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chrisevansgoodgirl · 4 years

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i've heard allegations 'bout your reputation, i'll show you my shadows if you show yours

summary: requested (like a year ago, sorry!) Reader and Andy getting in a legitimate fight or maybe flirting in front of him with one of his colleagues to get under his skin because he hasn’t touched her in weeks from being so busy jealous Andy would be so dominant I’m weak i took some liberties and set it at the christmas eve party at andy’s office.

warnings: andrew barber being r o u g h 😩 😩 😩 and jealous 😩 and mean bc i just so deeply want this man to yell at me and pull my hair bc he’s an angry daddy, however, he is not called daddy in this story bc i don’t do it unless you guys ask me to. so smut, and he’s in charge and i’m dead about it. more videos being made bc apparently that’s on my mind.

word count: around 7,500

pairing: andy barber x reader

a/n: i hate that it took me so long to post this but here i am, almost a month late with a christmas eve party story. i have very little shame tbh.

You were not unreasonable, no matter what Andy claimed. You could always admit what was your fault—which was about 80% of all disagreements—but Andy had his faults, too. Tonight? Well, you weren’t innocent…but you were not the only one to blame.

This was the third Christmas party he had taken you to. The first year had not completely been his doing. Lynn had been bothering him about it and he would have gotten away with pretending it just wasn’t possible had Lynn not run into you at the coffee shop near Andy’s house.

You had been accustomed to Andy by then. He didn’t put distance between you two because he wanted to, he just simply wasn’t the best at getting close. You practically forced him into sometimes, and it had never gone wrong, so he trusted you. A lot.

You weren’t sure you were going to be able to say that much longer. You had your moments, those situations where you pushed him just a little too far. Not so far that he was angry about it, but far enough that you ended up with a sore ass and maybe a few finger-shaped bruises on your skin.

As if that was an incentive to stop?

Lately, things had been…off. Andy was working on a big case, one that he had just finished the day before. You expected that he was going to come home and make up for not having touched you in 17 days. Yet, that didn’t happen.

You weren’t trying to complain too much. The “honeymoon phase” was something that could not be applied to your relationship because you were as happy as any other day, you loved him more and more as time went on, and you guys always had sex. Always.

But there were the cases that sometimes threw a slight pause in that. That was fine, you understood and it wasn’t like you were with Andy for sex. You loved that man so fucking much, you could deal with some neglect for a little bit. Emphasis on a little bit.

17 days with no immediate plans to remedy it was crossing a line. So, on the 18th night, the night of his office Christmas party, after he merely kissed your head, told you that you looked beautiful, and didn’t fuck you in your tiny, sparkly dress, you also wanted to cross a line. A specific line because it was hard to get a reaction out of him any other way.

Andrew Barber was a jealous man. It was something you never played with because he was jealous. He wasn’t some immature idiot who was going to cause a scene, but he would interrogate you about people he felt were “suspicious”.

On your way to the party, he had wanted to catch up. He felt like this was the first time he was able to breathe since he was put on the case, and he had noticed some distance between you two. You told him about the very basic parts of your day—work, friends, family.

When he placed his hand on your thigh, you had to wonder if this was a game. Why hadn’t he fucked you? Was he trying to make you beg? That was something Andy thoroughly enjoyed, and you trusted him so much that you rarely ever knew when he was doing it. If you stopped to think about it, you would probably find a few times he’d managed to get away with it.

He let you hold his hand and to avoid having to pull away from you, he told you when to move the gear shift. It was cute, too cute for how long you two had been together, but Andy seemed willing to indulge you. He always did when he could.

But as soon as he got to the party, there was more work talk and he had basically pawned you off on Lynn. She was thrilled, of course, she rarely had time for friendships, but she valued Andy, and because of that, she loved you almost as much as he did.

It had been two hours by the time you were completely fed up. Lynn had decided she was about to head out, so she was making her rounds, and that meant that you were stuck with the other partners. Men, women, they were all talking about how great their lawyers had been lately.

Yet, reminder, you hadn’t been fucked in nearly 18 days. You weren’t going to sit around and listen to that for the whole night, you innocently decided to wander a bit. Andy was talking about his case and seemed almost oblivious to your presence. Why did he even bring you? He was the one that reminded you about it, you probably wouldn’t have realized it had gone by until well into next year since work was so hectic.

Regardless, without an answer, you were left to entertain yourself. What else were you supposed to do? Just sit around all night and not speak to anyone? Andy was a complicated man and he had only a handful of people at the job that he liked, but fewer people that he disliked. Most people, he felt indifferent about, and those were the pawns for your current game.

You flit all around the party, laughing, talking to everyone, and though you saw him seeking out your whereabouts every now and then, there was no reaction at all. He didn’t care that some of these sleazy men were staring at your cleavage or your legs—two things he should have done earlier but did not.

By the time you’d nearly spoken to everyone, you felt…possessed, there was no better way to describe it. You were mad and confused and tired, and till the day you died, you would swear on everything you held sacred, the following was not part of your plan. You simply had no other choice than to go along with it when it practically fell in your lap.

Andy hadn’t noticed your best attempts but as soon as Neal was standing in front of you, he was watching. You had not and would not have gone to Neal, it was the other way around. He was possibly picking up on all your sadness and desperation, he was probably able to spot attention-seeking from a mile away since he pulled those kinds of stunts regularly.

Andy was finally paying attention to you and that was why you didn’t walk away. Your boyfriend could deny it all he wanted, but you saw something in his eyes. There was that anger, of course, but there was also that dark gleam. The one that he had when he liked to lay you out under him and remind you who you belong to.

That was all you wanted, that was the only reasoning behind your actions. You didn’t think you’d done anything wrong, not until you laughed at something Neal said and he laughed back, and then he touched your shoulder.

And that was when you knew things had gone too far. You crossed a line, and you should have known better than even trying to use Neal. Because he envied Andy to no end, understandably. Why wouldn’t he try to flirt with you? No one got Andy as angry as Neal, and you should have just put your ego aside and spoken to your boyfriend.

But that window had closed and your time for being a mature, communicating adult was over. You quickly broke away from Neal after that and Andy took only seconds before he was dragging your ass out of that party and to the car.

You weren’t sure what to do. Pretend you didn’t know what the big deal was? Maybe just start blurting out apologies. He opened the car door for you, ushered you in, and then got into the driver’s seat in complete silence.

Andy had been mad at you before, but he had never been so angry he wouldn’t look at you or speak to you. He was gripping the steering wheel so tight that his knuckles were white. His jaw set, brow furrowed, shoulders tense—he stayed that way the entire drive.

Andy wasn’t like this, he usually always had his temper in control. You were worried because you were one of the few people Andy sincerely trusted. It would devastate you if this gave him pause.

When he stopped the car, it became uncomfortably silent. It had taken you almost a minute to decide where you wanted to take this. “Andy, I’m—”

“Don’t apologize.”

“But I am s—”

“Get upstairs, take your dress off, and wait for me on the bed.”

Shit. You fumbled with the handle for a moment, scurrying inside and up the stairs. This was everything that you had wanted, wasn’t it? Then why the fuck were you nervous? Why were you shaking? Why did the idea of a black hole appearing and swallowing you sound so appealing?

You took off your dress and hung it back in your closet. You’d only been in it for a few hours, that didn’t warrant an actual wash. Shakily, you made your way back to the bed and sat there. What about your bra and panties? He hadn’t said. Your shoes? Fuck, what were you supposed to do?

Andy walked in and flipped on the light.

Idiot, why hadn’t you done that?

He made his way to the dresser off to the side of the bedroom, he removed his jacket first, then his cuff links and his tie. He started rolling up his sleeves and you had to look away.

You turned down to your lap. “You didn’t tell me if you wanted me to keep anything else on.”

“I also didn’t tell you that you could speak,” he asserted.

Your stomach dropped, the mere thought of not following his directions was unsettling. When Andy got like this, you wanted to do what he told you to. You wanted him to think you were his good girl. Any time you failed at absolute perfection, you didn’t take it well.

You didn’t know if you should apologize or remain silent. You were wringing your hands, something you became aware of only when he made his way in front of you and placed his hands over yours. You startled slightly, looking up at him.

He grabbed your chin with his thumb and forefinger, keeping your head tilted back. “Are you nervous?”

“I don’t know,” you muttered. You didn’t want him to feel bad because you were feeling some type of way. You also didn’t want to think this had anything to do with him. He’d never given you reason to be nervous.

“Are you scared?”

“Kind of.”

“Why?”

“I don’t want to disappoint you.”

He leaned down, face directly in front of yours. “Before we start, I need you to understand that you’ve never disappointed me. Okay?”

You nodded. “Okay.” That didn’t really help as much as he probably thought it would. Even if you hadn’t disappointed him, there was always the chance that you would. And you weren’t sure he was being completely honest anyway. Neal? What the fuck was wrong with you?

“You don’t need to be nervous or scared, just be completely honest with me.”

“Of course.” You would never lie to him.

“Who do you belong to?”

Your answer was immediate, you didn’t even need to think about it. Recalling life before you met Andy was a bit blurry. Who had you been? Where? What had you wanted? “You.”

“So,” he ran his thumb over your bottom lip, “this mouth…”

“Is yours,” you confirmed.

He hummed, fingers trailing from your face all the way down, between your breasts, over your stomach, stopping at the band of your panties. He paused, noting the shakiness in your breath, the goosebumps on your skin, your hands that were gripping the sheets.

Abruptly, his hand dropped to where you had been expecting it to. Your breath hitched and your hips jumped off the bed, desperate for his touch.

He made a small noise of disapproval and you hurriedly settled back down on the bed. “This pussy? Is that mine, too?”

You nodded. “Yes.”

He pulled your panties off to the side and his fingers ran up your wet skin at an agonizing pace. He brought them up to his lips and his tongue slipped out to taste you. He smiled because you had managed to stay almost completely still, apart from a bit of squirming. “You’re such a good girl, baby. You know that’s one of my favorite things about you, how good you are for me.”

That gave you these awful butterflies and you felt hot everywhere. That was all you ever needed to hear. His hand returned to your center and his first finger slid into you. You looked down to see but he grabbed your jaw again and turned you back up.

“Keep watching me, baby.”

He liked to test you, you knew that. He would give you an order and try to make you disobey him. This time, when his hand fell away from your face, you forced yourself to keep your head tilted. You ignored that burning part of you that wanted to see his fingers pushing in and pulling out, covered in what was dripping from your pussy.

You focused on just feeling. One thick finger was slowly working you open for him, he always stretched you out as much as he could meaning you had to be prepared for some teasing. He prioritized this because he was big and he knew it—and you had been smitten enough before he fucked you, but after, there wasn’t a second of the day your body didn’t crave Andy’s.

Despite how rough Andy could be with you, and how generally tough he was, he liked to baby you. Sometimes, he liked treating you as delicately as one would a bouquet of flowers. He could see a lot of comparisons if he really thought about it. You were beautiful, soft, and smelled so sweet. And if he didn’t pay attention to you, well, he’d been reminded of those consequences at the party.

You kept your eyes on his the entire time. You didn’t falter when he added his second finger, nor when he curled his fingers against that spot inside you, nor when his thumb pressed down firmly on your clit.

He pressed one hand down on your shoulder, a cue to lie back. After you had obliged, he pulled his fingers out of you and told you to open your mouth. You instantly did so, closing around his fingers as soon as they were in your reach.

He pressed his fingers down and kept going until your body jerked and the noise of you gagging echoed in the room. “I wanna see those beautiful lips wrapped around my cock, baby girl.”

You eagerly sat up, still sucking on his fingers as you pulled his belt apart, yanked the button of his pants open, and tore down the zipper. Glancing up at him to look for any signs that you didn’t have his permission to proceed, you pushed his pants and boxers down cautiously until his cock was out.

He pulled his fingers from your mouth and nodded. “Go ahead, baby.”

You moved back on the bed and situated yourself onto your stomach, propping up on your elbows. One hand wrapped around his hard length and you let the tip of your tongue come out to catch the precum dripping from his tip.

He released a shaky breath, hands at his sides because he wanted you running the show. For a while, a least. He didn’t want to guide you, he wanted to see how exactly you were going to make up for your slight misstep at the party.

You ran your tongue up his shaft lightly, feigning that whole soft act that you knew he loved. It wasn’t so much an act, but you had been bent over his desk, hair pulled, ass spanked, both holes thoroughly used. But you liked soft, too. You liked slow and gentle mornings, whispered words, careful touching. You liked whatever he wanted to give you.

You closed your lips around just the head of his cock and sucked. Unlike all other men you had been with, Andy was as patient as a saint. He loved when you teased him. Once, he had you edge him with your mouth for nearly an hour and thinking about how he fucked you after still made your toes curl.

His eyes closed and he sighed. “Fuck, baby.” His hand lightly settled on the back of your head. “So good, I could fuck your mouth for the rest of my life.” He didn’t push you down, he just ran his hand through your hair over and over because he knew how much you liked him to play with your hair.

But then his hold tightened and he pulled you off, much to your dismay. He noted your pout and pleading eyes but was kind enough not to taunt you about them. “Get on your back, sweetheart.”

You knew what he wanted as soon as he stepped away. You quickly climbed up toward the edge of the bed and rolled over, bending your neck over the mattress. You automatically opened your mouth for him, but he placed his hands on your shoulders first.

“Relax.” He leaned over and ran his hands along your arms, setting them on the mattress. He pressed your thighs down, waiting until you had lost all the tension in your body. He curled his hand around his length and stroked several times with a loose hand and a slow pace.

You watched in utter fascination. It never failed to get you wet when Andy showed so much control, over himself, over you. He was in charge of every little thing and you could tell that he got off on that. Every time he reached the head of his cock, he would press down so slightly, so close to your lips but just not enough.

“Andy,” you whispered. “Please.”

He smirked again. “Open your mouth for me.” And as soon as you did, he was slowly sliding in. He was slow at first, keeping his hips still as he slipped the straps of your bralette past your shoulders. He rolled the remaining material down until your breasts were exposed and squeezed them in his hands.

You pressed your thighs together, arching up into his hands more. You tried to relax your throat for him, knowing he was only stopping to give you a moment to prepare.

He pinched your nipples painfully and didn’t stop until you whined. He loved feeling you make that sound when his cock was down your throat, and the deep breaths as the pain faded away. Again, he tortured your nipples between his thumb and forefinger, yanked a little, until you were squirming all around the bed, making these noises around him that he rarely ever heard, your eyes filled with tears.

He leaned over quickly, releasing your breasts so he could give them both a brief kiss. You closed your eyes, humming in satisfaction. He took his time sinking his teeth into your sore, erect nipples and you squealed both times, back arching again. His tongue rolled over your stinging skin and you tilted your head eagerly, attempting to take more of him.

Sometimes, it was enough to get him naturally high, how much power he had over you, your body. He could hurt you and you would thank him; he could turn around and give you just a second of gentleness and you looked at him like you’d never loved anyone as much as you loved him. You claimed that, quite often. Andy wasn’t sure if he believed that, not because he didn’t trust you but because he wasn’t wired to think of himself as special in any way. Why you treated him like he was, was confusing to him at times.

But you were special, so fucking special. You were smart and funny, and so kind to every single person you encountered. It was a nice change from the environment he regularly found himself in. That was what you were supposed to be—a breath of fresh air from his hard life. You were not supposed to become his only source of oxygen, yet there he was. It didn’t seem he was reliant on you because Andy wasn’t comfortable expressing reliance on anyone, but he knew he was.

He stood and watched your body move with those deep, sharp breaths you were taking. Abruptly, his hand whipped across one breast, then the other. You cried out, a nice vibration around him, and now you were quivering. It was so easy for him to play your body like this because you were just needy enough that anything would have given you pleasure. Another thing he knew, another thing that made him so damn cocky.

“Open your legs,” he told you and you parted your thighs. Again, he pulled aside your lace panties and pushed two of his fingers inside you. Your cunt was dripping, your arousal gushing out as his fingers thrust in, curled, searched for that spot that made your eyes roll back. The noise of it made his cock twitch.

Your pussy was throbbing, yearning for the release that only this man could give you. You didn’t care how he did it, you just needed Andy. Hands, mouth, cock, you would take anything he wanted you to have.

“Listen to that greedy pussy,” he directed, voice low and quiet. “So desperate to be filled and fucked. But by who, baby?”

Your stomach twisted at not being able to answer him. That was why he asked when you had your mouth full of him, because if you could speak, you would blurt out reassurances that it was only him.

“Me?” he pressed.

You spoke, despite knowing it was going to sound like nonsense.

“And no one else?”

You were quick with your denial. And maybe, by now, since his cock was always in your mouth, he was a professional at understanding what you were saying. Or possibly, it was just the look in your eyes.

“You sure, baby?”

Once more, your voice came out muffled but hurried, almost panicked. He had to know that you didn’t even think about anyone else. He had to know that you thought he was the most beautiful man in the world.

He dragged his free hand up your body and it settled over your neck. Finally, he pulled out from your mouth only to thrust back in harshly. You choked, your throat contracting around him while he massaged his thumb and finger over your pulse points. He let you breathe through it before he started rocking his hips ever so slightly. You could feel him moving along your tongue and your cheeks, but they were small motions.

You always loved this position; it was easier to take all of him. It was easier to breathe on your back with your chest open, and, unlike being on your knees, it left you open for him.

He leaned forward slightly, pressing one hand off to the side of the bed while the other reached between your legs. His fingers danced along your skin without any real intent, but occasionally, he would touch your clit.

You were reaching for any part of him you could touch. Your hands mindlessly grasped at his back and kept slipping off because of his shirt. You couldn’t ask but you wanted it off. He felt your hands working open his buttons and decided to let you have something. He was going to take and take tonight, he could give you a little.

He stood up and loosened his tie enough to pull it off, then shrugged his shirt off. Once again, his palm settled to your neck. “You should see yourself right now. Shaking, wet, such a good girl.”

You reached up, gripping one hand in his pants, the other around the buckle of his belt and you pulled him in more until your throat was struggling.

“Easy, baby.” He took your hands off him, keeping a hold of one and placing the next back down on the bed. He pulled out carefully, dragging his hand up, and inch by inch, pushed back in. “You should see how deep I’m getting. I can see it right here.” The palm of his hand hovered over your skin, just enough that you could feel him, and he followed his cock again, letting you know how much of him you were taking.

It was a lot of him, not enough. And he was deep, but you needed more. You whined, a plea for him to move this along. He couldn’t want to drag this out, not after almost 18 days.

Again, he leaned over until he could touch you. His hips moved steadily, a controlled move that matched how strategically he was working your cunt, everywhere but the most sensitive part of you.

You hated that you couldn’t beg, but it wasn’t as if he didn’t know. It wasn’t as if you weren’t shaking or if your cunt wasn’t clenching desperately, you knew if he couldn’t feel it, he could at least see it. This went on for several moments, he was proud of how well you were taking him, and wanted to give you some type of award.

You were more than just caught off guard when you felt his lips against one of your thighs. Fuck. He couldn’t, you wouldn’t last long. But he went on, scattering kisses over your thighs, fucking your mouth just a fraction harder as he grew closer to your pussy.

As he licked down from your clit to your entrance, your eyes rolled back. Your hips jumped off the bed and one of his hands held you down in response. You were trembling, whining utter nonsense.

Several times, his tongue ran through you and you’d been so worked up, so wet and frustrated since he’d pulled you out of the party, since he hadn’t fucked you in a while, and this was just happening too fast. You wanted to focus on him, you wanted to apologize in the best way you knew how.

You tried to push him back with your hands on his thighs, but you were nowhere near strong enough.

He turned his head to kiss your thigh again. His hips stilled, most of his cock out of your mouth just in case. “Do you need a moment, baby?”

You debated. If you actually made him stop, made him pull out even if just for a second solely so you could ask him not to make you come...he would be outraged. He might even turn you over and spank you. But he also might not let you come at all. You would die, you knew you would.

You let your hands fall away.

“You okay?”

You hummed slowly, comfortably.

Still, one hand settled on your hip bone to keep you from moving, the other you felt on the back of your thigh close to your ass. He kissed your pussy slowly, sucking at your skin just a little, but not your clit, not yet.

He was careful as he began fucking your mouth again, worried he had pushed you too far. He waited until he was sure you were okay before he sucked your clit between his lips and slipped two fingers into you.

You whined around him as your body shuddered.

He kissed you again, several times to get you to calm down. “It’s okay, baby girl. Be a good girl for me.”

So, you understood, he realized that you wanted to object to this, but Andy was the greediest man you had ever had in bed. You weren’t surprised that he just didn’t care. You found it hard to mind as he began fucking his fingers in and out of you, sloppy, wet noises echoing around the room.

He was sucking again and you were desperately clutching at any part of him you could, his sides, his legs. You weren’t pushing him away now, you were pulling him in.

You were so close, your body arching up as much as it could. You felt tension building in every part of your body. Your own hands came up to your breasts mostly because you knew he would feel your hands moving underneath him.

“Fuck,” he cursed. He left your cunt neglected of his mouth for several moments, only using his fingers, as his cock drove down your throat hard.

You were choking loudly, your body again moving wildly as you gagged. It couldn’t have been more than a few times but they were determined thrusts, you were sure he was going to come in your mouth.

Instead, he pulled out completely and you whined shortly. You didn’t want him to go, but you couldn’t say that. All you could do was try to catch your breath. He didn’t even give you a moment to protest before his face was buried in your cunt.

In seconds, you were a mewling, moaning mess for him. Your body was so tight, so full of unbearable tension. You were shaking, sweating, your pussy was loud and soaking wet and you knew you were dripping everywhere, on him, on the bed.

He didn’t tease, he wanted to let you come because he wanted you coming all night. His favorite form of punishment was too much of a good thing, not withholding how much he enjoyed touching you.

You finished with a scream loud enough that the neighbors probably heard. Again.

Andy touched you through it until you stopped moving, save for the shaking aftershocks when he got a tad too close to your clit. When you were loose and sated on the bed, he started to sit you up.

You quickly turned to him, grasping his face. “I love you, only you.”

“I know, sweetheart.”

“I would never look at anyone else.”

“I believe you.” Even if he didn’t, this was not the place to voice that. This...state he got you in when he was this dominant, this demanding, was not completely unlike you. It was just a very obedient, sensitive version of you that he knew he had to be careful with. The last thing he wanted to do was hurt your feelings.

He touched your face and that was when you realized you were crying, he was wiping away your tears. It was either from your finish or from choking on him, you weren’t completely sure. “You’re okay?”

You nodded quickly. “I’m okay.”

He kissed your forehead and you felt hot. As if what you two were just doing wasn’t filthy, this was what made your heart beat faster and gave you those butterflies in your stomach.

He pulled back and kept hold of your face. “What does my baby girl want?”

“I want to feel you inside me.”

As his lips met yours, he began removing all the remaining clothing on either of your bodies. He moved you up the bed until he could lay your head on a pillow and then positioned himself over you.

“I love you.”

“I love you, too,” he promised. “Keep saying it.”

As he carefully pushed into you, you continued to tell him you love him. You stared at him the whole time, willing your body to relax for him. He didn’t like it when you got so worked up, especially over the games he played in the bedroom. The thing with Neal was bad but it was over and you knew he wasn’t mad at you. He wouldn’t fuck you like this if he was.

You clutched onto his shoulders, trying to hold him as close to you as you possibly could. He was the one that grabbed your legs and cued you to wrap them around his body. His cock sliding into your pussy was a feeling you couldn’t understand why he’d left you deprived of.

Once his hips were settled against your thighs and he was completely buried inside you, you reached up to his face. You loved his cheekbones, you could trace them with your touch for days if he let you. And his beard, you loved feeling his beard under your fingertips.

He let you do this, explore him as if you could possibly forget anything after all the other times you did it. You remembered the first time he fucked you, you couldn’t stop staring, you couldn’t stop touching—he was so painfully beautiful. He was so patient with you, always had been, and now, despite how badly you felt his need to move, to fuck you, he was going to wait for you to be ready.

“You did this on purpose,” you muttered.

“Did what?”

“You didn’t fuck me. For 17 days. You…wanted me to make a scene—”

“That’s a pretty serious accusation.”

“I could take it to court and win,” you countered.

He smirked. “Could you? What’s my motive?”

“You like being possessive. You like dragging me out of places, you like bringing me home, you like reminding me who I belong to.”

“And were you reminded?”

“No one really belongs to anyone or anything at the end of the day—”

“No,” he interjected, tone sharp. You always liked that tone. “You belong to me.”

“Maybe…”

“You are mine,” he repeated. “And you’re going to say it or we’re going to have a long night.”

“I will say it if you admit this was your plan all along.”

“You think I wanted you to flirt with Neal?”

Your stomach flipped. “I wasn’t—”

He nodded, placing a hand on your shoulder. “I know, I didn’t mean to word it like that. I know you weren’t—”

You felt slightly like you were about to panic. Flirting with Neal? No. ��Never, I would never—”

He shushed you. “I know, baby. I know you wouldn’t because you are a good girl. I promise I know that.”

You settled somewhat but that lingering feeling in the pit of your stomach was hard to ignore. Flirting with Neal? You couldn’t bear him thinking you would ever do that to him. Flirting in general with people Andy felt indifferent to was off the table unless you wanted to placate his desires. Certainly, he had to know that.

“I wanted to hear you beg,” he insisted. “That was what I wanted. I wanted honest begging because you are so fucking beautiful begging for my cock.”

You huffed. “Well, you should have asked.”

“I didn’t want to have to ask.”

“You could have given me a hint. I was going around your party trying to get your attention—”

“You had it, you always do. Now, tell me who you belong to.”

“I think we all belong to the stars.”

“No,” he sighed.

“Or the moon, people who experience menstruation especially. The moon controls us, it’s been studied by scientists. There are articles.”

“Scientific articles do not support that,” he asserted and you couldn’t help but laugh. Andy was exact. He didn’t believe in anything he couldn’t see or that couldn’t be proven. Even now, inside you, he couldn’t turn that part of his brain off.

“Baby,” he sighed as his hand came up to curl around your neck. It just rested there, a heavy reminder of all the times in the past he had held you like that, or those other times when he applied just the right amount of pressure. “I want to fuck you, I want to make you cry, I want you to be shaking after I’m done with you, I want to fill you up with my cum. Don’t you want that?”

You nodded, once again turned on beyond comprehension.

“Then be good and say what I want you to say. Don’t make me make you say it.”

“What if I want you to make me?”

“You don’t.”

Andy’s punishments were always so elaborate and such a blur. He knew how to reduce you to nothing but need, and you needed him so badly sometimes. He loved seeing you like that, but he didn’t always like taking you there. He knew how careful he needed to be during and after, so he reserved it for major misbehavior.

You brought one hand up and set it on his forearm. You could feel his skin and his muscles. “I belong to you.”

Just barely, as he stared at your face, his hold tightened. Your breath stuttered but you made sure not to get too worked up too soon. You didn’t want him to have to stop before he finished inside you.

“That can never happen again, baby.”

“I know. It never will. I’m so—”

He tightened his hand again. “Don’t say sorry.”

You didn’t understand why he wouldn’t let you say the one word you so badly needed to say.

“I don’t blame you, sweetheart, I’m just saying…it can’t happen again.”

You caught the lead of his tone. “But what if it does?”

“I might have to make sure he knows that you’re mine.”

You wanted him to let the whole world know. You knew he saw your eyes light up because he smirked. “How would you do that?”

“I might have to let him see how I fuck you. I might have to show him how I can make you beg for me, or how willingly you bend over when I’m going to spank you. I might have to show him how wet you get after I mark up your ass, maybe how whiny you get when my hand is around your throat. But maybe I’ll just have to send him the video I’ve been recording tonight, how well you can suck my cock, how badly you want to.”

You were stunned for a moment—recording? Where was the camera? The idea of Andy recording you was such a turn on. You loved making videos for him, but you’d always wanted to see one where he was with you. “You’ve been recording?”

“Would you be okay with that if I was?”

“Yes. I want to watch you fuck me.”

“You’re such a good girl.” He pulled his hips back once and then snapped up noisily, pulling a moan from your throat. “You know how much I love that sound? When you can hardly breathe but you still make all those noises you know I want to hear.”

He leaned in to kiss you, hips stilled, hand still wrapped around your neck. It was brief, a reward, a reminder. You were being good and he loved you, but he was going to fuck you.

You broke away, nodding to let him know you were ready, that you wanted this. “Please.”

He rolled over so you were on top of him. He kept his hold on your neck to keep you sitting up and used his opposite hand to grab your ass. After he kneaded your skin hard enough he knew it would bruise, he spanked you loudly, harshly. Your body jerk forward, taking him in deeper than you knew was possible.

You whined, trying to pull back a little. He gripped your ass again and held you there. It was painful but exciting, you wanted him to push your limits tonight. He so rarely did, concerned with pleasing you second and treating you delicate first.

He let you go only to spank your other ass cheek. Again, you moved forward and you felt fuller than you ever had. You ached between your legs, almost uncomfortably but the idea of having him this deep in your body was making you wetter by the second. You were dripping, you could see how wet his skin was, how much of a mess he was making of your pussy.

“Ride me, sweetheart.”

You found a comfortable position, your hands on either side of his waist in the mattress. He settled his arm between your breasts so he could still see them moving as you began jerking your hips back and forth. They were sharp, abrupt movements because you wanted to come so bad, you could hardly think of anything else. Save for your disbelief over the fact that he was making you do this yourself. But you didn’t argue because the last thing you wanted was punishment for talking back.

He closed his hand more, every sound you made was short and strangled. You moved faster, knowing he was closer when he choked you harder. His free hand took one of your breasts. He was so delicate at first, a gentle, slow touch before he was pinching your nipple so hard you were whining. He smacked your breast and you shuddered, nearly falling forward onto him, but he kept you up. Mostly because he wanted to do it again to your other breast.

Every slap against your breasts—loud and stinging, always surprising because he didn’t want you to have the comfort of a pattern—was pushing you closer to your orgasm. You were mindlessly bouncing on his cock, uncaring of the pain you felt every time you came down just a little too hard for how big he was. You felt like an animal, like you were simply a victim to your body’s depraved, primal desires.

You finished first, screaming things you would be impressed if he actually understood. You could cry, the tension built over days was finally all gone.

He rolled over once more, taking his spot on top again.

You clung to him, legs and arms, pulling him in like you would die if he wasn’t close enough. You needed to feel his whole body against yours.

“Hear that, baby?”

Oh, you heard. You’d been trying to ignore it, but of course, not if Andy had any say in it.

“Hear how wet your pussy is?”

So wet. Every time he pulled out and pushed in, the noise would fill the room. You only nodded.

Since you were wrapped around him so tightly, it wasn’t difficult for him to grab your hip and move you up the bed with him. He set you against the headboard, the pillows under the small of your back, propping you up for him.

He was on his knees now for more leverage. You knew he was going to fuck you hard. “Look at this, baby.” He slowly pulled out and you turned down to watch. “See how messy you’re getting my cock?”

“Yes,” you whined.

He grabbed his cock, used it to drag up and down your cunt several times.

“Andy, please.”

He shushed you, a slow, calm action that contrasted when he smacked the head of his cock against your clit.

You gasped and your hips jerked forward.

“Stay still,” he warned.

He did it over and over, and enjoyed watching you fail at trying to stay seated on the bed. He thrust in completely, quick and hard, only to pull out and smack your clit again. This was his routine for what felt like an agonizing hour, but you knew it was nowhere near that long. You knew even he didn’t have that kind of patience.

You cried out when he finally buried himself inside you again. As he pushed forward, he pulled you down. His fingers found your clit and you were soon tumbling over that edge once more.

As he finished, he pulled you on top of him, lying back on the bed. One arm wrapped tight around your back to pin you against his chest, his opposite hand tangled in your hair tightly. He hid his face in the bend of your neck, grunting as his hips continued to rock just slightly.

He kept you there for several long moments until he had completely satisfied himself. You were intoxicated being this close to him. You angled your head as much as you could and kissed the side of his face.

He turned over, setting you on the bed as he pulled out. You watched him curiously, moving to sit up with him. He made a disapproving noise and you laid back again. Once again, he made his way to the dresser and grabbed his phone.

“You were seriously recording?”

He arched an eyebrow. “Do I usually bluff?”

Nope, never.

“Now I have a reference if you ever forget how a good girl is supposed to act.”

You suppressed an eye roll.

“Open your legs.” He came closer, directing the camera at your pussy. He touched you, spreading his cum all over your skin, rubbing circles around your clit, just barely dipping his fingers into you.

You watched his face the whole time. You loved how much Andy loved you and when he stared at you after fucking you, it was hard to miss. He was obsessed with you and he never minded showing it.

For almost a month, you watched that video every day. You were fascinated by him, the way he moved, the way he touched you. After that, you started wanting to record more and Andy never minded.

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innuendostudios · 3 years

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Thoughts on: Criterion's Neo-Noir Collection

I have written up all 26 films* in the Criterion Channel's Neo-Noir Collection.

Legend: rw - rewatch; a movie I had seen before going through the collection dnrw - did not rewatch; if a movie met two criteria (a. I had seen it within the last 18 months, b. I actively dislike it) I wrote it up from memory.

* in September, Brick leaves the Criterion Channel and is replaced in the collection with Michael Mann's Thief. May add it to the list when that happens.

Note: These are very "what was on my mind after watching." No effort has been made to avoid spoilers, nor to make the plot clear for anyone who hasn't seen the movies in question. Decide for yourself if that's interesting to you.

Cotton Comes to Harlem I feel utterly unequipped to asses this movie. This and Sweet Sweetback's Baadasssss Song the following year are regularly cited as the progenitors of the blaxploitation genre. (This is arguably unfair, since both were made by Black men and dealt much more substantively with race than the white-directed films that followed them.) Its heroes are a couple of Black cops who are treated with suspicion both by their white colleagues and by the Black community they're meant to police. I'm not 100% clear on whether they're the good guys? I mean, I think they are. But the community's suspicion of them seems, I dunno... well-founded? They are working for The Man. And there's interesting discussion to the had there - is the the problem that the law is carried out by racists, or is the law itself racist? Can Black cops make anything better? But it feels like the film stacks the deck in Gravedigger and Coffin Ed's favor; the local Black church is run by a conman, the Back-to-Africa movement is, itself, a con, and the local Black Power movement is treated as an obstacle. Black cops really are the only force for justice here. Movie portrays Harlem itself as a warm, thriving, cultured community, but the people that make up that community are disloyal and easily fooled. Felt, to me, like the message was "just because they're cops doesn't mean they don't have Black soul," which, nowadays, we would call copaganda. But, then, do I know what I'm talking about? Do I know how much this played into or off of or against stereotypes from 1970? Was this a radical departure I don't have the context to appreciate? Is there substance I'm too white and too many decades removed to pick up on? Am I wildly overthinking this? I dunno. Seems like everyone involved was having a lot of fun, at least. That bit is contagious.

Across 110th Street And here's the other side of the "race film" equation. Another movie set in Harlem with a Black cop pulled between the police, the criminals, and the public, but this time the film is made by white people. I like it both more and less. Pro: this time the difficult position of Black cop who's treated with suspicion by both white cops and Black Harlemites is interrogated. Con: the Black cop has basically no personality other than "honest cop." Pro: the racism of the police force is explicit and systemic, as opposed to comically ineffectual. Con: the movie is shaped around a racist white cop who beats the shit out of Black people but slowly forms a bond with his Black partner. Pro: the Black criminal at the heart of the movie talks openly about how the white world has stacked the deck against him, and he's soulful and relateable. Con: so of course he dies in the end, because the only way privileged people know to sympathetize with minorities is to make them tragic (see also: The Boys in the Band, Philadelphia, and Brokeback Mountain for gay men). Additional con: this time Harlem is portrayed as a hellhole. Barely any of the community is even seen. At least the shot at the end, where the criminal realizes he's going to die and throws the bag of money off a roof and into a playground so the Black kids can pick it up before the cops reclaim it was powerful. But overall... yech. Cotton Comes to Harlem felt like it wasn't for me; this feels like it was 100% for me and I respect it less for that.

The Long Goodbye (rw) The shaggiest dog. Like much Altman, more compelling than good, but very compelling. Raymond Chandler's story is now set in the 1970's, but Philip Marlowe is the same Philip Marlowe of the 1930's. I get the sense there was always something inherently sad about Marlowe. Classic noir always portrayed its detectives as strong-willed men living on the border between the straightlaced world and its seedy underbelly, crossing back and forth freely but belonging to neither. But Chandler stresses the loneliness of it - or, at least, the people who've adapted Chandler do. Marlowe is a decent man in an indecent world, sorting things out, refusing to profit from misery, but unable to set anything truly right. Being a man out of step is here literalized by putting him forty years from the era where he belongs. His hardboiled internal monologue is now the incessant mutterings of the weird guy across the street who never stops smoking. Like I said: compelling! Kael's observation was spot on: everyone in the movie knows more about the mystery than he does, but he's the only one who cares. The mystery is pretty threadbare - Marlowe doesn't detect so much as end up in places and have people explain things to him. But I've seen it two or three times now, and it does linger.

Chinatown (rw) I confess I've always been impressed by Chinatown more than I've liked it. Its story structure is impeccable, its atmosphere is gorgeous, its noirish fatalism is raw and real, its deconstruction of the noir hero is well-observed, and it's full of clever detective tricks (the pocket watches, the tail light, the ruler). I've just never connected with it. Maybe it's a little too perfectly crafted. (I feel similar about Miller's Crossing.) And I've always been ambivalent about the ending. In Towne's original ending, Evelyn shoots Noah Cross dead and get arrested, and neither she nor Jake can tell the truth of why she did it, so she goes to jail for murder and her daughter is in the wind. Polansky proposed the ending that exists now, where Evelyn just dies, Cross wins, and Jake walks away devastated. It communicates the same thing: Jake's attempt to get smart and play all the sides off each other instead of just helping Evelyn escape blows up in his face at the expense of the woman he cares about and any sense of real justice. And it does this more dramatically and efficiently than Towne's original ending. But it also treats Evelyn as narratively disposable, and hands the daughter over to the man who raped Evelyn and murdered her husband. It makes the women suffer more to punch up the ending. But can I honestly say that Towne's ending is the better one? It is thematically equal, dramatically inferior, but would distract me less. Not sure what the calculus comes out to there. Maybe there should be a third option. Anyway! A perfect little contraption. Belongs under a glass dome.

Night Moves (rw) Ah yeah, the good shit. This is my quintessential 70's noir. This is three movies in a row about detectives. Thing is, the classic era wasn't as chockablock with hardboiled detectives as we think; most of those movies starred criminals, cops, and boring dudes seduced to the darkness by a pair of legs. Gumshoes just left the strongest impressions. (The genre is said to begin with Maltese Falcon and end with Touch of Evil, after all.) So when the post-Code 70's decided to pick the genre back up while picking it apart, it makes sense that they went for the 'tecs first. The Long Goodbye dragged the 30's detective into the 70's, and Chinatown went back to the 30's with a 70's sensibility. But Night Moves was about detecting in the Watergate era, and how that changed the archetype. Harry Moseby is the detective so obsessed with finding the truth that he might just ruin his life looking for it, like the straight story will somehow fix everything that's broken, like it'll bring back a murdered teenager and repair his marriage and give him a reason to forgive the woman who fucked him just to distract him from some smuggling. When he's got time to kill, he takes out a little, magnetic chess set and recreates a famous old game, where three knight moves (get it?) would have led to a beautiful checkmate had the player just seen it. He keeps going, self-destructing, because he can't stand the idea that the perfect move is there if he can just find it. And, no matter how much we see it destroy him, we, the audience, want him to keep going; we expect a satisfying resolution to the mystery. That's what we need from a detective picture; one character flat-out compares Harry to Sam Spade. But what if the truth is just... Watergate? Just some prick ruining things for selfish reasons? Nothing grand, nothing satisfying. Nothing could be more noir, or more neo-, than that.

Farewell, My Lovely Sometimes the only thing that makes a noir neo- is that it's in color and all the blood, tits, and racism from the books they're based on get put back in. This second stab at Chandler is competant but not much more than that. Mitchum works as Philip Marlowe, but Chandler's dialogue feels off here, like lines that worked on the page don't work aloud, even though they did when Bogie said them. I'll chalk it up to workmanlike but uninspired direction. (Dang this looks bland so soon after Chinatown.) Moose Malloy is a great character, and perfectly cast. (Wasn't sure at first, but it's true.) Some other interesting cats show up and vanish - the tough brothel madam based on Brenda Allen comes to mind, though she's treated with oddly more disdain than most of the other hoods and is dispatched quicker. In general, the more overt racism and misogyny doesn't seem to do anything except make the movie "edgier" than earlier attempts at the same material, and it reads kinda try-hard. But it mostly holds together. *shrug*

The Killing of a Chinese Bookie (dnrw) Didn't care for this at all. Can't tell if the script was treated as a jumping-off point or if the dialogue is 100% improvised, but it just drags on forever and is never that interesting. Keeps treating us to scenes from the strip club like they're the opera scenes in Amadeus, and, whatever, I don't expect burlesque to be Mozart, but Cosmo keeps saying they're an artful, classy joint, and I keep waiting for the show to be more than cheap, lazy camp. How do you make gratuitious nudity boring? Mind you, none of this is bad as a rule - I love digressions and can enjoy good sleaze, and it's clear the filmmakers care about what they're making. They just did not sell it in a way I wanted to buy. Can't remember what edit I watched; I hope it was the 135 minute one, because I cannot imagine there being a longer edit out there.

The American Friend (dnrw) It's weird that this is Patricia Highsmith, right? That Dennis Hopper is playing Tom Ripley? In a cowboy hat? I gather that Minghella's version wasn't true to the source, but I do love that movie, and this is a long, long way from that. This Mr. Ripley isn't even particularly talented! Anyway, this has one really great sequence, where a regular guy has been coerced by crooks into murdering someone on a train platform, and, when the moment comes to shoot, he doesn't. And what follows is a prolonged sequence of an amateur trying to surreptitiously tail a guy across a train station and onto another train, and all the while you're not sure... is he going to do it? is he going to chicken out? is he going to do it so badly he gets caught? It's hard not to put yourself in the protagonist's shoes, wondering how you would handle the situation, whether you could do it, whether you could act on impulse before your conscience could catch up with you. It drags on a long while and this time it's a good thing. Didn't much like the rest of the movie, it's shapeless and often kind of corny, and the central plot hook is contrived. (It's also very weird that this is the only Wim Wenders I've seen.) But, hey, I got one excellent sequence, not gonna complain.

The Big Sleep Unlike the 1946 film, I can follow the plot of this Big Sleep. But, also unlike the 1946 version, this one isn't any damn fun. Mitchum is back as Marlowe (this is three Marlowes in five years, btw), and this time it's set in the 70's and in England, for some reason. I don't find this offensive, but neither do I see what it accomplishes? Most of the cast is still American. (Hi Jimmy!) Still holds together, but even less well than Farewell, My Lovely. But I do find it interesting that the neo-noir era keeps returning to Chandler while it's pretty much left Hammet behind (inasmuch as someone whose genes are spread wide through the whole genre can be left behind). Spade and the Continental Op, straightshooting tough guys who come out on top in the end, seem antiquated in the (post-)modern era. But Marlowe's goodness being out of sync with the world around him only seems more poignant the further you take him from his own time. Nowadays you can really only do Hammett as pastiche, but I sense that you could still play Chandler straight.

Eyes of Laura Mars The most De Palma movie I've seen not made by De Palma, complete with POV shots, paranormal hoodoo, and fixation with sex, death, and whether images of such are art or exploitation (or both). Laura Mars takes photographs of naked women in violent tableux, and has gotten quite famous doing so, but is it damaging to women? The movie has more than a superficial engagement with this topic, but only slightly more than superficial. Kept imagining a movie that is about 30% less serial killer story and 30% more art conversations. (But, then, I have an art degree and have never murdered anyone, so.) Like, museums are full of Biblical paintings full of nude women and slaughter, sometimes both at once, and they're called masterpieces. Most all of them were painted by men on commission from other men. Now Laura Mars makes similar images in modern trappings, and has models made of flesh and blood rather than paint, and it's scandalous? Why is it only controversial once women are getting paid for it? On the other hand, is this just the master's tools? Is she subverting or challenging the male gaze, or just profiting off of it? Or is a woman profiting off of it, itself, a subversion? Is it subversive enough to account for how it commodifies female bodies? These questions are pretty clearly relevant to the movie itself, and the movies in general, especially after the fall of the Hays Code when people were really unrestrained with the blood and boobies. And, heck, the lead is played by the star of Bonnie and Clyde! All this is to say: I wish the movie were as interested in these questions as I am. What's there is a mildly diverting B-picture. There's one great bit where Laura's seeing through the killer's eyes (that's the hook, she gets visions from the murderer's POV; no, this is never explained) and he's RIGHT BEHIND HER, so there's a chase where she charges across an empty room only able to see her own fleeing self from ten feet behind. That was pretty great! And her first kiss with the detective (because you could see a mile away that the detective and the woman he's supposed to protect are gonna fall in love) is immediately followed by the two freaking out about how nonsensical it is for them to fall in love with each other, because she's literally mourning multiple deaths and he's being wildly unprofessional, and then they go back to making out. That bit was great, too. The rest... enh.

The Onion Field What starts off as a seemingly not-that-noirish cops-vs-crooks procedural turns into an agonizingly protracted look at the legal system, with the ultimate argument that the very idea of the law ever resulting in justice is a lie. Hoo! I have to say, I'm impressed. There's a scene where a lawyer - whom I'm not sure is even named, he's like the seventh of thirteen we've met - literally quits the law over how long this court case about two guys shooting a cop has taken. He says the cop who was murdered has been forgotten, his partner has never gotten to move on because the case has lasted eight years, nothing has been accomplished, and they should let the two criminals walk and jail all the judges and lawyers instead. It's awesome! The script is loaded with digressions and unnecessary details, just the way I like it. Can't say I'm impressed with the execution. Nothing is wrong, exactly, but the performances all seem a tad melodramatic or a tad uninspired. Camerawork is, again, purely functional. It's no masterpiece. But that second half worked for me. (And it's Ted Danson's first movie! He did great.)

Body Heat (rw) Let's say up front that this is a handsomely-made movie. Probably the best looking thing on the list since Night Moves. Nothing I've seen better captures the swelter of an East Coast heatwave, or the lusty feeling of being too hot to bang and going at it regardless. Kathleen Turner sells the hell out of a femme fatale. There are a lot of good lines and good performances (Ted Danson is back and having the time of his life). I want to get all that out of the way, because this is a movie heavily modeled after Double Indemnity, and I wanted to discuss its merits before I get into why inviting that comparison doesn't help the movie out. In a lot of ways, it's the same rules as the Robert Mitchum Marlowe movies - do Double Indemnity but amp up the sex and violence. And, to a degree it works. (At least, the sex does, dunno that Double Indemnity was crying out for explosions.) But the plot is amped as well, and gets downright silly. Yeah, Mrs. Dietrichson seduces Walter Neff so he'll off her husband, but Neff clocks that pretty early and goes along with it anyway. Everything beyond that is two people keeping too big a secret and slowly turning on each other. But here? For the twists to work Matty has to be, from frame one, playing four-dimensional chess on the order of Senator Palpatine, and its about as plausible. (Exactly how did she know, after she rebuffed Ned, he would figure out her local bar and go looking for her at the exact hour she was there?) It's already kind of weird to be using the spider woman trope in 1981, but to make her MORE sexually conniving and mercenary than she was in the 40's is... not great. As lurid trash, it's pretty fun for a while, but some noir stuff can't just be updated, it needs to be subverted or it doesn't justify its existence.

Blow Out Brian De Palma has two categories of movie: he's got his mainstream, director-for-hire fare, where his voice is either reigned in or indulged in isolated sequences that don't always jive with the rest fo the film, and then there's his Brian De Palma movies. My mistake, it seems, is having seen several for-hires from throughout his career - The Untouchables (fine enough), Carlito's Way (ditto, but less), Mission: Impossible (enh) - but had only seen De Palma-ass movies from his late period (Femme Fatale and The Black Dahlia, both of which I think are garbage). All this to say: Blow Out was my first classic-era De Palma, and holy fucking shit dudes. This was (with caveats) my absolute and entire jam. I said I could enjoy good sleaze, and this is good friggin' sleaze. (Though far short of De Palma at his sleaziest, mercifully.) The splitscreens, the diopter shots, the canted angles, how does he make so many shlocky things work?! John Travolta's sound tech goes out to get fresh wind fx for the movie he's working on, and we get this wonderful sequence of visuals following sounds as he turns his attention and his microphone to various noises - a couple on a walk, a frog, an owl, a buzzing street lamp. Later, as he listens back to the footage, the same sequence plays again, but this time from his POV; we're seeing his memory as guided by the same sequence of sounds, now recreated with different shots, as he moves his pencil in the air mimicking the microphone. When he mixes and edits sounds, we hear the literal soundtrack of the movie we are watching get mixed and edited by the person on screen. And as he tries to unravel a murder mystery, he uses what's at hand: magnetic tape, flatbed editors, an animation camera to turn still photos from the crime scene into a film and sync it with the audio he recorded; it's forensics using only the tools of the editing room. As someone who's spent some time in college editing rooms, this is a hoot and a half. Loses a bit of steam as it goes on and the film nerd stuff gives way to a more traditional thriller, but rallies for a sound-tech-centered final setpiece, which steadily builds to such madcap heights you can feel the air thinning, before oddly cutting its own tension and then trying to build it back up again. It doesn't work as well the second time. But then, that shot right after the climax? Damn. Conflicted on how the movie treats the female lead. I get why feminist film theorists are so divided on De Palma. His stuff is full of things feminists (rightly) criticize, full of women getting naked when they're not getting stabbed, but he also clearly finds women fascinating and has them do empowered and unexpected things, and there are many feminist reads of his movies. Call it a mixed bag. But even when he's doing tropey shit, he explores the tropes in unexpected ways. Definitely the best movie so far that I hadn't already seen.

Cutter's Way (rw) Alex Cutter is pitched to us as an obnoxious-but-sympathetic son of a bitch, and, you know, two out of three ain't bad. Watched this during my 2020 neo-noir kick and considered skipping it this time because I really didn't enjoy it. Found it a little more compelling this go around, while being reminded of why my feelings were room temp before. Thematically, I'm onboard: it's about a guy, Cutter, getting it in his head that he's found a murderer and needs to bring him to justice, and his friend, Bone, who intermittently helps him because he feels bad that Cutter lost his arm, leg, and eye in Nam and he also feels guilty for being in love with Cutter's wife. The question of whether the guy they're trying to bring down actually did it is intentionally undefined, and arguably unimportant; they've got personal reasons to see this through. Postmodern and noirish, fixated with the inability to ever fully know the truth of anything, but starring people so broken by society that they're desperate for certainty. (Pretty obvious parallels to Vietnam.) Cutter's a drunk and kind of an asshole, but understandably so. Bone's shiftlessness is the other response to a lack of meaning in the world, to the point where making a decision, any decision, feels like character growth, even if it's maybe killing a guy whose guilt is entirely theoretical. So, yeah, I'm down with all of this! A- in outline form. It's just that Cutter is so uninterestingly unpleasant and no one else on screen is compelling enough to make up for it. His drunken windups are tedious and his sanctimonious speeches about what the war was like are, well, true and accurate but also obviously manipulative. It's two hours with two miserable people, and I think Cutter's constant chatter is supposed to be the comic relief but it's a little too accurate to drunken rambling, which isn't funny if you're not also drunk. He's just tedious, irritating, and periodically racist. Pass.

Blood Simple (rw) I'm pretty cool on the Coens - there are things I've liked, even loved, in every Coen film I've seen, but I always come away dissatisfied. For a while, I kept going to their movies because I was sure eventually I'd love one without qualification. No Country for Old Men came close, the first two acts being master classes in sustained tension. But then the third act is all about denying closure: the protagonist is murdered offscreen, the villain's motives are never explained, and it ends with an existentialist speech about the unfathomable cruelty of the world. And it just doesn't land for me. The archness of the Coen's dialogue, the fussiness of their set design, the kinda-intimate, kinda-awkward, kinda-funny closeness of the camera's singles, it cannot sell me on a devastating meditation about meaninglessness. It's only ever sold me on the Coens' own cleverness. And that archness, that distancing, has typified every one of their movies I've come close to loving. Which is a long-ass preamble to saying, holy heck, I was not prepared for their very first movie to be the one I'd been looking for! I watched it last year and it remains true on rewatch: Blood Simple works like gangbusters. It's kind of Double Indemnity (again) but played as a comedy of errors, minus the comedy: two people romantically involved feeling their trust unravel after a murder. And I think the first thing that works for me is that utter lack of comedy. It's loaded with the Coens' trademark ironies - mostly dramatic in this case - but it's all played straight. Unlike the usual lead/femme fatale relationship, where distrust brews as the movie goes on, the audience knows the two main characters can trust each other. There are no secret duplicitous motives waiting to be revealed. The audience also know why they don't trust each other. (And it's all communicated wordlessly, btw: a character enters a scene and we know, based on the information that character has, how it looks to them and what suspicions it would arouse, even as we know the truth of it). The second thing that works is, weirdly, that the characters aren't very interesting?! Ray and Abby have almost no characterization. Outside of a general likability, they are blank slates. This is a weakness in most films, but, given the agonizingly long, wordless sequences where they dispose of bodies or hide from gunfire, you're left thinking not "what will Ray/Abby do in this scenario," because Ray and Abby are relatively elemental and undefined, but "what would I do in this scenario?" Which creates an exquisite tension but also, weirdly, creates more empathy than I feel for the Coens' usual cast of personalities. It's supposed to work the other way around! Truly enjoyable throughout but absolutely wonderful in the suspenseful-as-hell climax. Good shit right here.

Body Double The thing about erotic thrillers is everything that matters is in the name. Is it thrilling? Is it erotic? Good; all else is secondary. De Palma set out to make the most lurid, voyeuristic, horny, violent, shocking, steamy movie he could come up with, and its success was not strictly dependent on the lead's acting ability or the verisimilitude of the plot. But what are we, the modern audience, to make of it once 37 years have passed and, by today's standards, the eroticism is quite tame and the twists are no longer shocking? Then we're left with a nonsensical riff on Vertigo, a specularization of women that is very hard to justify, and lead actor made of pulped wood. De Palma's obsessions don't cohere into anything more this time; the bits stolen from Hitchcock aren't repurposed to new ends, it really is just Hitch with more tits and less brains. (I mean, I still haven't seen Vertigo, but I feel 100% confident in that statement.) The diopter shots and rear-projections this time look cheap (literally so, apparently; this had 1/3 the budget of Blow Out). There are some mildly interesting setpieces, but nothing compared to Travolta's auditory reconstructions or car chase where he tries to tail a subway train from street level even if it means driving through a frickin parade like an inverted French Connection, goddamn Blow Out was a good movie! Anyway. Melanie Griffith seems to be having fun, at least. I guess I had a little as well, but it was, at best, diverting, and a real letdown.

The Hit Surprised by how much I enjoyed this one. Terrance Stamp flips on the mob and spends ten years living a life of ease in Spain, waiting for the day they find and kill him. Movie kicks off when they do find him, and what follows is a ramshackle road movie as John Hurt and a young Tim Roth attempt to drive him to Paris so they can shoot him in front of his old boss. Stamp is magnetic. He's spent a decade reading philosophy and seems utterly prepared for death, so he spends the trip humming, philosophizing, and being friendly with his captors when he's not winding them up. It remains unclear to the end whether the discord he sews between Roth and Hurt is part of some larger plan of escape or just for shits and giggles. There's also a decent amount of plot for a movie that's not terribly plot-driven - just about every part of the kidnapping has tiny hitches the kidnappers aren't prepared for, and each has film-long repercussions, drawing the cops closer and somehow sticking Laura del Sol in their backseat. The ongoing questions are when Stamp will die, whether del Sol will die, and whether Roth will be able to pull the trigger. In the end, it's actually a meditation on ethics and mortality, but in a quiet and often funny way. It's not going to go down as one of my new favs, but it was a nice way to spend a couple hours.

Trouble in Mind (dnrw) I fucking hated this movie. It's been many months since I watched it, do I remember what I hated most? Was it the bit where a couple of country bumpkins who've come to the city walk into a diner and Mr. Bumpkin clocks that the one Black guy in the back as obviously a criminal despite never having seen him before? Was it the part where Kris Kristofferson won't stop hounding Mrs. Bumpkin no matter how many times she demands to be left alone, and it's played as romantic because obviously he knows what she needs better than she does? Or is it the part where Mr. Bumpkin reluctantly takes a job from the Obvious Criminal (who is, in fact, a criminal, and the only named Black character in the movie if I remember correctly, draw your own conclusions) and, within a week, has become a full-blown hood, which is exemplified by a lot, like, a lot of queer-coding? The answer to all three questions is yes. It's also fucking boring. Even out-of-drag Divine's performance as the villain can't save it.

Manhunter 'sfine? I've still never seen Silence of the Lambs, nor any of the Hopkins Lecter movies, nor, indeed, any full episode of the show. So the unheimlich others get seeing Brian Cox play Hannibal didn't come into play. Cox does a good job with him, but he's barely there. Shame, cuz he's the most interesting part of the movie. Honestly, there's a lot of interesting stuff that's barely there. Will Graham being a guy who gets into the heads of serial killers is explored well enough, and Mann knows how to direct a police procedural such that it's both contemplative and propulsive. But all the other themes it points at? Will's fear that he understands murderers a little too well? Hannibal trying to nudge him towards becoming one? Whatever dance Hannibal and Tooth Fairy are doing? What Tooth Fairy's deal is, anyway? (Why does he wear fake teeth and bite things? Why is he fixated on the red dragon? Does the bit where he says "Francis is gone forever" mean he has DID?) None of it goes anywhere or amounts to anything. I mean, it's certainly more interesting with this stuff than without, but it has that feel of a book that's been pared of its interesting bits to fit the runtime (or, alternately, pulp that's been sloppily elevated). I still haven't made my mind up on Mann's cold, precise camera work, but at least it gives me something to look at. It's fine! This is fine.

Mona Lisa (rw) Gave this one another shot. Bob Hoskins is wonderful as a hood out of his depth in classy places, quick to anger but just as quick to let anger go (the opening sequence where he's screaming on his ex-wife's doorstep, hurling trash cans at her house, and one minute later thrilled to see his old car, is pretty nice). And Cathy Tyson's working girl is a subtler kind of fascinating, exuding a mixture of coldness and kindness. It's just... this is ultimately a story about how heartbreaking it is when the girl you like is gay, right? It's Weezer's Pink Triangle: The Movie. It's not homophobic, exactly - Simone isn't demonized for being a lesbian - but it's still, like, "man, this straight white guy's pain is so much more interesting than the Black queer sex worker's." And when he's yelling "you woulda done it!" at the end, I can't tell if we're supposed to agree with him. Seems pretty clear that she wouldn'ta done it, at least not without there being some reveal about her character that doesn't happen, but I don't think the ending works if we don't agree with him, so... I'm like 70% sure the movie does Simone dirty there. For the first half, their growing relationship feels genuine and natural, and, honestly, the story being about a real bond that unfortunately means different things to each party could work if it didn't end with a gun and a sock in the jaw. Shape feels jagged as well; what feels like the end of the second act or so turns out to be the climax. And some of the symbolism is... well, ok, Simone gives George money to buy more appropriate clothes for hanging out in high end hotels, and he gets a tan leather jacket and a Hawaiian shirt, and their first proper bonding moment is when she takes him out for actual clothes. For the rest of the movie he is rocking double-breasted suits (not sure I agree with the striped tie, but it was the eighties, whaddya gonna do?). Then, in the second half, she sends him off looking for her old streetwalker friend, and now he looks completely out of place in the strip clubs and bordellos. So far so good. But then they have this run-in where her old pimp pulls a knife and cuts George's arm, so, with his nice shirt torn and it not safe going home (I guess?) he starts wearing the Hawaiian shirt again. So around the time he's starting to realize he doesn't really belong in Simone's world or the lowlife world he came from anymore, he's running around with the classy double-breasted suit jacket over the garish Hawaiian shirt, and, yeah, bit on the nose guys. Anyway, it has good bits, I just feel like a movie that asks me to feel for the guy punching a gay, Black woman in the face needs to work harder to earn it. Bit of wasted talent.

The Bedroom Window Starts well. Man starts an affair with his boss' wife, their first night together she witnesses an attempted murder from his window, she worries going to the police will reveal the affair to her husband, so the man reports her testimony to the cops claiming he's the one who saw it. Young Isabelle Huppert is the perfect woman for a guy to risk his career on a crush over, and Young Steve Guttenberg is the perfect balance of affability and amorality. And it flows great - picks just the right media to res. So then he's talking to the cops, telling them what she told him, and they ask questions he forgot to ask her - was the perp's jacket a blazer or a windbreaker? - and he has to guess. Then he gets called into the police lineup, and one guy matches her description really well, but is it just because he's wearing his red hair the way she described it? He can't be sure, doesn't finger any of them. He finds out the cops were pretty certain about one of the guys, so he follows the one he thinks it was around, looking for more evidence, and another girl is attacked right outside a bar he knows the redhead was at. Now he's certain! But he shows the boss' wife the guy and she's not certain, and she reminds him they don't even know if the guy he followed is the same guy the police suspected! And as he feeds more evidence to the cops, he has to lie more, because he can't exactly say he was tailing the guy around the city. So, I'm all in now. Maybe it's because I'd so recently rewatched Night Moves and Cutter's Way, but this seems like another story about uncertainty. He's really certain about the guy because it fits narratively, and we, the audience, feel the same. But he's not actually a witness, he doesn't have actual evidence, he's fitting bits and pieces together like a conspiracy theorist. He's fixating on what he wants to be true. Sign me up! But then it turns out he's 100% correct about who the killer is but his lies are found out and now the cops think he's the killer and I realize, oh, no, this movie isn't nearly as smart as I thought it was. Egg on my face! What transpires for the remaining half of the runtime is goofy as hell, and someone with shlockier sensibilities could have made a meal of it, but Hanson, despite being a Corman protege, takes this silliness seriously in the all wrong ways. Next!

Homicide (rw? I think I saw most of this on TV one time) Homicide centers around the conflicted loyalties of a Jewish cop. It opens with the Jewish cop and his white gentile partner taking over a case with a Black perp from some Black FBI agents. The media is making a big thing about the racial implications of the mostly white cops chasing down a Black man in a Black neighborhood. And inside of 15 minutes the FBI agent is calling the lead a k*ke and the gentile cop is calling the FBI agent a f****t and there's all kinds of invective for Black people. The film is announcing its intentions out the gate: this movie is about race. But the issue here is David Mamet doesn't care about race as anything other than a dramatic device. He's the Ubisoft of filmmakers, having no coherent perspective on social issues but expecting accolades for even bringing them up. Mamet is Jewish (though lead actor Joe Mantegna definitely is not) but what is his position on the Jewish diaspora? The whole deal is Mantegna gets stuck with a petty homicide case instead of the big one they just pinched from the Feds, where a Jewish candy shop owner gets shot in what looks like a stickup. Her family tries to appeal to his Jewishness to get him to take the case seriously, and, after giving them the brush-off for a long time, finally starts following through out of guilt, finding bits and pieces of what may or may not be a conspiracy, with Zionist gun runners and underground neo-Nazis. But, again: all of these are just dramatic devices. Mantegna's Jewishness (those words will never not sound ridiculous together) has always been a liability for him as a cop (we are told, not shown), and taking the case seriously is a reclamation of identity. The Jews he finds community with sold tommyguns to revolutionaries during the founding of Israel. These Jews end up blackmailing him to get a document from the evidence room. So: what is the film's position on placing stock in one's Jewish identity? What is its position on Israel? What is its opinion on Palestine? Because all three come up! And the answer is: Mamet doesn't care. You can read it a lot of different ways. Someone with more context and more patience than me could probably deduce what the de facto message is, the way Chris Franklin deduced the de facto message of Far Cry V despite the game's efforts not to have one, but I'm not going to. Mantegna's attempt to reconnect with his Jewishness gets his partner killed, gets the guy he was supposed to bring in alive shot dead, gets him possibly permanent injuries, gets him on camera blowing up a store that's a front for white nationalists, and all for nothing because the "clues" he found (pretty much exclusively by coincidence) were unconnected nothings. The problem is either his Jewishness, or his lifelong failure to connect with his Jewishness until late in life. Mamet doesn't give a shit. (Like, Mamet canonically doesn't give a shit: he is on record saying social context is meaningless, characters only exist to serve the plot, and there are no deeper meanings in fiction.) Mamet's ping-pong dialogue is fun, as always, and there are some neat ideas and characters, but it's all in service of a big nothing that needed to be a something to work.

Swoon So much I could talk about, let's keep it to the most interesting bits. Hommes Fatales: a thing about classic noir that it was fascinated by the marginal but had to keep it in the margins. Liberated women, queer-coded killers, Black jazz players, broke thieves; they were the main event, they were what audiences wanted to see, they were what made the movies fun. But the ending always had to reassert straightlaced straight, white, middle-class male society as unshakeable. White supremacist capitalist patriarchy demanded, both ideologically and via the Hays Code, that anyone outside these norms be punished, reformed, or dead by the movie's end. The only way to make them the heroes was to play their deaths for tragedy. It is unsurprising that neo-noir would take the queer-coded villains and make them the protagonists. Implicature: This is the story of Leopold and Loeb, murderers famous for being queer, and what's interesting is how the queerness in the first half exists entirely outside of language. Like, it's kind of amazing for a movie from 1992 to be this gay - we watch Nathan and Dickie kiss, undress, masturbate, fuck; hell, they wear wedding rings when they're alone together. But it's never verbalized. Sex is referred to as "your reward" or "what you wanted" or "best time." Dickie says he's going to have "the girls over," and it turns out "the girls" are a bunch of drag queens, but this is never acknowledged. Nathan at one point lists off a bunch of famous men - Oscar Wild, E.M. Forster, Frederick the Great - but, though the commonality between them is obvious (they were all gay), it's left the the audience to recognize it. When their queerness is finally verbalized in the second half, it's first in the language of pathology - a psychiatrist describing their "perversions" and "misuse" of their "organs" before the court, which has to be cleared of women because it's so inappropriate - and then with slurs from the man who murders Dickie in jail (a murder which is written off with no investigation because the victim is a gay prisoner instead of a L&L's victim, a child of a wealthy family). I don't know if I'd have noticed this if I hadn't read Chip Delany describing his experience as a gay man in the 50's existing almost entirely outside of language, the only language at the time being that of heteronormativity. Murder as Love Story: L&L exchange sex as payment for the other commiting crimes; it's foreplay. Their statements to the police where they disagree over who's to blame is a lover's quarrel. Their sentencing is a marriage. Nathan performs his own funeral rites over Dickie's body after he dies on the operating table. They are, in their way, together til death did they part. This is the relationship they can have. That it does all this without romanticizing the murder itself or valorizing L&L as humans is frankly incredible.

Suture (rw) The pitch: at the funeral for his father, wealthy Vincent Towers meets his long lost half brother Clay Arlington. It is implied Clay is a child from out of wedlock, possibly an affair; no one knows Vincent has a half-brother but him and Clay. Vincent invites Clay out to his fancy-ass home in Arizona. Thing is, Vincent is suspected (correctly) by the police of having murdered his father, and, due to a striking family resemblence, he's brought Clay to his home to fake his own death. He finagles Clay into wearing his clothes and driving his car, and then blows the car up and flees the state, leaving the cops to think him dead. Thing is, Clay survives, but with amnesia. The doctors tell him he's Vincent, and he has no reason to disagree. Any discrepancy in the way he looks is dismissed as the result of reconstructive surgery after the explosion. So Clay Arlington resumes Vincent Towers' life, without knowing Clay Arlington even exists. The twist: Clay and Vincent are both white, but Vincent is played by Michael Harris, a white actor, and Clay is played by Dennis Haysbert, a Black actor. "Ian, if there's just the two of them, how do you know it's not Harris playing a Black character?" Glad you asked! It is most explicitly obvious during a scene where Vincent/Clay's surgeon-cum-girlfriend essentially bringing up phrenology to explain how Vincent/Clay couldn't possibly have murdered his father, describing straight hair, thin lips, and a Greco-Roman nose Haysbert very clearly doesn't have. But, let's be honest: we knew well beforehand that the rich-as-fuck asshole living in a huge, modern house and living it up in Arizona high society was white. Though Clay is, canonically, white, he lives an poor and underprivileged life common to Black men in America. Though the film's title officially refers to the many stitches holding Vincent/Clay's face together after the accident, "suture" is a film theory term, referring to the way a film audience gets wrapped up - sutured - in the world of the movie, choosing to forget the outside world and pretend the story is real. The usage is ironic, because the audience cannot be sutured in; we cannot, and are not expected to, suspend our disbelief that Clay is white. We are deliberately distanced. Consequently this is a movie to be thought about, not to to be felt. It has the shape of a Hitchcockian thriller but it can't evoke the emotions of one. You can see the scaffolding - "ah, yes, this is the part of a thriller where one man hides while another stalks him with a gun, clever." I feel ill-suited to comment on what the filmmakers are saying about race. I could venture a guess about the ending, where the psychiatrist, the only one who knows the truth about Clay, says he can never truly be happy living the lie of being Vincent Towers, while we see photographs of Clay/Vincent seemingly living an extremely happy life: society says white men simply belong at the top more than Black men do, but, if the roles could be reversed, the latter would slot in seamlessly. Maybe??? Of all the movies in this collection, this is the one I'd most want to read an essay on (followed by Swoon).

The Last Seduction (dnrw) No, no, no, I am not rewataching this piece of shit movie.

Brick (rw) Here's my weird contention: Brick is in color and in widescreen, but, besides that? There's nothing neo- about this noir. There's no swearing except "hell." (I always thought Tug said "goddamn" at one point but, no, he's calling The Pin "gothed-up.") There's a lot of discussion of sex, but always through implication, and the only deleted scene is the one that removed ambiguity about what Brendan and Laura get up to after kissing. There's nothing postmodern or subversive - yes, the hook is it's set in high school, but the big twist is that it takes this very seriously. It mines it for jokes, yes, but the drama is authentic. In fact, making the gumshoe a high school student, his jadedness an obvious front, still too young to be as hard as he tries to be, just makes the drama hit harder. Sam Spade if Sam Spade were allowed to cry. I've always found it an interesting counterpoint to The Good German, a movie that fastidiously mimics the aesthetics of classic noir - down to even using period-appropriate sound recording - but is wholly neo- in construction. Brick could get approved by the Hays Code. Its vibe, its plot about a detective playing a bunch of criminals against each other, even its slang ("bulls," "yegg," "flopped") are all taken directly from Hammett. It's not even stealing from noir, it's stealing from what noir stole from! It's a perfect curtain call for the collection: the final film is both the most contemporary and the most classic. It's also - but for the strong case you could make for Night Moves - the best movie on the list. It's even more appropriate for me, personally: this was where it all started for me and noir. I saw this in theaters when it came out and loved it. It was probably my favorite movie for some time. It gave me a taste for pulpy crime movies which I only, years later, realized were neo-noir. This is why I looked into Kiss Kiss, Bang Bang and In Bruges. I've seen it more times than any film on this list, by a factor of at least 3. It's why I will always adore Rian Johnson and Joseph Gordon-Levitt. It's the best-looking half-million-dollar movie I've ever seen. (Indie filmmakers, take fucking notes.) I even did a script analysis of this, and, yes, it follows the formula, but so tightly and with so much style. Did you notice that he says several of the sequence tensions out loud? ("I just want to find her." "Show of hands.") I notice new things each time I see it - this time it was how "brushing Brendan's hair out of his face" is Em's move, making him look more like he does in the flashback, and how Laura does the same to him as she's seducing him, in the moment when he misses Em the hardest. It isn't perfect. It's recreated noir so faithfully that the Innocent Girl dies, the Femme Fatale uses intimacy as a weapon, and none of the women ever appear in a scene together. 1940's gender politics maybe don't need to be revisited. They say be critical of the media you love, and it applies here most of all: it is a real criticism of something I love immensely.

#film noir #neo-noir #criterion channel

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leoninapelliolovesconchitawurst · 4 years

Text

ENGLISH TRANSLATION (Scott Rand)

LT1 Startalk Interview at the Bristol Hotel 25/01/20

with Petra Stumpf

https://www.lt1.at/sendungen/stars_society/ich-bin-ein-sehr-sexueller-mensch/

https://youtu.be/FAw2HtQQhx0

That was back then, Tom Neuwirth alias Conchita Wurst, a diva who won the Eurovision Song Contest for Austria in 2014.

And this is nowadays. Wurst, fetish look and electro pop. With his third album Tom has freed himself. We meet the Upper Austrian in his adoptive home Vienna at the hotel bar in the Bristol next to the Opera. What hasn't changed is that the star is punctual to the minute.

Petra Stumpf: Welcome to LT1 startalk, my guest today - how do I address you Conchita, Tom or Wurst, which do you prefer?

Tom: It's up to you, I use to say at the end of the day it's always Wurst (it's all the same to me). With a certain look I feel more like a woman, whatever that means and in certain looks I am more masculine, whatever that means and at the end of the day I don't care. One cannot generalise, of course for many people their identity is important and how they see themselves. I realize more and more that gender should be completely irrelevant in a society.

P: I was very curious in which look you would turn up today, blond, bald, long hair, short hair, at the moment everything is possible when it comes to you. Does it depend on your current mood or is it calculative if you turn up as a male or female?

T: There are concerts and events where I know I want to wear an evening gown and release my inner Mariah Carey, on other days I have no concept at all and put up what I fancy at the moment. Some things need a certain preparation, when I want to bleach my hair, I can't decide it on the spot and two hours later I'm blond and the story about the bald head was, that I wanted to express - I did't want to express anything with the bald head per se - but I had joined the Opera Ball to advertise the EU elections and when I shaved my head, I hadn't even known yet that I would go to the Opera Ball. In retrospect it had been destiny and was supposed to happen exactly like that and to answer the question, I seldom reflect, sometimes I fancy something but if something else comes up that is more in line, then I change my mind.

P: Your impact on me is that you feel very liberated since this transformation, is that true?

T: I started to reconsider rules I don't even know who made them and to discard them and find out what makes me happy instead of saying: I have to be the president's wife, that's what people expect and what sells, I'm also in the priviliged situation to say, I don't care, I do what I want and feel but during the process I develop and reconsider so many things and I don't know if everyone thinks it's funny, but I always say it's essential to learn how to read and write. It's important for communication, but how needs spelling?

P: Seriously?

T: If I understand what you want to tell me, for example if you write an essay in German full of blooming imagination and there are twists in the story and it's interesting to read, and then you have 5 spelling errors and fail to pass the exam.

P: I agree about that, but it repels me if someone writes to me on Whatsapp and there are 1000 spelling errors. That's awful.

T: It doesn't matter to me, as long as I understand what you mean.

P: Since you say it is Wurst to you, you recorded your new album as Wurst, finest electro pop, it is autobiographic and was a kind of therapy for you, is that true?

T: Yes, the lyrics and music were written by Eva Klampfer, Lylit, an Upper Austrian and it was produced by Albin Janoska, who is the electro guru in this country. In this triad we made this great album. Eva spent many hours with me and learned a lot about me and I often repeat it, I'm not sure if she wanted to know all of it. But when one doesn't write the lyrics oneself, one can only achieve an authentic piece of music when I'm candid and all of these titles are of course metaphors of all the things I experienced and I know what each song is about and considered if I should explain it or write it into the booklet but then I thought, it's nobody's business and I want to keep it to myself and don't want to impose to the audience what to interpret into those songs. I love to make music videos, I can't write songs, but I hear music and see pictures and I can convert that, that's my essential part and I love to do it but with it I already open a world that indicates a certain direction and emotions, but it's too much fun to miss out on it.

P: I have to show the booklet and for example this picture, videos and booklet are very revealing, very erotic with fetish outfits, did it take you a lot of effort, because your parents and your granny see it too.

T: I'm a very sensual person and I'm not shy with my family, they know me so well, they have known me when I still wet my pants. I don't have to pretend what I am and sometimes I think it will not be her favourite topic for my granny in her crochet round but I am what I am and that's the result of their upbringing. My parents have no reason for complaining about my liberalness or that I live my life in the public, I am the person I am because they raised me that way.

P: Did your parents teach you the facts of life or was it your grandmother, sometimes the grandparents do that.

T: Funny that you address this topic. No, it was my aunt, she's awesome and during Christmas one discusses everything. My aunt is responsible or was a good deal involved in my fashion aesthetics. Listen, my aunt took me to the first musical I have ever seen, Rocky Horror Picture Show, imagine I was about - when is one admitted into such a show, I think 12, and I remember my aunt asked me: "Do you know what a virgin is?" and I replied: "My Mum was born in August, so she's a Virgo." and then there was a talk with my mother if she was allowed to explain it to me and she did and then I came into this show as a 12 year old gay boy and was amazed. What, one can do this, this is allowed? And everyone thinks it's awesome, she revealed a whole new world to me and I still remember what she wore, a transparent Woolford body that only covered the breasts in the shape of a lava lamp and Yoko Ono flares with slits at the sides that where overlapping, so when she walked her bare legs were displayed. My aunt is a fashion icon and that's where my liberty comes from, I think nobody was surprised.

P: You don't often come to Upper Austria, where your family is, but on 12th March you will come to the Posthof in Linz because you are on tour with the new songs. This home game in Linz is something special for you?

T: I'm totally looking forward to it. Linz is always special for me. I have a tour, there will be some concerts in Germany, I'll be in Poland and will also be in Austria and Linz is magic, I can't describe it, it's also the audience that likes to experience music and there are people who are not my fans per se, but who are interested in new music. That's so cool, I'm not always that open-minded, I think rock is not my cup of tea, but okay I'm going to listen to it. People in Linz are totally relaxed and I'm looking forward. And it will be different with my live band and it will be awesome.

P: You are a fantastic live performer, I've often seen you and take my hat off to you. Back then in Linz, international fans had come completely dressed in Conchita outfit. How do they deal with the transformation, do they go along with it and come now with short hair?

T: It's exciting you mention this, I love my fans and they are crazy in an affectionate way and travel from everywhere around the world and then sit there and listen to this concert for the 14th time and are still enthusiastic and have fun to ponder, ah there he didn't know the lyrics, he has forgotten them again and that's so cool, because it's simply the truth. Without those fans who come regularly, I wouldn't exist and without them I wouldn't be able to shine in certain situations, because sometimes you come to an event and notice, ah maybe they don't find me that awesome but there are always people present I can rely on and who say I don't care what happens behind my back, I'm here because of you and I celebrate you so much and then it spreads. It's exciting how such a relationship we have after all develops, particularly because of the different look and music and there are many who sighingly say, I want to hear the ballads and I understand that, I also love the ballads, but there's a time for everything.

P: Variety is that extra something.

T: Absolutely. It's a challenge for me and a whole different vocal field, suddenly it's about voice colours and textures and not how long can I scream this note, and I can hold it for a long time.

P: Will you play none of your ballads on this tour?

T: Not at the moment. I have the occasional concerts with an orchestra, the next ones will be in Sydney and I'm thrilled to go back to Australia after many years, the current situation there is everything else but delightful but I'm very content not to let this orchestra programme die either, because it's so much fun. Also From Vienna With Love I recorded with the symphonic orchestra is a gift for me and then retrieve it a year later and say: I still can do it! That's cool, you know.

P: We are in Vienna today and not in Upper Austria, as you hardly come to us anymore.

T: Don't emphasize it that much, it's like that at the moment, I will come back.

P: On 12th March at the latest he'll be there at the concert. But we are now at the hotel Bristol in Vienna and you also have a special connection to this place.

T: I have a deep attachment to this hotel, one of my all-time favourite photos was taken by Mrs Ziegelböck, who also comes from Upper Austria. There was a fashion photo shoot for Rondo and we are often here and everytime I give interviews we get support from the staff and they provide us with these awesome suites and catering and we are pleased to see each other, there's appreciation and it's such a traditional building, rich in history and I was allowed to work abroad, but when I come back home, I love Austria, I love Vienna so much, in my opinion it's the coolest city in the world.

P: It was ranked the most livably city too. And the most unfriendly one.

T: If you allow to be insulted, I'm above that.

P: I continue with the word rap.

Question: Do you prefer to be man or woman?

T: We already discussed, I don't care.

Question: I can imagine having children one day.

T: That's tough. I've considered how I would raise a child, what values I would convey and what it would mean. But I'm not ready to have children, because I'm so egocentric and have some interhuman deficits. You wanted a short reply. I have no idea.

Question: I like to sleep...

T: For a long period of time and you want something provocative. I sleep in the nude.

Question: What are you not able to do?

T: I'm bad at waiting and I sometimes get bitchy. My friends who work with me know me well enough to know that when I start giving curt replies.

Question: Your favourite place?

T: My apartment, my nest. After a period of travelling a lot, one's own bed is priceless.

Question: I learned most things from...

T: All people I meet. I recognise afterwards when one sits together during the holidays, I have it from you that I always run around half naked.

Question: The inscription on my tombstone should read.

T: I hope I won't have a tombstone. I'll be cremated.

P: But there has also to be a place for the urn. Maybe in someone's cupboard at home.

T: If I want to annoy them I'll write into my will: You have to place me beside your television. I want it to be stagy, get cremated and scatter the ash around.

P: Then one cannot visit you anymore.

T: You don't have to. That's overrated, everyone shall carry me inside their hearts.

P: No grave of honour in Vienna?

T: The dress from the Eurovision inside a showcase is sufficient.

P: Thank you, it was very funny.

T: What a great interview.

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