisingly overwhelming. She told herself it was only because they'd have to spend the day separately and not because his absence weighed on her every moment that they were apart.

She had lived without him for decades but now minutes dragged by.

Trinity dried off quickly before dressing for the day and slipped back into the hall. Dozer's door was open, as was Morpheus'.

She opened the door to what had quickly become hers and Neo's room.

The man in question was sitting up in bed. He had dressed for the day and made the bed before sitting back on top of it, the datapad pulled down and resting on his lap.

He looked up as she entered, a smile forming on his face that made her heart fucking stop.

"What are you looking at?" she asked to distract herself from his contagious grin, tossing her used clothes into the laundry bag.

"Catching up on the history of Zion. You know-—trying to fill in the gaps."

"How's that going?" She sat next to him on the bed, glancing down at the datapad. He was reading about the Second Machine War, judging by the pictures.

Neo shrugged. "It dually makes sense and is hard to make sense of."

Trinity nodded. "Despite your dreams, you spent thirty years indoctrinated by the Matrix. It'll be harder to let go of certain things."

Neo powered down the datapad, pushing it up behind them to its rightful station. He leaned towards her, pressing a kiss to her lips. "Good morning."

"Morning," she echoed, resting her head against his. "How are you feeling today?"

"Mentally, pretty good. I feel like I'm where I'm supposed to be."

"And physically?"

"I'll do anything you ask if you don't tell Apoc where I'm hiding."

She laughed, craning her neck to kiss his cheek. "Sorry, sweetheart. It's back to bootcamp, I'm afraid."

Neo was practically beaming at her and it took her a moment to realize the term of endearment she had laid upon him. She felt herself flush, but Neo kissed her before she could dwell on it for too long.

She let herself get lost, at least for the moment, in the tastes and sensations of Neo. She wanted to just say fuck it all… to call out sick and just stay in bed, kissing him, all day.

But it wouldn't be beneficial for either of them.

Neo still had to train, and she had a ship to run.

But a few minutes more wouldn't hurt.

............

While there was technically no time constraint on breakfast being served, they were definitely late, considering everyone else was already sitting when they walked in.

Switch wasted no time honing in on the tray in Neo's hands. "What's with the bowls and shit?"

Tank was quick to jump in on that as Neo and Trinity made their way past the table to the little kitchenette. "Oooh, that was from their date last night."

Trinity sighed as Neo set the tray in the soapy water. It was going to be a long fucking day.

"Date?" Switch nearly hollered, looking up. "What date? We're on the Neb!"

Dozer fielded that one. "They made do. Dinner, tea, bottle of my home brew."

"What? Ugh!" Switch shook their head. "I can't fucking take this."

"That's really cute, though!" Mouse piped up.

"I'm dying. I'm literally dying."

Neo stopped up next to Trin as she prepared their teas. "Think they've noticed we haven't said anything yet?" he asked, bending down to whisper in her ear.

"Definitely not." She gave him a small smile. "I'm sorry they're like this."

He kissed her head before reaching for two bowls.

"Just look at them," Tank was saying. "It's nearly nauseating."

"Nearly?" Cypher added.

"Hey, dumbasses," Trinity said loudly as Neo poured them each a serving of breakfast, "take a moment and remember who makes your schedules and decide if you really want to be doing overnights for the next month."

Apoc snickered as a collective sigh filled the kitchen. Trinity had never been so thankful for her one friend who seemed able to mind his own damn business.

She brought their teas over and sat at the end of one of the tables, Neo quickly following with their breakfast.

"You two look awfully domestic," Tank said, like he was unable to help themselves. It only made sense, thought Trinity. Of everyone on the crew, Tank was probably the least afraid of her.

"How long was that?" Trinity asked with a sigh.

"Not even thirty seconds," Neo replied evenly, slipping into the seat next to her, "although I'm not sure what you expected."

"You know what? With the exception of Neo, everyone on this crew has gone after me and Sparky for years. And now that I'm on the other side, I get it and I'm getting in on it!"

Neo smirked at the operator. "I'm not exactly innocent; I've definitely got in on going after you and Sparks on my end."

"See!" Tank said, raising a hand to accentuate his point. "This is my time to shine!"

Trinity rolled her eyes while the others chuckled, save Morpheus. He was eyeing Neo with that intense curiosity.

"You're remembering," the captain commented.

"More and more every day," Neo admitted with a glance to Trinity, remembering their conversation the previous night. "The problem is I'm not sure which dreams are reliable, and which aren't."

"What the hell does that mean?" Cypher asked.

"I mean," Neo paused trying to think of how best to explain, "it's undeniable that some of the things I know are accurate, but there's very little I trust implicitly."

"You dreamed of the club," Apoc noted, sounding curious.

"I did," Neo agreed. "Hundreds of times. And the scenarios ranged a few dozen different ways. But nothing actually matched what really happened that night. And even as far as meetings go, I had other dreams where I met Trin in a library or in a bus."

Trinity's head turned towards him quickly and he was met with a stunned silence from the rest of the room. She shook her head, sighed, and went back to her breakfast wordlessly.

The stares from the others didn't stop.

"What?"

"When Trinity and I were deciding how to make contact with you," Morpheus replied, "we discussed both your bus route and the library you frequent."

Neo glanced to Trinity and back to Morpheus.

Fuck.

"I wonder then, if instead of a fixed linear path, you've been dreaming multiple eventualities of the possible ways this could have gone."

"Oooh," said Tank, shaking his head. "Too many big words possibilities for breakfast conversation."

"Agreed," Switch jumped in. "I'd much rather hear about the shit the Messiah may or may not know."

Neo smirked, setting down his spoon into his breakfast, again leaning forward so he could see around Trinity. "Switch, with the things I know, do you really want to play with me?"

"Save the teasing for Trinity, Messiah. I want dee-tails."

Before Neo, Trinity reflected, she probably could have counted the number of times that other's antics had made her blush on one hand. She didn't embarrass easily, nor was she uncomfortable with people being sexually explicit. Case in point, three of her closest friends were Sparks, Tank, and Switch.

Now? It felt as if her cheeks were stained pink at all times.

"I can't speak to the entire validity of everything I know and remember from this world, however"—Neo kept eye contact with Switch—"do the words 'the Switch Shuffle' have the same resonance for you as they do for me?"

Trinity choked on her breakfast, coughing as she tried to swallow the goop. He looked to her, slipping a hand onto her back immediately as Switch spluttered and Apoc, Dozer, and Tank burst into laughter. The others continued to look on in stunned disbelief.

Neo continued rubbing Trinity's back in small circles as he handed her the tea. She took it gratefully, sipping to soothe her throat after the unexpected revelation.

"Oh, shit. Neo knows about the Switch Shuffle," Tank said, wiping his watery eyes. "New best day ever."

Neo shrugged, looking back to Switch. "Now, do you actually have to be drunk to perform the Switch Shuffle or is that just the only way I've seen you do it?"

"I dance better drunk," Switch confirmed, nodding in slight awe. "Okay, Messiah. Tell me about that dream."

Again, Neo shrugged, sliding his arm fully around Trinity's back to hold her against him. He stiffened as he did, remembering again that this was not his world and while Trinity was still his, she did not have the memories that he did. He went to lower his arm, but Trinity leaned into him in silent permission.

He swallowed while the others eagerly listened in. "We were in Zion at a celebration in the Temple. Switch had a little too much to drink when everyone was getting ready and arrived completely sloshed. Before Hamann could do any sort of announcements, Switch was demanding the drums start and proceeded to do the Switch Shuffle in front of half of Zion. No music, no one else dancing. Just a big circle cleared for you to… shuffle."

"That's bloody brilliant!" Switch said, nodding ferociously.

Neo picked up his spoon. "I enjoyed myself."

"What else happened?" they asked, drumming their hands on the table, bouncing in their seat.

"That was mostly it," Neo said, squeezing Trin's side. "Just dancing."

"Dancing?" Tank asked, waggling his eyebrows suggestively. "Or… you know… dancing?"

Neo said nothing, just took another bite of his breakfast.

The short answer, which he would not be sharing, was both.

He could still hear the beat in his head of the drums echoing around the Cave. Heat rolling around them with hundreds of people dancing in close quarters. Trinity pressed against his body, his arms around her as they swayed to the beat. Not caring about sweat or the people around them watching, just moving together.

Before stumbling home. Leaving the party early to kiss in empty halls and elevators. Fumbling to unlock their apartment as he pinned her to the door, before their clothes fell to the floor and their rhythm changed.

He tried not to shift as he felt himself harden.

Instead, he just took another bite.

"This is fucking wild," Mouse said, eyes wide. "I've never even seen the Switch Shuffle. I've only heard about it."

"That's because I don't drink around children."

"I'm seventeen!" Mouse whined.

"You're a baby."

"I'm old enough to drink and go into the Matrix. I should be old enough to see the Switch Shuffle."

"You're really not missing much," Trinity told him.

"Neo's seen stuff in his dreams that I've never seen in real life! How is that fair?"

"Don't worry, Mouse," said Tank, slinging an arm on the younger man's shoulders. "One day, you'll see real titties too. Just not Trinity's."

Trinity smirked, sparing a side glance at Neo. Years of worrying how the One would react to waking up in the real world were wasted down the drain.

When she had gone into the Matrix that night to find him, she was secure in the knowledge that she was at an advantage. She knew things about him. She orchestrated getting him out of his tiny apartment and to the club, had watched him for weeks on end.

And then he had said her name.

It was intimidating, sometimes, how well he knew them all. An odd anecdote about Switch's dancing skills or Deadbolt giving him a hard time, but it all came back to her.

Entwined, the Oracle had told her. Their fates were entwined and inseparable. "He'll be the One. But without you, he'll fall."

She had spent so long trying to figure out why life in the real world still felt wrong and incomplete. Like a breath caught in your throat. Taking in more and more but being unable to release. And then, he was there, and she could finally exhale.

"Oooh," said Switch, sitting up straighter. "Have any fun stories about Sparks?"

Neo blinked, tilting his head to the side in thought.

"Ease up," Trinity ordered the table softly. "Breakfast first, then interrogation."

Switch stuck out their tongue but started eating.

"You guys up for poker later?" Tank asked. "I know Neo knows all of us but maybe that would be a chance for us to know him."

Trinity glanced to Neo, inclining her head slightly and leaving the decision to him. She had to admit, it wasn't a bad idea, but he needed to do so on his own terms. When she gave no indication one way or the other, Neo nodded. "Yeah, that might be nice."

"Awesome!" Switch grinned. "I'll bring the cards, Neo brings the stories, and Dozer can bring the booze."

"I'll bring the stomach pump," Apoc added dryly before turning to Neo. "Finish up. I'll meet you where we trained yesterday."

Neo nodded, unsure what he was dreading more: the intense workout or having to let Trinity go from his arms. She felt so fucking right, leaning into him, tucked into his side. He finally understood why couples felt a need to display affection.

It wasn't about proving something. It was about never wanting to let go of something good in a world where everything else was bullshit.

The older man carried his dishes over to the sink, setting them in the water before saying a quick goodbye to everyone.

Trin leaned her head against his shoulder, briefly, before sitting up to continue eating her breakfast.

The crew at large still seemed fascinated with their interactions. Most were trying, subtly at least, to avoid staring at them.

Cypher, however, was blatantly watching them.

It made him a little uncomfortable and he tried to think back to his dream memories of the real world. While he had plenty of memories of Tank and Dozer and Switch and Apoc, even a fair few with Mouse, there were significantly less of Cypher.

He knew the man, vaguely.

Had memories with Cypher lingering in the background, watching Trinity a little too intently for Neo's liking. Mostly on the Neb. In fact, he couldn't think of any memories of Cypher in the Matrix or even in the city.

It was as if the man existed only on the ship.

He couldn't quite make sense of it, but then, things were still becoming clearer.

Trinity started giving orders out to the remainder of the crew, letting them know their jobs for the day, prioritizing a crack in the outer hull that needed to get repaired before they flew off anywhere new.

She turned to Morpheus. "I'm giving you a heads up—there's a good chance Lock is going to want a call. He wasn't too happy with the latest report."

The captain barely withheld a sigh. It was nice, Neo thought, to know some things never changed.

Neo waited for Trinity after he finished eating so he could take her bowl to the sink as well. She rewarded him with a small smile that made his heart skip a beat.

"Good luck," she said as he walked by.

He cupped her cheek as he leaned down to press a kiss to the top of her head.  "See you soon," he promised, more for his benefit than hers.

He ignored the teasing sounds from Switch and Tank as he left to continue his training. Life was good.

.............

One by one, the rest of the crew filed out of the mess hall to get back to work. Cypher and Dozer went to work on the hull, and Mouse hurried along to help with the wiring on the bridge. Morpheus left to take inventory, leaving only Switch and Tank behind with Trinity.

"So?" Tank pushed.

"You can't just let things be, can you?" Even as she said it, her lips twitched into a small smile.

"Not for all the bread in Zion. Come on! How was your date?"

"It was good"—she found herself looking down as she thought back to the night before—"really good."

"It was his idea?" Switch asked, leaning forward.

She nodded. "Yeah. Said he wanted to make sure we did this right, despite all the memories and confusion. And he's more concerned with making sure I'm comfortable than he is with this transition."

Trinity wondered if it was wrong that it made her unbelievably happy to see him trying so damn hard to make her feel safe and happy.

"It's all he seems to be focused on," Tank agreed. "Much to Morpheus' dismay."

She considered admitting what the Oracle had told her. To unleash the burden that lay on her shoulders for fifteen goddamn years and yet… she stopped herself.

She had her reasons for keeping it to herself for so long, least of all that what the Oracle said was for her and her alone. She knew she would have been weaponized if anyone had known her ties to the One.

She'd thought about telling her friends before, just so she could talk to somebody about it.

But Tank would be too excited to keep it to himself. Even if he never told, his actions lacked subtlety and Switch would have kept it to themself but would have teased Trinity mercilessly, she knew. And there was always the chance of being overheard and found out.

Of course, now the secret was mostly already out.

She and Neo were bound together.

A profound attachment that she couldn't begin to explain.

But she stopped herself from saying more about the Oracle because… well, because the only person she really wanted to share that with was Neo.

And it was stupid—he had barely gone from her sight and she already missed him and was counting down to when she'd have an excuse to touch him again.

They had spent two nights together and the thought of sleeping in her own bed alone made her queasy.

The words were already on the tip of her tongue every time she caught sight of him, and her heart ached to say them.

I love you.

But he was still so new to the real world. He was still adjusting and the last thing she wanted to do was confuse him as he learned to separate his dreams from reality.

"Morpheus'll get over it," Switch said, pulling Trinity from her thoughts abruptly. "So, have you two fucked yet?"

"Will you stop fucking asking that?!" Trin said, staring at her friend incredulously. "In what world would I ever share that kind of information?"

"This world, Neo's dream world… who cares? Come on, I mean, he stayed the night after your little date, didn't he?"

"We're sharing a space." She didn't mean for it to come off defensive, but it definitely did.

"Whatever. The fucking is inevitable. What I'm curious about is, are you two married in his world?"

Oh.

Truthfully, she hadn't thought about it.

Marriage was, after all, a simple ceremony and a piece of paper.

It was low on her priorities long before she met Neo but now… the idea of putting some kind of formal claim on him was appealing. To have him marked as taken…

She had never been particularly possessive but now it crept through her. A dark urge to keep him for her own. To lock him away where he could be safe and protected and hers. It sounded far too good for her liking.

"I don't know," she answered honestly. "But I feel like he would have said something if we were. He's been very honest about the whole thing."

"I don't know," said Switch, "you said yourself, he's concerned with making sure you feel safe. And you're kind of a flight risk. He might not be telling the full truth.""

Shaking her head, she said, "He wouldn't lie. He knows that everything between us right now is based on trust and…"

"Slow down," Switch narrowed their eyes, leaning forward. "Holy shit. You really trust this guy, don't you? Like actually trust him, trust him?"

Why did it feel like she was walking into a trap?

Trin looked away briefly before admitting, "Yeah. I do."

Switch looked to Tank. "Took this bitch years to trust me. Turns out, all it takes is a line about seeing her in my dreams and a swift make out."

Trin flipped Switch off.

"It is weird," Tank said with a shrug. "I mean, under normal circumstances, if someone walked up to me and said they knew shit about my future, I wouldn't believe them. Maybe it's because he's the One or maybe it's just because you two have your whole"—Tank waved a hand—"thing going on."

Trinity knew what he meant.

Tank tended to be as trusting as they came but the things Neo said were somewhat out of the realm of belief. And yet, she never doubted his words or his intent.

"And not for nothing," Tank added, almost as an afterthought. "I know you know more than you're saying."

Her crew wasn't stupid, that was for sure.

She nodded, unwilling to lie to her friends through anything beyond omission. "If there was anything that I felt was related to safety or the wellbeing of the crew, I would let you all know. But there are some things that don't need to be shared."

Switch snorted loudly. "You tell that to Morpheus?"

"Yes."

"How'd the Cap take that?"

"As well as can be expected." Trinity sighed. "There's a lot that I know. But there's a lot more that I don't. Until Neo and I are able to figure things out, he's just going to have to deal with it."

"Surprised you didn't figure things out last night." Tank had a teasing tone lacing his words.

"We talked some."

"Some?" the operator pushed, waggling his brow.

She kept a blank face. "Yes."

"Ugh, stop it with that!" Switch shook their head. "I get that you're keeping some things to yourself but at least tell me this: the One a good kisser?"

It took all her self-control to not let that question affect her. Because fuck. The care and attention put into each moment where they were fused together was outweighed only by the sheer passion and mutual adoration.

Kissing Neo was toe-curling, body-tensing, eye-rolling, breathtakingly perfect.

"Fucking amazing," she muttered before she could stop herself. She regretted it immediately, noting the shit-eating grins on both her colleagues' faces and Trinity sighed. "He knows me, okay? Like, in some ways we're starting this like it's new, but he still is coming in with all this information."

Tank bounced in his seat. "And when you say he knows you…"

She'd already alluded to it. In for a penny. "He's been dreaming about me for fifteen years. He knows my body better than I do."

Switch smacked Tank in the chest. "Can't take it. Can't fucking take it anymore."

"I'm literally dying," said Tank, shaking his head, "Trin, please, I am fucking begging you… let me tell Sparks!"

She shook her head. "Not until I talk to Ghost. I don't want him to hear about this third-hand."

Tank leaned forward. "Sweetheart, I'm not sure how much longer I can keep this to myself. We message every day and I keep telling him ‘not much' is going on. Not much, Trin! When we've got a living, breathing Messiah walking around and you're saying shit like that!"

"I have faith you can keep this to yourself for at least a few more days."

"I don't!"

"I can always find more work for you if you think you have enough time on your hands to be gossiping," she teased. It was an empty threat and they both knew it.

"You owe me so big, mami."

Trin rolled her eyes. "On that note," she said, "I need to get back to work. As do the two of you."

"Bo-ring," Switch sang even as they stood up. "But I guess I'll have to wait for tonight. Playing poker with the One is sure to be fun."

"It'll be something."

Trinity could only hope the crew would behave.

[mybeautifulchristianjourney]

Devotional Hours Within the Bible

by J.R. Miller

The Suffering Savior (Isaiah 53)

One picked up an old book - and found it fragrant. The secret was that a sweet flower had been put in among the leaves by someone, and its fragrance had permeated the whole volume. So the fragrance of Jesus has perfumed the Bible from beginning to end. We do not find the name Jesus until we reach the beginning of the New Testament - but the sweetness of the name is everywhere. We find it even in the earliest pages of the Old Testament. No sooner were the gates of Eden closed on our first parents - than the gospel was given. True, the language was dim, not like the clear sentences of the Gospels; yet the promise is there in Eden - as the bud of a very lovely flower which, by and by, opens out under the increasing warmth of progressing revelation; until in the later prophets, especially in Isaiah, it appears in rare beauty.

No other chapter in the Old Testament has been a greater revealer of Christ, than has the fifty-third of Isaiah. Its words are almost as familiar as those of the Twenty-third Psalm. They are repeated at Communion services in thousands of churches, and are read in secret by countless devout believers, who love to sit in the shadow of the cross.

The best that can be done in brief space with the fifty-third chapter, is merely to indicate a few of its truths. The first verse has a tone of discouragement. "Who has believed our message?" That has always been the discouragement of the bearers of spiritual good tidings. If news comes that gold has been discovered in some far-away place, people believe it and flock by thousands to the spot. But when God's messengers deliver their messages, although they tell of the most glorious things, people are slow to believe.

The second verse reminds us that Christ's earthly beginnings were unpromising. "He grew up before Him as a tender plant, and as a root out of a dry ground." These figures are striking - a tender plant shooting up from a dry stem which seems dead, a root growing in a desert place. The field was not promising. But the root was not dry or dead - but living, and it grew into rich beauty. It became a great tree whose branches reach now over all the earth, with cool shade in which the weary rest, and rich fruits for men's hunger.

The description goes on. "He was despised, and rejected by men; a man of sorrows, and acquainted with grief." The saddest thing about the life of Christ - was that men despised and rejected Him. He came with a great love in His heart. He came to do men good, and save them, to draw them away from their sins, to make them love God, to lead them to heaven. He came in love - and yet men despised and rejected Him. It is the same still.

Men do not like to look upon suffering. They can see no beauty in it. Pain is ugly to the human sense. Anciently it was thought that sickness was a mark of divine disfavor. The weak were looked at with scorn. Even yet we have not learned to see blessing hidden in suffering. The Servant of the Lord came in weakness, and He was rejected. He came to the needy and the sinful, with treasures of life and glory, which He offered to all. But men paid no heed to His knocking and His calls, and He had to pass on with His blessings.

We learn the object of the sufferings of Christ. The ancients thought that when a man suffered he was being punished for sin. We have this thought here in the words, "We did esteem him stricken, smitten of God, and afflicted." That is the way Job's friends judged him. But here it is taught, that not for His own sin - but for ours, was the Messiah suffering. "Surely He has borne our griefs, and carried our sorrows."

A Japanese Christian illustrated what Jesus did for sinners, by this story: A mother was crossing a great prairie with her baby in her arms. She saw flames coming in the dry grass. She could not escape by flight, so swiftly were the fiery billows rolling on towards her. So with her hands she speedily dug a hole in the soft ground, laid her baby in it, and then covered it with her own body. She was burned to death in the wave of fire that rolled over her - but the child was safe, unhurt. The Christian explained, "Just so did give Christ Himself - to save us."

We have a picture, also, of those whom Jesus seeks to save. "All we like sheep have gone astray; we have turned every one to his own way; and Jehovah has laid on Him the iniquity of us all." This verse tells us that all are sinners. Of course, we all believe this, or admit it in a general way. But do we really admit it as a close, personal matter? "Like sheep!" Sheep are miserably foolish. They are always straying away, going wherever they can find a tuft of grass to nibble at, until at last they are far from the fold and do not know how to find the way back again. Like sheep, we have all gone astray. Every one has turned to his own way instead of going in God's way, the way of truth and holiness.

The Servant of the Lord was a silent sufferer. It is not common for men to remain silent in pain. But here it is said: "He was oppressed - yet when He was afflicted, He opened not His mouth; as a lamb that is led to the slaughter, and as a sheep that before its shearers is silent - so He opened not His mouth." One of the highest qualities in him who is called to suffer - is silence in endurance.

Another quality in the suffering of the Servant of the Lord, is its injustice. "By oppression and judgment He was taken away, and as for His generation, who among them considered that He was cut off out of the land of the living for the transgression of My people to whom the stroke was due?" The forms of law were not observed. "By a forced and tyrannous judgment He was taken." Then they gave Him a convict's grave. They made His grave with the wicked, although He had done no violence, neither was deceit in His mouth.

Such perversion of justice seems so terrible, that men might ask, "Where is God, that this cruel wrong is permitted?" But the answer is, "It pleased Jehovah to bruise Him!" In the Hebrew, the word has not the harshness it seems to have in the English. God did not delight in the bruising - but His purpose was in it. "Yet it pleased Jehovah to bruise Him; He has put Him to grief: when You shall make His soul an offering for sin - He shall see His seed, He shall prolong His days, and the pleasure of Jehovah shall prosper in His hand."

Then we have a vision of the glorious outcome of the sufferings of the Messiah. "He shall see of the travail of His soul - and shall be satisfied ." He is not sorry now that He endured the cross and all its shame. He does not regret His sufferings and sacrifices on the earth. The blessings which have come from His humiliation, have more than satisfied Him. He sees countless millions of souls saved, which must have perished forever, if He had not gone to the cross to redeem them. The life of the Son of God seemed a tremendous price to pay for the ransom of the lost - but it will appear in the end that the price was not too great. We do not know the worth of human souls, nor can we begin to estimate it until we try to understand how much Christ paid to redeem us.

You say that a certain professed Christian is a very unworthy one, with scarcely a line of spiritual beauty in him. "Christ will never have any comfort from him," you say. "He will never make a saint." "But wait!" says the patient Master. "My work on this man - is not yet finished. He is very imperfect now, and I am not satisfied with him. But wait until My work on his life has been completed. By and by he shall wear the full image of My face, and I shall be satisfied as I see in him - the blessed prints of all My sorrows and My love."

[lockedstuck]

sorrow that you keep

March 2021 - Sollux Captor

“Vitals!” Dirk announces, rapping on your door with his knuckles. “C’mon, let’s get this over with so I can serve breakfast!”

When you walk out of your room, there’s already a line leading out of the treatment room. The person in front of you, a dark-skinned kid with an Angela Davis-style afro - Karkat, you think his name is - curses up a blue streak while he waits in line.

“I don’t see why I had to get a prissy fucking bastard with insomnia as my goddamn roommate. I didn’t ask for any of this fucking shit. Fucking involuntary status, fucking dumbshit Eridan, I hope this fucking hospital burns down.”

It’s too early to put up with this guy, especially with the migraine you woke up with.

“Not tryna piss you off or anything but do you think you could keep it down with your tirade?”

If looks could kill, the glare Karkat shoots you would have rendered you to a pile of smoldering ash.

“I haven’t had a cigarette in six days, it’s seven oh fuck in the morning, my roommate wakes up seventeen times a night, and I might be losing my job because my shithead brother signed me into this fucking place, so you can go straight the fuck to hell,” Karkat replies.

“Are you this obnoxious later in the day, or did they just forget to give you your ativan last night?”

“I don’t even take ativan, dumbfuck.” He squares up. Maybe if he weren’t five foot one, you’d actually be afraid. “I’ll knock you out if you keep talking, though.”

Behind you, a guy with eyes so dark that they might be violet moves to plant a hand on Karkat’s shoulder. It’s your roommate, Gamzee Makara, who appears to sleep for fifteen hours a day. Karkat surprisingly refrains from flinching or scowling. You probably wouldn’t scowl at this guy if you had the opportunity either; he’s easily six foot four, his hair curling around his ears and sticking out worse than Karkat’s.

“Now there’s no reason to get up an’ motherfucking truculent with the new guy so early in the morning.”

Karkat rolls his eyes. “Makara, if you tell me to calm down and wait for the morning miracles, I’ll kill you too.”

“There’s no need to wait, Karbro. The sunrise is a miracle in and of itself. When I looked at the ceiling in my room, I saw miracles. Everywhere.”

“They need to put you on haldol, man.”

“I don’t need no helldogs telling me what to do. I just go with the flow.”

“Of course,” Karkat says, almost fondly. “You and your motherfucking miracles.”

When it’s nearly Karkat’s turn for vitals, Dirk escorts Roxy over to the nurses’ station. She blows a kiss at Karkat, who raises his hand in half-salute. Ignacio walks out of the charting room and takes a look at her.

“Miss Lalonde, I have medication for you. This’ll help with the shakes, hypertension, and sweating.”

Roxy puts her hands on her hips and winks at him. “Again, cutiepie?”

Ignacio rolls his eyes at her and shakes his head, his mohawk moving slightly with the motion. He hands her a medication cup and a paper cup of water. She swallows her medication down fluidly, without drinking any of the water. That has to be an xbox achievement.

During breakfast, as Eridan continues to scowl and bitch about his lack of breakfast (he has ECT today), and Karkat tells him to stop being an overdramatic fuckass before he stabs him with a fork, Dr. Vandayar pulls you aside for one of his “no big deal” discussions.

Otherwise known as morning check-in.

Truth be told, you rather like Dr. V, or Krishna, which is what he told you that you could call him, even though he has a doctorate.

He got you access to sharps, your body wash, and your clothes. He means well, and aside from when he checks in every morning, he doesn’t force you to talk if you don’t want to.

“How are you doing today, Mr. Captor?” he asks.

You shrug. “I’m okay, I guess. Pretty much the same as yesterday.”

Then come the “one to tens”, as you’ve come to think of them. Krishna has his little clipboard balanced on his thigh.

“Urges to hurt other people, one to ten?”

You think of Karkat Vantas and that smug fucking look on his face.

“Two.” It’s always less than three. Maybe that’s why he starts with it.

“Urges to hurt yourself, one to ten?”

You contemplate yesterday’s DBT handout, Roxy’s outburst about self-destruction, and its many varying connotations.

“Eight,” you reply.

“Suicidal thoughts, one to ten?”

“Nine.”

“Active or passive?”

“Passive, mostly. Fleetingly active. I don’t want to live if I’m going to burden people, the usual.”

“Do you have any plans to seriously harm yourself on the unit?”

“No. Not here,” you say. “Everything I’d want to do would require me to be outside.”

“I see,” Krishna says. “Have you been seeing or hearing things that aren’t really there?”

“No.”

“What about feeling like people are out to get you, or sending you special messages?”

“No. Nothing like that. I get enough of that shit at home.”

Dr. V does not laugh at your attempt to joke about your chaotic home life.

If you were to be completely honest, you’re wondering when your medications are going to start working, or if they’re going to start working. Talking to the other patients has been a double-edged sword. So many of them have been on a million different drugs without relief.

Logically, you know that it’ll probably take whatever you’re on more than a week to cure you, but… You’re scared. You’re not in full control and it scares you. There’s a reason you slit your throat. There’s a reason you’re here.

You’re scared the melancholy will wrap itself around you like a shroud, and never relinquish its hold. You’re scared you’ll hate yourself and this life forever.

“I thank you for your honesty, Sollux,” Dr. V says, once he makes his notes. “Any uses of target behaviors that I should be aware of?”

“I cut myself with a plastic knife on Friday evening. Not deep enough to need medical attention, though.”

You scan his expression for evidence of emotion, but he has the mother of all poker faces. All he does is write your answers down in his incomprehensible shorthand,

“How did that make you feel?” he asks. “Remember, it didn’t necessarily have to make you feel anything.”

You shrug. “It helped relieve the tension in the moment, I guess.”

“But it also made me feel disappointed later on,” you go on. “Disappointed at myself. I’m such a fucking idiot for relapsing.”

Dr. V jots this down as well, and shuffles through his papers.

“I wouldn’t use that language to describe yourself. Ridding yourself of maladaptive coping mechanisms can be quite difficult, especially if they have worked for you in the past,” he says. “Nevertheless, do you think you need to be on one-to-one for a few days? So that you stop hurting yourself while you’re here?"

You shake your head vehemently. “Absolutely not. I won’t do what I did again.”

“That is reassuring to hear. I’ll refrain from filling out the paperwork that would put you on constant observation for self-injury. That said, though, there is something you also need to do to prevent that.”

You roll your eyes a little. “You want me to contract for safety, don’t you? Like, filling out one of those sheets that says I’ll grab someone else before I decide to hurt myself. Otherwise I end up on one-to-one, right?”

Dr. V nods at you, before going on. “Yes, that is the general idea. You may either fill it out with me later on in the afternoon, or with a member of the staff with whom you are more comfortable.”

“I’d rather fill it out with you, to be perfectly honest. I trust you.”

He smiles. “I am very glad to hear that, Sollux. I don’t have any further questions for the moment.”’

You get out of your conference with Krishna, and walk into the dayroom.  

Gamzee sits there, watching Good Morning America. He’s got a small smile on his face, and a faraway look in his eye, like he’s both here and not. You call his name to get his attention. It works, his dark eyes trained on you.

“You mind if I sit down?” you ask.

He shakes his head. “Naw, it’s cool. You can even change the channel if that’s somethin’ you wanna do.”

He’s built like a linebacker, all broad shoulders and muscles. He could probably snap you in half if he wanted to. You take the seat next to him and he smiles serenely at you.

“So what’s up?” he asks.

“Nothing, man. Just got outta session with Dr. V. He wanted to make sure I didn’t want to hurt myself.”

Gamzee looks thoughtful. He pulls a red paper flower out of his shorts and hands it to you.

“I folded that a couple days ago. You can have it, if you want.”

“For what?”

“For when you need to up an fuckin’ remember the miracles. Like we talked about last night.”

Last night, Gamzee harangued you at length about the Mirthful Messiahs, and the Dark Carnival, and with a practiced skill you have learned from your sibling’s rants about the NYPD following them, you tuned him out utterly. You really hope he doesn’t count you as a believer in his weird ass faith, which seems like some kind of psychotic juggalo cult.

He’s a nice guy, though. You know he’s not utterly harmless, but he seems easygoing enough. You fiddle around with and tear at a piece of paper until you have a square, which you then use to make a paper crane.

“Hey, Gamzee,” you say. He glances up at you.

“Yeah?”

You hand him the paper crane. “You know, the Japanese believe if you fold a thousand of these, you get a wish. I’m not folding a thousand cranes, but this is for you.”

“I will cherish it every day of my motherfucking life.”

You think he means it, too.

Art group is at 11. Katya herds everyone who wants to show up into the art room. So far, that’s you, Roxy, Karkat, June, Gamzee, Calliope, and Porrim. Karkat nods his head at you, and then inclines it toward the door. He wants to talk to you one-on-one. Whatever the fuck about?

He looks like he’s swallowed a lemon before he deigns to speak to you, all pursed lips and narrowed eyes. You’re tempted to ask him what the fuck’s eating him, and then he speaks.

“Listen. I want to apologize about earlier this morning,” he says. “I was in a foul fucking mood, and I need to work on not taking that shit out on other people.”

Wait, seriously? He can’t actually think you’re still upset about that; you get cursed out worse by your sibling on a daily basis, and that’s when they’re in a good mood.

“Accepted,” you reply. “Don’t worry about it, man.”

Faint relief breaks out on Karkat’s features.

Katya has all of you gather around before she constructs a box out of a weirdly shaped piece of cardboard that looks as if it’s been cut so that a small briefcase sized box could be constructed.

“These are what I like to call coping boxes. You make the box, and then you decorate it. You can put anything in here. Things that make you feel good, or that make you think, or handouts you get during other groups. Whatefur you want!”

She hands a box to each of you, after she puts out tempera and acrylic paint, colored markers, gel pens, and colored pencils.

You weren’t planning to keep any of your distress tolerance handouts in the box, but maybe you should. Gamzee’s staring at you while he paints, and that’s kind of weird, at least until you get a good look at how he’s decorating his coping box.

He’s painting halfway decent pictures of you, Roxy, Karkat, Calliope and Eridan on the front part of the box, with the word “friends”, in purple cursive.

He counts you as a friend even though the only thing you’ve really had to do with him was vaguely listen while he spouted his weird theories about the mirthful messiahs?

You have to hand it to him, though. Kid’s a real artist, probably - no, definitely - good enough to paint portraits for money over in Washington Square Park or something. Karkat gets a decent look at what Gamzee’s painting and blushes.

“Oh, come on, you didn’t have to put me on the damn box,” he says.

“But you are my best friend in the whole wide motherfucking universe,” Gamzee replies.

Karkat splutters something and looks like he’d like to object, then just sighs, and tells him to make sure he gets Karkat’s good side. 

“Hey, Gamzee!” Roxy calls.

“Yes, Roxybro?”

“Does painting that mean you’re gonna paint me like one ‘a’ your French girls one of these days?”

Gamzee gives this a good half-minute of thought.

“I ain’t up an’ got any motherfuckin’ French girls.”

Meanwhile, you focus on your tree. It looks like a lollipop with antennae, but whatever, that’s going to be as good as it gets. You ask Katya if you can get a piece of paper to paint on, she “of course”s you and hands you a piece of printer paper.

What will you paint today, Sollux Captor? More trees?

Tears spring to your eyes, and just when you think the worst is over, they start trailing down your face. Roxy recoils and apologizes to you, thinking she’s done something, and all you do is cry harder, you fuckup. You can’t do a goddamn thing right. Only things you’re good for are fixing computers and having nervous breakdowns.

Katya looks up from praising Calliope and Gamzee’s collaboration, and walks up to you.

“Hey - no, it’s okay, mew don’t have to cover your face - what’s wrong?”

She crouches so that she’s eye level with you as you sit in your chair. It somehow makes you feel even worse, like you’re some small child that can’t control their emotional outbursts. Come to think of it, you were like this as a kid, too. Tuna was the outgoing twin who made all the friends, and you were the twin who would start crying if you accidentally colored outside the lines.

“It’s alright. If you don’t want to paint, maybe you’d like to go for a walk?” she asks. You shake your head emphatically.

“I’m sorry,” you say. “It’s just that I’ve never really been good at artistic stuff. Sorry I suck so bad.”

“Art group is not about being good or bad stylistically,” Katya says. “It’s about expressing yourself. As long as you’re doing that, you’re fine. I like your tree. You and Roxy are both excellent at trees.”

Roxy, who has been sitting next to you, using highlighters to draw what looks either like a really bad tree or a neon colored mushroom cloud, gives you a small little smile.

“Wanna draw with me?” she asks.

At first, you assume she’s found some oblique way to hit on you the way she does everyone else, but then she hands you the bottle of black tempera paint and a couple of colored markers. You don’t know what she expects you to do with them. Your tree sucks way more than hers.

“If you can’t think of anything to draw, why not try making patterns?” Katya asks.

You guess you can do that. You start drawing red and blue circles on your piece of paper, clustering them closer and closer together. 

Apropos of nothing, you remember the time in undergrad where you and Ray couldn’t get back to campus in time to beat the blizzard. You and she slept overnight in your car, parked in a gas station. Outside, nothing but a vast, enveloping white, what you imagine death or infinity must look like. The whole world rendered down to the slope and curve of dunes and valleys.

If you think hard enough, you can feel the wind rocking the car, can imagine the sound of Ray’s teeth chattering, or the occasional slip of her hands as she does a tarot reading. Another one. Another one down, another one down, another one bites the dust, Queen playing through your radio speakers. She sits in the front passenger seat, one leg bent beneath her.

“You think we’re ever gonna get out of here?” she asks.

At this moment, you ask yourself that same question. It’s a little different, now.

You wish you could take your seven eighths of a computer engineering degree and come up with a way out of this, but you can’t. That’s your problem. You’re only you, and you’ve never been good at managing your emotions.

[landofspaceandrainbows]

Terezi: Investigator of Mind

Or “Murderstuck” Terezi and Corrupt Cops

this talks abought some rougher than usual subject material so tw: for torture and corrupt systems.

(this is another sort of first draft post leading up to some other posts later)

....

so i’ve been reading a bunch of tumblrs, and noticing there’s a lot of stuff in Terezi’s arc that is familiar from @scripttorture 

especially the idea and pattern of “de skilling”  one of the big things abt torture in organizations is the deskilling - they loose the skills to actually investigate things because you can "solve crimes" by just torturing someone for a confession, and the deskilling makes them more likely to turn to torture again the legal system in alternia is Not OK in general, and alternian cops / law in general follows the pattern of torture happy cops

starting out in her first scene terezi fits the pattern of youth who idolize torture cops, in large part because she is obsessed with and passionate about justice and this is the only option she has in front of her. in fact you can see this in the very first scene where you meet her,  esp with her acting out the interrogation in roleplay with her plushies - which mimics techniques such as the psychological pressure, not leaving marks, etc. https://www.homestuck.com/story/2037  which in part is why there’s this connection with Terezi there as a hero of mind because of her mental passions,  she's basically started bringing the skill back through her own experimentation! mind = the ability to look for evidence and also understand people’s minds and motivations.because really.... she’s not all that satisfied with the way things are.

we also don’t know how it would have been if she stayed on alternia, but now she’s out there and in contact with aliens and experimenting. so she may goof up at times, however by being a average detective by earth standards, she's being nearly heroic by alternian standards Enter: Murderstuck

and things all go a little.... off.... Gamzee usually doesn't feel like he needs to conform to society's standards to be ok. the standards that demand he be tough and ruthless as a highblood and enforce the rules of his society.  tbh, for the most part he doesn’t give less of a fuck.  in part because his weird beliefs in the "mirthful messiahs" give him something else to follow.  and also because drugs lol. But then he gets his faith shattered in really a pretty messed up way, combined with going through withdrawals, having his friends chased down by a murderous demon.  and right then doesn't have anything to fall back on.  and then of all people Lil Cal enters. o shit.  

he begins to accept the old social role of his society, and re-enact those roles of the old alternian social order.... "gimme that old time religion, it's good enough for me" style.....  a social order where why people do things doesn't matter and people below him in blood caste need to be punished based on blood caste to enforce social order. and ( using his chucklevoodos ), along the way, to match with his corrupt judge, he recruits terezi as his corrupt cop.   he plants evidence and frames vriska,.... terezi has a justice based relationship with vriska, but this becomes not about what vriska has done, but that she is a blood color lower than purple that gamzee wants eliminated.  if it was about what she had done there would'nt be any need to frame her for other crimes, the crimes she actually comitted would be enough, that’s not how justice works.... terezi finds the plant and takes the bait.

so now we have the ghostly form taking shape of the old troll society taking shape, emphasizing at least at the moment, most corrupt parts probably thanls to lil cal and doc scratch’s influences. murderstuck is not just literally drenched in blood, but also metaphorically drenched in blood,  the bonds and relationships between eachother, their ancestors, and society, as they struggle with and re-enact their ancestor's paths. which is one of doc scratch's favorite weapons too, ugh. but terezi in the end still manages to keep the sense that something is up.

[inhissteps777]

When Satan is persecuting you in any aspect of your life, plead the blood of Jesus Christ for His protection. This doesn’t mean that you’ll never suffer in life, but no harm will befall you that’s contrary God’s purpose in your life.

In the words of Charles Spurgeon, “Christ’s intercessory power with God lies in His precious blood, and your power and mine with God in prayer must lie in that blood too... How can you ever prevail with God unless you plead the blood of Jesus?” Charles Spurgeon also said, “This precious blood is to be used for overcoming, and consequently for holy warfare. We dishonor it if we do not use it to that end.”

Exodus 12:13 The blood shall be a sign for you on the houses where you live; and when I see the blood I will pass over you, and no plague will befall you to destroy you when I strike the land of Egypt.

Isaiah 54:17 no weapon forged against you will prevail, and you will refute every tongue that accuses you. This is the heritage of the servants of the Lord, and this is their vindication from me,” declares the Lord.

Psalm 23:4-5 Yea, though I walk through the valley of the shadow of death, I will fear no evil; For You are with me; Your rod and Your staff, they comfort me. You prepare a table before me in the presence of my enemies; You anoint my head with oil; My cup runs over.

Psalm 91:5 You shall not be afraid of the terror by night, Nor of the arrow that flies by day,

Malachi 3:10–11 Bring the full tithe into the storehouse, that there may be food in my house. And thereby put me to the test, says the Lord of hosts, if I will not open the windows of heaven for you and pour down for you a blessing until there is no more need. I will rebuke the devourer for you, so that it will not destroy the fruits of your soil, and your vine in the field shall not fail to bear, says the Lord of hosts.

Matthew 6:25-34 Therefore I say to you, do not worry about your life, what you will eat or what you will drink; nor about your body, what you will put on. Is not life more than food and the body more than clothing? Look at the birds of the air, for they neither sow nor reap nor gather into barns; yet your heavenly Father feeds them. Are you not of more value than they? Which of you by worrying can add one cubit to his stature? So why do you worry about clothing? Consider the lilies of the field, how they grow: they neither toil nor spin; and yet I say to you that even Solomon in all his glory was not arrayed like one of these. Now if God so clothes the grass of the field, which today is, and tomorrow is thrown into the oven, will He not much more clothe you, O you of little faith? “Therefore do not worry, saying, ‘What shall we eat?’ or ‘What shall we drink?’ or ‘What shall we wear?’ For after all these things the Gentiles seek. For your heavenly Father knows that you need all these things. But seek first the kingdom of God and His righteousness, and all these things shall be added to you. Therefore do not worry about tomorrow, for tomorrow will worry about its own things. Sufficient for the day is its own trouble. Matthew 17:18-21 Jesus rebuked the demon, and it came out of the boy, and he was healed at that moment. Then the disciples came to Jesus in private and asked, “Why couldn’t we drive it out?” He replied, “Because you have so little faith. Truly I tell you, if you have faith as small as a mustard seed, you can say to this mountain, ‘Move from here to there,’ and it will move. Nothing will be impossible for you.”

Matthew 18:19 Again I say to you, if two of you agree on earth about anything they ask, it will be done for them by my Father in heaven.

Matthew 21:22 And whatever you ask in prayer, you will receive, if you have faith.

Mark 10:29–30 Jesus said, “Truly, I say to you, there is no one who has left house or brothers or sisters or mother or father or children or lands, for my sake and for the gospel, who will not receive a hundredfold now in this time, houses and brothers and sisters and mothers and children and lands, with persecutions, and in the age to come eternal life.

Mark 11:24 Therefore I tell you, whatever you ask in prayer, believe that you have received it, and it will be yours.

Mark 16:17-18 And these signs will accompany those who believe: In my name they will drive out demons; they will speak in new tongues; they will pick up snakes with their hands; and when they drink deadly poison, it will not hurt them at all; they will place their hands on sick people, and they will get well.”

Luke 6:38  Give, and it will be given to you: good measure, pressed down, shaken together, and running over will be put into your bosom. For with the same measure that you use, it will be measured back to you.

Luke 10:19 Behold, I give you the authority to trample on serpents and scorpions, and over all the power of the enemy, and nothing shall by any means hurt you.

John 14:13 Whatever you ask in my name, this I will do, that the Father may be glorified in the Son.

John 15:7 If you abide in me, and my words abide in you, ask whatever you wish, and it will be done for you.

John 15:16 You did not choose Me, but I chose you and appointed you that you should go and bear fruit, and that your fruit should remain, that whatever you ask the Father in My name He may give you.

John 16:23-24 In that day you will ask nothing of me. Truly, truly, I say to you, whatever you ask of the Father in my name, he will give it to you. Until now you have asked nothing in my name. Ask, and you will receive, that your joy may be full.

Acts 16:25-26 And at midnight Paul and Silas prayed, and sang praises unto God: and the prisoners heard them. And suddenly there was a great earthquake, so that the foundations of the prison were shaken: and immediately all the doors were opened, and every one's bands were loosed.

Romans 8:31 What, then, shall we say in response to these things? If God is for us, who can be against us?

Romans 8:35-37 Who shall separate us from the love of Christ? Shall trouble or hardship or persecution or famine or nakedness or danger or sword? As it is written:“For your sake we face death all day long; we are considered as sheep to be slaughtered.” No, in all these things we are more than conquerors through Him who loved us.

1 Corinthians 5:7 Cleanse out the old leaven that you may be a new lump, as you really are unleavened. For Christ, our Passover lamb, has been sacrificed.

2 Corinthians 9:6,10  6 Remember this–a farmer who plants only a few seeds will get a small crop. But the one who plants generously will get a generous crop. 10 For God is the one who provides seed for the farmer and then bread to eat. In the same way, he will provide and increase your resources and then produce a great harvest of generosity in you.

Philippians 4:6-7 Be anxious for nothing, but in everything by prayer and supplication, with thanksgiving, let your requests be made known to God; and the peace of God, which surpasses all understanding, will guard your hearts and minds through Christ Jesus.

Philippians 4:19 And my God will meet all your needs according to the riches of his glory in Christ Jesus.

Colossians 1:20 And through him God reconciled everything to himself. He made peace with everything in heaven and on earth by means of Christ’s blood on the cross.

Hebrews 10:19–23 And so, dear brothers and sisters, we can boldly enter heaven’s Most Holy Place because of the blood of Jesus. By his death, Jesus opened a new and life-giving way through the curtain into the Most Holy Place. And since we have a great High Priest who rules over God’s house, let us go right into the presence of God with sincere hearts fully trusting him. For our guilty consciences have been sprinkled with Christ’s blood to make us clean, and our bodies have been washed with pure water. Let us hold tightly without wavering to the hope we affirm, for God can be trusted to keep his promise.

Hebrews 13:16 So we say with confidence, “The Lord is my helper; I will not be afraid. What can mere mortals do to me?

1 Peter 1:18-19 For you know that God paid a ransom to save you from the empty life you inherited from your ancestors. And it was not paid with mere gold or silver, which lose their value. It was the precious blood of Christ, the sinless, spotless Lamb of God.

1 Peter 3:12 For the eyes of the Lord are on the righteous and his ears are attentive to their prayer, but the face of the Lord is against those who do evil.

James 1:5 If any of you lacks wisdom, let him ask of God, who gives to all liberally and without reproach, and it will be given to him.

James 1:17 Every good and perfect gift is from above, coming down from the Father of the heavenly lights, who does not change like shifting shadows.

James 4:7 Submit yourselves, then, to God. Resist the devil, and he will flee from you.

1 Peter 2:24 He personally carried our sins in his body on the cross so that we can be dead to sin and live for what is right. By his wounds you are healed.

1 John 3:22 And whatever we ask we receive from Him, because we keep His commandments and do those things that are pleasing in His sight.

1 John 4:3-4 but every spirit that does not acknowledge Jesus is not from God. This is the spirit of the antichrist, which you have heard is coming and even now is already in the world. You, dear children, are from God and have overcome them, because the one who is in you is greater than the one who is in the world.

Revelation 12:10-11 Then I heard a loud voice in heaven say: Now have come the salvation and the power and the kingdom of our God, and the authority of his Messiah. For the accuser of our brothers and sisters, who accuses them before our God day and night, has been hurled down. They triumphed over him by the blood of the Lamb and by the word of their testimony; they did not love their lives so much as to shrink from death.

[ryanjdonovan]

DONOVAN’S OSCAR PROGNOSTICATION 2021

We all knew it was coming: The Oscar nominees are now almost literally handpicked by Netflix and Amazon. We thought it would be a few years away, but it's just one more piece of fallout from the pandemic. It won't be long now before I'm making my predictions for the Flixies or the Amazies. (By the way, streamers: I just want to watch the friggin' credits, why is that such a problem??)

In case you haven't been paying attention (and I'm pretty sure you haven't), Nomadland is going to win the big Oscars. Haven't seen Nomadland? Or even heard of it? Or any of the Oscar-nominated films? Or didn't even know the Oscars were happening this year? You're not alone. With no theaters this past year, the non-bingeable, non-Netflix-welcome-screen movies were pretty much an afterthought. (But if you asked the streaming services, the nominees this year each accounted for a billion new subscribers and topped the worldwide digital box office for months.)

Well, I'm here to tell you the Oscars are in fact happening, albeit a few months late. Fear not: my 22nd annual Oscar predictions will provide everything you need to know before the big night. (You don't even need to watch the movies themselves -- reading this article will take you just as long.)

BEST PICTURE:

SHOULD WIN: Minari WILL WIN: Nomadland GLORIOUSLY OMITTED: Pieces Of A Woman INGLORIOUSLY SNUBBED: Ma Rainey's Black Bottom

If you're a fan of capitalism, this is not the year for you. Nominees like Nomadland, Mank, Judas And The Black Messiah, The Trial Of The Chicago 7, Ma Rainey's Black Bottom, Hillbilly Elegy, Minari, and The White Tiger are all (to varying degrees) indictments of a capitalist system, or at the very least are suspicious of those who benefit from it, and focus on those left behind. It's certainly fertile ground for angst and high drama, if not belly laughs. (Don't get me started on the ironies of all these movies being distributed by billion-dollar conglomerates. The filmmakers, producers, and actors can tell you that the checks cash just fine.) Like Austin Powers said, "Finally those capitalist pigs will pay for their crimes, eh comrades?"

There is no way for me to talk about Nomadland, which will win Best Picture, without sounding like an a-hole. It's a gorgeous work of art, and a fascinating character study, but I struggled to connect to the story. (You should know that for me as a movie watcher, story is more engaging than artfulness or character. But hey, why can't we have all three?) I wanted to like it, I really did. I'm content to drift along with Fern, the resilient main character played naturally by Frances McDormand, but she has no true objective or antagonist. She's a nomad on the road, either searching or hiding, either with the world or against the world, we're not quite sure which. I thought it might be driving (literally) toward a bigger revelation or resolution, but no. (Same with life, I guess.) It's meandering, reticent, languorous, and ethereal (I'm trying really hard to avoid using the word "boring" here). This is all quite intentional, by the way -- the film moves at the pace of its protagonist, and the effect is palpable. (And don't worry, it's not lost on me that I'm watching this movie about people barely scraping by, on a large ultra-high-def TV on my comfy couch in my warm home under an electric blanket, using a streaming service that the movie's characters probably couldn't access or afford.) Am I wrong about all this? Of course I'm wrong. Every critic out there is doing backflips over this film. And not surprisingly, the movie's mortality themes are playing well with the Academy, whose average age and closeness to death are extremely high. (Like the nomad Swankie, they're all anxious about that final kayak ride down the River Styx.) But beware the movie whose 'user/audience score' is significantly lower than its 'critic score' -- it means that regular people are not quite buying it. For me, the biggest problem with slice-of-life films is that I don't really want to go to movies to experience regular life -- I have life for that. Then again, I'm also a superficial, materialistic a-hole. But you knew that already. (Added intrigue: Hulu, Nomadland's distributor, might score a Best Picture win before Amazon, and gives Amazon a subtle middle-finger in the movie with its depiction of seasonal workers.)

Remember when feel-good movies were a thing? It didn’t mean that there were no conflicts or problems for the characters, it just meant that they were enjoyable to watch, and you came out feeling good about humans. Minari is the rare feel-good Oscar movie, and my personal pick for what should win Best Picture. It easily might have been a tough sit based on the premise: A Korean family moves to rural Arkansas to start a farm, and must overcome a drought, financial calamity, a complete lack of agriculture experience, a crumbling marriage, the son's potentially-deadly heart condition, and a grandmother that drinks all their Mountain Dew. In keeping with Oscar tradition, it could have been a constant assault of upsetting scenes. But instead, it's a warm, sunny, optimistic, funny movie. The family faces struggles and hardships, to be sure, but the story is treated with positivity, not negativity; with a sense of community, not isolation; with an attitude of resolve, not blame. And they get through their problems with mutual support, togetherness, tenderness, humanity, and of course, love. (Not to mention grandma planting some weeds that may or may not miraculously heal physical and emotional wounds.) All these things combine to make it a more engaging experience for me than Nomadland. Not only do I wish this movie would win the Oscar, I wish I could give it a hug.

A lot of pundits think The Trial Of The Chicago 7 has the best chance to upset Nomadland. But I'm not seeing that happen. It was an early favorite and has been getting tons of nominations in the awards run-up, but it hasn't actually been winning much, and seems to be losing steam. (The lack of a Best Director nod is virtually a killer.) I think Minari has a small chance to sneak away with a victory, as it's gotten almost as much universal praise as Nomadland, but hasn't had the same audience. Judas And The Black Messiah is an interesting case, in that it's a late entry that had little early awareness (it didn't plan to be eligible until next year's Oscars), but it scooped several unexpected nominations. Debuting a contender late and taking advantage of recency bias has been a successful strategy in the past, so don't be surprised by a surprise. (Had Shaka King scored the last Director slot over Thomas Vinterberg, I think Judas would be a fairly legitimate threat.)

If you had asked me in September, I would have predicted that Mank would be the wire-to-wire favorite to win Best Picture. Aside from being a prestige David Fincher film (more on him later), it's a smorgasbord of Classic Tales of Hollywood. And the centerpiece couldn't be bolder: It's an homage to, a making of, a dissection of, and political dissertation on Citizen Kane -- only the most deified film of all time. Simply recite the synopsis, describe the film's 1940s black-and-white aesthetic, and mention Gary Oldman's name as the star, and just watch the Oscars come pouring in, right? Well, not quite. It netted 10 nominations, more than any other film, but it's looking like it might not win any of them, certainly not Best Picture. I don't think the film quite knows what it wants to be; at least, I'm not sure what it wants to be. Centered on Herman Mankiewicz, the man credited with co-writing Citizen Kane with Orson Welles, it's a distorted, polemical, impressionistic portrait of a man I barely even knew existed. Though Welles is only briefly portrayed in the film, it demystifies him a bit, suggesting that he's maybe not as responsible for this work of genius as we thought. If the film was framed as "Who actually wrote Citizen Kane?", it would be a little easier to get into. But it feels somewhat academic and circuitous (in a way that Kane itself doesn't). And while the script is clever, it's clever to the point of being confusing. Of course, a film of this pedigree invites a lot of scrutiny, maybe more than any other awards contender (or any film that actually got released this past year, period). It has a lot to appreciate, and surely would benefit from a second viewing. I also can't help but root for the fact that it's been Fincher's passion project for almost a quarter-century. (Then again, tell that to any indie filmmaker who spends their whole life on a single passion project that ends up getting completely ignored, and they’ll tell you where to shove your Fincher pity.) Ultimately, it's an admirable work, but if you're looking for a Rosebud, it's not there.

Promising Young Woman continues to defy expectations. Not only did it rack up six Oscar nominations, it's likely to win one or two of them, and for a while, was gaining on Nomadland for Best Picture. Now that the chips are falling into place, we know it won't win in this category, but it remains one of the most talked-about films of the season. What I like most about the film is not necessarily the literal story (I should have seen the main twist coming a mile away), but the way writer/director Emerald Fennell elevates it in an interesting way. Instead of showing the whole story, she starts her film at the end of a typical revenge thriller (several years after the incident and the legal aftermath). In fact, the victim is not even in the movie, and the victim's best friend is already far along on her path of retribution. (It also challenges the definition of "victim".) The film is not voyeuristically exciting in any way; it's unsettling, but also oddly charming in unexpected ways. The key for me is how it serves as a metaphor for the secrets people keep from loved ones and the toll that it takes on them, and the penances we give ourselves instead of allowing ourselves to heal. It also made me realize that movies could use more Juice Newton. (Paris Hilton, not so much.)

Sound Of Metal and The Father were probably the last two films to make the cut in this category, and are the least likely to win. Their best chances are in other categories. (Pro Tip: If you put the word "sound" in the title of your movie, there's a very good chance you'll win Best Sound.)

I don’t recommend Pieces Of A Woman to anyone who's pregnant, or partners of pregnant women, or anyone planning to have babies anytime in the future, or any partners of anyone planning to have babies anytime in the future, or people hoping to be grandparents anytime in the future, or doctors. (And I'm certain midwives are not giving this a ringing endorsement.) The film starts with an infant death, and then gets worse from there. It's not just an unpleasant experience, it's a series of unrelenting unpleasant experiences: Depression, extra-marital affairs, guilt, a domineering mother, lying, manipulative spouses, abandonment, feelings of inadequacy, sexual dysfunction, litigation, sibling jealousy, public shame, borderline domestic abuse, bribery, courtroom drama, financial problems, baseless blame, and drug addiction. And if that's not upsetting enough, they also manage to throw the Holocaust in there. (This should be a movie sub-genre: "Parade of Horrible Events". This fraternity would include: Manchester By The Sea, Mudbound, Uncut Gems, 12 Years A Slave, Three Billboards Outside Ebbing, Missouri, The Family Stone, and of course, The Revenant.) And then there are the characters. It would be one thing if these were ordinary people in extraordinary circumstances. But these are extraordinary a--holes making extraordinary circumstances much worse. It's literally laughable. If I didn't understand what the word 'melodramatic' meant before, I do now. I'm aware that this is based on the experiences of writing/directing spouses Kata Wéber and Kornél Mundruczó, and I don't mean to trivialize their pain or what they went through. Nobody should have to suffer that trauma. And I realize art is a healthy and oftentimes beautiful outlet for grief. But… did I mention the movie is unpleasant? There are certainly wonderful fragments and ideas in here; if the components added up to something moving, I would be much more receptive to it. If I were a snarky (okay, snarkier) reviewer, I might call it "Pieces Of A Better Movie".

Soul is a lovely and inspiring movie, but I'm at the point where I have to judge films by my experience while watching them with children. Try explaining this movie to a 6-year-old. Way too many existential/philosophical/theological questions. I guess it's good for parents who like to talk to their children, but if you're trying to keep your kid occupied and quiet (the reason screens were invented) so you can do something else, it's a bust. (It's no match for the hysterical self-explanatory antics of a certain motor-mouthed, overweight, black-and-white, martial-arts-fighting bear with a penchant for sitting on people's heads and, more importantly, keeping kids silently dumbstruck.) And: Did they have to make the entrance to the afterlife -- a giant bug zapper -- so terrifying? If that's how you get to heaven, what is the entrance to hell like??

BEST ACTOR:

SHOULD WIN: Chadwick Boseman (Ma Rainey's Black Bottom) WILL WIN: Chadwick Boseman (Ma Rainey's Black Bottom) GLORIOUSLY OMITTED: Pete Davidson (The King Of Staten Island) INGLORIOUSLY SNUBBED: Delroy Lindo (Da 5 Bloods)

This one hurts. I usually don't feel a connection to or an overabundance of sympathy for celebrities, but this one genuinely hurts. When Chadwick Boseman wins Best Actor (for Ma Rainey's Black Bottom), it will be a wonderful celebration, but also a painful reminder, not just of who he was, but of who he was yet to be. If ever there was a unanimous vote, this would be it. Before this movie, we had seen him play heroes and outsized personalities, but there had been nothing quite like his role as Levee, the gifted and demonized trumpet player in Ma Rainey's band. His brash, wounded performance is astonishing, revelatory. Since the film debuted after his passing, we can only watch it through the prism of his death. It's hard not to feel parallels: Levee is just starting to scratch the surface of his talent, giving us hints of his abilities with composition and brass before his breakdown; similarly, we have only gotten a taste of Boseman's range and depth. For both the character and the man, we're being deprived of the art he would have created. Boseman's passing makes the performance more resonant and unshakeable, but I think under different circumstances he would still be the front-runner in this race. The only difference would be, we'd assume this would be the first prize of many.

Anthony Hopkins picked an unusual time to go on a hot streak. He recently left a memorable impression on the Marvel Cinematic Universe as Odin, got an Emmy nomination for Westworld, and scored 2 Oscar nominations (after a 22-year drought) -- all after his 80th birthday. This year's nomination, for playing a man slipping into dementia in The Father, probably would have been a favorite to notch him his second Oscar in a different year. He seems like he should be a two-time winner, and we just don't know how many more chances he'll have. (I stand by my declaration that he should have won last year for The Two Popes, over Brad Pitt.) To those aforementioned aging Academy members who fear mortality and probably consider Hopkins a spry young man: Maybe you shouldn't watch this movie.

Riz Ahmed's performance in Sound Of Metal establishes the tone for the entire film, making the experience feel grounded and real. I appreciate how his outward, physical performance is very still, while his internal performance is frenetic, like there's a live wire in his head that he's trying to conceal from the world. His quietness leaves us with an uncertainty that feels like authentic; he's not going to tell us all the answers, because his character is figuring it out as he goes. Speaking of questions, I have a few about his band in the movie (before the hearing loss): Are they any good? What kind of living do they make? Is their cashflow net positive or negative? Are they considered successful (in whatever way you want to define that)? What is their ceiling, commercially and artistically? Are they one lucky break away from making it, or is it a lost cause? Most importantly, if Ahmed and fellow nominee LaKeith Stanfield (Judas And The Black Messiah) had a sad, doleful, wide-eyed staring contest, who would win?

Steven Yeun has been a recognizable face in film and TV (and a prolific voice actor) for a decade, but we haven't really seen him front and center until Minari. And after this bright, heartwarming turn, I think you can expect him to remain in the spotlight for the foreseeable future. His understated and remarkable performance carries this beautiful story of a family finding its path through a new way of life. Despite scant dialogue and minimal exposition, we seem to always know what his character is thinking -- that he's facing daunting odds but has a steel resolve. He and screen partner Yeri Han (who deserves as much credit as Yeun for this film) create one of the most tender crumbling marriages I've seen on screen in a long time. (Though a marriage counselor could have given his character some helpful "dos and don'ts" that might have saved him some headaches.)

What's more improbable, Mank's meandering, decades-long journey to the screen, or the fact that we're supposed to believe 63-year Gary Oldman as a man in his 30s and early 40s? Well, once his performance begins, it's so hammy that you forget all about the ridiculous age discrepancy. He's playing Herman Mankiewicz, whose bombastic writing and sozzled demeanor helped mold the script for Citizen Kane into the legend that it is. It's a bloviated, ostentatious, spectacular exhibition of affectation and panache that only Oldman could pull off. It's a lot of fun. (It must be exhausting to be his wife.) It’s as if Mank wrote the story of his own life... and gave himself the best part.

I'm naming Delroy Lindo for my snubbed choice, for his intense and crushing performance in Da 5 Bloods. I've been hoping he'd get an Oscar nomination for 20 years, and by all accounts, this was going to be his year. Even in the fall, after a slew of critics' awards, he was the odds-on favorite to win. So it was a disappointment that his name wasn't called when nominations were read. For now, he'll have to be content with being everyone's favorite never-nominated actor. (But here's to hoping The Harder They Fall is frickin' amazing, so he can end that drought next year.) There are plenty of honorable mentions this year: Adarsh Gourav (The White Tiger), Mads Mikkelsen (Another Round), and Kingsley Ben-Adir (One Night In Miami) come to mind. (By the way: How often do Kingsley Ben-Adir and Sir Ben Kingsley get each other's take-out orders switched?) But my runner-up is John David Washington (my snubbed pick two years ago), who undoubtedly became an A-List movie star in the past year… but not for the reason you think. Yes, Tenet was a blockbuster and the cinematic story of the summer, but he had special effects and storyline trickery supporting him. Instead, Malcolm And Marie is what stands out to me -- he has nothing but his performance (as abrasive as it is), and he still commands the screen and our attention. When he gets hold of a juicy monologue, he starts cooking… but when he starts dancing on the countertop? Look out.

BEST ACTRESS:

SHOULD WIN: Andra Day (The United States Vs. Billie Holiday) WILL WIN: Andra Day (The United States Vs. Billie Holiday) GLORIOUSLY OMITTED: Anya Taylor-Joy (Emma.) INGLORIOUSLY SNUBBED: Jessie Buckley (I'm Thinking of Ending Things)

Coming down to the wire, we've got a race where three women have a chance to win, and the favorite depends on who you ask and when you ask. Carey Mulligan, Viola Davis, and Andra Day have each won precursor awards, and seem to leapfrog each other daily. Mulligan has been picked by most prognosticators, with Davis right behind. But I'm going to put my untarnished reputation on the line and predict a long-shot upset for Day. (And when that doesn't happen, I'm going to say that I actually thought Mulligan or Davis were more likely.)

Maybe I'm picking Andra Day because she's also my personal favorite, for her star-making debut in The United States Vs. Billie Holiday. The movie itself is serviceable but not stellar (some of the scenes and dialogue are absurdly expository), but Day is an absolute dynamo as the Lady Day. The film is a fairly rounded picture of her life, including her drug abuse, health issues, singing the controversial-at-the-time civil-rights song "Strange Fruit", and an investigation by the U.S. government (hence the title) -- all of which is intriguing for those of us not familiar with her personal story. (I'm sure you'll be shocked to learn that, despite my curmudgeonly ways, I was not in fact alive in the 1940s.) Day has seemingly come out of nowhere, because there was no early hype about the film, and nobody even saw it until a few weeks ago (and even now, it hasn't been seen by nearly as many people as the other contenders). Known primarily as a singer before this (I'm a big fan), she literally transformed her voice (straining her vocal chords, taking up smoking) to capture Billie Holiday's unique vocals. The singing alone might be enough to get her a nomination, but it's the dramatic work that puts her ahead of the field. More than any other nominee, we really get the feeling that she's laying her soul bare onscreen. Even for a seasoned actress, the depth of this performance would be impressive. Her film doesn't have the popularity or momentum that Mulligan's or Davis's do, so she's heading into Oscar night as an underdog. But if voters judge the actresses strictly on performance, not on the movies themselves, she might just pull an upset. And, if you haven't heard Day sing outside this movie, do yourself a favor: Stop reading this article (you might want to do that anyway) and browse her catalogue -- she has the best voice of any contemporary singer, period. Forget Billie Eilish, why isn't Day singing the next James Bond song?

Carey Mulligan returns to the Oscar game for the first time in 11 years, for Promising Young Woman. (Is she bitter that her performance in An Education lost to Sandra Bullock in The Blind Side? Probably not as bitter as I am.) Promising Young Woman is getting a lot of attention and accolades, and much of it is due to Mulligan's strong turn as Cassandra, a woman on a revenge crusade that has taken over her life. It's a layered performance; we see a lot of Cassandra's facades, but we don't know if we ever see the real person. Her best friend's rape and subsequent suicide has left her stunted; by the time we meet Cassandra, she's literally and figuratively become someone else. As rough as it sounds, Mulligan is able to make it… well, 'fun' isn't the right word, but 'enjoyable'. We see Cassandra refusing to sit or be bullied; she has agency and kinetic energy in situations where many do not or cannot. Whether or not the film works rests largely on Mulligan's shoulders; it's a good thing she's such a talented actress, because not many could pull it off. The more people see the film, the more she's been picked to win the prize. Will she get enough support for a victory? (Ms. Bullock, you owe her a vote.)

Out of all the nominated performances this year, Viola Davis's is the most amusing. Playing the titular singer in Ma Rainey's Black Bottom, it's clear she's having blast. When she's onscreen, Davis owns every single inch of it. She doesn't just drink a bottle of Coke, she guzzles the whole thing with gusto and verve, serving notice that this is going to be the most entertaining consumption of soda you've ever seen. And so it is with the rest of the performance. (Though the lip-synching is not particularly believable; but then again, that didn't hurt Rami Malek in Bohemian Rhapsody.) It will be interesting to see what happens on Oscar night. She's been up and down in the predictions. She was down after losing the Golden Globe (it's taken us until now to realize the Globes are a waste of time??), but rebounded strongly with a Screen Actors Guild win. She is universally adored, but she's also won an Oscar already for Fences, so voters may not feel quite as compelled to give it to her overall.

And we haven't even talked about Frances McDormand in Nomadland yet. Early on, this category seemed like a sprint between McDormand and Davis. But when neither won the Golden Globe or Critics' Choice, it became anybody's race. As we near the end of the contest, McDormand has pretty clearly fallen toward the back. I don't think it's her performance; instead, she's been discounted due to her own victorious history. She's already got two Oscars (in 1997 for Fargo and 2018 for Three Billboards Outside Ebbing, Missouri); a third one would require extraordinary circumstances. By comparison, it took Meryl Streep 29 years (and a lot of Ls) after her second to get her third. But if McDormand hadn't just won for Three Billboards three years ago, I think she'd be a lock here; Nomadland may even be a superior performance. She's probably the only actor alive that could pull this off; if she gave up acting, this is how I assume she would be living in real life. It's remarkable how she internalizes everything, yet informs the viewer how she's feeling and what she's thinking with very few words, just her physicality. This project seems particularly challenging. Her character doesn't have the answers; she's searching, but she doesn't even know what for. "I'm not homeless. I'm just house-less. Not the same thing, right?" It's as if she's posing the question to herself, and she really doesn't know. She gets lonelier as the journey goes on, a sort-of self-imposed isolation, and the viewer really feels it. (What does she ultimately find? Well, that's one of the frustrating ambiguities of the film. Don't get me started.) No matter what happens in this category, what McDormand will find is Oscar gold: She's a producer on Nomadland, so she's a strong bet to walk away with a Best Picture statuette.

Saying Vanessa Kirby is the best thing in Pieces Of A Woman is a bit of a backhanded compliment. My distaste for the film was made pretty clear in the Best Picture section, and anybody acting opposite Shia LaBeouf is going to look like Streep. But Kirby is legitimately great, and I think a welcome surprise to those who know her from the Mission: Impossible and Fast & Furious franchises. (And how many fans of The Crown thought Kirby would beat Claire Foy to an Oscar nomination? Don't lie.) Kirby makes the most of her role as an unpleasant person in an unpleasant situation enduring a barrage of unpleasant events surrounded by really unpleasant people. (An infant tragedy is the least of their problems.) But ultimately the film fails her, and unfortunately I don't really believe what any character is doing in this movie. Her nomination has been bolstered by a whopper of an opening scene: a 24-minute single-shot of a childbirth that ends horrifically. But I can't help but feel like the shot comes off as gimmicky; the immediacy of the scene was effective, but the filmmakers seemed to choose stylistic camera movement and choreography over intimacy and realness. The scene may be emotionally truthful, but hoo-eey, Kirby is dialed up. (My personal favorite ridiculous scene? When she's on the subway, wistfully watching children giggling pleasantly and behaving like angels. Ahhh, seems so blissful. Have you ever taken kids on public transportation? They would be fighting, screaming, climbing over the seats, kicking her, throwing goldfish everywhere, getting yelled at by the parents, bumping into passengers, licking the handrails, wiping snot on seats, and saying inappropriate things to strangers. That's parenthood.)

When the movie gods decided to create a remake that would be the exact opposite of what I would like, they conjured up Emma.. (That's "Emma.", with a period at the end of the title. Seriously. It's a "period" piece. Get it?) Anya Taylor-Joy is undoubtedly talented, but she's a letdown as the fabled matchmaker. She also believes that she can bleed on cue. With regard to her climactic scene: "I was in the moment enough that my nose really started bleeding." Wow. No words. I can’t believe I’m saying this, but her performance actually makes me miss Gwyneth.

BEST SUPPORTING ACTOR:

SHOULD WIN: LaKeith Stanfield (Judas And The Black Messiah) WILL WIN: Daniel Kaluuya (Judas And The Black Messiah) GLORIOUSLY OMITTED: Shia LaBeouf (Pieces Of A Woman) INGLORIOUSLY SNUBBED: Glynn Turman (Ma Rainey's Black Bottom)

Can you have a movie with two main characters but no leading actors? If you're wondering why the two stars (and title characters) of Judas And The Black Messiah -- LaKeith Stanfieldand Daniel Kaluuya -- are both competing in the Supporting Actor category, congratulations, you're a human on planet Earth. That's Oscar politics for you, and it's nothing new. They are both unquestionably leads; nevertheless, the shift to Supporting has worked out well for both of them. The assumption was that Stanfield would campaign in the Lead category and Kaluuya in Supporting so as not to cannibalize each other's votes, and to have Kaluuya (the stronger awards bet) compete in the less crowded category. (It's been clear for half a year that Chadwick Boseman would be winning Best Actor.) Stanfield was considered an unrealistic shot to crack the nominees anyway (he was probably 8th for Best Actor, behind Delroy Lindo (Da 5 Bloods) and Tahar Rahim (The Mauritanian)). So when the nominations were read, it was a pleasant shock that he had been slotted in the Supporting Actor category. (And wouldn't you rather have him here than Jared Leto?)

But won't they split the vote, resulting in the very problem they were trying to avoid in the first place? As it turns out, no. Judging from other major awards, voters had made up their minds for Kaluuya long ago, so any votes to support this film will likely go to Kaluuya. It's not hard to see why: As Black Panther leader Fred Hampton, he's dynamic, steely, and charismatic. It's very different -- more confident, self-assured and domineering -- than we've seen him in other roles, like Get Out. (This movie is a like a mini-reunion of Get Out. Dang, now I want a sequel to Get Out.) But I'll be the dissenter, and cast my personal vote for Stanfield. I'm conflicted; they're a close 1-2. But for me, Stanfield's role (as an FBI informant infiltrating the Panthers) has more facets to play, and Stanfield's signature tenderness brings me into the character more. Plus, he also has the bigger challenge: he has to play the Judas (a role he initially didn't want). Like another character actually says to Stanfield in the movie: "This guy deserves an Academy Award."

Leslie Odom Jr.'s quest for an EGOT (Emmy, Grammy, Oscar, Tony) has hit a speed bump. Already armed with a G and a T, he was the presumptive favorite heading into the Golden Globes to collect more hardware, for playing singer Sam Cooke in One Night In Miami. But that was before anybody had seen Judas And The Black Messiah. As the lone acting nominee for Miami, he's got a lot of support from anyone looking to honor the film and its stellar cast. And as the singer, he gets to show off his lustrous Hamilton-honed pipes several times. In many ways, he's the most relatable character in Miami, the one that (despite Cooke's fame at the time) seems the most mortal. So though he'll lose Best Supporting Actor, fear not: He's the favorite to win Best Song, and keep the EGOT dream alive. (Unless… 12-time nominee Diane Warren finally gets the sympathy vote for her song for the little-seen The Life Ahead. Wait, you mean she didn't win for Mannequin's "Nothing's Gonna Stop Us Now"??)

Paul Raci is a fascinating nominee, for Sound of Metal. He was virtually unknown before this movie (best known as Eugene the Animal Control Guy on Parks And Recreation), but his background is intriguing. He's a Vietnam vet who started as a small theater actor in Chicago (he has a Jeff nomination!). With his upbringing as a hearing CODA (Child Of Deaf Adult), he's a frequent player in ASL theater and is the lead singer in an ASL metal band. (Am I the only one who was gotten CODA confused with ACOD (Adult Child Of Divorce)? Is there such a thing as ACODDA (Adult Child Of Deaf Divorced Adults)?) And in the understated role of Joe, who runs a facility for deaf people and serves as a guide for Riz Ahmed's character, he's fantastic. It literally seems like he's been preparing his whole life for the role, and it pays off. (Though upon further examination of his character… Joe seems like a benevolent, trustworthy guy with altruistic motivations, with a shelter focused on mental healing, addiction recovery, and self-sufficiency. But he also appears to foster an environment that isolates its members, severs contact with all loved ones, preys on those who are unstable to begin with, and convinces members that they will struggle if they leave the community. Ultimately Joe runs every aspect of members' lives, and in return expects unwavering devotion and complete submission to his methods. As soon as Ruben says one thing to challenge him, Joe accuses him of sounding like an addict, knowing it will trigger shame and self-doubt, in a clear effort to control his actions. Joe even slyly suggests that he personally knows how to reach heaven, "the kingdom of God". Is there a chance Joe is actually running a cult??)

They may have just picked a name out of a hat to see which member of The Trial Of The Chicago 7 ensemble would get an Oscar nomination (now these are all supporting actors), but however it happened, nomination day was a good day for Sacha Baron Cohen. (He also got a writing nod for Borat 2.) He is effective in the movie -- maybe the best of the bunch -- and it's a (slightly surprising) affirmation that he's a good actor in addition to being a talented performer. Is his performance actually worthy of an Oscar nomination? I'm fairly impressed (except for his I-love-you-too-man scene with the inert Eddie Redmayne, which plays cheap… but you can probably pin that one on Aaron Sorkin). But there are several other people I would have nominated over Cohen. For starters, my snubbed pick, Glynn Turman, is exceptional as a musician holding his own against Chadwick Boseman in Ma Rainey's Black Bottom. (It seems like just yesterday he was the colonel on A Different World, one of his 150+ acting credits.) Honorable mentions include 7-year-old Alan Kim (Minari), Clarke Peters (Da 5 Bloods), Charles Dance (Mank), and Arliss Howard (Mank).

Wow. Shia LaBeouf is not the only repellant part of Pieces Of A Woman, but he's probably the most repellant part. I'm sorry, but anything he does, or is involved in, instantly becomes less believable. At one point he seems to be trying to creepily make out with his wife… while she's actively pushing in labor. Then later, in a distressing "love" scene, he looks like someone who has never had consensual sex with a partner before; I know the film is going for emotional rawness, but it just looks like assault. Bottom line, I have no idea what he's doing in this movie. (And I guess I don't care what he's doing, as long as it's not another Indiana Jones movie.)

BEST SUPPORTING ACTRESS:

SHOULD WIN: Yuh-jung Youn (Minari) WILL WIN: Yuh-jung Youn (Minari) GLORIOUSLY OMITTED: Nicole Kidman (The Prom) INGLORIOUSLY SNUBBED: Ellen Burstyn (Pieces Of A Woman)

Oh, sweet revenge. Don't you just love a rematch? It was just two short years ago when Olivia Colman, in a flabbergasting upset, tearfully apologized to presumptive victor Glenn Close in her acceptance speech. (…Or did she condescendingly mock her? We can't be sure about anything in that speech.) Now they are both nominated again -- Colman for The Father, Close for Hillbilly Elegy -- and the bad blood between them couldn't be boiling hotter. Since there are no nominee lunches or in-person media parades this year, I'm assuming they drunk-Zoom each other at all hours and call one another every cruel British and American curse word in the book. Colman even reportedly tweeted, "Glenn, this will be your Hillbilly Elegy: You never won a dang Oscar." Nasty stuff, but nothing unusual during campaign season. Colman is facing a tough challenge (besides playing a woman whose father is in the grips dementia). Voters will be hard-pressed to hand her a victory again so soon (and without any losses). Additionally, she didn't even get nominated for a BAFTA award -- the British Oscar-equivalent -- on her home turf (and they nominate six actors in each category). (But, she would be quick to point out, Close didn't either.) All the talk around The Father is about Anthony Hopkins. Colman is facing extremely long odds.

Which seems to perfectly set up Close to swoop in for the kill. Six months ago, on paper this seemed like a slam dunk. The word was that Hillbilly Elegy featured two of the losing-est actors (Close and Amy Adams) in transformative roles in a heart-wrenching adaptation of a successful book. It was going to exorcise the demons for both of them. Then the movie debuted. And the response was lukewarm. But then the response to the response was harsh. People hated the movie, hated the performances, and hated the participants for shilling shameless Oscar bait. (If you think there's a different kind of Oscar bait, I'm afraid you haven't been paying attention.) The film was weirdly derided as political, and faced a sort of anti-Trump backlash (which I don't understand, considering the movie takes place in the 1990s and early 2010s, when Trump was just known for being an inept USFL football owner and a silly reality-TV host). Entertainment Weekly actually used these words in a single sentence to describe the film: "ham-handed", "smug", "Appalachian poverty porn", and "moralizing soap opera". (I guess people felt about this film the way I felt about A Star Is Born.) And no, the movie is not great; it fades soon after the credits roll. But Close is compelling; at the very least, she's working her tail off. (If you think she's just hamming it up in drag, stay tuned for the end-credits images of the real Mamaw. It's uncanny.) I think the voters really want her to win (but I thought the same thing two years ago). The question is: Do they want her to win for this movie? The answer increasingly seems to be No. The general feeling (which I agree with) is that the role feels a little lacking, and below Close's other lauded performances. People realize that if she wins, it may get dismissed as being a flimsy career-achievement award, which would tarnish it.

So, which one will claim victory this time, leaving the other groveling at her feet, Colman or Close? Neither, it turns out. In a shocking turn of events, Yuh-jung Youn has emerged as a favorite over both of them. (Fortunately, she's blocked Colman and Close on Zoom.) Calling Youn the heart of Minari would be trite. She is, but she's much more than that. She's the conduit for connection: to the children, between the parents, and to the audience. Before her arrival, it feels like there's something missing. (The young son has a heart condition, is constantly chugging Mountain Dew, and is hiding his wet underpants. And the dad thinks he doesn't need a babysitter?) It's when Youn enters the film that the film excels, and we start to feel like part of the family. She also challenges our (and her grandson's) ideas of what a grandmother is (including possibly having magical healing superpowers). A lot of people are looking for a way to reward this film, and this category is its best chance. Heck, even if voters only hear Youn's one line of English dialogue ("Ding-dong broken!" -- referring to her grandson's wiener), that could be enough to win.

Maybe the most curious nomination is for Maria Bakalova, starring in Borat Subsequent Moviefilm as the notorious Kazakh's daughter. A lot of things in the past year would have been impossible to predict, but an unknown Bulgarian actress stealing the spotlight and getting an Oscar nomination for a surprise-release Borat sequel would have to be near the top. And she's actually the only one in this category who's managed to score a nomination from every major organization. She won't win, but her performance (and memes) may live on the longest.

I must be missing something in Mank. (Granted, I haven't watched it the requisite four times in order to truly appreciate it, according to the Fincherists.) But I just don't understand what the fuss is about with Amanda Seyfried. She certainly plays her part well (as Marion Davies, the illicit love interest of William Randolph Hearst and the platonic love interest of Herman Mankiewicz), but I don't see how she elevates it or brings anything extraordinary to it. Her character plays a pivotal role in Citizen Kane (Davies was the inspiration for Kane's second wife), and I presume she's supposed to play a pivotal role in Mank's literary epiphany, but I fail to understand why. (Or maybe I failed to understand her Brooklyn accent.) But more than that, her narrative thread seems distressingly incomplete. She appears to be set up for a meaty final scene, but then her character simply exits, leaving Mankiewicz (and me) baffled. I've been more impressed by her work in other movies, like First Reformed. Of course, perhaps the most significant implication of Seyfried's nomination: Two of the Plastics now have Oscar nominations. (Gretchen, stop trying to make an Oscar nomination happen. It's not going to happen!)

Just in case there was any confusion, 88-year-old Ellen Burstyn is here to let us know she can still bring the thunder. Pieces Of A Woman is a mess, and her character is dubious, but she gets one powerhouse speech to shine and (somewhat) anchor the movie -- a declaration of strength, resilience, and survival. And she delivers a two-handed, rim-hanging, backboard-shattering jam. Oh, right, there's the woman who scored an Oscar, plus four other nominations, in a 9-year span in the 1970s. And who's been an Emmy fixture the past 15 years. And who has four more movies already in the works. Just another not-so-gentle reminder that she's one of the great actors of her generation. (Honorable Mentions go to The United States Vs. Billie Holiday's Da'Vine Joy Randolph, who continues her scene-stealing ways after Office Christmas Party and Dolemite Is My Name; and Dominique Fishback, whose performance adds emotional heft to Judas And The Black Messiah.)

BEST DIRECTOR:

SHOULD WIN: Chloé Zhao (Nomadland) WILL WIN: Chloé Zhao (Nomadland) GLORIOUSLY OMITTED: Ryan Murphy (The Prom) INGLORIOUSLY SNUBBED: Christopher Nolan (Tenet)

The second-most-certain thing this year is Chloé Zhao winning Best Director for Nomadland. She's dominated the narrative and the awards circuit this year; nobody else is close. In fact, she might win four Oscars, which would be a record for one person with a single film. (In 1954, Walt Disney was a quadruple winner for four different movies… but do short films really count?) Odds are that she'll win three, but if she wins Best Editing early in the night, the record will be hers. Historically joined at the hip, Best Director and Best Picture have surprisingly been split between different movies several times in recent years. The voters will align them this year, but I'm going to malign them. (Disalign? Unalign? Who am I kidding, I will malign them too.) As tepid as I am on Nomadland for Picture, Zhao is my Director choice. She is clearly a masterful artist and impressionistic storyteller. But more than that, she's able to conjure a mood and state of mind with her pseudo-documentary hybrid style. She gets us to feel what the character is feeling and put us right in the environment -- and makes it seem effortless. The film's long, languid takes allow us to breathe the air, drink in the scene, and live in the moment, unhurried. Zhao augments the nomadic quality of the film in every shot. But (oh, you knew there was a 'but'), on the down side, I also find the style to be a bit tedious and overdrawn at times. Because of my lack of investment, the film often struggles to keep my attention, or more accurately, my curiosity. And despite the film being touted as a tale of community and interconnectedness, it mostly suggests to me (via the main character) feelings of pain, loneliness, coldness, and sadness. But ultimately, I think those things speak more to the story than the directing. This will doubtless be a crowning a achievement for Zhao, but I'm more excited to see what the future will bring, and what she can do for a story that I'm invested in.

I was really close to picking Lee Isaac Chung for my Should Win, for his rich, captivating film, Minari. (Really close. You, the fortunate, insulated reader, will never truly know how much I agonize over this. Some suffer for art, I suffer for unsolicited criticism.) Honestly, I was tempted to give Chung a clean sweep of Picture, Director, and Screenplay; but instead I've opted to spread them around (I can play Academy politics all by myself). So many of the qualities of Zhao's film are present in Chung's film as well; his toolbox is just as full and varied. His quiet, atmospheric shots are unburdened by haste yet always nudging the story ahead. Chung draws us in, as another member of the Yi family, our hopes rising and falling with each challenge and trifle (and sexed chick) they face. There's a real confidence in his style; he knows how to best engage the audience for the specific journey. For me though, what I appreciate most is the warmth of his filmmaking; while the story has tribulations, the film itself is compassionate, never harsh or aggressive. That stands in stark contrast to Nomadland; the palette is one of the main things that sets them apart. Chung also scored points by showcasing the best accessory on the virtual Golden Globes telecast: a ridiculously adorable child. (Was that his own kid, or a rental? Only his publicist knows for sure.) Careful, I might accidentally talk myself into flipping my pick to Chung.

This was supposed to be his year. Goddammit, this was supposed to be his year! That was the sentiment from cinephiles all over the internet this year. Throw a rock in any direction and you'll hit a podcaster (and possibly me) ranting about how David Fincher was robbed in 2011 when he lost Best Director for The Social Network to Tom Hooper and The King's Speech. (Was the Academy justified? Since then, Fincher landed a third Oscar nomination, fourth Golden Globe nomination, and two Emmy wins; Hooper directed Cats.) In early winter, the pieces seemed to be lining up for a Fincher victory with Mank: a big, mainstream, Hollywood-y underdog story; an ode to the most revered film of all time, Citizen Kane; a scenery-chewing performance from beloved thesp Gary Oldman; a film that was more accessible (read: less weird and violent) than most of his other fare; and a passion project that he had been developing for decades, written by his late father. The only question was not whether the film could win all the Oscars, but whether it could cure pediatric cancer or pilot a rocket to Jupiter. But that was 2020… and we all know how that year went. Maybe it's the fatigue caused by the prolonged award campaign season, maybe it's the lack of theaters that would have showcased his visual marvel, or maybe it's the fact that the film didn't quiiiiiiite live up to the hype, but one thing is clear: Fincher is out of the race. I'll say what a lot of the other film snobs won't: This is probably not the film we want Fincher to win for anyway. We want him to win for something sharper, weirder, more incisive, and more upsetting; in short, something more Fincher-ish. Mank is fantastic, to be sure; and in (mostly) pulling it off, Fincher demonstrates his mastery of historical and contemporary cinema. But the hiccups are puzzling. The film is structured like Citizen Kane itself, which makes it at times equally difficult to engage in; but while Kane's flashbacks feel natural, a handful of Mank's feel shoehorned. The dialogue is in the style -- but not the pace -- of hard-boiled 1940s films, which alone is a recipe for difficult viewing; further peppering every retort with unnatural irony makes for wit but not necessarily comprehension. The Kane-esque echo effect doesn't help; neither do subtitles. (I tried.) While it turns out that it's not supposed to be his Oscar year after all, I commend Fincher on an effort like this -- the singular vision, the vigor, the risk -- even when I don't necessarily love the movie or connect with it. We need his art, we need his beautiful mess. (But next time maybe throw in a grisly murder, perverted romance, or crippling heartbreak… and acquire a charming child for the awards telecast.)

Emerald Fennell impressively scored a nomination for her first feature film, Promising Young Woman, an inventive genre-mashup of a Rape Revenge movie -- a new spin on a 1970s grindhouse staple. Like a lot of people, I don't quite know what to make of the movie (I don't think I've ever actually seen a Rape Revenge movie… though I've seen plenty of Dognapping Revenge movies). It's a film that could go badly a thousand different ways, but Fennell makes choices that keep it fresh and thoroughly watchable. The primary word that comes to mind is 'subversive'. From the candy coloring to the pop music to the meet-cute to the campy suspense, she toys with convention at every turn (in some cases more effectively than others). Even the support casting -- the kooky, on-the-nose (or 180-flipped) cameos spice up the movie, but also tend to undermine it and give it a B-movie vibe. (Do we really need Jennifer Coolidge and Max Greenfield doing what they do best, but not as well as they usually do it? Probably not. Do they make me chuckle? Yes.) The result is an oddly entertaining movie on a subject that is anything but. The patina of playfulness is helpful; if it was an avalanche of distressing, horrifying scenes, it could be a tortuous watch. All in all, it might be the most enjoyable Rape Revenge movie you'll ever see.

Perhaps the biggest surprise nominee in any category is Thomas Vinterberg, for the Danish film Another Round. (The lion's share of the Oscar buzz had been for star Mads Mikkelsen; the film is also up for Best International film.) This movie is in the grand tradition of celebrating alcohol because excessive drinking is awesome. And the Academy has recognized Vinterberg because he has so astutely captured how booze is a tasty balm for every wound -- an ancient and failsafe key to enlightenment and inner peace. Wait, what's that? I'm sorry… I'm being told that this movie is actually a cautionary tale. Hmmm. I guess I should have watched it sober. In light of that, I suppose the film is an interesting examination of middle-aged ennui and the tendency to overlook that which is right in front of you. (Anyone that has gotten this far in the article knows exactly what ennui is, and should have overlooked what was right in front of them.) It's also an unintentionally apt allegory for pandemic life: When it started, we began drinking a bit at home, enjoying Zoom happy hours, and generally having a good time; pretty soon we were day-drinking out of sheer boredom, trying to teach our home-schooled kids long division while buzzed, and it got very sad and depressing; now we're all pretty much ready to jump off the pier. In general, I like the film (though I prefer my mid-life drinking crises more in the mold of Old School), but the story and arc are fairly telegraphed. You mean their problems can't be fixed by increased alcohol consumption? The more you drink, the harder it is to control? Drinking at work as a teacher around minors might go awry? Instead of booze, have they tried rest, exercise, healthy eating, or appreciating the good things in their lives? (Who I am kidding, those are a waste of time.) Ultimately, there are several directors I would have chosen over Vinterberg (Christopher Nolan for Tenet, George C. Wolfe for Ma Rainey's Black Bottom, and Florian Zeller for The Father come to mind), but it's interesting to see the continuing trend of nominating non-American filmmakers in this category, as the Directors' branch of the Academy becomes increasingly international.

I want to talk about the ending of Another Round for a moment. If you didn't see the movie (and I'm betting you didn't), just skip this paragraph. Most of the reviews I've read online interpret the ending as a hopeful, happy one. I think that's crazy. The ending is a Trojan horse. It looks joyful, but just underneath lies tragedy: The trio resume drinking after they've seemingly hit rock bottom and lost their best friend to booze; they believe they're in control and having a good time when really they're spiraling into chaos; they think they've found a balance, when they're actually sliding endlessly further into alcoholism. They don't realize that they cannot enjoy life sober. I think one of the reasons why I like the movie so much is that it masks that ending as a "happy" one, much the way a drinker would see it when they don't realize there's a problem. The ending is denial. A lot of people have seen the final scene as uplifting and life-affirming (even Vinterberg seems to say this in interviews, which is puzzling), that the friends have come to terms with their drinking, and have found a way to drink in moderation and still invigorate their lives and celebrate the small things. I don't understand that take at all. I would buy it if they had found a way to celebrate life while sober. Instead, I think it's the surest sign that they are destroying their lives, because they don't even realize it's happening. It's the 'darkest timeline'. They ask themselves the wrong question, "What would Tommy do?", instead of "What would Tommy want us to do?", and we know exactly what Tommy would do because we see him drink himself to death. Martin has gotten a reconciliatory text from his wife, but just as he's about to go to her, he instead joins the party, quickly gets plastered, and literally goes off the deep end. What's truly heartbreaking is seeing that they've (gleefully and unknowingly) perpetuated the cycle, having encouraged the next generation to drink in order to cope and be "awakened to life". I think there are hints in the final song lyrics ("What a Life") and the movie's poster (the image of Mikkelsen recklessly chugging champagne in a blurry stupor is from the final scene). To me, the seemingly exuberant ending is a fallacy… and utterly tragic.

In a surprise move that everyone saw coming, I'm naming Christopher Nolan as my Snubbed choice, for his twisty, backwards-y spectacle, Tenet. Did I understand the movie? Of course. Oh, you didn't? Dummy.

BEST ORIGINAL SCREENPLAY:

SHOULD WIN: Derek Cianfrance, Abraham Marder, Darius Marder (Sound Of Metal) WILL WIN: Emerald Fennell (Promising Young Woman) GLORIOUSLY OMITTED: Aaron Abrams, Brendan Gall (The Lovebirds) INGLORIOUSLY SNUBBED: Sam Levinson (Malcolm And Marie)

Did his name have to be Ryan? No, that wasn't my biggest takeaway from the script for Emerald Fennell's Promising Young Woman. But it was a big one. As Carey Mulligan's chances fade a bit, Screenplay is the movie's strongest chance to strike gold, making a strong run in the precursory awards. The ending of the film has been pretty divisive, but I like that it's completely unexpected. Maybe it's contrived, but it's what makes the movie memorable for me, and separates it from other revenge thrillers. Or maybe it's inevitable, given the themes of the movie and the character pursuing her mission past the point of no return. Either way, did his name have to be Ryan? Unless Fennell's role (she's an actress, too) as Camilla Parker Bowles on The Crown accidentally embroils her in recent royal family controversies, she should be collecting this award on Oscar night.

Most of the praise for Sound Of Metal has been specifically for its sound design. But it starts with the script (written by director Darius Marder, along with Derek Cianfrance and Abraham Marder), which is the blueprint for the sound and experience of the movie. And it's my pick (by a hair) for best screenplay of the year. It has -- hey, whaddya know! -- an actual narrative, with a main character who has an objective and opposition. It's always impressive to me when a story has very little I can directly relate to, but it still manages to resonate, and strikes a tone that feels real. I also appreciate the skill in the writing -- it's minimalistic, yet thorough in the ways that matter. The film doesn't explain a lot or give us much exposition -- it doesn't lean on voice-over, window characters, or monologues. It's quiet. Which may seem obvious considering it's about a man losing his hearing, but even the man himself and the real world he lives in have a muted vibe (despite his mind being anything but calm). The film has also been lauded for its authentic portrayal of deaf people… but not for its authentic portrayal of audiologists. (I mean, how bad is Ruben's audiologist consultation, that he is in no way prepared for how things would sound after getting cochlear implants? I get more information from my dentist when getting a cavity filled.) Also: What does metal sound like? I still don't know.

Aaron Sorkin would seem like the obvious pick here, for The Trial Of The Chicago 7. It's the kind of sonorous, social-consciousness word-porn we've come to love and expect from him. But he's already got an Oscar (though most people assume he has three), and the fight-the-system theme isn't exactly unique to his script this year. Not surprisingly, the movie feels like a mash-up of The West Wing and A Few Good Men, complete with humorous exchanges of smug cleverness, heart-warming declarations of overly-simplified principle, and his own trademark Sorkin-esque version of facts. Sure, the story of the Chicago 7 is intriguing, but would I rather watch a movie about a Chicago 7-Eleven? It's tempting…

I've previously talked about the reasons I appreciated Minari so much (written by director Lee Isaac Chung). A lot of the sweetness of the film is present in the screenplay. He cleverly tells much of the story through the eyes of a 7-year-old boy, so it's told less fact-by-fact, and more through the filter of a child's memory. (Chung based the screenplay somewhat on his own experiences growing up.) Charming as it is, I can't help but view it through the filter of a parent's anxiety: 1) Is moving across the country to live in a small town where you don't know anyone, living in a trailer, and starting a farm with zero experience the best way to solve marital problems? 2) One of the main promotional photos for the movie is a of the little boy holding a stick. Am I crazy, or is that the same stick that the father was going to use to beat the boy when he disobeyed? Did the marketing person keep their job after that? 3) The friend's deadbeat dad leaves the kids alone overnight, presumably out carousing and drinking, then shows up at breakfast hammered, saying, "Tell your mom I was here all night." How many times can you get away with that? 4) When the boy cuts his foot, is it bad that I did not think of the wound or his safety, but about the blood getting on the carpet? 5) Why aren't these kids in school??

Perhaps the script (and movie) with the biggest head of steam coming into awards night is Judas And The Black Messiah, a late entry that has been picking up acolytes left and right. The film has been lauded for its approach to the story of Black Panther leader Fred Hampton -- by telling it as a gritty, 70s-style, cat-and-mouse thriller, from the perspective of the FBI informant sent to help stop him. Director Shaka King (who wrote the script with Will Berson, based on ideas from the Lucas Brothers) has said that structure, instead of a more traditional biopic style, helped get it made by a studio. Despite the inevitability of the ending, the dramatic conflict and ferocity of the performances make for a satisfyingly tense ride.

This is going to come back to bite me, but my snubbed pick is Malcolm And Marie (or, as it should have been called, Things You Shouldn't Say To Your Girlfriend At 2 AM When You're Drunk And She's In A Bad Mood). It's like a really long Bad Idea Jeans commercial. Now, I'm not necessarily recommending this movie. You should know that most critics and regular people hate it. It's two hours of a couple arguing. It's a rough ride. It's indulgent, overwrought, and well, chock-full of mental and emotional abuse. But (stay with me here), if you can get past all that, those elements have a purpose, and there is a point to the film. I think the key is that it's not intended to be literal. It's allegorical for how we talk to ourselves -- the internal conflict we have, when we wrestle with ideas that are hard to reconcile. It's also lyrical; there's an elegance in how the characters spew eloquent vitriol at each other and rhapsodize (okay, rant) about some opinions that seem dead-on and others that seem wildly inaccurate. In some ways, the words seem like the most important thing; but in other ways, I think the movie could work as a silent film. (Either way, it's inventive: It was the first major film to shoot completely during the pandemic, so it takes place in a single home, with 2 actors, in more-or-less real time.) Writer/director Sam Levinson poses interesting questions about storytelling and authorship: Sure, write what you know; but also, and maybe more interestingly, try to write (and learn) about what you don't know. (Case in point: I don’t really have any experience or expertise about the Oscars, yet here I am.) Levinson has gotten a lot of criticism for what appears to be his point of view. I think that's fair, but I also disagree. I believe it's a bit of a misdirection. I think he believes in both sides of the argument; he's been the irrational, emotional one, and the cool, calculating one. The characters are halves to a whole. There's also the frustration with how the couple end up. The film is ambiguous, but audiences seem to think they stay together. I think the girlfriend actually decides before the movie starts that she's leaving him, and this is their breakup. That's why she lets him say all the horrible things he does, because she knows he has to get it out -- it affirms what she already knows, and reinforces her decision. Did I sell you on the movie yet? No? Well, how about this: It's the best autobiographical movie that Burton and Taylor never made.

As an honorable mention, it would have been a nice story had Mank been nominated here, as it was written by David Fincher's father, Jack Fincher, over two decades ago. The elder Fincher was a life-long newspaper man, who had an affinity for 1930s/1940s cinema, a strong knowledge of Herman Mankiewicz, and a fascination with a famously-dissenting Pauline Kael article that disparaged Orson Welles's contributions to the Citizen Kane screenplay. David Fincher had hoped to get his passion project off the ground in the 90s, but hasn't been able to until now. A nomination would have been a touching tribute to his father, who died in 2003. (Another interesting connection: John Mankiewicz, Herman Mankiewicz's grandson, was an executive producer on David Fincher's House Of Cards.) Despite my frustrations with the overall movie, the script is slick, and analyzes some intriguing inside-the-snowglobe aspects of Citizen Kane. It's a crackling, showy piece that jauntily goes out of its way to flaunt its writerliness. (For you keen-eyed writers out there, you'll notice I just made up the word 'writerliness'.) It doesn’t necessarily require you to believe that Citizen Kane is the greatest film ever made, but a healthy sense of awe doesn’t hurt. (It also helps to have a working knowledge of the film's lore, pre-WWII Hollywood, and 1930s -- or some would say, 2020s -- California politics.) The script simultaneously adores and gives a middle finger to Hollywood. Isn’t that what art is supposed to do? (That's not a rhetorical question. I'm actually asking if art is supposed to do that. Because I don't know.)

I've picked The Lovebirds as my Gloriously Omitted choice, not because it's a bad movie, but because it's a missed opportunity. It should have been amazing. The premise, the trailer, the choice of leads, and the chemistry are all fantastic, and set lofty expectations. But the movie itself is just… underwhelming. Maybe hopes were too high, but it's not as clever, tight, or funny as I wanted it to be. The problem isn't the actors -- Issa Rae truly holds the screen, and Kumail Nanjiani is naturally funny (though his character doesn't stray far from previous ones). I think it's the script (from Aaron Abrams and Brendan Gall), which feels rushed and half-baked, like a collection of sketch ideas. It's as if the screenplay left chunks blank, with a note saying, "The actors will figure out something funny on set." For these actors, I'd rather see a taut thriller story, and let them imbue it with humor and humanity. Or better yet, let Rae and Nanjiani write it themselves next time.

BEST ADAPTED SCREENPLAY:

SHOULD WIN: Christopher Hampton, Florian Zeller (The Father) WILL WIN: Chloé Zhao (Nomadland) GLORIOUSLY OMITTED: Jane Goldman, Joe Shrapnel, Anna Waterhouse (Rebecca) INGLORIOUSLY SNUBBED: Ruben Santiago-Hudson (Ma Rainey's Black Bottom)

Adapted Screenplay is going to get swept up in the Nomadland tidal wave on Oscar night, but to me it's probably the film's weakest element. I've talked about my lack of connection to the story. I understand the opinion that it's resonant, but is it revelatory? I can certainly see how it would strike a stronger chord during the pandemic, when we are all isolated; it makes the main character's loneliness feel more real. We've all been living in Nomadland, and whether it's David Strathairn shattering our favorite plates, or our kids shattering our iPad, we're just about at wit's end. But Chloé Zhao's script also plays up the theme of community and interconnectedness, and I didn't really feel that. The main character seems to be closing herself off from connection (though the ending suggests a change that we never actually get to see). A red flag is a movie description that says, "It asks more questions than it answers." Ugh, that's tough. For me, narrative is king. I understand that the movie is literally about a drifter with no plan, and the structure of the film is supposed to make you feel unmoored, but a little plot direction would be nice. Then there's the emotional climax, when Bob the Nomad Guru comes to the rescue to explain the whole theme. He tells Frances McDormand (but really, us) that he gets through grief by helping other people: "For a long time, every day was, How can I be alive on this earth when he’s not? And I didn’t have an answer. But I realized I could honor him by serving people. It gives me a reason to go through the day. Some days that's all I've got." Hmmm, where I have I seen that exact sentiment expressed before? Oh yeah, an award-winning short film called Through The Trees. (Available now, for free on YouTube.)

Dementia Mystery Thriller… is that a movie genre? Well, it might be, after success of The Father (written by Christopher Hampton and Florian Zeller, adapted from Zeller's Tony-winning play). "Exciting" is hardly the word I would use to describe the horrible crumbling of the mind that is dementia, but in this movie, it weirdly fits. The film has a way of presenting the disorder in a unique manner, that goes a long way in conveying the helplessness and frustration of the victim. With copycat movies inevitable, I can almost see Christopher Nolan's version now: Demento, where a mumbling Tom Hardy (unrecognizable under heavy old-man makeup) kills his caregiver twice because he can't remember if he already killed her… or her identical twin. The big twist comes when he discovers whether he killed them in the past, or in the future, or if he's remembering the memory of someone else who killed them. The scenes of the movie play in a different random order every time, and the only score is the constant deafening sound of the old man's heartbeat. Marion Cotillard plays the twins -- apparently the only females in the universe -- using whatever accent she feels like, because she has limited, unrealistic dialogue, and has no compelling story or agency, or any useful traits for an actress whatsoever. Hardy's son may or may not be a British crime lord or an undercover MI6 agent, played by Michael Caine (digitally de-aged to look the age that Hardy actually is). An emaciated Christian Bale, who manages to lose 3 inches of height for the role, makes a cameo as Joseph Gordon-Levitt. Revolutionary practical effects include a life-size recreation of Westminster Abbey inside a zero-gravity chamber, for one massively-complicated but forgettable 5-second shot. It will only cost $723 million, and will go straight to HBO Max. I will name it the best film of 2022.

I may be picking The Father, but I'm rooting for The White Tiger, written and directed by Ramin Bahrani. Set in India in the recent past, it's a striking, chilling tale of what men may be willing to do (or forced to do) to escape poverty. Bahrani constructs a fiery examination of themes that never get old: power vs. agency, freedom vs. choice, complicity vs. culpability. His script uses a lot of devices that shouldn't work: excessive, expository voice-over; explicitly-stated metaphors; speaking directly to the audience; and on-the-nose correlations to current times. But the story and acting are strong enough to make these feel integral. Given the themes and foreign setting, it has the misfortune (or great fortune) of being an easy comparison to Parasite, last year's Oscar grand prize winner. But I find The White Tiger far more accessible and scrutable than Parasite (maybe partly due to the devices I mentioned). A win here would be a welcome surprise. By the way, Bahrani's first Oscar nomination is an interesting footnote to Hollywood lore: In the 2014 Roger Ebert documentary Life Itself, we learn that Ebert was given a legendary token by Laura Dern -- a puzzle that had been passed on from several film icons, with the understanding that each would pass it on to someone truly deserving. Dern had gotten it from revered acting teacher Lee Strasberg, and it originated when Alfred Hitchcock gave it to Marilyn Monroe years before. And now Ebert was giving it to Bahrani. 60 years of movie history, from Hitchcock to Bahrani, and into the future. (Good thing it's not at my house, we would have lost several pieces by now.)

Four of the most famous and popular men in the country walk into a bar… so shouldn't the patrons be freaking out more? One Night In Miami plays out a very intriguing hypothetical scenario: When Malcolm X, Muhammad Ali, Jim Brown, and Sam Cooke all met one night in 1964, what did they talk about? The compelling script (by Kemp Powers, based on his own play) and naturalistic direction (by Regina King) make for a highly enjoyable think-piece and character study. It's a daunting task, to say the least: Not only are they representing extremely visible and important figures, but two of the actors (Kingsley Ben-Adir as Malcolm X, Eli Goree as Ali) are reprising roles already played by Oscar-nominated performers (Denzel Washington, Will Smith) who may be more famous than the actual figures themselves. I guess my hang-up (besides the horrendous Johnny Carson impersonation) is, what are the stakes? Historically, we know the stakes for these four people, in the larger context of their lives and the civil rights movement. But in the film itself, in that single night, for these specific characterizations, what are the stakes? What are they each looking for that evening? I think the movie doesn't fully address this, structurally. Ultimately, due to their fame, we know where the characters' lives go from here -- how it "ends". While that makes it interesting culturally, it feels like it puts a ceiling on the movie in a way, like it's holding something back. With these outsized characters, plot-wise, I wanted a little bit more.

Released in October with almost no warning, Borat Subsequent Moviefilm either single-handedly swung the presidential election, or had no absolutely no impact whatsoever, depending on who you ask. It's a rare feat for an original movie and its sequel to both score Oscar nominations for screenplay; I can't think of another time it's ever happened for a comedy. The fact that it's even under consideration -- given its improvisational nature and whopping nine (nine!) screenwriters (I'm not going to name them all, I'm trying to keep this article brief) -- is fairly astonishing. Even more baffling still, it's been placed in the Adapted category instead of Original. (Pesky Academy rules: Any sequel is automatically defined as an adaptation of the original.) The movie itself is unfortunately a shell of the unrelentingly funny original (Sacha Baron Cohen looks more like a middle-aged man doing a mediocre Borat impression at this point). When the big night arrives, the film will either single-handedly swing the Oscar vote, or have absolutely no impact whatsoever, depending on who you ask.

One of the biggest surprises on nomination day was the exclusion of Ma Rainey's Black Bottom from Best Picture and Best Adapted Screenplay, assumed to be a lock in both categories. It was even thought to contend with Nomadland in this category (it would have gotten my vote, had they asked me). I think it was diminished by the perception of being a fairly straight recreation of August Wilson's play, which is a shame. The film version (written by Ruben Santiago-Hudson) makes wonderful use of the physical space, the confinement, the claustrophobia. And I'd say the movie feels more like an album than a play -- a collection of "songs" (monologues, exchanges, and actual songs), each with its own rhythm, beat, lyrics, and theme, but coming together as a cohesive piece. The composition is effective; it draws you in the way the best albums do, and challenges your brain to think one thing while your heart feels something else. (My only complaint is that I wanted more of Viola Davis and Chadwick Boseman together! Their personalities are electric, and their personas overtake the room. Their conflict is brief (it mostly flows over to conflicts with other characters), and I really wanted to see them alone, head-to-head and unbridled. I realize their distance is purposeful, and important thematically, but damn, it could have been a showdown for the ages. Just another reason to wonder… What might have been?)

The remake of Rebecca was written by a few people, including Joe Shrapnel, whose name may have been a bad harbinger for what was to become of this script. Keep it simple: Please leave Hitchcock alone.