#both actors brings nuance to their respective characters

[talagalaxies]

[snowblack-charcoalwhite]

There are quite a few things that worry me A LOT about the way Aegon`s character has been written in HotD so far. And one of them is that the show seems to keep pushing the audience towards comparing him to Joffrey Baratheon.

From being the firstborn son of the king to being grossly unfit to rule (there`s hope for Aegon in that department but still), from heavily hinting at Aegon`s supposed sadistic inclinations and lack of empathy to this:

(in both cases the slap was given for disrespecting (a) female character(s) in a sexual context), from Sapochnik and Condal stating that Joffrey is the closest one to Aegon among GOT characters to putting TGC and Jack Gleeson (who I have absolutely nothing against, by the way - in fact I have nothing but respect for him given the quality of his performance and the way he makes and defends his life choices) in an event together- it`s quite clear what they are trying to sell.

And the saddest part is that it`s working. TGC had to address the 'dragon Joffrey' allegations multiple times. "He is not an out-and-out psychopath. He's much more complex. His decisions are due to insecurities and confusion and rage". "...he's a confused, tangled mess of a man who doesn't yet know himself". The writers did their job so well that all this had to be spelled out to the viewers by the actor. 

Aegon can be cruel, yes. But, firstly, he`s not only cruel to others but, first and foremost, to himself; and, secondly, his cruelty is not his defining trait. He doesn`t take pleasure in tormenting people, not really. In all actuality, he`s arguably the most tormented of them all.

We can only hope that season 2 will bring at least some nuance and positive development to Aegon`s character - and that Tom will continue to give his all to show the audience his different facets. And that the audience will want to see them through the veil of bias and stereotypes.

Edit (spoilers): it`s just hit me what these characters do have in common, and it`s cause of death. The comparisons are going to get even wilder, specifically from the Black part of the fandom.

[toutvatoujoursbien]

midnight thoughts (i hope i don't regret this)

Let me preface this by saying that these are just (very, very long) ramblings I’ve had in my head over the past few days and are MY opinions. I never post to Tumblr, but my level of emotional unhinged-ness right now needs an outlet so that I can process everything and feel, well, less unhinged.

I have never been this enamored with any celebrity or promo for a show like I have for this season of Bridgerton. Admittedly, I am a fan of the books and Penelope & Colin are my favorite couple. I’m going to age myself by saying that I read the series almost 20-ish years ago; past me could have never imagined I would actually get to see a Regency romance on my screen. Romances are for the girlies, and what the girlies like tends to be mocked, ridiculed, and not taken seriously - I’ve seen this time and time again across many different fandoms. I also really enjoy the tv series for being its own creative adaptation. I’ve liked many (though not all) of the changes they’ve made to the show; and I’ve liked all the little nods to the books that have been sprinkled in. Are the books or show perfect? Of course not, but that doesn’t mean I can’t love them for bringing me some entertainment and joy and escapism. I think that’s the beauty of it, I get to have the best of both worlds, so to speak. And for me personally, it’s been so fun to watch the press coverage over the past six or so months. As a fandom, I think we’ve been EXTREMELY well fed. 

Having Nicola and Luke as the leads has been a true blessing; I think/hope folks can tell how much they clearly love and understand their characters/roles. I know everyone has been talking nonstop about their chemistry and their close friendship, which I think is beautiful, truly unique and special. How can you not enjoy watching two people, who seem to genuinely like one other, talk endlessly about a project that they love and have poured so much into? And the way they have supported one another, not only during promo, but during their years of friendship? Astonishing, really. So while I am old enough to know better than to ship real people, I would’t blame anyone (myself included) if they got caught up in the whirlwind excitement and couldn’t help but wonder a sincere “What if?” (At least that was the case for me.) Isn’t that the beauty of hope and possibility and potential? Like, I knew rationally and intellectually that the likelihood of them being together was low, but damn if I didn’t feel giddy seeing their interviews, reading articles, and watching video after video.

“Oh, but it’s all PR!” they cry. Maybe, but like most of life, I don’t think it’s so simple or clear. I think there’s been a lot of nuance and perhaps some blurring of the lines during this promo tour. As long as we are respectful about it and realize that at the end of the day, the only opinions that matter in regards to their relationship are N & L’s, I don’t think some lighthearted dreaming is unheard of. We have to remember, though, that what we’re shown is only a fraction of their true selves, carefully and deliberately curated to accommodate their status as actors/celebrities/those in the public eye. 

(And yes, I know this is the internet and therefore everyone has an opinion - again, myself included. But I struggle to understand why some people think that their opinions should be deemed THE most important to the discussion or would have an impact on any type of outcome, especially in this particular scenario… I hope it’s obvious I’m referring to the very vocal people that chose to expend their energy in hateful, negative ways. Aren’t you exhausted?

However, as a longtime lurker, I have to admit it’s been absolutely fascinating reading all the different perspectives and takes on this too. I think reading other POVs and seeing people articulate points that challenge me and make me think is a good thing - again, as long as it’s all in a respectful manner. 

Also I have spent literal years curating and cultivating a social media bubble that doesn’t make me want to cry or give up on life. I don’t seek out negativity and hate - constructive criticism for a thing is a different matter. It may be “putting blinders up,” but honestly, real life can be a shitty enough place that I would like to spend my limited time online looking at cute things and learning or reading about stuff that makes me feel less alone in the world.)

Last week, I stayed off social media to avoid Bridgerton spoilers until I could watch Part 2. I did open Twitter on Thursday to check on something that was entirely unrelated, saw the absolute meltdown of a shitstorm brewing and quickly NOPED out of it. (I was also reminded of why Twitter scares me at times. And I'm not calling it X because that is stupid.) When I finally caught up over the weekend (both with Bridgerton and… all the other stuff 😅), I felt like I was experiencing mental and emotional whiplash.

Look, ultimately, I don’t know them personally and know even less about their private lives. As an outside observer (even though, yes, I have a vested interest in them), Nicola is fucking amazing and Luke seems to be a nice, sweet guy. I think they are each others support, and it has been mentioned many times that she has helped him deal with the intensity/anxiety of being in the spotlight this season. So here are some potentially hot takes: I just think, when they’re together, it’s like he’s a different, better person. When he soaks up even a little bit of her light (sorry, I had to), I can see all the qualities in him that she is constantly gushing about. But, and again this is my take on it, I also think he has a lot of growing up to do. I don’t know much about his supposed “hot/fuck boy summer,” but it seems to me that he’s perhaps going through his own Colin phase, which he can totally do. I genuinely want to see him and Nic succeed. However, I do think he’s got to get a better handling on his media image now (this whole thing reeks of a PR nightmare, but I need to take off my comms professional hat). The way this has all played out has been, imo, a clusterfuck. There are other issues that I’m also not going to get into at the moment. 

The thing that frustrated me the most is the timing of those “leaked” photos. You’re telling me that N&L went through SIX months of a - literal - worldwide promo tour, building up hype, doing countless interviews and appearances, etc., only to have these pap pictures “captured” on the night of the Pt. 2 London premiere??? And yes, while I’m aware there were rumblings of a gf being at various events/locations, I didn’t pay much attention to it (read: my curated social media bubble, lol). And I think the lack of confirmation up to that point from Luke and his team just mades things even more tricky/messy. So when the inevitable backlash played out online, piled on top of the hate Polin seems to get from many corners of the internet (Is it ship wars? Regular trolls just trolling? Polin and/or Lukola antis? People who, for whatever reason, don’t like the actors themselves or, worse, don’t like the creative choices/decisions made by the higher-ups and therefore deem it okay to spread hate online? All of the above, most likely.), I know I felt like I had been hit by a train.

Here’s my point: I think what should have been a moment of triumph and a joyous occasion for Nic, Luke, and Bridgerton season 3, was sadly overshadowed by the aforementioned shitstorm. And that’s a damn shame. Too many cast and crew put in a lot of time, effort, and blood sweat and tears, to pull this all together. I was happy with Season 3, which perhaps I will deep dive about in another post because this one has already spiraled out of control. Were there things I wished they had included or, rather, things that could have been left out? Yes, of course. But at the end of the day, I think we got a beautiful story led by two actors who love Polin as much as we do. And I cannot wait to see them back for Season 4. Plus, seriously, those viewing numbers alone should have been mostly what people are talking about. I hope all this doesn’t take away from the overall impact of the show and season.

I think it’s okay to be disappointed by all the stuff that has come out over the last few days. I think it’s perfectly human to want/need to process your thoughts and emotions. What is NOT OKAY is sending hate to anyone, period. And I hope you don’t let all that has happened sour your enjoyment of Season 3 and/or Polin.

Lastly, if you take anything away from this long ass post, it’s that Nicola is a GODDAMN QUEEN. Anyone who says otherwise is speaking slander and we do not stand for that in this house. She has carried herself during this time with grace, charm, and poise, consistently and constantly. And she is always ready for a mega fashion moment. She must be exhausted - already on to her next film/job but also perpetually online, and even stepping up to defend her costar. I may have to do a whole separate post just gushing about her and add to all the people already singing her praises. (And as a big fuck you to all the haters.)

Geez Louise, I clearly have a lot of feelings (more than I allowed myself to believe I did…). But I would love to hear what others think! Please, I need friends with whom I can have rational (okay, maybe slightly unhinged), spirited, deep analyses and discussion of this whole thing, or anything else we might have in common!

[my-mt-heart]

Why Explicit Caryl Canon Matters

Daryl and Carol (Caryl) fans make up a large portion of the spinoff's audience, and this audience wholeheartedly believes that Daryl and Carol are each other's only choice. It's in the writing. It's also reinforced by cast, crew, and EPs. For example, Norman has repeatedly said “If Daryl falls in love, it's forever."

There's a misconception that Carylers are a bunch of hysterical saps – fans who only want their ship "fucking under the stars" and only care about Daryl because of Carol, but that’s not true. In reality, Caryl fans are the deepest, most intuitive thinkers in the TWD community. To them, story matters. While they recognize and adore all of the subtext, they understand that it's supposed to lead to something worth the 13-year wait. They're expecting that major sense of relief and joy from watching explicit, undeniable, canon.

Explicit canon respects Carol's and Daryl's character development – individually and together. They started out way behind everybody else in life, convinced they weren't worthy of love. Daryl thought he was better off alone and Carol thought she was just a burden, but then they showed each other their true potential. Carol told Daryl he was a "man of honor" and Daryl taught Carol to have hope for a better future. They've struggled and suffered and strived to be good enough for each other. So, where's the payoff?

I understand not all fans want the same things, and maybe there's pressure to “keep everyone happy." Maybe it feels like a lose-lose situation. But from a marketing perspective, Caryl fans are a very reliable source of revenue for the show, so keeping them happy secures a reliable audience for future seasons of the show. They'll show up with their wallets out and their enthusiasm turned all the way up for Norman's and Melissa's nuanced performances. They'll create more fanart and other content. They'll make the show trend on Twitter constantly. Fans already adore Norman and Melissa, but explicit canon will amplify it further whereas keeping things ambiguous will cause a significant decline in viewership.

Ambiguity is the reason that the "I love you" scene in the flagship's finale got mixed reactions. For the fans who also struggle with their self-image, it was important to see Daryl and Carol overcome their own insecurities and finally "take whatever happiness they could get." But instead, many saw Carol's lighthearted "I love you too" and Daryl's departure as if they were both forfeiting what they always wanted. Daryl was submitting to his solitary nature again while Carol assumed she still owed a debt to her community and Daryl would be happier without her anyway. Both of them deserved a happy ending, or at least a piece of happiness to launch them into the next part of their journey. As far as many fans were concerned, neither of them got that.

That's why a lot of fans had a hard time watching S1 of the spinoff or opted out of watching all together. There were so many moments that teased the "possibility" of Daryl getting together with a younger, blonder woman nun while hints of Caryl's relationship were buried under more subtext. Keeping Daryl's feelings ambiguous just for the "fun" of shipbaiting cheapens Caryl's one-of-a-kind relationship, falsely indicating that their iconic beats can be recycled with someone else and still evoke the same passionate response from fans.

Ambiguity also perpetuates ageism and gives non-Caryl fans the excuse to say hurtful things to or about Melissa. Whether or not she's online to see it makes no difference because it still degrades her and it damages other women's perceptions of beauty and worth. Explicit canon on the other hand raises both Melissa and Norman up as two powerhouse actors utilizing their unparalleled chemistry to celebrate mature romances. It brings Daryl’s defining character traits to the forefront – the nurturing traits and the epic ones. It positions Daryl and Carol as equals, and it helps drown out the harmful comments against Melissa. 

Hopes for season 2 of the spinoff are high. Confirmation of Carol's and Daryl's romantic relationship in a way that needs no interpretation and no explanation from anyone offscreen is a dealbreaker. I know in terms of explicit canon, post-production can make all the difference, so it's crucial someone in a position of power pushes for canon that fully and unapologetically lives up to the fans' expectations, does right by the characters, and respects what Melissa wants.

[shannankle]

My Top Shows 2023

Doing this at the last minute but here goes--the top 10 shows I watched in 2023!

*Note: I rate my shows on a letter scale cause I don't like narrowing it down to a specific number. (S-standout As-Strong Bs-Fine Cs-There's some problems Ds-ooof)

1. Oh No! Here Comes Trouble

This one instantly became an all time favorite. It covers themes about grief and loss in a deeply empathetic and humanizing way along side the supernatural elements. I don't know if it's because I've experienced loss myself or because it's a universal experience, but I love shows like this that help you understand what it means to grieve and heal in a familiar yet new light. It reminded me a lot of Natsume Yuujinchou (another favorite) in that respect.

Aside from the larger themes, you have a distinct directing style, quirky sense of humor, well-rounded cast of characters, and excellent acting (the lead actor was also in Your Name Engraved Herein and he's just as standout here). In addition to all that, the show gives us a main trio of characters whose strengths are deliberately not their wits. This is used for humor but also to make more meaningful points about connection, empathy, and different ways of thinking (yes, I headcanon the main trio as neurodivergent).

Rating: S+

2. The Eighth Sense

This show! Another piece that is deeply rooted in exploring trauma and loss. This time within the framework of a romance. I'm usually pretty hesitant with stories that bring disability into romance, especially mental illness. There's a tendency to lean into the idea that love cures all and other not so great tropes. The Eighth Sense does a great job balancing that line, giving us romantic beats without wading into them uncritically. In the end, healing and love are things we choose not something guaranteed, but there's still an immense hope in that. I'm an giant sucker for shows that tackle both queer and crip experiences with nuance and grace, and the Eighth Sense hit that mark for me (so much so it even had me writing a little meta). On top of that it has beautiful cinematography and visual choices.

Rating: S

3. Moonlight Chicken

A beautiful show all around! P'Aof constantly knocks it out of the park with every show he directs, but I felt particularly strong about Moonlight Chicken. I adore the way it centers on themes of home and community. It even inspired some meta and a bit of personal reflection for me on what it means to choose home as someone who is queer and disabled. The show gives us the messiness that comes with navigating new and old relationships and somehow also the simplicity of it all. And of course, the show includes a Deaf character and handles his story with nuance and clear care.

Rating: S

4. Shadow

Singto, Fluke, and Fiat in a queer horror show--sign me up! It wasn't as scary as I expected, more psychological (which is good because I am so picky about what types of horror are too much for me vs what I enjoy). I loved the way the show played with time and reality and drew upon various religious practices to create a unique atmosphere. I also adored the attention to small details that make the piece ripe for analysis. I will probably be eyeing clocks and tech in many shows to come. It's also a show that is bringing up themes about queerness, mental illness, domestic violence, and historical trauma. I'm continually drawn to pieces that are queer and crip, so I suppose it's no surprise that this one drew me in too.

I know this show was divisive, about as many people thought it stuck the landing as didn't. I happen to land in the former category. I adore media that makes me stop and think, and given the amount of meta the show had/has me writing, I'd say it well and truly tickled my brain. The show didn't always go where I most wanted or expected but I think that challenged me even more to really think about what the show might be trying to do (my thoughts on that here, spoilers though).

Rating: S

5. Our Dining Table

Japan does a lot of things well, but I'm particularly fond of their slice-of-life. Our Dining Table fits right in there with food and found family at the center. It's warm and cute, but has a depth beyond it's soft exterior, delving into loss, loneliness, and what it means to be fully seen by those around us. All of this tied up in a queer bow. It was easily the show I was most excited to watch each week when it was airing.

Rating: S

6. Mysterious Lotus Casebook

Another one I fell in love with this year! While it has plenty of tropes, cutting through the core of all of this is the growing friendship between the main trio, especially between Li Lian Hua and Fang Duo Bing. Their relationship and personal growth as characters was really beautiful to watch, on top of it just being a fun show with a great balance of humor and drama. Plus Fang Duo Bing's mom 😍

Rating: S

7. One Room Angel

Another solid entry out of Japan. As much as I love Japan's bright slice-of-life offerings like Our Dining Table, they also excel at stories that don't shy away from heavy or complex emotional themes. And I'm noticing as I tackle this post that I really resonate with heavy themes. One Room Angel has it's lighter moments and own quirky humor. But it also tackles depression and suicide as it explores the journey of finding enough connection and meaning in life to keep moving forward.

Rating: S

8. I Feel You Linger in the Air

I Feel You Linger in the Air was such a beautiful show! I'm so happy we got a historical thai bl this year and that it was so so lovely. I really liked last year's To Sir With Love but it does have it's Lakorn/soap style that is a bit more of an obstacle for me. IFYLITA certainly has it's drama, but it feels more tightly drawn. Throw in a little time travel and beautiful love scenes and it was a delight to watch.

Rating: S

9. My Beautiful Man S2, Eternal

When I watched the first season of My Beautiful Man I liked it but wasn't exactly sold. I read a bit of meta from the community which changed my tune a bit. But it wasn't until watching season 2 and Eternal that something really clicked. I immediately went back and watched season 1 after finishing the film and oh boy did I fall in love. Not only do S2 and Eternal give us great character growth and forward motion to Hira and Kiyoi's relationship, and they feel like a natural expansion of the first season in the best way possible. What can I say, I love the whole series!

Rating: A+

10. Kiseki: Dear to Me

Kiseki: Dear to Me feels like an outlier to me. It's hard for me to put my finger on just what made it click for me, but I was so into it when it was airing. I recognize that plot wise this show is a bit of a mess, but at the same time it hit something just right in my brain. Perhaps it was the emotional intimacy the actors portrayed? They did a fantastic job drawing me in. Apart from that I couldn't take my eyes off of Ai Di's impeccable fashion choices, and the many many cameos were quite fun.

Rating: A+ YMMV

A few close contenders:

My School President (S) *split airing 22' and 23'

Tokyo in April Is... (A+)

Laws of Attraction (A)

Bed Friend (A)

The End of the World with You (A)

Me, My Husband, and My Husband's Boyfriend (A)

If it's with You (A)

Our Dating Sim (A)

Love Tractor (A)

The Warp Effect (A) *split airing 22' and 23'

The New Employee (A) *split airing 22' and 23'

La Pluie (A-)

Midnight Museum (A-)

[bivampir]

Top 5 Louis moments

!!!!!!!!! WHERE DO I EVEN BEGIN

AGAIN IN NO PARTICULAR ORDER

1. every single time he lies and is VERY BAD at this ("yeah... Claudia's going to pass.... ughhh very soon...... we're just trying to. get her used to the... thought.... oh um. d.. dying??????" and "we sell incinerators 😁🤨😁" BOTH GOT ME DEAD)

2. the ENTIRE killing the racist old fuck scene but ESPECIALLY "why is your heart beating so fast" 😳

3. THE CHURCH MONOLOGUE. SOLILOQUY DARE I SAY. LOUIS YOU HAVE PROBLEMS JACOB ANDERSON THE ACTOR THAT YOU ARE!!!!!!!!!

4. this fit

5. THE FACT HE KICKED LESTAT OUT OF HIS OWN HOUSE FOR 6 YEARS AND THEN CAME TO FIND LESTAT IN HIS LOVER'S HOUSE ONLY TO KICK HER OUT OF SAID HOUSE AND FUCK HIM AGAINST THE WALL SO SHE COULD SEE. AFTER SWIMMING THE FUCKING MISSISSIPPI HOLDING THE VINYL RECORD IN BETWEEN HIS TEETH I GUESS JUST TO SMASH IT IN FRONT OF LESTAT

i tried to think of a good note to end this and i just can't. i love him so very much i love how deep and intense all of his feelings are, love, grief, pain, sadness, pride, shame, and yet he tried so hard to bottle them all up. he brings so much nuance to this show and his character has so much LAYERS. the masks he put on to be respected by strangers and by his own family (or. families) the catholic guilt the repression the depression the struggle with identity the eating disorder the covering up to the truth so long you're not sure what's real and what's fake and who is the person you're really lying to. i want to peel him away layer by layer and hug what remains. the character of all time<3

[yupuffin]

My previous "Alhaitham is great, actually" post discussed my read of Alhaitham as an understanding, trustworthy man who operates on the principle that emotion and logic are both valid and informative ways of knowing. I wrote said post back in 3.1 and I believe that overall my points held up well into the progression of the 3.2 Archon Quests.

[obviously, spoilers ahead for the 3.2 Archon quests--specifically Chapter 3, Act 5]

I've seen it pointed out, rightfully so, that Alhaitham's role as the strategist behind the "overthrow the Akademiya" mission is a strong indicator of his shrewdness, one of the most immediately obvious aspects of his character.

I'd also like to point out two other aspects of his character that I think his role in the plot as an actor emphasizes: his understanding of others' perspectives, and the deep trust he shares with his teammates. Genuine, convincing acting--like Alhaitham pulls off--requires both of these factors.

Of course, by formulating the plan of attack and casting each "actor," Alhaitham already demonstrates a deep understanding of his teammates on a logical level (the "shrewdness" mentioned earlier). As an actor in the plan, Alhaitham draws a lot of attention as the primary antagonist of the Grand Sage Azar, the the team's main target for subjugation. Alhaitham is just one component of a staged "scene"--one intricately designed to elicit a highly specific series of subsequent responses from Azar in order to succeed.

For the "scene" to reliably execute its intended function, Alhaitham has to anticipate Azar's thought process, feelings, and reactions--or, what Alhaitham might call in his own words, Azar's "behavioral logic," of which emotion is a key part--with pinpoint accuracy, which is not an easy feat. Alhaitham then has to compose his own role as Azar's antagonist (and, to a lesser extent, that of the Traveler and Paimon) with meticulous attention to that behavior logic. It's a multi-layered process that wouldn't be possible if Alhaitham didn't harbor a deep understanding of how "behavioral logic," in all its nuances--purely rational and otherwise--functions.

(Reusing this screenshot from my last post for emphasis.)

This is essentially an extension of the point I established in my first "Alhaitham propaganda" post, about how Alhaitham, while a highly logical and realistic person, also recognizes and respects the role of emotion in the formation of a person's perspective. Furthermore, I use Azar only as a case study; while he's a more prominent example of Alhaitham demonstrating his recognition of emotional processes, of course, I think this understanding can apply more generally to Alhaitham's character, in other situations as well (for example, harking back to the offscreen conversation with Shani in Aaru Village).

Which brings me to the second point about Alhaitham I want to make in this post: the trusting relationships he forges with other people. After all, my initial inspiration for "Alhaitham propaganda" was the widespread suspicion of Alhaitham, and the almost universal anticipation of his potentially malicious intent or ulterior motives--suspicion that I don't believe is entirely groundless, but I think undermines some aspects of Alhaitham as a character and his role in the Sumeru storyline.

In particular, I'd like to point out a notion about acting that I think is important: it necessitates a very deep and solid trust among fellow actors (and between actors and a director and/or other teammates, when applicable). Essentially anyone who's done it can assert that acting is a daunting task; authentic, convincing acting, especially with high emotional intensity and impact--for which I believe the scene in Azar's office qualifies--requires proportionally great vulnerability on the actor's part, so it's imperative that the actor irrevocably trusts everyone involved in the production to make a performance seem genuine.

This is especially relevant for Alhaitham's role in the "scene," as he suddenly and thoroughly reverses the calm, collected demeanor he has invariably demonstrated to the other characters so far and appears to "go berserk," flying into a fit of rage, raising his voice far above the usual volume and charging at Azar with brute, terrifying force that betrays the finesse he's previously seen wielding in combat. Of course, Alhaitham's physical vulnerability in this scene (being captured and knocked out) is also a factor. Such a drastic performance with potentially grave consequences would not be possible if Alhaitham did not have complete faith in his fellow actors--and in turn, if his teammates did not also trust him.

Incidentally, this scene takes place under a delicious layer of reverse dramatic irony, as, at this point, while all of the protagonists involved are aware, it hasn't yet been explicitly stated to the player that the entire scene has been scripted in advance as part of Alhaitham's plan, and Alhaitham's "frenzy" is completely fake--further necessitating that Alhaitham's acting must be thoroughly convincing, as it must fool not only Azar, but also the player beyond the fourth wall. It's only at the end of the scene that it's revealed that every word and action that took place in Azar's office was "all part of the plan."

Alhaitham has asserted himself that he doesn't make empty promises, and that he doesn't have complex motives beyond "I do what I want and I oppose whatever opposes the simplicity and stability of my mundane life," so, in my opinion, his demonstration of the mutual trust he shares with the other characters, as well as of his willingness and capability to understand others' perspectives in all their complexities, should be more than sufficient to conclude that he is a reliable and trustworthy character.

And yes, I do still think he's beautiful, and I do still love him, even though he scared me half to death. He's amazing.

[spicybylerpolls]

so i think most people who are anti foah on here (including any discussion of noah and finn at all, even their work together) are not worried about us speculating on like whether there's feelings involved - because you can be attracted to someone or acknowledge their beauty without feelings - but rather they think that discussing them at all is almost like... i dont know, gossiping? or talking behind someone's back?

like, especially portraying a romantic relationship on screen, it would be very childish to still act disgusted by a co-star just to stop people around you saying 'ooooooh'... wouldnt it? unless you are genuinely repulsed by someone, once you become an adult you typically dont act that way. you get to an age where you can straight up say 'yeah, that person is beautiful' or attractive or what not, and you can say that about friends too, without anyone thinking you are falling in love with them.

i really remember the harry potter cast doing this and it was such a joy to see them grow up and acknowledge these things rather than just blush in interviews and pretend they never had crushes on each other.

or if you genuinely are repulsed by someone, you would deal with that in a mature way. especially if you were working professionally - i mean youre doing a job, but that still involves emotion and both disgust and attraction could be part of that.

i know the duffers hammed up the kiss between finn and millie, but hopefully that was cos they were kids (i didnt love that they did that, though we will never have full context), and hopefully for byler everything would be treated with respect. that also doesnt mean you totally lose the excitement and juice - love and attraction turns people of all ages into puddles - but rather that it is also still just a scene, and treated like any other scene, in service to the story.

for example, why is it taboo for an actor to be totally into a love scene, but not totally excited and joyful doing a scene on a ferris wheel or biking down a hill? why is there shame in the natural emotive expression, even when performing? and why is there shame in us discussing or anticipating that? we are essentially being spectators of the joy of human emotion - its why people love stories. stories are designed to make us think these people are real. why are characters, intrinsically, any different to real people in terms of the way we interact with them?

is it because they cannot be touched by us and we cant hurt them?

yes. but that leads us back to the nuance of shipping two irl actors and discussing human behaviour. this blog is unlikely to reach finn or noah. we are discussing them in relation to mike and will, not paparazzi'ing them outside their homes. this isn't a tabloid. its a tumblr blog.

maybe there are some people who edit together miniscule interview moments and invent fictions between real people. but again thats very different to just picking up on human behaviour and discussing it, as two people would over dinner, when they realise their mutual friends have got a thing going on.

i also think noah being gay brings a lot of discomfort to people because there is not even that plausible deniability of he and finn just doing a job. but like, he might he enjoy it? but so might finn? if they do, why is that bad? why can't they be professional AND enjoy it? just like they would filming a scene biking down a hill?

so my point is that people who are anti foah seem to be anti any discussion of finn and noah, even re: their work. they somehow can't separate this kind of discussion about creating art and being human from the juvenile idea of harassing two actors, despite the time-honoured human enjoyment of talking about other humans.

and re: finn's sexuality, the most common poll answer is... i dont have enough info to speculate. WELL DUH. thats why its called speculation? if you had enough info, you would have a solid answer lmao! its like byler evidence all over again. thousands of pages of tiny things that could be evidence, when all you need is one solid reason why they'll have a romance, like the way they look at each other, or, i dont know, the narrative itself?

wow this has got so out of hand. im going to end here lmaoooooooo

all very fascinating points, nonny!

[alexzalben]

KEVIN CONROY, PREEMINENT VOICE OF BATMAN, PASSES AWAY AT AGE 66

NEW YORK, NY (November 11, 2022) - Actor Kevin Conroy, the most beloved voice of Batman in the animated history of the character, died Thursday at age 66 after a short battle with cancer.

A noted stage, film and television performer, Conroy rose to unparalleled voice acting fame as the title character of the landmark Batman: The Animated Series (1992-1996). He would establish never-to-be-broken records as the quintessential voice of Batman, bringing the super hero to animated life in nearly 60 different productions, including 15 films – highlighted by the acclaimed Batman: Mask of the Phantasm; 15 animated series, spanning nearly 400 episodes and more than 100 hours of television; as well as two dozen video games. Conroy was also featured as a live-action Bruce Wayne in the Arrowverse’s 2019-2020 “Crisis on Infinite Earths” crossover event.

In recent years, Conroy was a notable fixture on the Con circuit, greeting fans with the same warmth, respect and enthusiasm they reserved for him.

“Kevin was far more than an actor whom I had the pleasure of casting and directing – he was a dear friend for 30+ years whose kindness and generous spirit knew no boundaries,” said Emmy Award winning casting/dialogue director Andrea Romano. “Kevin’s warm heart, delightfully deep laugh and pure love of life will be with me forever.”

“Kevin was perfection,” recalled Mark Hamill, who redefined the Joker playing opposite Conroy’s Batman. “He was one of my favorite people on the planet, and I loved him like a brother. He truly cared for the people around him – his decency shone through everything he did. Every time I saw him or spoke with him, my spirits were elevated.”

Born on November 30, 1955 in Westbury, New York, and raised in Westport, CT, Conroy began establishing himself in the acting community while under the tutelage of John Houseman at The Julliard School – where he studied alongside the likes of Christopher Reeve, Frances Conroy, and his roommate Robin Williams. 

Conroy began his career following his love of the theatre, keeping him on stage in both New York and at the Old Globe Theatre in San Diego. The actor received rave reviews for his starring performances in A Midsummer Night’s Dream at the Public Theater, Eastern Standard on Broadway, Arthur Miller’s The Last Yankee, and in the title role of Hamlet at the 1984 New York Shakespeare Festival. In addition, he performed in films and television – most notably in the mid-1980s when he had recurring roles on Dynasty, Tour of Duty and Ohara; successful runs on soap operas Search for Tomorrow and Another World; and guest roles on popular series like Cheers, Murphy Brown, Spenser: For Hire and Matlock.

But it was his incomparable, nuanced performance as the voice of Batman that put Conroy on the map – and the fans’ radar – when Batman: The Animated Series debuted on September 5, 1992. From that point on, Conroy would forever be linked to the Dark Knight – in TV series like Batman Beyond and Justice League/Justice League Unlimited; films ranging from Batman: the Killing Joke and Batman: Gotham Knight to Batman & Mr. Freeze: SubZero and Batman: Mystery of the Batwoman; and more than two dozen video games.

“Kevin was a brilliant actor,” Hamill said. “For several generations, he has been the definitive Batman. It was one of those perfect scenarios where they got the exact right guy for the exact right part, and the world was better for it. His rhythms and subtleties, tones and delivery – that all also helped inform my performance. He was the ideal partner – it was such a complementary, creative experience. I couldn’t have done it without him. He will always be my Batman.”

“Kevin brought a light with him everywhere,” said Paul Dini, producer of Batman: The Animated Series, “whether in the recording booth giving it his all, or feeding first responders during 9/11, or making sure every fan who ever waited for him had a moment with their Batman. A hero in every sense of the word. Irreplaceable. Eternal.”

Conroy is survived by his husband Vaughn C. Williams, sister Trisha Conroy, and brother Tom Conroy. Memorial services are pending.

[fairfieldthinkspace]

William Wyler: A Master Filmmaker Revisited

By Jay Rozgonyi

Associate Vice Provost for Pedagogical Innovation & Effectiveness

Director, Center for Academic Excellence

Instructor of both Educational Technology and Film Studies

How about this for a great Final Jeopardy question under the category The Oscars: “He’s the Hollywood director with the most Best Director nominations (12), the most Best Picture nominations (13), and the most acting nominations in his films (36).” Pretty good, I’d say. But chances are that the question will never be used—not because I’m not a staff writer for the show, but also because the answer would likely be considered too hard for most contestants, even serious film fans.

That they wouldn’t be able to name William Wyler is unfortunate, as he was one of the truly great filmmakers of the 20th century. A lot of his movies are well known: Wuthering Heights, Ben-Hur, Roman Holiday, Mrs. Miniver, The Best Years of Our Lives, Funny Girl… I could go on and on. But unlike Alfred Hitchcock and suspense, or John Ford and Westerns, Wyler didn’t focus on a particular genre; instead—as the list of films I just mentioned demonstrates—he moved from comedy to drama to romance to historical epic. Because of that, he was brushed aside by the critics of the 1960s and 1970s, who considered him a gifted Hollywood studio director but thought that he lacked a coherent artistic vision. In fact, Wyler’s highly diverse output was the result of a quest for innovation and a desire to challenge himself by always trying something new throughout a career that lasted nearly 50 years.

If you Google William Wyler filmmaking style, you’ll learn about the way he carefully composed his shots, staggered his actors from deep in the frame to extremely close up, and staged dialogue scenes with few cuts so all the characters are visible at the same time—all directorial techniques that demonstrate his meticulous craftsmanship. I see another element to his films, however, which hasn’t received much attention at all: a steadfast attention to social justice and basic human morality. Once you look for these themes, it’s as easy to spot as his striking camera setups and his precise use of light and shadow. Wyler’s firm sense of conscience comes out in the nuances of his stories and the characters who inhabit them, and in the subtle ways they speak to the issues of their respective days. We see it in 1937’s Dead End, where the Depression has left families broken and juveniles with little sense of hope for their future. We see it in 1946’s The Best Years of Our Lives, where GIs returning from World War II confront a home front that seems to have moved beyond them and their sacrifices, and toward a future focused on making money and assailing anyone who might be a “Commie.” And we see it in 1970’s The Liberation of L.B. Jones, Wyler’s last film and in many ways his most courageous—a brutally honest look at racism in America and the dehumanization it brings upon us all. 

Over the course of 2024, Fairfield University is celebrating the career of William Wyler with an undergraduate course devoted to his work, a series of film screenings at the Fairfield Bookstore on the Post Road, and an exhibition of materials from his private collection titled William Wyler: Master Filmmaker, Man of Conscience, which will be on display at the DiMenna-Nyselius Library from September through December. We’re just a few years away from the 125th anniversary of Wyler’s birth in 1902, so this seems like a good time for a lot more people to get acquainted with the man and his films. Then, perhaps, by 2027, the Final Jeopardyanswer might even be too easy for contestants to ponder. Wouldn’t that be nice?

Fairfield University’s celebration of the life and work of William Wyler would not be possible without the generous support of his daughters, Catherine and Melanie Wyler. We thank them for all that they’ve done to enable us to share their father’s work with our community.

The following movie screenings will be open to the public at 6:30 p.m. on these dates at the Fairfield University Downtown Bookstore, located at 1499 Post Road, Fairfield, Conn.:

April 9: The Best Years of Our Lives (1946); guests: Melanie Wyler (in person) and Catherine Wyler (via Zoom).

October 1: The Desperate Hours (1955); guests: Melanie Wyler (in person) and Catherine Wyler (via Zoom); other Wyler family members may attend via Zoom.

November 19: The Liberation of L.B. Jones(1970); guests: Melanie Wyler (in person) and Catherine Wyler (via Zoom); other Wyler family members may attend via Zoom.

[hunchodreams]

Quentin Tarantino: Exploring the The Success of the Famous Film-Maker

Among today's filmmakers, Quentin Tarantino is an unquestionable creator who has had a profound impact on the industry and left an enduring legacy. Tarantino, who is renowned for his bold and boundary-pushing style, has established himself as one of the most important and inventive filmmakers of our time. His filmography is distinguished by a distinctive style that skillfully combines originality and homage, producing a body of work that defies expectations and attracts viewers everywhere. Every frame of Tarantino's films, where his love of pushing artistic limits is on full display, demonstrates his creative genius. Tarantino is known for his daring narrative structures and unreserved acceptance of violence. His storytelling style is both unique and engaging. His films serve as a brilliant tapestry of references, tributes, and memorials to the medium that has inspired him since childhood, bearing witness to his proud love for movies.

There is a very interesting RoundTable discussion featuring Tarantino with a few other directors that gives a good insight into his collaboration and people who have worked closely with him.

In order to reveal the beginnings of Quentin Tarantino's artistic brilliance, we will be exploring the early years of his remarkable career in this blog article. We will go deeply into Tarantino's early life, following the development of his artistic vision and the key events that influenced his career path. We will examine the origins of Tarantino's talent and the profound effects of his contributions on the cinema industry, from his modest beginnings as a video shop clerk to his spectacular ascent to prominence with innovative works like "Reservoir Dogs" and "Pulp Fiction." We will reveal the special characteristic that defines Tarantino's cinematic universe by thorough study and perceptive commentary, illuminating the interaction of influences, inspirations, and innovations that have driven his unmatched success. We hope to reveal the core of Tarantino's brilliance and honor the ongoing legacy of a true cinematic visionary by examining his early work with an acute eye and respect for his art.

"Reservoir Dogs" was directed by Quentin Tarantino, who also had a major influence in developing the story and characters. As the screenplay's creator, Tarantino elevated the picture above its grim subject matter by infusing it with his signature wit, cutting dialogue, and dark comedy. His dedication to bringing his vision to the screen was demonstrated by his active participation in all aspects of the production, including writing, directing, and acting. Produced with a cast of relatively unknown actors on a tight budget, "Reservoir Dogs" was a prototype independent film. The movie, in spite of its humble beginnings, had an authenticity and raw energy that both critics and viewers found appealing. "Reservoir Dogs" was able to stand out in a crowded market because to Tarantino's inventive storytelling style and ability to make the most out of the film's low budget. Tarantino's dual position in "Reservoir Dogs" as director and actor attests to his versatility and his readiness to take chances in order to realize his creative vision. His portrayal as Mr. Brown, a fast-talking criminal with a fondness for colorful monologues, demonstrated his range as an actor and gave the ensemble cast of the movie a deeper level of nuance.

As an independent director, Tarantino had to overcome many obstacles to get "Reservoir Dogs" on screen, from finding funding to figuring out the complexities of distribution. But in the end, his persistence and inventiveness paid off, as the movie received positive reviews and turned into a cult favorite among viewers.

In addition to launching Tarantino's career, "Reservoir Dogs" contributed to a redefining of the independent film genre. Tarantino encouraged a new generation of directors to embrace the independent spirit and push the frontiers of cinematic expression by proving that a low-budget movie could rival Hollywood blockbusters in terms of plot and workmanship.

Tarantino is a true innovator in the film industry because of his important position as both director and actor in "Reservoir Dogs" and the movie's independent status. By his innovative work on "Reservoir Dogs," Tarantino established the foundation for a career characterized by creativity, uniqueness, and a tireless devotion to his craft.

The specific style of Quentin Tarantino's work are an essential component of his filmmaking skill, and discussing his work would be incomplete without addressing them. Tarantino's works are an unreserved celebration of the senses, marked by bold inventiveness and an unwavering love of avant-garde cinema. Tarantino's use of different soundtracks to heighten the tone and atmosphere of his films is one of his most recognizable signatures. Whether it is the gritty rock anthems of "Reservoir Dogs" or the retro-cool tunes of "Pulp Fiction," Tarantino has a way of choosing soundtracks that enhance the action on screen while also becoming an integral part of the whole cinematic experience. His meticulous selection of music gives his movies levels of depth and passion that push them above the level of simple entertainment and into the category of art.

Apart from his selection of music, Tarantino's movies are well-known for their memorable dialogue scenes. Writer Tarantino has a talent for producing tense, funny, and dramatic dialogue that is razor-sharp. From the iconic banter between hitmen in "Pulp Fiction" to the introspective reflections of characters in "Jackie Brown," Tarantino's dialogue is every bit as unique and compelling as the people who say it. His expertise as a writer and storyteller is demonstrated by his ability to capture the flow of ordinary conversation and mix it with a heightened sense of drama. Tarantino's second feature film, "Pulp Fiction," is a classic illustration of his skill. Tarantino's status as a visionary director was cemented by the film's complex narrative structure, which connects several tales in a non-linear manner. Jenkins' scholarly research sheds light on Tarantino's ability for challenging viewer expectations and hiding genre boundaries while providing insightful examination of his storytelling strategies. Tarantino challenges audiences to actively interact with his films by disregarding conventional storytelling standards, posing the challenge of piecing together his storylines and uncovering hidden connections.

Interviews with Tarantino himself shed further light on his creative process and the sources of inspiration for his daring artistic decisions. With his insights, Tarantino provides an intimate look into the creative process of a master filmmaker, illuminating the influences, passions, and life experiences that shape his work. We are able to appreciate Tarantino's films' creativity and workmanship even more when we take a closer look at his creative process. The distinctive stylistic elements that define Quentin Tarantino's work—ranging from his unique soundtracks to his well-known conversation exchanges—are essential to his identity as a director. With films like "Pulp Fiction," Tarantino has cemented his status as a creative auteur who is changing the cinematic landscape and stretching the bounds of storytelling. Jenkins' scholarly research and discussions with Tarantino provide insightful analyses of his creative process and illuminate the inspirations and driving forces behind his bold visual decisions.

Out of all of Quentin Tarantino's films, in my opinion Reservoir Dogs and Pulp Fiction are among the best but here is a list of what the best viewing order is by release date:

In the film "Once Upon a Time in Hollywood," Quentin Tarantino displays his distinct style while paying homage to the peak of Hollywood. The film is set in Los Angeles in 1969, and its production design, clothing, and soundtrack all pay close attention to detail to fully transport spectators to that time period. Tarantino deviates from his typical nonlinear storytelling, yet he nevertheless gives the movie surprising turns and turns that keep viewers interested all the way to the very end. His signature incisive and funny verbal exchanges give the characters and their relationships additional depth. "Once Upon a Time in Hollywood" demonstrates Tarantino's skill at breaking expectations of viewers while producing an engaging cinematic experience. The movie upholds Tarantino's reputation as a visionary director with its unique blend of humor, drama, and nostalgia. I highly recommend this movie, but I did post a spoiler for the movie as well, so be aware.

Tarantino continues to reshape cinematic storytelling with his painstaking attention to detail and sharp dialogue, making an enduring impression on the motion picture industry. His readiness to go against critics' expectations and stretch the bounds of traditional filmmaking has permanently altered the film industry and encouraged a new wave of creators to take chances and be creative with their own productions.  Tarantino's impact on the craft of filmmaking will be felt as his legacy as a visionary filmmaker is firmly established.

[thephantomcasebook]

I completely agree with you saying we shouldn't listen to most of what actors say because from the stuff i've seen..... they're either completely missing the point, writing a fanfic or just making a joke out of the material — no other explanation for the stuff they say. I do like Ewan's interpretation of Aemond and Vhagar's relationship but saying that he's not close to his family is a bit strange... Anyway, what i wanted to say is that from what I've heard them say so far I only like the way Aegon'a actor (forgot his name now, i apologize) sees his character and i feel like the things he says make sense and that he actually cares about staying true to the source material as much as possible

I agree whole heartedly with you on that account.

It annoys me to no end, in any show, when the actors don't show proper respect to the source material or the fandom. It is one of the reasons I have such a problem with Olivia Cooke and Emma D'arcy. They rather enjoy being careless and ignorant of established canon and things that other people care about. They've shown no respect to anyone nor anything and are basically in it for themselves. They make shit up, they don't hide their contempt for the material, and they take pride in all of the things listed like it makes them cool or badass that they don't care. I fucking can't stand the smug arrogance of Emma D'arcy has in all of the press tour, like she couldn't be bothered to try to hide her contempt and lack of caring for the whole thing. She oozes of "I don't give a shit, now where's my award?"

Like I've said, I don't ever expect anyone to love my niche nerdy thing as much as I do. But I fully expect someone to take pride in their work and craft. And both Cooke and - especially - D'arcy come off as smug, arrogant, narcissistic, London hacks, who only care about the exposure of the project and can't be bothered for anything else. Cooke's interviews are pure fucking torture ... that girl is so dumb she couldn't spell "Cat" if I spotted her the "C" and the "A".

What I adore about Tom Glynn-Carney is that he's clearly read the source material, did a deep dive into that character, and sees the value of him. Not only that but he actually watched and dissected "Game of Thrones" to add depth to the world that Aegon lives in. That dude has gone above and beyond to bring Aegon to life - and you can tell by his panel as the GOT Con that he actually cares. I've become a big fan of how much he commits to a role. I really loved him in "Tolkien" as Christopher.

Such a great nuanced character actor.

[k-odyssey]

hi. hello. i went through a bit of a drama slump in the past few months, but i did finish "my perfect stranger".

it was a fine drama. i enjoyed watching it play out, and the time travelling aspect was handled well. like, they didn't try to be scientific about it, and it worked out okay.

was i sold on the romance? not necessarily, but the characters did seem to have a strong connection, which was enough to carry the plot. the drama's main theme was family after all.

in other news, i was delighted to find out netflx finally decided to release dramas on the same day worldwide! at least it looks that way, no waiting for 2 weeks for new episodes of "king the land" and "see you in my 19th life"!!! and i'm enjoying both!!

tho, as much as i love junho (i really do!!), so far i'm enjoying see you in my 19th life a little more. i guess it's a more reflective story, as it is from the point of view of a person who's lived many lives and remembers them all, so it gets to me more. also shin hye sun is doing a stellar job. i feel like she's getting better and better with time. she brings so much nuance to the role.

also they actually give her a variety of past lives played by different actors! and gender doesn't seem to matter, which is kinda great. she's reborn a woman but her past niece still calls her uncle. i love it!

king the land started on a misunderstanding that took forever to clear up, i guess that's what i found annoying. but after that was done, i've been enjoying it a lot. and especially how junho's character falls so quickly and actually is honest about it with himself? that is very endearing to me.

about sarang: i love a competent woman who still has a life outside of work. is she fantastic at her job? yes. does she wait around next to her phone in case work calls? nope, doesn't even think to pick up when an unknown number (gu won) calls. also she refuses to have dinner with him, as is her right. she has self-respect and i love to see it.

[gemsofgreece]

Different anon: what is so good about To nisi? I have heard that lots of people like it but not why, and it doesn't sound like anything I'm typically interested in so I never gave it a chance. If you have time to explain what it did well, I'd be grateful. It'd help me better understand if I should put it on my watch list.

Where do I start... What it did well? EVERYTHING lol okay anon, you're asking a Tumblr blogger about one of their most favorite shows... fasten your seatbelt

To Nisi did basically everything perfectly. It is a show that was produced with a big budget and in a very respectful and artistically healthy way. What I mean by this: To Nisi is based on British author Victoria Hislop's book "The Island". Hislop received a big offer from Hollywood for the rights of the book but she agreed to a much smaller deal with MEGA channel instead, sacrificing a lot of money in order to a) have more artistic control throughout the making of the show and b) remain more accurate and considerate to the story and its setting by giving the job to Greeks in Greece. Hislop collaborated extensively with the director and the screenwriter (Mirella Papaoikonomou) and the show is as a result both the vision of the author AND all the insight and nuances the Greek creators could add. It is in short a big project where everyone put the story and artistry above profit and selfish ambition.

And it worked. I have read the book too and I can tell you that To Nisi is one of the few instances where the TV adaptation is better than the book. The rough outline of the plot is the same more or less but the TV show added SO MANY layers and side characters which in the end turned out to be invaluable key elements that you can not imagine the story without anymore. Every plot change or addition the TV show made was a resounding improvement and success.

The story is realistically sad so it might not be everyone's cup of tea. The show starts sadly, it ends sadly and it is also sad in-between. Even when good things happen, your happiness is cut short by a tragic event. Even worse, its entire background is based on a very real fact; the story of Spinalonga island, the biggest leper colony in Greece, so it is very sad throughout. It tackles the grave topic of leprosy, the suffering and marginalisation this once terrible illness caused. There is a catharsis of sorts in the end though, but it does not happen in the ways you would wish and is not experienced by the ones you wish... Of course all this is intentional and you have to be prepared to be left with a bittersweet aftertaste.

From a technical aspect, the show is perfect. The cinematography and direction are immaculate, the production is accurate and rich, the soundtrack is heartwrenching and gripping. In fact, everything is designed, performed, shot and laid out in a way that successfully makes me emotional every time. So many scenes break my heart or make me a ball of conflicting emotions and the more intense scenes are also masterfully materialized with music, cinematography and the plot itself always building up tension perfectly. Like I said, the show has the sinister tendency to show something very bad happening during something very happy and it's... evil *sighs* it turns you into a rollercoaster of feelings. A lot of ugly crying for me too.

The acting is amazing. I would say that this show was the peak moment for most of the actors involved. Not only it has elite leading actors (Mainas, Lehou, Stankoglou, Hilakis, Skafida, Nousias etc) but a large part of the side characters are played by extras who were inhabitants of the villages around the setting! And somehow everyone gives an Oscar worthy performance for some reason. Even the kids who are like 7 years old. When I say that they give immaculate performances, besides successfully bringing to life their own complex character, I also mean that everyone brings perfectly into life an age long gone. Unlike what you may see a lot nowadays both in foreign and Greek productions, it's not at all like modern people squeezed into old-fashioned clothes and houses. All characters look like the era they come from, the way they speak, they carry themselves, the way they stand. Even the small kids. They all look and act like the kids you see in vintage photos and movies. Also, the story unfolds from the late 30s until the early 70s (and then jumps to the present) and every decade is represented accurately. In fact, I believe all this period drama trend in Greece started after To Nisi set an example. Still, none of the following series approached how well To Nisi succeeded in this.

Lastly, the show is just so... human. It's full of characters with virtues, flaws, who commit mistakes and have a desire to give and take love in the way each understands. Even the darker characters are kind of forgiven in the end for being humans and making mistakes. There is a lot of understanding in what led them there. For example, Evgenia Dimitropoulou supposedly plays the "villain" of the show or the character people love to hate but in the end the show forgives her for being a young flawed human doing human things that just... uhhh... weren't very wise and caused a shitstorm of far worse and darker consequences she didn't expect. And this happens with other characters too. There is neither judgement nor apologism at all, but cruel life bringing the punishment every time, all the same. Even characters who are the epitome of virtuous suffer the woes of life with punishments far greater than the mistakes they committed. For me, the message is that people aren't ruthless and they are capable of great virtue, but life is cruel. It's very idealistic in a very pessimistic way.

BONUS: I love that all love stories - romantic or not - in this show are very passionate and profound but there are two contrasting and intense main love stories in the second half of the show: one being very lustful and controversial while the other is very innocent and pure (I don't mean the one of Lehou and Mainas btw). My point is, I have never seen again a portrayal of a love story between two so reserved and traditionally, conventionally "virtuous" characters being so passionate. Usually love stories between such characters are very mellow and watered down. This one just hits differently. There is such a fierce desire and it's just portrayed so... innocently, with such a sensitivity and respect. Sorry, I don't know how to put it into words. It is just so strong it blows the lustful one out of the window (although that one is very hypnotic and strong too). I mean this show really has eros (and all love really) transcend to a higher spiritual level, just like old literature did and I loved that a lot. In fact, it heightens all emotions. Or that's how I experienced it. But love especially is portrayed wonderfully in this show.

BONUS 2: The characters are very engaging and most of them are also very lovable which makes you suffer even more with every misfortune that befalls them. Also, I actually like Anna's character. Not as a role model obviously but as part of the story, as the fateful female. I am not saying more in order to not spoil anything.

Adding the two main songs of the score that perfectly capture that duality of the emotions To Nisi evokes in me.

In case somebody didn't notice I have such a fan meltdown right now...

[livgr3]

The Big Sick (2017)

Michael Showalter's The Big Sick contains two prototypical rom-com narratives in one: its first third depicts the budding romance between Pakistani American stand-up comedian Kumail and Emily, a white, American woman, while its remainder shows Kumail grappling with love, family, and sacrifice after Emily is suddenly put into a medically-induced coma.

The Big Sick's eclectic narrative and its multitude of inherent themes about race and gender are further complicated by the fact that this film is a true story, actually co-written by now-spouses Kumail Nanjiani and Emily Gordon and starring now-successful comedian Kumail Nanjiani as himself. Perhaps because of this biographical nature of the film, its comedy is incredibly self-aware and purposefully realistic, with many moments of improvisation. In fact, Kumail's place as a stand-up comedian inserts comedy into the diegetic narrative itself, with the role of and need for comedy in the face of tragedies becoming a major theme of the film. This realistic approach is also reflected in the fact that Kumail and Emily's racial difference is not at all hidden within the narrative.

(For the purposes of this discussion, I will refer to Kumail Nanjiani the character as Kumail and Kumail Nanjiani the screenwriter/real life figure as Nanjiani)

Before proceeding with any analysis, I must first address the film's meta-narrative and the complication of analyzing and intellectualizing its modes of representation because of its truth and its autobiographical form. Some of the film is, of course, dramatized and fictionalized, but many of its questionable aspects of race and gender were central to the true story and thus unchanged in the film. This does not justify everything "wrong" with the film, but rather brings forth really stimulating questions about the ethics of autobiographical pieces, identity politics, self representation, and more!

I will try to remedy this gap by analyzing this film based upon Nanjiani's identity as a Pakistani man and Kumail's role as the romantic male lead and the film's narrator, despite the film being written by both Nanjiani and Gordon about their own romance. Kumail's perspective brings forth differing representations of Pakistani and white women.

Throughout the film, Kumail's parents repeatedly force him into meeting several Pakistani women in hopes that he will find a wife. After secretly falling in love with Emily, a fact Kumail completely hides from his family until the end of the film, Kumail detests these arranged meetings. There is tension between his family's adherance to tradition and his immersion into American culture (his brother even calls him a burger). Nanjiani's writing allows for a nuanced exploration of his own relation to tradition and cultural assimilation, avoiding harmful rhetoric framing the tradition of arranged marriages as wholly "bad". In fact, Kumail's relationship to his family and respective culture is open-ended as the film concludes.

However, the Desi women who meet Kumail do not receive this same fair, nuanced kind of representation.

The film has been criticized for its portrayal of Desi women as unwanted, discardable, and interchangeable. Kumail places the headshots of these women in a cigar box, a visual representation of their irrelevance to him. While this is intended to display his strains and complex frustrations with tradition, Nanjiani himself has stated his regret about the carelessness in how he approached this opportunity to represent Desi women in his film, and how its central love story inevitably displays a preference for white women. Let's discuss:

Nanjiani's regret at this aspect of his film is understandable, yet speaks to the rarity of his position in Hollywood and the expectations placed on non-white creatives. Not only is he the most prominent Pakistani-American actor, he is also a Pakistani-American stand-up comedian, writer, producer, etc. His unique celebrity creates a lot of pressure for him to be "the voice" of Pakistani representation. How does the lack of diverse story tellers in the industry impact the kinds of films they are expected to create? How does the expectation to portray one's culture positively to mainstream, Western viewers limit POC writers/filmmakers?

Does Nanjiani's identity as a Pakistani man impact the reception of his film and provide him certain privileges? The film received an Oscar nomination for Best Original Screenplay. While the film is fantastic, films that use prototypical rom-com formulas don't typically receive this merit. Do you think any other factors are at play for this high critical acclaim? Would the film be received differently if it were about a Pakistani woman? If it were more classically a "women's" rom-com, from a woman's POV? Is "tokenization" at play?

Finally, I would like to discuss the central romance in the film, one that happens to be an interracial romance. This scene depicts Kumail and Emily's last interaction before her coma, leaving Kumail with immense guilt and regret:

This is a very fitting representation of how interracial and intercultural romance is addressed in the film. I am very confounded by this scene, and don't know what to make of it myself. So, I want to open it up for discussion.

What do you make of this argument? Is Emily's anger and feeling of betrayal understandable? Is Kumail's subsequent guilt justified?

How does this film compare to the previous scene I showed? How do both race and gender privileges intersect in this film, based on these two clips?

[steelcityreviews]

REVIEW: Insanity Doesn't Just Run in DLT'S "Arsenic and Old Lace," It Practically Gallops

Dundas Little Theatre (DLT) opens its 2023-24 season with the darkly comedic classic Arsenic and Old Lace. It's a great thematic choice for October: full of mystery, murder and of course, a little mayhem for good measure. Skillfully directed by Peter Lloyd, Arsenic and Old Lace is full of madcap characters, jabs at the theatre industry and its critics (of which there were several in the opening night audience) and despite its long run time of nearly 3 hours (3 Acts, 2 Intermissions), it captivates its audience with its hilarious mishaps and madness.

The story is a classic of old Hollywood black and white cinema with Cary Grant taking on the lead role of Mortimer Brewster, a man who has to navigate between his aunts’ penchant for poisoning wine, a brother who thinks he’s Teddy Roosevelt, and another brother using plastic surgery to hide from the police—not to mention Mortimer’s own hesitancy about marriage to his partner Elaine. If that sounds like a whirlwind of a production by synopsis alone, you'd be correct in saying so. Thankfully, we have an incredibly strong cast and after the opening night nerves subside, they excel at bringing delightfully comedic moments (especially physical), great banter back and forth, pointed commentary regarding the theatre world and its critics and an almost Benny Hill type use of the stage (there's even a few unexpected jump scares).

The leads in the production shine throughout with a few excellent scene stealers. Brian Melanson as Mortimer has brilliant facial reactions and a real knack for portraying believable manic energy. Both Ruth Flynn and Jessica Thomas-Troian as Aunt Abby and Martha respectively play out their darker deeds with such infectious sweetness, I'd eagerly take a glass of elderberry wine just because I'd feel rude not to. Tim Hevesi is a foreboding presence who immediately unnerves you as the criminally insane and family outcast Jonathan Brewster but also has a fantastic ability to use his menace for comedic purposes. Christine Marchetti is a sassy and grounded Elaine Harper, Mortimer's fiancée who finds herself the only sane character in the household. All these actors are no strangers to the stage and understand the nuances of dark comedy well.

Our scene stealers come from Jared Lenover as Teddy Brewster and Bruce Edwards as Dr. Einstein (no, not that one). Both of these actors are an absolute joy to watch from the moment they are introduced. There is an innocent enthusiasm from Lenover's Teddy who believes he is President Theodore Roosevelt and his mental health is utilized by his beloved aunties to hide any evidence of their "charitable intentions." The ongoing gag of his character would come off as tedious if it wasn't played with such endearing sincerity. Edwards plays the bumbling, drunken cowardice of Dr. Einstein with such dedication that it is easy to see why he steals every scene he is in. The line delivery and almost Muppet-like German accent are met with continuous laughter and his physical comedy skills are top notch.

The ensemble cast also delivers fine performances and overall, match the energy of the leads as they enter the Brewster madhouse. Truly, there are no small parts here as every cast member provides laughter and delight.

Arsenic and Old Lace has a well-established, classic sense of dark comedy, slapstick and charm. The script itself allows for so much physicality and ability for the cast to develop the characters into believable people rather than caricatures. It is a long show (bring cushions!) but it is well worth the time spent in the theatre and will provide audiences with plenty of laughs, intrigue and insanity. Don't miss it!

For tickets and more information, please visit: https://dundaslittletheatre.com/tickets/

Pre-show set from DLT's Arsenic and Old Lace - Photo by: Steel City Girl Reviews