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nathanieldorsky · 9 days

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Max Goldberg on the slide lecture by Jerome Hiler for Film Comment Magazine

Heaven Can Wait was written in celebration of Jerome’s presentation of the slide lecture at MoMA to open the film series, The Illuminated Hours, a celebration of the films of Nathaniel Dorsky and Jerome Hiler at MoMA and the Anthology Film Archives. This “live" presentation at MoMA is on the evening of Thursday, May 9th, 2024 at 7 in the evening.

Cinema Before 1300

By Max Goldberg

Early in Cinema Before 1300, Jerome Hiler’s feature-length survey of medieval stained glass, the filmmaker explains that he first saw Chartres Cathedral in the pages of a book gifted to him in the mid-1960s by Charles Boultenhouse and Parker Tyler, elders of the era’s New York avant-garde. It took another 25 years or so for Hiler to travel to Europe to see the cathedral for himself. He brought a Nikon to photograph stained glass across France and England, sharing his 35mm slides with friends and, eventually, in a few public lectures. After one such presentation at the Harvard Film Archive in 2017, Hiler was persuaded by HFA Director Haden Guest to turn his slides into the discursive film that will show at the Museum of Modern Art next week, ahead of several programs of his and his partner Nathaniel Dorsky’s lush experimental films.

It feels odd to call Cinema Before 1300 an essay film, since the term has come to be associated with a riddling, theory-minded style. Hiler’s approach is closer to the classical ideal of the essay: lucid, companionable, amateur in the original sense (as in, “one who loves”). He is perfectly willing to concede the limits of his knowledge—“I don’t know what the significance of that is,” he says of the recurring figure of a king tugging at his collar like “an ancestor of Rodney Dangerfield”—but his exploration is nevertheless grounded in years of close looking and practical know-how. (In addition to making intensely lyrical films, Hiler has worked extensively, if privately, with glass.)

For those who might demur at the prospect of an old-school art-history lecture, it ought to be said that Hiler’s photographs are totally gorgeous. His framing shows the windows to great advantage, and the saturated color of his original 35mm slides is a perfect match for the brilliance of the stained glass. The narration approaches this visual index from a variety of angles: with a theological gloss on Pseudo-Dionysius the Areopagite’s idea of “light from divine darkness,” for instance, or a historical note on the cataclysmic fire that ripped through Chartres in 1194. Hiler muses on how the windows change with weather and time of day, making “many windows out of one”; offers a technical explanation of the perceptual effects of halation; argues for leaving the marks of age in any restoration; and marvels at all the pictorial detail that couldn’t have been seen by congregants—just as, we might note, the subtleties of his own richly detailed films invariably escape a first viewing.

It is rather amazing that a work so full of information should also feel so serene. Similar to the way in which large stained-glass windows are made from many smaller pieces of glass, Hiler divides Cinema Before 1300 into discrete sequences, each comprising a paragraph’s worth of narration and a few slides of the glories of Chartres, Saint-Denis, Canterbury, and other cathedrals. At the end of each stanza, Hiler finishes his talk and pauses for a few beats, allowing the glass to have the last word, and then repairs to darkness. He uses interleaving blackouts to the same rhythmic, almost respiratory effect in his lyrical films, but here the technique doubles back to the imagined space of the cathedral. “Darkness is the sacred setting that film and stained glass share,” Hiler reflects over an extended interval of black toward the beginning of the film. “Our overview begins in the early 12th century, a time when darkness was imbued with a powerful spiritual significance . . . It was not the darkness of negation; it was pregnant, life-giving, limitless, and timeless.”

The connection between the cathedral and the cinema goes well beyond the shared spiritual interplay of light and dark: there is also the sequential nature of early narrative art; the saints as movie stars, with “personalities . . . known, loved, and adopted by the populace”; the way the likeness of a window’s sponsor functioned like an executive-producer credit; and how certain tropes, like the devil perched on a person’s shoulder, have passed through time virtually unchanged. Leaving narrative aside, Hiler can’t resist mentioning how five densely patterned windows at York Minster resemble Stan Brakhage filmstrips, and we might just as easily see the mandala-minded Harry Smith in the alchemist’s rose at Notre-Dame or the 3D-obsessed Ken Jacobs in the frequently used blues and reds that produce a mesmerizing sense of “dimension without perspective.” Perhaps most salient is the medieval ideal of claritas, which, per Hiler, creates “an environment that [awakens] the mind through the senses”—very close indeed to the “devotional cinema” explored in Dorsky’s slim book of the same name.

In this telling, the first “death of cinema” can be dated back to 1241, when a Council of the Sorbonne ruling indirectly led to clear windows flooding cathedrals with daylight, banishing the necessary conditions for stained glass to work its magic. The fate of the cathedrals readily brings to mind the devolution of the great movie palaces, including, in just the past year, the Castro Theatre in San Francisco, Hiler and Dorsky’s longtime hometown. More particular to Hiler’s own craft, the historical subject also lends itself to thinking about what it means to stay true to an artistic lineage when the tide goes out. Hiler’s lament, late in Cinema Before 1300, that he watches his “world of culture and values disappear in daily installments” needs to be taken alongside the film’s testament to the remarkable persistence of material culture even through the most trying circumstances.

In a long interview included in the recent book Illuminated Hours: The Early Cinema of Nathaniel Dorsky and Jerome Hiler, Hiler recalls that his very first shot with a movie camera was of a rose-colored piece of glass. A friend advised that instead of actually filming stained glass, Hiler should make his films themselves “be like stained glass.” Viewers can judge his success in the upcoming programs celebrating the book at MoMA and Anthology Film Archives, but Cinema Before 1300, like Hiler’s earlier documentary work, stands on its own two feet. A few weeks after watching the film at home, I went up to the Cloisters on a rainy day and found the stained-glass figures in the Early Gothic Room waiting for me, perfectly assured yet surprisingly familiar. Which is to say that Cinema Before 1300 leaves a long-lived afterimage—and its own measure of sanctuary.

Max Goldberg is an archivist and writer based in the Boston area.

#jerome hiler #nathaniel dorsky #max goldberg #film comment #film comment magazine #articles #illuminated hours

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mytimetravelcollector · 1 year

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Ben Affleck only regrets one movie: Daredevil. That’s what the actor once told Playboy about the 2003 superhero misstep. “It just kills me,” said Affleck. “I love that story, that character, and the fact that it got f***ed up the way it did stays with me.” Released on 14 February 2003, Daredevil was an attempt at a darker, grittier superhero film – gritty in a pre-Nolan sort of way, at least. It tells the story of blind lawyer Matt Murdock, who avenges his murdered father (that old chestnut) by cleaning up the grubby streets of Hell’s Kitchen. Blinded as a child by toxic goop, Murdock has enhanced senses as an adultre, which manifest as a kind of super-powered radar. Twenty years on from its release, Daredevil looks like a proto-franchise player – an attempt to get a Marvel movie series off the ground before filmmakers had quite figured out the formula. It leaves it an unwieldy if occasionally interesting relic.

Daredevil’s divisive reputation is neatly summed up by its most offending article: Affleck’s fanboy-riling leather suit, which was very much not the spandex version of the source material. Even Charlie Cox, who has played Daredevil since 2015 in both an eponymous Netflix series and the MCU – most recently cameoing in Spider-Man: No Way Home – once commented that “the suit sucks”. What fans didn’t know was that writer-director Mark Steven Johnson had to fight with the studio for any costume. For Johnson – a diehard Daredevil fan – production was “a non-stop battle.” The executives wanted to replicate the success of Sam Raimi’s Spider-Man – released a year earlier – but didn’t understand the Daredevil character. “They didn’t want a costume,” he later said. “They didn’t want horns. They didn’t want anything.”

Like other superhero films, Daredevil was in the works for several years before Affleck finally suited up. Marvel was in financial peril in the 1990s and hadn’t yet started to produce its own films. Film adaptations of their biggest characters stalled. Twentieth Century Fox nabbed the rights to the X-Men in 1993, though the film didn’t reach cinemas until 2000. Sony picked up Spider-Man after a years-long web of complicated rights wrangling. The eventual films, however, were super-sized hits. The Los Angeles Times wrote that “franchise fever” had seized Hollywood.

Twentieth Century Fox had optioned Daredevil in 1997, with Chris Columbus (of Home Alone and Harry Potter fame) in line to direct. When that didn’t work out, Disney flirted with buying the rights but soon dropped out of contention (amusing, considering that Disney now owns Marvel and, subsequently, the rights to Daredevil). The character went to Sony, then New Regency – with Twentieth Century Fox distributing. Johnson, who’d first been hired to write the script at Sony, had to pitch to get back onboard the project. Studio executives were unsure if he was the man for the job. Johnson had written the Grumpy Old Men movies and, at the time, had just one directing credit to his name – the quiet 1998 comedy-drama, Simon Birch.

Kuljit Mithra, who launched the popular Daredevil fansite Man Without Fear back in 1996, tells me that Johnson contacted him at the time. “He said, ‘I’ve got some stuff I want to run by you’,” says Mithra. “Back then, it wasn’t like everybody was an insider! He emailed me storyboards. He sent me all this three years before it was even greenlit. He asked me how it looked.”

Back then, Daredevil was still a niche hero, despite being created by Stan Lee and Bill Everett in 1964, Marvel’s golden age for superhero creation. “I read the comics as a kid,” says Mithra. “As I got older, I noticed that Daredevil was in his own world – he didn’t cross over with a lot of other titles. But he seemed to attract the best writers and artists. They’d always ask to try Daredevil because he was not a high-prestige character. Marvel was like: “Does somebody want to work on this character? We’ll just print it.”

In the 1980s, Daredevil got a gritty reinvention with writer Frank Miller. Mark Steven Johnson drew mostly from Miller’s stories. If anything, says Mithra, the film may follow Frank Miller’s stories – which featured many of Daredevil’s closest allies and villains – a bit too closely. “I think he tried to fit as much as he could in one movie,” says Mithra. “He basically did the whole Frank Miller arc. If he had the space and time of the Netflix show, maybe he could have made it work.”

Before Affleck was cast, the role of Matt Murdock/Daredevil was offered to Vin Diesel, Guy Pearce and Affleck’s real-life BFF Matt Damon. Not everyone loved the idea of Affleck as Daredevil – he was also in the midst of a run of poorly received films, including Pearl Harbor and Gigli – but he was a fan of the comic and a close friend and collaborator of filmmaker and comic-book devotee Kevin Smith. Smith, following films such as Clerks, Mallrats, and Chasing Amy, had even written an acclaimed run of the Daredevil comic, and cameos in the film itself.”

Surrounding Affleck was Jennifer Garner as assassin and love interest Elektra; Colin Farrell as crack shot henchman Bullseye; Michael Clarke Duncan as Wilson Fisk aka Kingpin; and Jon Favreau as Murdock’s lummox lawyer sidekick, Foggy. Favreau later directed Iron Man, the 2008 film that kicked off the Marvel Cinematic Universe and rendered films like Daredevil almost obsolete – mere footnotes in superhero

Clarke Duncan, who died in 2012, was unsure at first about playing the oversized crime lord, Kingpin. “He’s cool,” he once said. “But he’s white.” These days, the casting might cause a meltdown in the most toxic corners of online fandom, but there was no doubt that Clarke Duncan – a 6ft 5in, 300lb powerhouse – was the right man for the job. “Mark Steven Johnson wanted someone who embodied strength,” says Mithra. “All the fan casting was ‘let’s have some gigantic wrestler play the Kingpin’, but you’ve got to have someone who can act.”

Elsewhere, Farrell seems to be having a blast as Bullseye, a petulant, gobby hitman with a target carved into his forehead and who kills people by any means necessary. He’s always mid-flick, whether with knives, paper clips or peanuts. “I want a bloody costume,” Bullseye says at one point, nodding to the fact that his (admittedly daft) costume had been lost in the transition from page to screen. Indeed, these were the days when producers didn’t want to see the proper costumes on their heroes and villains. Look at the Power Ranger-like Green Goblin in Spider-Man, or the leather-clad X-Men. “What would you prefer,” Cyclops asks Wolverine in 2000’s X-Men. “Yellow spandex?” There was a hint of embarrassment about it all. For Johnson – who understood comic book fandom – Daredevil’s costume represented a significant behind-the-scenes battle.

“It was ridiculous,” he said in 2019. “They were like, ‘We’re not going to put a man in devil horns! They call him Daredevil because he does daring things, not because he dresses up like a devil’. I was like, ‘You have to! Otherwise, he’s not Daredevil’.” Eventually, Fox executives conceded on the costume, but then fought Johnson on the colour red. The studio wanted black. They eventually compromised on something in the middle, more or less the colour of blood. Johnson added: “And then some people go, ‘Bah, he’s got a leather costume, that’s bulls***, he should be in spandex. You ruined my childhood’. And I’m like, ‘Dude, you have no idea – I fought so hard just to get horns’.”

Daredevil was initially seen as a modest actioner with a budget of $50m (£41m). The character didn’t have the brand name value to warrant a mega budget. (Producer Gary Foster recalled that whenever he told people he was making a Daredevil film, they thought he meant a biopic about the stunt motorcyclist, Evel Knievel.) But when Spider-Man was released in 2002 and grossed around $800m (£667m) at the global box office, Fox boosted Daredevil’s special effects budget. “They saw what Spider-Man had done at Sony and tried to replicate it,” says Mithra. “Because they really didn’t know Daredevil well. They tried to do the same marketing and promotion – even the soundtrack.”

While Spider-Man plumped for Nickelback, Daredevil is packed with banging, turn-of-the-millennium nu metal, as well as two (!) infamous Evanescence needle drops. To say Daredevil has aged horribly is harsh, but it has aged very specifically. “It’s definitely an early 2000s film!” laughs Mithra. But there is something about Daredevil – a film that moves like Spider-Man but has the darker heart of Tim Burton’s Batman. Particularly good is the “shadow world” effect, which brings Murdock’s radar-like sense to life. The film is also shrewd enough to dump some of the rigmarole of origin stories, belonging to a generation of superhero films that hadn’t figured out how to sidestep the trappings entirely.

When Playboy asked Affleck what went wrong, he replied that it would be “impolite” to say so. Though he admitted that he bears some of the blame: “You can’t divorce yourself and say it was everybody else’s fault and not mine. I was there.”

Like so many films of that time, Daredevil is hamstrung by abysmal CGI. See the decidedly ropey punch-up between Daredevil and Bullseye. A scene in which Daredevil kills (or deliberately doesn’t save) a villain was also criticised by fans – something that no true superhero would do in the comics. “I think that’s part of what upset people,” says Mithra. “It was the big chance to showcase this character and they got it all wrong.”

In 2018, Affleck took a more serious stance. He recalled being less interested in superheroics and more interested in understanding what it felt to be blind. He enlisted the help of a blind actor to follow him on the set and help refine his performance. It would be a nice sentiment – albeit if Matt Murdock wasn’t able to somehow push through his blindness and sense when a beautiful woman is nearby, then follow her down the street even when she’s asked him to leave her alone. The following flirt-off between Murdock and Elektra in a New York playground is soul-curlingly cringeworthy.

The biggest issue, perhaps, is that among the studio politics and behind-the-scenes battles, Johnson had to cut about a quarter of the film. Producers wanted a 100-minute movie. “They cut it down,” says Mithra. “They wanted more showtimes in the theatre – they didn’t want the full version that the director wanted.” Mithra – who’d seen Johnson’s storyboards before production began proper – had a good sense of how the film changed from Johnson’s initial vision. “I could see what didn’t make it,” Mithra says. “He probably [experienced] a lot of studio interference.”

Contrary to its rep, Daredevil was not a flop. From a budget of $75m (£62m), it grossed $179m (£149m). In its opening week in the US, it dominated the box office. The New York Times said it was “passable”, but “too worshipful of the idiom’s conventions. [Johnson’s] affection for the character leaves overly sincere puddles every step of the way.” The Independent didn’t much like it, and thought that Affleck was “a man for whom the word ‘obnoxious’ was surely invented”. The Guardian’s Peter Bradshaw argued that Daredevil was “far funnier and gutsier than [2002’s] wimpish Spider-Man”.

Mithra says fan responses to the film were “an even split” between love and hate: “I don’t know anybody who just said, ‘Yeah, it was alright’.” The film didn’t do much to help Daredevil’s mainstream rep, either. “When I told people I run a Daredevil website,” says Mithra, “they’d go, ‘What, about Ben Affleck?! Why?’”

In 2004, a director’s cut of Daredevil was released on DVD, with around 30 minutes of added material: more Kingpin, less schmaltz, and a deeper understanding of Matt Murdock. A year later, a spin-off was released: Elektra, which proved to be one of the first attempts at an interconnected superhero cinematic universe. But it wasn’t confident enough to celebrate its lineage: Affleck filmed a scene, reuniting with Garner, but it was cut. Even a Daredevil spinoff didn’t want anything to do with Daredevil. “They did everything to not say it was a Daredevil sequel,” says Mithra. “They didn’t do any promotion to say it was a continuation. The trailers would always say ‘from the studio that brought you X-Men’.”

It was a curious moment for superhero cinema. After the multi-film successes of X-Men and Spider-Man, Daredevil was part of a run of Marvel standalone projects. All were attempted franchise starters, but none were especially good. “It was way before the MCU,” Johnson later said. “The Marvel characters were all over different studios, but no one quite knew what to do with them.” Also in 2003, Ang Lee directed Hulk – an oddity of early 2000s blockbusters. Then came The Punisher, starring Thomas Jane and John Travolta, followed by two Underrated Fantastic Four films, and the Nicolas Cage-starring Ghost Rider, also written and directed by Johnson. The MCU has made these films feel oddly pointless.

Affleck later said he had “inoculated” himself from playing a superhero again. “Wearing a costume was a source of humiliation for me and something I wouldn’t want to do again soon,” he said while promoting Hollywoodland, a film about the suicide of Superman actor George Reeves. A few years on, he explained that he took the role of Batman in Batman v Superman: Dawn of Justice to make amends for Daredevil. He wanted to make a superhero film and “do it right”. Ahem.

Still, as an artefact from a very specific time in superhero cinema, Daredevil has its fans. As Johnson explained in 2019: “Sometimes [people] apologize, like, ‘Can I say something? I really like Daredevil’. I’m like, ‘It’s OK, I’m not going to tell anybody!’”

#2003 daredevil #ben affleck #mark steven johnson #20th anniversary of daredevil 03 #jennifer garner #20th century fox #marvel #michael clarke duncan #zack snyder #batman v supeman: dawn of justice #marvel mcu

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tasloveskk · 4 years

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Some folklore thoughts 💭🌲✨🏳️‍🌈

Part 1

I’m going to take it song by song while also tracking key themes in red! Please also feel free to add in your thoughts in the comments, I’m curious to see what else people think folklore is about...

folklore

‘folklore’ is defined as “a body of popular myths or beliefs relating to a particular place, activity, or group of people.” or, by Steve from Taylor’s IC,”the traditional beliefs, customs, and stories of a community, passed through the generations by word of mouth.” Taylor herself in her introduction/prologue says “A tale that becomes folklore is one that is passed down and whispered around. Sometimes even sung about. The lines between fantasy and reality blur and the boundaries between truth and fiction become almost indiscernible. Speculation, over time, becomes fact. Myths, ghost stories, and fables. Fairytales and parables. Gossip and legend. Someone’s secrets written in the sky for all to behold.”

the 1

- firstly, it’s the best opening track she’s ever had! 👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼

- “I’m doing good, I’m on some new shit” = sounds to me like a conversation you have with an ex, like someone is saying “yeah I’m doing great, I’m dating/doing ‘x’” the first time they run into their ex in a while.

-“I thought I saw you at the bus stop” has BIG “this city screams your name” energy but is also very clever by Taylor because Miss Karlie Kloss is ALWAYS on advertisements on bus stops/literal buses around the globe 🚌

- “I hit the Sunday matinee” to me seems like an inside thing, because obviously as the world biggest pop star, if taylor is going to go to the theatre or cinema, she’ll pick the least busy and most filled with older people which would be the Sunday matinee.

- “you know the greatest films of all time were never made” —> the greatest love stories never get told? happen behind the scenes? There’s something deeper here but I’m still forming the cohesive idea!

- “if you wanted me you really should’ve showed” = showed up or showed for the world, either way Taylor wanted KK to chose her not Josh so they could work but that didn’t happen so now she’s left to wonder.

- “roaring twenties” evokes two clear images for me! 1. They were both in their 20s for the entiretyof their relationship, the best years were spent together and 2. The Roaring 20s were a time of independence, pushing boundaries and breaking the rules of prohibition - which is basically what Taylor and Karlie were doing behind the scenes.

- “if my wishes came true, it would’ve been you” = let’s say, ONLY FOR ARGUMENTS SAKE, that Taylor really IS with Toe, that still means that this song is her yearning for someone else who she always loves more AND had to lose at some point. Looking at her past beards “relationships”, there are only two plausible options - Joe (which seems unlikely seeing as they’re still “together”) or CH who she supposedly wrote “you would’ve been the one if you were a better man” about. Either way doesn’t seem like it fits. However, if you look at it as Karlie is the 1, it becomes clear - it would’ve been fun being best friends and lovers for ever baking cookies and dancing around the kitchen, it would’ve been forever if Karlie hadn’t “married” jerk, it would’ve been her and it still is. 💗

- “in my defense I have none, for never leaving well enough alone” & “I know that I went psycho on the phone, I never leave well enough alone” are about the same moment with the same person = she didn’t leave well enough alone because she kept writing about Karlie and re-engaging us Kaylors as well as I’m sure, she kept up with seeing Karlie or keeping tabs on her to the point where it forced someone to reach out to the other.... she can’t apologise or defend her actions because you can’t explain the things you do for true love.

- “I have this dream you’re doing cool shit” aka starting a podcast, expanding businesses, making headway as an entrepreneur and being a highly-paid and respected international model? Seems straight forward 👀

- “you meet some woman on the Internet and take her home” = 1. Karlie is specifically interested in tech and the internet, it is literally her entire business and 2. if Karlie and Tay did break up, then because Karlie is actually NOT married to Josh, she hooked up with someone she met through the internet somehow (probs social media not an app) and Taylor found out this is probably a snarky comment about that from a jealous ex. Could possibly also be about the dream mentioned above. 💔🔐

- “another day waking up alone” = lost her lover, sleeps alone? Bold claim on opening tack.

- “persist and resist” = very famous feminist saying, civil rights/political echo?

- “the temptation to ask you if one thing had been different, would everything be different today” = this what if mentality continues through the album but personally, I think this is about Kissgate.

- “Rosé flowing with your chosen family” = repeats later, your chosen family could refer to Karlie’s group of friends like Derek and Jourdan etc.

- “would’ve been sweet if it could’ve been me” = flipped perspective, wishes Karlie chose her.

- “dragging up the grave another time” = firstly, THAT pin on her EW jacket now makes more sense. second, Taylor has written about Karlie for 4 straight albums now, she hasn’t let their love story die even if they did.

cardigan

- “brand new phone” = this is not some story, this is current reality. Taylor hides behind era-specific language and imagery in some other songs but this one is clearly about here and now, and her.

- “sensual politics” to me stands out because only really here and in TLGAD is politics explicitly mentioned and sensual politics to me screams sleeping with someone for political gain or with political connections which certainly sounds like someone...

- “when you’re young, they assume you know nothing” = sounds to me like a lot like a) love story and b) “you don’t know you’re gay, it’s just a PHASE! you’ll grow out of it!” 🏳️‍🌈

- “chase 2 girls, lose the one” = supposedly, when KK and TS met, Taylor was still in love/entangled with Dianna so perhaps she’s reflecting on making the wrong choice?

- CIWYW links: my baby’s high above the whole scene—> heartbeat on the high line, tidbit:as is clear in both Lover & 1989 New York is a sacred place for TS and KK’s love story, the high line is a) a beautiful NYC icon and b) right in between the girls’ two places...

- as mentioned, miss Karlie ELIZABETH Kloss was the brand model for Levi’s and definitely has worn some sequins and black lipstick on cobblestones sooooo.... 🤷🏼‍♀️

- “you drew stars around my scars” = see Drake’s birthday party and the infamous third Polaroid mystery 👀

- “stepping on the last train” could mean one of two things to me; 1. The last resort for KK was marrying J*sh or 2. the last train could represent some goodbye the girls had where KK chose something/someone else over Taylor.

- “peter losing Wendy” is such an interesting metaphor on so many levels but specifically, Wendy loses Peter because she wakes up (from nearly dying but nvm) and grows up and stops believing in Neverland and magic, basically Wendy loses an attachment to Peter because her reality shifts and that’s what gets remembered especially in the Disney version of the story. HOWEVER, the opposite is also true meaning Peter Pan loses Wendy because he can never co-exist with her again, he can never grow up or bring her back to Neverland without either killing her or ruining her. So this idea that someone wanted to change the ending from peter losing Wendy because he had to do what was best for her because he loved her echoes as Karlie didn’t want to marry Jerk or hurt Taylor but had to in order to protect her. Right? 😅

- “leaving like a father, running like water” = Taylor’s parents got divorced and there’s SOME thoughts Scott left the house and Taylor lives with her Mom in Nashville in her teen years.

- “I knew everything when I was young” - Taylor has always know she was LGBT+ 🌈 and also, baby VSFS vibes because as we all know, “we were both young when I first saw you...” send tweet.

- “I knew you’d come back to me” hopefully, HOPEFULLY foreshadows the girls being together/coming out soon !!!!!!! 🤞🏼🤞🏼🤞🏼

- music video wise, I’ll do a break down soon.

TLGAD

- ‘Rebekkah’ refers to the previous owner of Taylor’s Watch Hill, RI house, Rebekah Harkness. She was a divorcee until marrying Standard Oil heir William (aka Bill) Hale Harkness, a new-money dynasty was formed in this time from their profit. There are MANY wild, whimsical stories about ‘Betty’ (which is obviously an extended metaphor of folklore) that this song tries to re-create/recapture.

- Taylor is also known as ‘Becky’ due to the popular meme so this is quite literally a play on her own character as well as the previous inhabitants of the house.

- St Louis is not only Rebekkah’s hometown, but also Karlie Elizabeth Kloss’.

- “the wedding was charming, if a little gouche” seems like a direct shot fired at Karlie’s woodsy photoshoot of 2018 😂😂(ironically, folklore’s key aesthetic is the woods!!)

- “it must’ve been her fault his heart gave out” refers explicitly to William dying of a heart attack in the house, but subtly I feel like this is a dig at the media who constantly blame women for things they cannot control, as they have done with Taylor too many times to even count.

- “who knows if she never showed up, what could’ve been” seems like Taylor is stuck thinking about what may have happened for her and Karlie if things had been different, see the 1.

- “she/I had a marvellous time ruining everything” is such an incredibly provoking lyric on two fronts, 1. obviously taylor buying her RI house had a massive impact on an otherwise sleepy holiday town that is now more famous for Taylor’s july 4 parties than anything else and 2. seems introspective or personal, as if the things that ruined everything for Karlie and Taylor were the best and most marvellous parts of their relationship (big sur, kissgate etc.)

- “flew in all her bitch pack friends from the city” is not only about the friends and celebs Rebekkah was notorious for hosting but also Taylor’s ‘bitches and model’ girl gang circa 2015 which includes one Karlie Kloss.

- “blew through the money on the boys and the ballet” refers to Rebekkah’s love of wasting her fortune on things, including a ballet company that went under not long after she created it BUT also refers to Taylor paying so many boys to be her beards and PR stunts whilst also spending her money on a certain ex-Ballerina. Also remember her AMA’s performance of Lover/ bts of Shake It Off? 😉😉😉

- “50 years is a long time” - 50 seems deliberate, a bit of a reach but note it WAS the 50th anniversary of Stonewall last year. 🏳️‍🌈

- “free of women with madness, their men and bad habits and THEN IT WAS BOUGHT BY ME.” - this clearly shows that ALL the songs are being narrated by Taylor, some of the lyrics are about her, some are about these fictional or fantastical characters she’s created but there is her truth behind all of them too.

- “the loudest woman this town has ever seen” = Taylor is undoubtedly the most famous woman in the town who regualrly causes uproar there (see the Sea Wall debacle and the Taylor Swift Tax)

- in all, the two famed women owner’s of Holiday House have many overlaps and are forever intertwined.

exile

- “i can see you standing honey with his arms around your body” as the opening line is LOUD. to me, feels like this is about ALL those staged photos of Josh and Karlie uncomfortable/fake as hell on social media.

- “laughing but the joke’s not funny at all” is something we’ve all thought about Karlie’s marriage before and is about that moment where if you don’t laugh, you’ll cry at the situation.

- “it took you 5 whole minutes to pack up ... holding all this love out here in the hall” to me is about someone moving out of a shared home, like Karlie from Taylor’s NYC apartment, after a break up or fight. We know it is MORE than likely that the girls’ broke up, for a while or for good, in 2017/18.

- “I think I’ve seen this film before, and didn’t like the ending” is a lot like “Cause cruelty wins in the movies, I've got a hundred thrown-out speeches I almost said to you” / “All of my heroes die all alone.” which makes me truly believe that delicate > the archer > exile are all the progression of the same love story. ❤️

- “now I’m in exile seeing you out” = both of them have lost their home, exiled from the relationship.

- “I can see you staring honey, like he’s just your understudy” has a lot to unpack. Firstly, see this photo. Second, as a beard, Joe is quite literally Karlie’s understudy - stepping in only to fill a public void or play her part when she can’t.

- “like you’d get your knuckles bloody for me” is basically this tweet

- “second, third and hundredth chances” - hopefully this means the girls WILL be together again soon!!!

- “those eyes add insult to injury” - Taylor has often made explcit reference to her lover’s eyes, but this could also mean the eyes of the public on her every move and relationship not allowing her to properly grapple with break ups. 👁️

- “i’m not your problem anymore, so who am i offending?” - homophobes love to say wlw or mlm relationships “offend” them or their beliefs, so who could taylor be offending if she’s publicly in a straight relationship?

- “you were my crown”, Taylor was/is Karlie’s princess, if Karlie is gone, Taylor doesn’t feel like she’s a princess anymore. Likewise, Karlie is Taylor’s sunshine which makes the moody, misty, dark aesthetics all the more relevant to this album.

- “so I’m leaving out the side door’ - this side door? the other side of the door?

- “all of this time, we always walked a very thin line” between outing themselves and being happy?

- “I gave so many signs” - Taylor has queercoded EVERY album since her self-titled, she has been dropping hints and signs for years that she is LGBT+ so it must be exhausting to have to keep hiding who she loves. This is repeated so many times - it means a lot.

- written with William Bowery who nobody can quite identify, but Karlie and Taylor have been to the Bowery many times together and William is mentioned earlier in TLGAD

- this whole song is a duet, a two-sided conversation between lovers - her and karlie both without each other.

my tears ricochet

- Track 5 is, as per usual, deeply confessional, personal, emotive and moving. 😿😿

- there are lots of theories and layers to this masterpiece of a song, including that it’s in reference to big machine. I personally think every single song of Taylor’s is made up of layers that reflect multiple things in her life and experience so plausibly it can be about multiple things all at once including Sco** and Scumbag as well as Karlie, who was under Scumbag’s management for the majority of the decade. Another theory which with every new listen I think is more and more possible is that this is alternating between Taylor and Karlie’s perspectives.

- ‘if i’m on fire, you’ll be made of ashes too” whoever is associated with Taylor will ALWAYS be dragged down with her. If she’s being attacked, they will be too. Big 2016 energy.

- “even on my worst day, did I deserve babe, all the hell you gave me?” could be directed at a lover, or at Big Machine, or even the public for all the shit they’ve said about Taylor over the years.

- “I swear I loved you ‘till my dying day” seems a lot like the 1, as well as could be about the music and the label she helped build.

- “I didn’t have it within myself to go with grace.” Taylor was LOUD about her split from Big Machine, she called them out (rightly) and made noise which is not a ‘graceful’ split.

- “you’re the hero flying around saving face” very easily is about S+S jackasses but deeper than that, while Taylor was under immense attack and criticism, everyone who actually like her music pretended suddenly to hate it and her to stay ‘cool’

- “cause if I’m dead to you why are you at the wake?” this lyric becomes especially important in the final verse but essentially those who publicly distanced themself from Taylor still showed up when she was thriving again and/or because they actually truly loved her *uhmm karlie uhmm*

- “cursing my name, wishing I stayed” either at Big Machine or with Karlie/Taylor.

- “some to make a diamond ring” > firstly we still have never understood the ring image from the LWYMMD and ME! videos, it is entirely possible this is a continuation of that same symbol/image. Second, I think this hints to Karlie getting ‘engaged’ while still being with Taylor, the rock for the ring in the song was found by the two people gathering stones after all.

- “you know i didn't want to have to haunt you” both Taylor and Karlie have big reputations all over the world that follow them everywhere. For either one, they will always be haunted by reminders of each other.

- “you wear the same jewels that I gave you as you bury me” - on the Big Machine side, Taylor made the label professional and big, she is literally the sole reason it succeeded in the music industry so she handed Sco** his fortune and reputation which he still had when he sold her music to Scumbag and got into a very dirty bed with him. From the Karlie side, many people have noted that not only does she wear her black cartier necklace, which is assumed to be from Taylor, but to her ‘wedding’ wore a necklace she’d worn before with Taylor.

- “when I’d fight you’d tell me I was brave” could refer to Sco** encouraging her in 2016 to defend herself. Could refer to Karlie supporting her behind the scenes.

- ‘and I can go anywhere I want, just not home” seems like a continuation from exile, as in she’s lost the place she called home because her lover is no longer there but could also mean she can’t go back to her other albums and the house (see the lover music video) that they created as her musical home.

- “you will still miss me in your bones” could be about Sco** losing his money and label without her there to physically support and carry it or about the fact that the love Taylor and Karlie had is so ingrained it’s in their bones forever.

- “and i still talk to you when I’m screaming at the sky” this lyric has a lot of possible interpretations (i’ve seen one about cursing out God?) but i think it’s similar to “asking the traffic lights if i’ll be alright” as in, it’s Taylor asking the universe to help her make sense of things.

- “when you can’t sleep at night, you hear my stolen lullabies” suggests a) sco** + scumbag is still haunted by the music they stole from Taylor because it was literally the backbone of the business which is now practically worthless and b) that Karlie is kept awake by the songs Taylor has written for and about her over the years which again were stolen away by the jackasses at Big Machine.

- “you had to kill me, but it killed you just the same” again, same idea - big machine will never be profitable without her/while they hold her masters hostage. BUT Karlie wise, breaking up with Taylor broke her too?

- this is where the song changes. it shifts from Taylor’s story to someone else’s, personally I think Karlie.

- “you turned into your worst fears” as in she settled for the money and sold her values off by marrying Josh. Also, Karlie was under Scumbag’s management for years (part of Taylor’s hatred of him was him keeping the girls’ from doing as they pleased) so by being completely controlled by him, she turned into this completely fake person. Contrast 2014/15 Karlie with 2017/18 Karlie and it so much more all about PR and money.

- “you’re tossing out blame, drunk on this pain, crossing out the good years” - sco** and scumbag have made so many false excuses for their behaviour and completely erased the good relationship between the Swifts and sco**. Not sure yet what the Karlie side is here but it’s here somewhere.

- in conclusion, this is about Big Machine and Karlie. As the first song Taylor wrote for the album, I think it’s clear just how incredibly multi-faceted this album is. ☕☕☕

mirrorball

- first off, we can never forget about this and this look from both girls. ✨✨

- “I’ll to show you every version of yourself tonight”, the public and the private sides to them both. this is big glass closet energy in my opinion

- “and when I break it’s in a million pieces” is so personal and heartbreaking. 2016 and Kaylor breakup vibes. I cannot elaborate at this time.

- “when no one is around my dear” = the secrecy, forbidden love motif returns and again, if she’s in a hetero relationship, what’s to hide?

- “you’ll find me on my tallest tiptoes”, Just an fyi, Karlie, a giraffe, is 6′2″, Taylor is 5′10″ -- thats a big difference. 🦒🦒🦒

- “i know they said the end is near” = end of the relationship or the end of hiding it, either way, it’s a romantic last private moment together, swaying as the room burns down.

- “i can change everything about me to fit in” = Taylor when she was starting out was forced to create this all innocent, american-girl image of herself. She has had to hide herself to succeed, as she said in Miss Americana, she was muzzled.

- “you are not like the regulars, the masquerade revelers” = Karlie is different to everyone else, or any other ex, ‘masquerade’ implies masked or hidden figures at a party, very Love Story

- “and the called off the circus, burned the disco down” = the ‘circus’ could be the media/public, or all the illusions Taylor has cast in order to appear straight. The ‘disco’, and Taylor is the ‘mirror ball’ to her lover means that this isolated existence of just the two of them.

- “I’m still on that tightrope, I’m still trying everything” for now, she’s still closeted, she’s still trying to have the best of everything.

- “I’m still a believer, but I don’t know why” believer in everything working out perhaps, or perhaps believing it’s better if she’s in the closet and it’s only the two of them.

- “never been a natural” = she has completely created herself through years off trying to be what people want, not who she naturally is.

seven

- “picture me” implies this is retrospective of Taylor, she’s reflecting on her childhood/youth.

- “I hit my peak at Seven” could either refer to the age 7 or album 7, ‘Lover’ which many critics argued was her best work.

- “Over the creek I was too scared to jump in” = fear of jumping is something Taylor has discussed in many songs but this is different, the creek represents something she fears will drown her.

- “High in the sky with Pennsylvania under me” = obviously, Taylor was born and raised in rural PA, so this truly is a childhood memory unearthed and explored. It’s personal to Taylor, it’s her story. 👏🏼

- “Are there still beautiful things?” Recognizing the world isn’t all daisies and rainbows

- “cross your heart, don’t tell no other” = again, secret keeping and hiding something is a big queer image, ‘cross your heart’ is a quite childish phrase but it’s adult equivalent in Taylor’s world is an NDA, ie swearing people to secrecy is something she's always known... 🔐

- “Although i can’t recall your face, I still got love for you” = this childhood love has faded with time to memories, this girl simultaneously forgotten and remembered.

- “Your braids like a pattern” = definitely about a girl (1996 rural Pennsylvania was not the kind of place where boys had braids), specific use of YOUR pronoun not ‘my’ or ‘our’ suggesting again it’s about a girl. Very obviously about a first girl crush. 🌈

- “passed down like folk songs, the love lasts so long” = firstly, reference to Neruda’s poem Taylor used in the red prologue. second, folksongs change slightly from generation to generation but the heart/melody remains the same meaning that in Taylor’s mind, the story of her first girl love has changed but it’s still the same song/story all the years later. also, clearly a reminder of the setting of the song and the album as a whole being folklore. 💛

- “your dad is always mad and that must be why” feels a lot like Love Story and forbidden love, also again rural Pennsylvania in the mid-1990s was not the most liberal place so I can imagine a lot of homophobic ideas that perforated Taylor’s childhood.

- “I think you should come live with me” is such an innocent image of someone in love and wanting to just fix things by bringing them home, it also is like a baby gay version of uhauling

- “we could be pirates” = pirates are not just a childhood image/motif but also one historically seen as gay, gangs of pirates often had ‘mateolage’ agreements that basically were like widow’s benefits. See John Swann. ☠️

- “you won’t have to cry, or hide in the closet.” = I think this one is explicitly clear but just to be sure, Taylor could’ve said “hide when he lost it, hide if you wanted, hide in the woods too” etc. Read this for a full understanding of why it such a LOUD image to use. It is VERY DELIBERATE PEOPLE. 🌈🌈🌈

- “just like a folk song, our love will be passed on” = different from the first bridge but deliberate again. Their story, aka Taylor liking girls from a young age will always be talked about, AND their love lives in this song she wrote.

- “picture me in the weeds before I learned civility” = again, given the homophobic attitude, ‘civility’ and straightness should be read as the same so Taylor is saying when she was a child, free in the grass and herself, she wants to always be.

- “I used to scream ferociously any time I wanted” = she wasn’t muzzled as a child, she could say and be who she wanted, screaming it aloud for everyone to hear but that changed as she grew up.

- “pack your dolls and a sweater, we’ll move to India forever” = ‘dolls’ again would imply it’s two girls running away together and India is this exocitc far off place to a child, a place where they can be together without anyone knowing them or controlling them.

August

- Karlie Kloss is born in August. Karlie Kloss posted yesterday about being a Leo (an August born). August belongs to Karlie Kloss. 🦁♌

- “rust on your door” = image of something well-worn, perhaps someone who’s been here too a few times before?

- “whispers of are you sure?” = obviously there is the sexual connotation, but beyond that, what if it’s about Taylor and Karlie going public etc.

- “never have I ever before” = see above but also the game ‘never have I ever’ evokes youthfulness and sounds almost like a reminder of a fun night with friends.

- “I can see us lost in the memory” = implies they’re still together, losing themself in the memory together

- “I can see us twisted in bedsheets” = again, sexual imagery but also the intimacy of sharing a bed with the person you love after sex

- “Like a bottle of wine” = matures the song a bit, the youthfulness of earlier is now more adult. 21 is America’s drinking age, 20s were mentioned early etc. 🍷

- “Cause you were never mine” = the whole of Taylor and Karlie’s relationship, Karlie has publically been dating Josh so she was never solely Taylor’s.

- “Will you call when you’re back at school?” = Karlie attended NYU in 2015, the height of Kaylor.

- “back when we were still changing for the better” = instead of changing to adapt/survive or keep up appearances.

- “wanting was enough” = wanting Karlie without labels was enough, rather than having to go public etc. Many have said for a long time that Karlie and Taylor fought about coming out or not.

- “cancel plans in case you would call” = sounds like a very love-sick Taylor Swift thing to do. Also waiting on a lover’s call when they constantly are travelling like both Karlie and Taylor do makes sense. ☎️

- “so much for summer love” = cruel summer echo? Summer 2015 was again, peak Kaylor so this could be a specific reference to that period

- “Do you remember? Remember when I pulled up and said ‘get in the car’” another specific reference, comes up again later in Betty, clearly is something personal.

- “Back when I was still living for the hope of it all” = back as in the past when everything was happening, hope of it all being the hope they’d still end up together.

TO SUM UP PART 1:

BENEATH ALL FICTION OR MYTH IS FACT & FEELING. Taylor is no longer hiding. Yes, some of these songs are about stories and people not her but there is so much of herself and her own story layered in too. PAY ATTENTION!!! Obviously, these are just my opinions, I’m not Taylor so I cannot know exactly what these songs are about but I think, after years of analyzing her music, these images/themes and deliberate word choice are well-versed in this part of the fandom. It is entirely possible this is the beginning of Taylor’s full, public coming out journey.

I’ll be back with Part 2 tomorrow. Stay Tuned!

#ts8 #taylor swift #taylor swift gay #taylor swift karlie kloss #Kaylor #kaylor proof #gaylor swit #Gaylor #GAYLOR RISE #karlie kloss taylor swift #Karlie Kloss #karlie what you want #tasloveskk #folklore #folklore taylor swift

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sanoiro · 4 years

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Lucifer 5x04 - The Mega Meta

This episode, the one all the cast and writers praised turned out to be the most challenging for the audience. Several hated it mainly for interrupting the flow of S5P1 whilst introducing a ‘weak’ story for Lucifer’s ring. Others loved it for all the meta, the concealed trivia and details that exist in that episode.

In my opinion 5x04 took it’s time to warm up to my heart and therefore today it’s time to write a meta on it. I’ll try to cover all the bases and if I miss something I apologise!

This meta will analyse, lines, settings, songs hopefully with the order they appear in the episode, as well as hints that it gives us for P2, the end of the series and many more things.

The credits open to Lucifer whistling as per Netflix’s subtitles ‘Chattanooga Choo Choo’

A song of about a man waiting for his train as he gets a shoe shine. The lyrics reveal at the end that a girl is waiting him at his destination and that he intents to marry her and settle... A good foreshadowing about Lucifer no? Especially after the S3 game night fiasco...

There's gonna be a certain party at the station Satin and lace, I used to call funny face She's gonna cry until I tell her that I'll never roam

By the way what’s this obsession over daggers and them killing people? Didn’t we have enough with the Flaming Sword in S2?

Trixie: Has it ever killed anyone?

Let’s keep it that way kid... Although I doubt it.

Now take a moment to realise that Lucifer was in Hell for thousands of years. He hasn’t had sex since his relationship with Eve and for his last night on Earth he prefers to play a game of Monopoly with Trixie and only when she turns him down Lucifer suggests getting a drink at LUX always in her company. That’s progress...

It also busts all claims of Lucifer being a sex obsessed maniac.

The year is 1946...

WW2 is over and we find Lucifer in a new setting, a familiar one where through the episode we see that he has not just visited again but he is frequent visitor around that time. Just a few years later after all he was seen through Kinley’s photos in Nazi Germany. Now we know it was because apparently he owns a castle there, in the Austrian Alps... Not exactly in mint condition after the war though...

By the way the castle that corresponds to that 22 bedroom description Lucifer gives is Schloss Ernegg Castle which belongs to the same family since the 17th century and it’s in great condition. Actually it operates as a hotel!

The Hurry plays as we see Ellis strolling the WB New York area of the lot. Great old ones were shot there.. Like The Big Sleep (1946) staring Bogart and Bacall which was shot in 1944, reshot some parts in 1945 but was released after all the ‘proper’ war time movies were released first.

A bit like this episode The Big Sleep carries ‘process of a criminal investigation, not its results’. Also around that time we have The Killers coming out, The Killers is important to mention as aside from being based on a story by Hemingway who was in Cuba in 1946 not in New York as Lucifer claims, it was directed by Robert :. Siodmak made most of the Hollywood’s noir classics and was always faithful to the doomed attraction which would always resolve to a nihilistic conclusion... (Thank you wiki! :P)

The connection to Lucifer, between the lines and the off hand comments like Hemingway is that noir films were based on the German Expressionism in cinema, and one of the most prominent figure for the US was that one German director Robert Siodmak.

The purpose of the above information is in order to tell you that a black & whte effect and a crime story is not what makes a noir episode. The writers were faithful to the core of noir. Entrapment, flashbacks, narration. The tropes of murder, jealousy, backstabbing and crime is also there, easy to replicate after all for sure. A dead man walking and ‘selective’ amnesia is also convenient...

Triumph and tragedy can be found and lost in the maze of the cities and in questionable establishments... Like in bars...

Moving on!

The credits open and we listen to The Hurry Up played by The Heath And His Orchestra. Dear Heath was British not an American. A subtle nod to Ellis probably as the leading man. But here is the thing Heath was the performer not the composer of that piece. The composer was Kenny Graham (Again British) and probably that piece was written after 1958 but anyways it’s an inconsistency we (-I-) can certainly live with!

Lucifer and Lilith last meeting was at around 1770 (Marie Antoinette was born in 1755) now whether in Austria or France who knows.... I would assume that Lucifer stayed in Austria until WW2 as aside from the wars and other issues it had a great cultural field for him to explore such as literature, music and lacked the brashness of the new-founded then US (1776).

Tiny issue here... Moctezuma (The 2nd) who Lilith claims to have met died in 1520, a bit after Cortés arrived in what we know today as Mexico so we can assume that Lilith travelled between the New World and Europe until Lucifer found her in New York in 1946.

Lilith in a relationship with Tommy Stomponato who owned the club, she probably influenced him enough to name it ‘The Garden’ as se admits to Gertie later in the episode, she really loved that Garden hence why she took a small part of it with her.

Now the name Tommy Stomponato is directly influenced by Johnny Stomponato part and bodyguard of the Cohen Mafia boss Mickey Cohen. Now funny thing he was stabbed by Lana Turner’s (Hollywood star) daughter Cheryl Crane... That remind us a bit of Gertie as she yes both were stabbed by a woman but both were not prosecuted. The first as Lilith didn’t want Gertie to lose the limited time she had with her husband and Cheryl because she claimed self-defense.

The first time we see Lesley Ann as Lilith she sings ‘I want to be evil’ originally performed at the debut of Eartha Kitt and first released in 1953. It is considered brilliant for it’s feminism and ‘video clip’ starring Kitt...

youtube

It’s a song that carries Lilith’s agony which even Eve carried. The need for freedom, the need to break the chains of what they should be and what we see that even Maze carries throughout the series. It’s a song that reaffirms that betrayal towards God, Adam and Lucifer in Maze’s case is not an act of evilness but the need of these women to re-sculpture themselves without aid or instructions. In Kitt’s case it was social conformity. Also Johnnie Ray was the ‘guy who cries’ aside from his hit song in 1951 ‘Cry’ him crying after his wedding was received with mixed feelings I believe from the press and his fans.

Now we see that crime for Lucifer was fun and again he wanted to Laugh with Hemingway who again in 1946 was not in New York but had just starting to write his novel ‘Garden of Eden (published posthumously in 1986) and it explored the reversal of gender roles a bit like this Lucifer episode does.

So Lucifer accepts the case of finding the ring but needs help. Jack Monroe is the one that can help him and the name is inspired probably by Iowa’s born Jack Monroe Marvel character who lived in New York, fought the Nazi (See Jack talking about the Battle of the Bulge), sidekick to Captain America - in a way - and ended up shot and killed. The character had many cliche detective phrases. But that’s mostly a likely speculation :P

Now as Jack goes to talk to the ‘rat’ Lucifer comments on Gertie serving him a drink ‘Just what the doctor ordered’ an obvious connection to Harris playing Dr Linda.

A nice prop is the machine gun over the bar an alleged gift from Al Capone who had been arrested 17 years earlier and died in 1947.

Thanks for listening, XOXO A. Capone

Now Lucky Larry who ends up dead is wearing an eyepatch probably a nod to another great director of noir films and of german expressionism in cinematography Fritz Lang.

At that point we have the talk between Lucifer and Jack concerning the laters problem with his wife. The story as everyone has noticed is a parallel with the issue that Lucifer and Chloe never begun on an equal ground. Someone had manipulated them and in both cases both parties suffered. Both men were manipulated by someone over them in hierarchy and both stood on a dilemma on how to proceed. It took Lucifer over 60 years to realise how difficult it was to leave and even then in 2x14 he returned.

As Jack and Lucifer get to Willy’s mansion all the paintings depict him as a great warrior in all possible eras. As Napoleon, Fritz of Austro-Hungarian Empire, Henry the 8th, Ivan, and that armour I believe it was from Carlomagne?

Also Hannibal crossing the Alps?

The little sausages are self-explenatory for the character and perhaps the lilies in his house a connection to the episode and the P1′s plot.

Lucifer checking the armour’s genital protector? Priceless :P As was Willy’s connection to Dan.

Now something that always make me wonder is why Lilith calls God Adam’s father as if she never considered him her own. At the same time she gives us a big hint there. She never walked away she was ‘sent’ away.

Gertie reveals there that her husband was wounded at the Guadalcanal campaign which ended in 1943 meaning that Bill was unresponsive for about three years at that point. The good news is that Bill seems to have been inspired by Bill Lentsch. Lentsch wrote a memoir called My Story and then adapted under the Title Hope For Wounded Warriors.

As a wounded warrior, Bill Lentsch knows the frustrating feelings of apparent helplessness and hopelessness. A sea-going Marine on the cruiser USS Vincennes at the beginning of World War II, he was a "hot shell catcher". The story of Bill's survival when the Vincennes sank is a story of miracles. In contrast, the story of his post-war rehabilitation and readjustment to civilian life, including a bad marriage {Sanoiro: At this point we have a differentiation but you never know}, contains more than its share of dark pages and the consequences of poor choices. Contemplating the option of murder, then suicide, was a vivid reality. Thankfully, the story of his later years brings hope and inspiration as Bill shares his personal journey of discovery.

Meanwhile the investigation continues. In the apartment we see pigeon cages a rather popular hobby back then in New York and not just for the messages they transported. Also do notice the WB water tower in the back. Iconic!

Lucifer finds a cuban cigar. Romeo y Juliet. The meta here obvious bit nonetheless important to our main love story.

With Stomponato dead we have a chance to delve a bit to Egyptian mythology.

First the missing heart. The main organ that according to ancient Egyptians held the answer of how well you had done while you lived and what you deserved after death. It was measured and a conclusion sent you to afterlife or to damnation.

Second the Anubis mask. He was the God of Death who oversaw the heart weighting process. The colour black symbolised the Nile’s sand and thus regeneration as the river was a symbol of life. Anubis was adopted by Isis

Third the Eye of Horus. The Eye of Horus was used as a sign of prosperity and protection, derived from the myth of Isis and Osiris. This symbol has an astonishing connection between neuroanatomical structure and function.

That’s the basics but you can go further from there if you want to just remember that Egyptian deities hold an Ankh the symbol and work of life.

In 504 we learn that death is final, there is no eternal life. It cannot be given as a commodity, the ring cannot help so I would focus more on the stone itself and if Lilith’s immortality is used then it will not be used as it is in my opinion but more about that later on.

The shop sacred eye and the high priest take us back to two episodes of S1. First in 1x07 - Wingman where the high priest parallels the auctioner who was ready to sell everything of ‘supernatural’ worth knowing they were mostly garbage to make money. Second 1x12 - #TeamLucifer the satanic high priest who had said ‘-the Devil ain't gonna buy me an Aston Martin’. In 504 the High Priest wanted a Pontiac.

Lucifer comment on Tutankhamun loving the pre-sacrificed bloody heart might have to do with the Egyptian mythology that If a heart during the scaling was judged to be not pure, Ammit (female demon/god) would devour it, and the person undergoing judgment would not allowed to continue their afterlife journey.

One of the best lines delivered in this episode is also foreshadowing P2 in my opinion and why not some bts but not clear or definite ones.

In the modern age, we are taught to fear death. But the ancients understood that death... is power. - High Priest (Lucifer 5x04)

It is why I always say that death is not the last frontier in our series and as such it should be taken neither as the final chapter to an individual’s story nor as irreversible (with the right collaterals always) somehow. Although you cannot cheat death forever, this is the beauty of our story. Death is valued just as much as life.

As such as we are in the High Priest ‘office’ it is not accidental we see the Tree of Life (See my Tree of Life Meta *Here*). The designs are Celtic around the mirroring tree of Life in what we can assume is in Life and Death is as vibrant and ‘alive’ in both sides.

1) triskelion: meaning the three legs, is an ancient pre-celtic symbol that can be traced to the bronze era. It symbolises the holy trinity in Christianism but also the inner and outer world of spirits. As you can tell it holds a variety of meanings and even if it is just there, picked in random from the WB prop house we should note that it also symbolises the trinity of life, death and rebirth as well as the trinity of the transition of womanhood. The Triple Goddess: maiden, mother and the (older?) wise woman.

For this meta we will take the trinity of life, death and rebirth as well as elevate it to the transition of our lead characters. Chloe as a young woman, a mother and now a ‘wise’ older and more mature woman. Lucifer as the young rebel, a struggling with maturity and responsibility man and what he may become by the end of S5 without shedding any of his prior roles and identities. Only this time his identities no longer ‘stain’ him.

2) Knotted symbol - Eternal knot: We see them in many cultures and religions in Buddhism they represent birth, death and rebirth. In the inside we see Solmon’s Knot a symbol of immortality and eternity but some also parallel it to Lover’s Knot (See True Lover’s Knot), an ancient symbol of commitment and love. From this keep the eternal part of the symbolism which is often depicted in jewish cemeteries.

3) Celtic Cross: They are said to be based on some cases to the Egyptian Ankh (See Coptic Crosses), some also allege the design in the combination of the Christian cross and the pagan sun disk.

4) The Celtic Tree of Life: For this I take what is written in this site

The tree represents rebirth. Trees were said to guard the land and acted as a doorway into the spirit world.

The Tree of Life connects the lower and upper worlds as its roots grow far down while its branches reach high. The tree trunk connects both of these worlds to the Earth’s plane. It was with this connection of worlds, that it was said that people are able communicate with the gods in the heavens using the Tree of Life.

Tree of Life knots symbolize the branches and roots of a tree which are woven together with no end to show how the cycle of life is continuous.

Through the second part of the episode I was always looking at Lucifer’s tie. I might be wrong but it reminded me a lot of gears, with a heart and clocks on it. Essentially the clock is ticking... in more ways that one as well as for Lilith but give me some more lines before I return to this meta point.

As Lucifer asks how humans believe her ring makes her immortal she ends her story with the line:

“I survive, and... somebody writes it on a stone tablet. You know how these things start.”

For me that was always a direct reference to the Favourite Son deal we had with the book in episode 2x17. As Lucifer said in 2x18 when Chloe asked whether his Dad said that Amenadiel was His favourite, Lucifer replies:

In so many Sumerian words.

Later on in S3 (3x14) Lucifer tells to Cain that Amenadiel is the favourite when he asks him as:

But the quick version: a book said it, so it must be true.

To be honest this re-occurring mentioning makes me hold to my belief that something was translated wrong there...

As the 5x04 sceheme to get the ring back is underway Lilith looks at Jack & Shirley’s interaction which is interesting not because it’s when Lilith starts to perhaps thinking of retiring her immortality but because a very special question comes to mind.

Michael knew the ring’s story. He claimed that he was the one who manipulated Lucifer into having his vacation, but his vacation just ‘happened’ to be at the same time Chloe was on Earth?

Here is a speculative meta.

Lilith asks Lucifer if he ever connected with anyone emotionally to which he replies:

Absolutely not. It would take a literal miracle for me to want something like that, and I'm fairly certain my father's not handing those out anymore.

It makes you wonder whether Michael was around listening, planning carefully his next moves. That that’s how he knew the ring’s story, or how he may have plotted Chloe’s miraculous birth by manipulating God.

At this point everything is possible but we should never forget that God at that point is still powerful and omniscience so Michael might be only alf of the explanation why Chloe is on Earth as a key for Michael to take down his brother and materialise his other plans. The other half is only known by God but will he be willing to share in P2 or even in S6 if he appears there?

Lesley-Ann as Lilith starts to sing ‘Someone to Watch Over Me’ a song written over the songwritter’s (Ira Gershwin) wedding anniversary, a true love song on many levels written in 1926 and featured in the Brodway Musical ‘Hey, Kay!’.

The musical’s plot is about an engaged womaniser falls in love with Kay and the song after lots of thought was placed to reveal to the audience of Kay’s realising that she is in love with the male lead, womaniser Jimmy.

We will never perhaps know if by imminence to Lilith’s first song lyrics, Lilith to a point was in love with Lucifer and held on to hope until she surrendered everything for a normal life not wanting to wait for the impossible. Of course that’s just one interpretation not a hard conviction of mine.

An analysis of the song writes:

When first composing this piece, the Gershwin brothers tried to capture the feeling of safety (and love) that everybody longs to have. The addition of the doll (a doll was added as the listener of the song in the rehearsals and stayed in the show) only enhanced the childlike, vulnerable side of the song that was being hinted at in lyrics such as, “I’m a little lamb who’s lost in the woods.”

Although many artists sing this like a love song, its first performance, directed at a doll, gave the piece an aura of safety not usually present in romantic songs.

Perhaps that safety should be also attributed here. Lilith still has her safety still holding on to her immortality knowing though that she will surrender it. Lucifer is unaware he one day will surrender his willingly because he fell in love.

In the end they both carry the vulnerability of needing someone to understand and love them. No matter how cynical we find both Lilith and Lucifer with his brutal Caligula orgy comments, they both crave about someone. Both have lost hope to their Shepard aka God/Dad.

Perhaps I’m wrong on my first impression with Lilith and her affection towards Lucifer. Perhaps they both are the prodigal children, lost in the woods wishing for someone to finally take care of them but no longer hoping for one, until Lilith takes the leap. Lucifer will need almost 80 more years and Chloe Decker to let someone take care of him.

Perhaps that’s why they do a duet on the lyrics:

Someone who'll watch over me

I'm a little lamb who's lost in the wood I know I could, always be good To one who'll watch over me

And the case is back to move the episode forward and enter the present Lucifer Trixie interlude and ‘Forget it Trix. It’s Chinatown!’

That line was the most obvious one as it comes from the more recent noir movie with Bogart and Chinatown (1974). In the movie aside from the mystery plot Evelyn - the mother eventually dies, the twist is that of an abuse which led to her daughter/sister’s birth and although that does not fit our serie’s plot the death of the main lady might. All a speculation so do not be dishearten remember all the above and this is not an S&S it’s a meta :P

After all Lucifer’s line goes back to the complex dealings in Chinatown and how understanding something fully is not always feasible.

Interesting is also how Lucifer shots, albeit the foot not the leg, of willy to prove Willy is not immortal. Like Chloe did to him in 1x04 and to Michael in 5x02. Jewelry is not going to save anyone. Big words but you know me. I believe in other provisions or actions even if they include the ring.

We all die, Lily. And that's okay. Truth is... I'd rather die today trying to save the man I love... than live forever without him.

The past, the present and perhaps the future?

The case is resolved and Jack follows Shirley to Des Moines (Capital of Iowa). That’s an inner joke as Joe Henderson is from Iowa and graduated from the University of Iowa.

Before Jack follows her remember that Shirley had asked more from him when he told her to be careful. A bit like Chloe in the evidence room in 5x08. If some have watched unconditional love then you might remember the scene where Kathy Bates tells to her husband played by Dan Aykroyd that him telling her ‘I love you was never a condition but at that point it now was. Similar to what we saw Chloe asking from Lucifer. A foreshadowing perhaps that eventually Lucifer will follow Chloe.

Now two things. Lucifer in episode 504 prepares their game night. He is now comfortable and even enjoying their game nights, he find himself right where he wants to be without being fearful of being dull. He is a shoe and that’s fine.

When Trixie asks Lucifer whether Jack and Shirley had a happy ending he tells her probably not as they moved to Des Moines meaning it was a boring move between New York and Iowa in general. Iowa and Des Moines have been used several times in jokes by the way due to Henderson.

Now back to Lucifer, at that point he does not see that sometimes sacrifices that lead to ‘boring’ lives are the best outcome and happiness is not equal to excitement but he is a slowly maturing Devil...

That part can help us to analyse the end of the story from 1946.

Lucifer says: Once you do this, there's no going back.

This implies that whether you surrender your immortality or gain it -for the second I’m quite doubtful it can be done on the same terms - it is forever. No going back.

Lilith’s next words reveal a broken woman who gets her Hail Mary and hopes for the best. As a parent she offered her children the best place to never realise they are lacking but Lucifer by bringing Maze to earth undid that as Maze slowly reaches her potential, learning there is a different way. God’s words echo since 3x26.

So was Lucifer a kindergarten guardian for Lilith? In a way yes but Lucifer in 5x04 understood Lilith’s logic. In their distorted image of how you can break an individual, the Lilims seemed safe from Lucifer’s and Lilith’s fates. Cast out, punished, unloved, lonely and in an unspoken despair to connect but too afraid to try again until Lilith tried again. The end of 504 showed she didn’t succeed o find what she was looking for. We have no way of knowing if we will see her again in P2 but it’s probable.

Lilith kisses Lucifer goodbye, making me once again wonder if a part of her did had feelings for him and wishes him back to enjoy the rest of his life as if somehow she knew, although she couldn’t.

The story ends here and perhaps the clock starts ticking for Lucifer through Michael. Perhaps the planning started with Penelope and John that were meant to be born, get married but not have children and then Chloe came along. But that’s just a theory...

And before the screen fades to dark, Lilith walks away with Lucifer standing in the middle of the street and we listen to ‘This Is Ours’ by Peter Sivo’s Band (1946-1961).

This is Ours lyrics are the words of a man which mystify me. For me it is a song that gives us a couple together after a very long time that reconnects. It was a meant to be couple but the past had to happen. He had to get married, for both of them to live apart their own lives until one day they get back together and now they can be together. There is no sadness, there is relief, contentment.

Several say that How I Met Your Mother had an awful ending. If you have not watched it and want to please stop here but know that I believe that the ending was just right.

In How I Met Your Mother, the lead (father) marries the mother of his children but it is revealed that she eventually dies and some years later he starts telling them a story that lasts ten years as all aspects of it in his belief is about how he met their mother. His daughter interrupts him saying that no it’s about how he met the woman he wants to be together now. They all know that the Mother was loved and was the One but in this life there is more, there are second chances because life happens and it’s not a bad thing and the time in between is as joyful as the future despite of the tragedies in between.

So a part of me wonders if Deckerstar will go a bit through that to a point.

Forget the past, for this is ours...

The thing is that a bittersweet ending gives as a possibility and then we are left wondering past that.

Trixie: I bet Jack and Shirley talked the whole bus ride and fixed everything. Lucifer: Yes. Yes, perhaps they did.

After all they did move to Des Moines... After that we can only guess.

#lucifer meta #lucifer season 5 #lucifer s5p1 #lucifer speculation

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favescandis · 5 years

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Mads Mikkelsen in AUGUSTMAN SG

Photos by Carlos Serraro. Words by Alexandra Pollard/Farhan Shah (June 2019)

article also found on augustman.com:

THE ENIGMATIC MADS MIKKELSEN IS HAVING A MOMENT THIS YEAR

“In many ways, it was the most physical thing I’ve ever done,” says Mads Mikkelsen of his film, Arctic, the gruelling tale of a man stranded in the snowy wilderness. “Ever.” It’s a big claim, especially coming from Mikkelsen. For one thing, the Danish actor had started out as a gymnast, then spent a decade as a dancer before quitting to study drama in 1996. He was already 31 at this point, but it didn’t take him long to make his mark – that same year, he appeared in the first of Nicolas Winding Refn’s acclaimed Pusher trilogy as a troubled heroin dealer, a role he reprised in 2004 to critical acclaim. In 2006, he broke out worldwide as eye-bleeding villain Le Chiffre in the Bond film Casino Royale. Later came The Hunt (2012) – a forthright and hauntingly nuanced portrait of a man falsely accused of child sexual abuse – and more mainstream fare, such as Marvel’s Doctor Strange, and Rogue One: A Star Wars Story.

And Arctic? It’s one of those sleeper hits that, much like a stone rolling down a steep snowy slope, has increasingly garnered acclaim from plaudits and audiences alike, long after its run in the cinema has ended. Much of this can be attributed to Mikkelsen, who is a riveting tour de force. It’s the type of film that sinks or swims based on the performance of one person. Mikkelsen hauls the film on his back and drags it along the ice to its very thrilling end. If anything, it very much resembles a certain A-List actor who goes by the moniker Leo and his performance in the harrowing The Revenant.

A Quiet Danish The 53-year-old has built a career on bringing gruff gravitas to smaller films, and a left-field sensibility – helped by his inscrutable face, all high cheekbones and distinctive pout – to mainstream ones. But today, he doesn’t want to talk about any of that. He is here to talk about Arctic. And only Arctic.

In fact, Mikkelsen won’t even roam into Arctic-adjacent territory. I mention a recent interview, in which he contested the idea that there’s a message about climate change wrapped up in the film’s stark survivalist narrative.

“That’s not what the film is about, that’s not the reason we made the film,” he says. “It’s a film about the difference between surviving and being alive. It’s a film about humanity.” Does he feel that in the current climate, both literally and politically speaking, people are increasingly seeing allegories that aren’t necessarily there? “I know exactly what you’re talking about, it’s The Guardian,” he says. “Of course that writer chose to make it what he wants, so I’m not making that mistake again. I’m talking about this film, and that’s it.”

So he doesn’t want to talk about anything else except the film? “No, because it always turns out to be the main message in the interview, and I’m not walking into that trap again.”

I can see why Mikkelsen is so cautious – that interview certainly contained some contentious quotes – though I find it hard to see how he was “trapped”. After all, surely nobody forced him to say: “Yeah, the climate is changing, but to what degree are we a part of it, and to what degree are we not and what to do about that is a big question. I mean the science is divided. Right now it seems like it’s not, but it is divided.” He went on to suggest that nuclear energy was a possible solution, “but nobody wants to have a talk about that”. When the interviewer brought up #MeToo, Mikkelsen said he was “reluctant to go there”, citing the response to a 2017 Matt Damon interview – in which he suggested that sexual misconduct allegations be treated on a “spectrum of behaviour” – as evidence that “this is not a healthy discussion any more”.

Does he feel he was misquoted? “Basically what I was trying to tell him is that when there is a conflict in the world, which there always is, and there is definitely now, the problem is the real lack of communication between the two sides. And it seems to be that nobody is really interested in having that conversation, and that communication. And that’s all I have to say about that subject.” I breeze past the mild irony in what he’s just said.

I had wanted to ask him his thoughts on the progress of diversity in Hollywood, given that he’s been involved in three major franchises – Bond, Star Wars and Marvel – all of which are having to confront historical deficiencies in that regard. “I have tons to say about that,” he says, “but not in this interview. I’m trying to sell a film that I’m immensely proud of, and I know that it will drown unless we just stick to the subject.”

Into The Wilderness Back to the film, then. Thankfully, it’s a very good one. Aside from the brief, startling appearance of a polar bear (“It was a so-called ‘semi-trained’ polar bear, and that little giveaway told us absolutely not to go anywhere near it”), Arctic is a two-hander. In fact, Mikkelsen’s Overgård spends the first third entirely alone. We observe him going through the motions of his daily ritual – catching fish, carving out “SOS” in huge letters in the snow, checking his radio transmitter for signs of life – though he seems to have given up hope of being found. “He’s just there, he’s existing,” says Mikkelsen. “He’s surviving, rather than being alive.”

In another interview, the Danish actor revealed that he walked for 12 to 13 hours every day for the film. “Just to get the amount of calories [for that] was impossible. So I just forgot to eat that much and got weaker and weaker from day one.” Much like how his character become more and more frail as the film progressed.

It was crucial to Mikkelsen that the movie not fall into the “flashback trap”. We learn very little about the protagonist, what his life was like before his helicopter crashed. “In the ’80s, we started doing flashbacks and then everyone fell in love with that,” says Mikkelsen. The way he sees it, almost every film these days uses that structure. Or, at least, has the lead character regaling another with the story of their past.

“It becomes a problem when we think it is a necessity, that we have to know that he has two blonde boys back home who are waiting for papa to come home. I mean, seriously, isn’t it heartbreaking enough? Do we really have to see these two kids crying back home? Can’t we just imagine how painful it is for everyone? I think that is the strength of this film, not to play the violins of emotions. And another thing, if we place him in a world that is very precise, it wouldn’t be me and you up there, it would be him, and we wanted it to be me and you in this situation. We wanted it to be a film about humanity and not a film about a specific person.”

If at first it is us and him, soon a third party enters the picture. When another helicopter crashes nearby, killing the pilot instantly, Overgård is given a reason to live. A young woman (María Thelma), the only other person in the helicopter, is badly injured but alive. Helping her survive becomes his only goal. “His humanity starts coming back to him,” says Mikkelsen. “He becomes, slowly, more and more alive.”

When Thelma turned up for her first day of filming, Mikkelsen was elated. “That was the happiest day on set when she came,” he said. “I had spent so much time alone at that point, I was going crazy. Having an actor to talk to and go through ideas with was just a gift from heaven. And obviously for the character himself, it was also the best day of his life. Even though what happened was a disaster, it was also a gigantic gift.”

An Atypical Arc I was a little worried, when we first meet the woman (we never properly learn her name), that the film was going to turn into a romance. “I had the exact same feeling reading the script,” chuckles Mikkelsen, newly convivial, clearly happy to be back on topic. “She appeared and I was like, ‘Uh oh, here we go!’ I was so pleased it didn’t happen. If they’d spent 10 years out there, maybe it would have gone a different way, but that’s not the situation here. It’s absolutely not the first thing on your mind when you’re in a situation like this one. So yes, I was as pleased as you.”

There are moments of intimacy between them, though. At one point, when Overgård is laying the unconscious woman out onto a makeshift bed in his helicopter, he holds on to her for a moment longer than is strictly necessary. “It’s one of my favourite moments in the film,” says Mikkelsen. “It just came out of that situation actually, I was trying to lay her down on that bed, and then I realised that he would… he’s been craving this intimacy, another human being hasn’t been here for so long, so he just did it. It’s so beautiful. Not until we released the film… there were a few people commenting on that moment, in this era, [suggesting] that that could have been mistaken, but we never thought about that. We just thought it was such a beautiful moment.”

It’s not just because he’s had his fingers burnt that Mikkelsen only wants to talk about this film. He is evidently chuffed with it – particularly how it conveys with only the sparsest of dialogue the very essence of humanity and our need for connection. “It takes two to tango, it takes two people to become human,” he says. “It’s very, very difficult to be a human being all by yourself. So that’s the story we wanted to tell. In many ways, she’s the one saving him.”

Arctic is not the only glacial title that Mikkelsen acted in this year. He was also the lead in the Netflix film Polar, which has nothing to do with ice in spite of its name. It’s a return to form for Mikkelsen, who had been somewhat in the shadows for the past two years. But in some respects, Mikkelsen has perhaps come to grips with the new world now. And is ready to demonstrate to the younger audience why he’s always been known as the actor’s actor.

by Farhan Shah

#Mads Mikkelsen #AUGUSTMAN SG #Magazines #The Arctic

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ninainthetardis · 5 years

Text

AVENGERS ENDGAME SPOILERS + MY THEORIES & COMMENTS

It's been a week since I saw Endgame and I think it's really the time for me to write some comments about it.

The First Part of the Movie

- It was kinda smart as in a couple of minutes it foiled almost every theory ever made about it.

- It was good as they showed us our heroes humanity, the way they struggled to move on after the snap and how alone, responsible and broken they felt.

- It was too long: they could've used half - or at least a third - of that time to cover some of the plot holes left at the end of the movie, or to show us something more interesting. For example, Imagine if there was no scene about Hulk taking pictures with his fans and instead of it we'd got Steve's meeting with Red Skull. Wouldn't it be amazing? Yes.

- Thor and Hulk were destroyed. Those characters went on a journey since we first met them, and starting from Ragnarok to finish with Endgame, they ended up going backwards instead of moving forward. They were hilarious in some moments, yes, but mostly they looked ridiculous and ooc. I mean... Hulk's dab dance? WTF?! Thor spending his days playing fortnite? It looked a little excessive to me honestly.

- I loved the way Natasha and Steve kept counting on each other like the family they were supposed to be. They give each other strength and support, and love. They were amazing. Truly.

- Tony's speech almost made me cry. Of course I knew that was not his end, - it was too soon -, but I almost cried anyway. Watching him suffering pained me. I was trying to figure out how they would manage to get out that situation when Carol showed up and I almost screamed. And CAN WE TALK ABOUT TONY LETTING NEBULA WIN, PLEASE?!

The Time Travel Thing

Basically, Ant man came back to our world to find out half of the population had been wiped away, and he has this idea of time traveling because why not? Let's mess with our minds a little more.

They explained that if they went back, their past would not change anyway, but at the same time Bruce says that when they remove an Infinity stone from its timeline, they create an alternative reality. Now, sure Steve put them back to where they belonged when they were not of use to the Avengers anymore, but still, there's a Loki who fled with the Tesseract in 2012 and I don't think that Steve faced him and fixed it on his own: I mean, it took the six of them to defeat him the first time! So, didn't that create a different reality? There is an Infinity stone out of place after all.

Still, I can't see how Thanos could do the snap if his 2014 version is dead. All I'm saying is that the timeline we saw remains unchanged, but we can't actually know whether there is an alternative timeline in which IW never happened or not. I like to think there is because this would mean that there is a reality where Nat, Tony and Steve are still alive, together and maybe happy. Just we'll never see it. Unfortunately.

Plus, the soul stone. A soul for a soul, right? Given that Steve returned the stone, couldn't he get Natasha back?

Tony. I expected Tony to die at the end of this movie but seriously guys that hurt too much, I was not ready at all. He finally had the family he deserved and wanted but could not sacrifice half of the living beings on earth just to keep his happiness. WHAT A CHARACTER DEVELOPMENT. He started from fighting for himself to almost sacrifice himself in Avengers 1 and to actually do it in the end. Chapeau, Iron Man.

Steve. And here the thing gets complicated. I expected Steve to die as well,though his death would have broken me, - you know, favorite character and so on. We were ready for just one of them to die, so the only way to completely destroy our hearts was to kill both of them off. They didn't, and somehow this was even worse.

It's like we were robbed of our proper goodbye to Cap. I am, of course, happy he got the love of his life back (though I can't see how this will not affect the timeline tbh), but up to Endgame, things happened. First of all, Sharon Carter. And here everything gets weird. Secondly, he made a journey during which he changed and came to accept what had happened to him. In the end, it was all thrown away. It's kind of ooc for me that he just left Bucky in the present, friends who needed him, and went back to the past. And at the same time I can't actually see him just sitting there when he could prevent shit to happen. Though he promised Nat to move on, and maybe, after losing Nat and Tony, he realized that the only way for him to move on was to go back. Because yes, I think he wouldn't have come back if they had been alive. And Bucky followed his own path after CW, so they had already gone on separate ways.

As I said, it's tricky. A lot.

It's like Tony learnt from Cap to sacrifice himself and Cap learnt from Tony to put himself first for once.

"See you in a minute".

Natasha's death. That I didn't expect. Well, actually I did, being her my second favorite character and being used to watching my favorite characters die all the time. But you know, I thought that the soul stone required the soul of the one you love the most, and there was no way that Clint loved her more than his family. So I thought he was the one better suited for the sacrifice. And instead that wasn't the case and she died. But I didn't want any of them to die anyway. And it hurt because she said "see you in a minute" and then she didn't come back. And Steve's reaction when he realized she was gone forever. My poor heart.

This movie truly messed up with me.

Random comments

- Pepper was amazing and the scene of all women fighting side by side was MARVELOUS. I wish Natasha was there though.

- Poor Morgan lost his father, they were so cute and happy, my heart can't handle this.

- Thor giving away his throne was... I don't know, that's tricky as well. His whole path was about becoming worthy and gaining the awareness he needed to be a just king. So it makes sense he didn't feel like ruling at that moment, he lost himself and needed to find the right path again, but giving the throne away? Sounds too much to me imho. But I also don't think we've seen all of Thor, so... Maybe they'll fix it later on.

- Gamora. 2018 Gamora is dead, 2014 one is alive. What. About. Her? If the past remains unchanged, does it mean that she has only four years left to live (in perfect final destination style)? Or maybe she died when Tony snapped? Or she just run away to follow her own path again, as originally in 2014 she left Thanos and changed from a bad to a good guy, doing we don't know what exactly. Maybe she's meant to do it again, (just in the future) before meeting Quill again.

- The Scarlett Witch is FIRE. Can't wait to see her show! (Also, Loki's. I wonder if it will start from him fleeing with the Tesseract or if it will be a prequel like the movie about the Black Widow)

- Ronin. It was like Natasha and Clint's position were reversed and this time it was down to Natasha to save him and she did it. She's so loyal to her friends, her family, the family she found in the Avengers. She deserved so much better.

- I expected that they had to face either Loki (the one who fled with the Tesseract, after he did it), as a sort of coming back to the start, or Thanos from the past. It was Thanos and I was happy. I still hope we'll see Loki with his character development intact again.

- The final battle was INCREDIBLE. AMAZING.

- When I was at the cinema, I was 99% sure there was no scene after the credits. I waited anyway. And it was only when I saw that black screen that I realized it was really, really over. That was the moment I had to repress other tears.

- I'm gonna stop now. I just want to say that, in spite of all the plot holes and things I don't agree with and that were done, or things that I thought could've been done better, I loved this movie. It's the end to an era that meant - and still means - a lot to me and it was AMAZING. I will bring all those characters and those stories with me forever. Nat, Steve and Tony in a special way. One day I'll come to terms with the fact that this is all. But not today.

Love you 3000.

#avengers #avengers endgame #avengers infinity war #avengers engame spoilers #avengers earth's mightiest heroes #captain america #captain marvel #steve rogers #natasha romanoff #romanogers #iron man #tony stark #thor #hulk #bruce banner #hawkeye #clint barton

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letterboxd · 4 years

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2019.

축하해요 to Bong Joon-ho and the Parasite crew on taking the highest-rated spot in our 2019 Year in Review. Congratulations also to Anthony and Joe Russo and the entire Marvel team on Avengers: Endgame finishing the year as the Most Popular film.

“I find it beautiful that people would express their feelings and put their heart and their mind into cinema” —Céline Sciamma on Letterboxd reactions to Portrait of Lady on Fire.

The Letterboxd Year in Review is presented by NEON.

The 2019 Letterboxd Year in Review is out, and, as voted by you, Bong Joon-ho’s Parasite, Céline Sciamma’s Portrait of a Lady on Fire and Greta Gerwig’s adaptation of Little Women are the three highest rated films of the year, while the Russo Brothers’ Avengers: Endgame is the year’s most popular film. Feel free to dive in, then come back here for some insights and behind-the-scenes tid-bits:

The 2019 Letterboxd Year in Review

Pro tip: on devices with keyboards, we recommend navigating via the up/down arrow keys for the most satisfying experience.

Right out of the gate, we could tell Parasite and Portrait of a Lady on Fire were going to have an impact this year—we picked them in our top 10 Cannes premieres of 2019, but we couldn’t have predicted that Parasite would topple The Godfather’s long-standing position as the highest-rated film on Letterboxd. An epic achievement. As director Bong told us at TIFF when we revealed he was on track to have the highest rated film: “I’m so happy with that. All the cinephiles, the film geeks. Me, also the cinephile, so I’m very happy with that news. Thank you!”

Céline Sciamma was also touched by the attention that Letterboxd members have paid to Portrait of a Lady on Fire, which had a limited US release in December and gets a wider run in February. “I’m paying a lot of attention about what’s going on around the film, what is being said,” she told us. “I’m really looking at things, so I’ve seen a lot of Letterboxd”—she sees you!—“and the fact that people who were touched by the film would take the time to write about it, I think it’s something really beautiful because, especially with this film, which is about how love is an education to art—because art consoles from love or makes us greater lovers—I find it beautiful that people would express their feelings and put their heart and their mind into cinema.”

Getting to the heart of why we created Letterboxd, Sciamma concluded: “That’s the beauty of this digital era. As a young cinephile there was no internet, and I remember writing, just only for myself in little diaries about film. And so I found it really, really important.”

The two highest-rated films of the year are both distributed in the US by NEON, who we are proud to have on board as an official presenting partner for the 2019 Year in Review. NEON’s manager of acquisitions, Mason Speta, says: “The Letterboxd community is home to the most committed and passionate cinephiles, and we couldn’t be more thrilled to be recognized by the people who love movies as much as we do.”

In that same Cannes piece, we highlighted just one documentary, For Sama. The heartbreaking first-hand account of life as a young mother in Aleppo has gone on to become our Highest Rated Documentary of 2019. “It really means a lot to us,” director Waad al-Kateab told us. Her co-director Edward Watts added: “To know that it’s reaching so many people is such good news. The dream was always that the film would reach so many people and they would come in contact with this incredible story, so it’s fantastic to hear that people have seen it, and that they like it!”

The Lighthouse also appeared on our Cannes list; it finishes the year as our Highest Rated Horror (read our Q&A with writer-director Robert Eggers here). Quentin Tarantino is 2019’s Most Watched Director, after thousands of you revisited his back catalog in anticipation of Once Upon a Time... in Hollywood.

A global scan of the 50 Highest Rated Narrative Features favors the US, with 20 films on the list, but the remaining films come from far and wide: Korea, France, China, Brazil, India, Japan, Spain, Germany, Colombia (twice), Turkey, Sweden, Romania, Italy, Mexico, Austria, Iceland, and a couple set in the Arctic Circle and outer space.

We’re very pleased to see, in the highest rated category, that two of the top three directors are women—Céline Sciamma and Greta Gerwig. The only other time a woman has featured in the top three in our history of Years in Review was in 2017, when Gerwig’s Lady Bird took the second spot. Overall, ten women directors feature on the top 50 narrative films list, down one from 2018’s record of 11. On the other hand, ten women directors feature among the 20 highest rated documentaries, with Waad al-Kateab and Beyoncé Knowles in the first and second spots. These are the ten highest rated films by women directors in 2019, and here are the 10 most popular.

Best of the decade

Also included in this year’s review is an extensive selection of 2010s best-of-decade lists, covering narrative, non-fiction, directors, directorial debuts, action/adventure, animation, sci-fi, comedy, comic/manga adaptations, horror, romance, war, mini-series, comedy specials and underrated films of the decade.

There’s so much to explore, so that’s it for now, but the goods keep coming! Look out for interviews with the directors of For Sama and Portrait of a Lady on Fire in the next few weeks. We’d love to hear your observations in the list comments, and to know what you’re anticipating most in 2020.

A few important thank yous: to NEON for partnering with us, to Joseph Qiu for 2019’s beautiful illustration, to Jack Moulton for data deep-dives and list-keeping, and to all the filmmakers for continuing to inspire us. And to all of you: thanks for another excellent year. As Céline says, art makes us greater lovers!

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biavastarr · 5 years

Text

Co-Workers

Pairing: steve rogers x you (fem!reader)

Warnings: language, mild (?) violence, injuries, inaccurate medical descriptions, inaccurate passage of time

Word Count: 3,968

Disclaimer: I do not own the rights to any of the media or characters mentioned in this story.

Author’s Notes: okay so this is my first fic that I’ve written since seventh/eighth grade and since the theme is nostalgia and I’m the writer who has the power to do whatever I want I’m gonna disregard like half of canon and make this fic post-Civil War except they all got along and everyone’s alive and happy and Pietro and Bucky are living at the tower too and it’s not the compound mainly bc I want it to be in the city. reader is an ex-SHIELD agent who joined the Avengers like a month ago bc she’s been on the run since it fell. I just,, I love them both. I’m definitely being overindulgent and this is way too much exposition for stuff I don’t think really gets mentioned.

this is for @whirlybirbs and her endgame writing challenge, the nostalgic thing in this being the innocent “they all lived in the tower together” era that I loved so much. this is my first time writing for Marvel but I hope you guys enjoy!

Summary: Being a former SHIELD agent left you with a lot of walls that a certain blonde super-soldier is all too good at tearing down.

This mirror, you decided, has got to go. You were staring at yourself from ten different angles and the A.I. was reciting a full rundown of your skincare routine and it was quite frankly creeping you out. Ever since you moved in to Stark Tower last month, Tony had been trying to charm you with increasingly technologically enhanced appliances and you were starting to feel like Belle, what with having to tell your fridge that no, you are not hungry but thank you for the concern.

You carefully smoothed over your dress, a black, crushed-velvet thing with a high neck and flowing sleeves, a cinched waist, and wide skirt that fell delicately at your knee. If you could appreciate one thing about the mirror, you mused, you could admit that it let you know you look damn good. You slipped on a pair of pumps and left your little pseudo-apartment as quietly as you could manage, praying that your years of SHIELD training didn’t fail you in your time of - dare you say desperate? - need.

Tragically, as though the gods themselves had it out for you - you’d curse Thor for this later - you only managed to make it down the hall before delighted crowing from one genius billionaire playboy philanthropist made himself known. You turned slowly, bracing yourself for this inevitable interrogation-slash-please-be-friends-with-us speech. The man strolled over to you with a smirk on his face, Captain America himself trailing awkwardly behind him. Your heart fluttered pathetically at the sight of the blonde soldier. No, you reminded yourself sternly. Coworkers are coworkers.

Blissfully oblivious to your sour expression, Tony clasped your hand and spun you wildly, your dress flaring out around you. “Do my eyes deceive me, or are you finally gracing us acquaintances with your presence at movie night tonight?” He drawled out his comment, glancing far-too-knowingly at a certain slack-jawed supersoldier.

You winced, knowing that he’d just quoted you from a check-in report you had given Fury the other day that the other Avengers had found and pouted over. You didn’t have any specific issues with them, you knew, but they were your coworkers. The last time you had trusted the people you worked with, you had ended up with a gun to your head in a room full of Hydra members. It was easier - both for you and your heart - not to mix business with pleasure. That being said, you also knew that it’s never wise to be rude to a man who’s quite literally housing and paying you. Ever since SHIELD fell, Tony Stark had taken it upon himself to finance this whole initiative.

You sighed dramatically, faking a put-upon tone. “I suppose I can promote you all to glorified roommates, if you would like, but no, I’ve got a date.” Your eyes subconsciously drifted to Steve, drinking in his appearance as you admired his absurdly tight shirt straining over his chest.

At this, Tony lit up, his grin only widening further, eyebrows dancing high on his forehead. “Oh, really,” he questioned, “and with whom, may I ask, are you going out with? Can they really outmatch ole’ Capsicle here with his puppy eyes?” He winked at Steve, who was doing his best (which was not very successful) not to stare too deep into your eyes.

Smiling playfully, you pinched Tony’s cheek, laughing at the blush that painted his face in reaction. “Aw, Stark, that’s for me to know, and for you to never find out.” With a swish of your dress, you stepped around him, nodding kindly at a still-silent Steve Rogers, and entered the elevator.

As the doors closed, you waved shyly at the pair, trying not to think too hard about how none of the walls you had built, those defenses so painstakingly made, could ever really protect you from those incredibly blue eyes that still looked your way.

---

Steve hated when Pietro picked for movie nights. The last three time in a row had granted the Sokovian complete and utter control and he was dying, he was sure of it.

While they normally rotated turns, last week was what the Avengers had hoped to be your turn, but you had shrugged and said you had a mission, passing it off to Pietro, despite him literally picking the week before, not that Steve was still bitter about it or anything. Not at all. Tonight it was supposed to be Tony’s turn, but he had picked up on Steve’s exasperation with the speedster’s movie taste and gleefully handed the reins to Pietro once more.

Wiggling his eyebrows (ridiculously), Pietro popped the DVD for Not Another Teen Movie into the player, flopping down into the seat beside his sister with a bright grin. “Look, Captain,” his heavily accented voice drew Steve from his thoughts. “You may even like this one, it’s a play off all the other flicks we’ve been watching. Also, the guy who plays Jake is hot.” He winked unabashedly at Steve, who was now contemplating how hard it was to fake a heart attack if it meant he could leave the inevitable teasing that would come from tonight.

No, not because he was an “old man who can’t appreciate fine cinema” (Natasha’s cutting words after he said he didn’t particularly enjoy High School Musical 3), but because your absence meant that the others could safely - and loudly - tease him about you.

Bucky, whose metal arm was slung casually around the seat next to him, was currently bearing a shark-like grin, and Nat, who had draped herself across an entire half of the couch, much to Tony’s chagrin, had a smirk painted on her face as they watched everyone settle in, easily noting that you, like always, had elected not to come.

“Where’s our new recruit?” Wanda inquired with an air of fake innocence, oh, Wanda, not you too, not you, thought Steve in alarm, the young witch looking around as if she really needed to search for a person she knew was not attending.

“Oh, haven’t you heard? She’s got a date.” Tony said, drawing out the last word as if he treasured it dearly.

“No!” Wanda mock gasped. “How did I not know this!” She turned to Steve, the bowl of popcorn shifting dangerously in her lap. Sam nimbly scooped it up before it fell, and Tony mumbled something grateful about stains in his carpeting before stuffing his face with the buttery popped kernels. “Who’s she out with?”

Sam grinned at her slyly as he tossed a piece of popcorn at Natasha, watching her catch it deftly in her mouth. “It’s probably Pepper’s new assistant, Jared, I think? He’s always staring at her like she hung the moon or something, bet he finally got the balls to ask her out.”

Natasha shook her head incredulously. “No way, that kid is so nervous he rivals Steve in his eloquence around her, I swear. Maybe she met someone outside of the Tower. She does go out without us a lot.”

Steve flushed considerably, cursing his Irish skin for betraying him so. He tried to focus on the movie again, preferring the embarrassment of the whipped cream-covered protagonist to the current situation he was facing. “I do not get nervous around her,” he grumbled, more to himself than anything. Bucky’s head shot up at this, his damn super-hearing once again being the bane of Steve’s existence.

“Yeah, punk, and I don’t have an arm made of Vibranium,” Bucky snarked, throwing his metal hand up for emphasis. “What, like it’s just natural for you to fall off your chair mid-debriefing?” Steve, again, bemoaned his reddening state, doing his best to ignore the group around him smirking at the memory.

Sam patted his leg consolingly, having stretched out on the pillow-laden floor for better access to the snacks. “Look, man,” he started carefully, “you’ve just gotta say something, sometime. You don’t want to wait until it’s too late and you definitely don’t want to say it when you don’t mean to. She’s an Avenger, just like the rest of us, despite how much she tries to act like she’s not, and it’s not going to make life any less complicated for her if you’re stewing on feelings she doesn’t know about.”

Steve laughed a little disbelievingly. “What, you think I’ll tell her in the middle of battle? C’mon, man, give me some credit.” Sam rolled his eyes eerily in sync with Nat and Bucky.

“Alright, Rogers, whatever. Act like you don’t need us.”

---

Oh fucking hell, you thought, sprinting frantically through the streets of Paris as the city lights twinkled tauntingly above you.

Your date, as you had called it eighteen hours ago, was actually at a gala hosted by an arms dealer Fury suspected was Hydra, and now, with a gash carved across your leg and a head wound that wouldn’t stop bleeding, you felt that he had been quite justified.

Pausing for a moment in a flower-covered alcove, you held your breath, hoping that whoever had been tailing you had finally called it quits and moved on. You were tapping out a message on your phone, letting him know what went down, when you caught sight of the man tracking you.

Shit, you thought to yourself. It was the man whose very arm you had entered the gala on, and he was the most trusted goon of the suspect you had been investigating. You knew it was safer to head back to the Tower, check in with Maria and Fury, and then return for further evidence, especially considering the USB drive you had tucked into the pocket of your dress, but you had already gotten so much from this mission that you hadn’t expected and by god if you weren’t a relentless and slightly reckless pursuer of justice.

Narrowing your eyes as you continued to observe your oblivious pursuer, you opened up your purse, quickly wrapped your calf wound, and carefully slipped on the stealth suit and matching boots, packing away the dress and frowning slightly at the new tear in the seam. One of the surprise pains of being an Avenger was the tragically short lifespan of your closet.

Padding behind the man silently, you finished your message to Fury, punctuating it with the update of your plans to infiltrate whatever base the man was headed to. Breathing in deeply, you slid your phone into one of the straps across your thigh and winced slightly at the pain still screaming in your leg, hurrying on behind the burly man.

---

Maria groaned exasperatedly at the message blinking on her monitor, swinging her chair around to face Fury. “You see this?” She pointed at it in frustration, finding no other words for your stupidity.

“Fucking dumbass. She always does this. Thinks she can get all the motherfuckers out of sheer will.”

“God, I mean, she’s a good agent, but she has no regard for her personal safety. It is such a pain, Nick, I’m telling you, I’m going to get gray hair just from having to be her handler.” Maria tugged at her dark locks as if to display them for inspection. She and Nick both loved you, but they forgot how dumb it was to send you on a solo mission with no back-up; you were never sated with just satisfying mission objectives; with no one to stop you, you wouldn’t be finished with the job until at least an entire base was wiped out or you were carried away on a stretcher.

Nick shook his head and picked up his phone again, signalling to Maria that she needed to respond to you, well-aware that you’d ignore their protests anyways. Dialing his backup plan, he internally groaned at the voice that picked up.

“Hey, Stark. So I borrowed your new agent-”

---

Oh fucking hell, for real this time, you thought, wincing at the heavy manacles they left you in. You were a little grossed out that these things looked like they came out of a medieval torture museum, and had the rust to prove it, but you supposed that was a later issue. You had gotten your tetanus shot, you reminded yourself as a new grimace shook you when the metal dug painfully into your wrists.

No, your current issue were the two Hydra agents staring you down in the harshly lit room. You assumed it was the designated unwillful-interrogation room, but you clocked no less than three potential exit points, from the door to the vents to poorly concealed hollow panel you bet you could kick in with a hearty shove. Finishing your assessment of the room, you waited until one of the agents cleared their throat before turning back to them.

“Who do you work for?” His gruff voice ground out, grabbing the chain that kept your bulky cuffs suspended in the air. Your lips curled into an expression of disgust at his proximity.

“I mean, a) cliche line, seriously, and b) why do you even ask? If I’m from anywhere worth being from, it’s not like I’d tell you. Also, you guys should have, like, basic investigative skills. Facial recognition technology. Literally anything.”

The man growled again, rattling the chain as if he was trying to shake you around like a ragdoll. Your head swam and you were reminded of the blood draining out of you from a wound with an ever-slipping wrap.

Figuring that waiting longer would only worsen the situation, you yanked your arms up and wound the chain tightly around the agent, choking him out while his partner sprang up towards you. She shot straight at you through him, clearly not caring whether he survived this attack, but you launched yourself up and over his shoulders, snapping his thick neck with a twist of the chains. Angling your wrists up so that the next bullets hit the cuffs, you wriggled your hands out of the pinched, burning hot metal and lunged at her before she could react.

Scrabbling at her hands while trying to grab the gun, she managed to sling you over her shoulder so you landed with a thud on the ground. You kicked out at her feet and she fell heavily on top of you, but you flipped yourself over, straddling yourself over her hips. She tried to jerk her head up, but you dodged quickly, circling her throat with your hands and forcing your knee down on her thigh so you could follow the momentum and twist with a loud crack of her neck.

Letting her body slump to the ground, you dusted yourself off and looked around. Electing to exit via the vents, as it seemed to be the safest way to stay out of sight, you braced yourself against the chains hanging from the ceiling and pulled yourself up and out of the room.

---

“Barnes, Rogers, Romanoff, Wilson, c’mon, we’ve got a mission to ‘supplement,’ as Nick so delicately put it.” Tony was speedwalking through the common area, ignoring groans of protest as he smacked the whining assassins. “Shut up, Barnes, you can lose to Natasha at chess on the quinjet, we’ll have plenty of time on our way to Paris.”

“Paris?” Steve parroted, joining Tony at his side. “Does this have anything to do with the fact that this alleged ‘date’ has lasted a day and a half?”

“Relax, Cap, your girlfriend is fine-”

“She’s not my girlfrien-”

“Right, you wish!” Natasha cackled loudly, high-fiving Sam and Bucky while Steve turned and gave her the best kicked puppy expression he could. This only served to make them laugh more, and Steve once again questioned why he ever let these dorks - his dorks - all meet.

---

“Yes!” You whispered quietly to yourself, beaming at the storage room full of explosives you could see below you. Dropping down as quietly as you could manage, you let yourself land on the shoulders of the lone guard and knock him to the ground, stabbing him in the stomach with knife you had pulled out of your boots. Pausing once again to readjust the bandage you had tied around your leg, you let yourself lean against a crate for a moment, your vision wavering.

---

“Tony?” Natasha’s concerned voice rang out from the cockpit, causing everyone to worriedly look in her direction. “Was this base supposed to be on fire?”

Steve stood up and rushed to the windows, his own eyes confirming one of his biggest fears. He had a team member down there, and he didn’t know if she was alive or dead, and worst of all, he didn’t know what he could do to help her.

“Sam, Tony, you guys get out now. Fly over and try to get us visual on any activity going down. Let us know if, if you see her.” Steve shook his head at his stumble, pausing momentarily. “Bucky, Nat, as soon as we land this thing, we’re all going to split up. Cover as much ground as we can. Where’s our closest landing point?”

“I’ve got it, Cap, calm your beautiful, beefy-”

“Do not even finish that sentence right now.”

“Rogers that.”

“That doesn’t even work, Tony!”

---

It had been a whole 273 seconds since Steve had touched down on the ground and there was still no sign of you, and with the few Hydra agents stationed at this base being found dead or dropped already, this left his mind all too open to thinking up terrible situations that you could’ve found yourself in.

Don’t be ridiculous, he chided himself, the knocked out agents, the explosions are a good sign. She’s a capable agent; if she did that, she’s out here somewhere. He clenched his jaw in concern over the state of the base, though. He was guessing that it was you who blew it to near pieces, and rubble was still crumbling and settling. He just hoped he didn’t find you trapped under any of it.

Suddenly, a piercing scream curled out from around a corner, and he whipped his head in search of the chilling sound. Jogging into another collapsing room, he breathed a weighty sigh of relief upon discovering your bloody but intact body on the ground. He followed your horrified line of sight to discover a kevlar-clad severed leg, drenched in blood and soot.

He knelt before you, bringing your head to his chest and wrapping his arms gently around you, trying to quiet your panicked cries, though puzzled at the sight - as an agent and then Avenger, you certainly were no stranger to gore. Steve rocked you slightly, and your shrieks quieted enough for him to bring his face level with yours and search your eyes earnestly. You watched him, your face blank, as his large thumb brushed tenderly against your cheek, wiping the stray tears and dust from your face.

“Hey,” Steve whispered, “are you okay?” He took your hand in his, gingerly stroking the back of your hand in soothing circles, and you marveled at his soft touch despite the rough leather of his gloves.

“I,” you started helplessly, “I’m, uh.” Tears continued to escape you, and you tried to fight the humiliation of crying at work, no matter how grave your situation was. You nodded brokenly at the bloody calf across the room from you, hoping he would put two and two together, and your shoulders shook once more. Steve looked at you quizzically, fighting the urge to kiss your fluttering lashes until the unidentified pain went away.

“....What?”

“What do you mean what?”

“I, just, what?”

You wailed again, throwing up your hands in frustration and instinctively standing to go and show him yourself when suddenly you glanced down in wonder. No, your eyes did not deceive you, you were standing on the same two legs you had entered this mission with. “Oh, that’s not my leg!” You gestured excitedly at the limb you had mistaken for your own, glancing back at your own leg that had a matching gash down the back of the calf. “I had just assumed I couldn’t feel it because of shock, y’know, and-”

“Do you wanna go on a date with me?” Steve’s breath hitched as he realized what he just said. Oh god, he groaned internally, this isn’t technically in the middle of battle, but-

“What?” You were blinking, a lot, more so than what Steve thought was normal. He tried not to read too much into your eyes, those eyes he found himself lost in, prettily framed by those long lashes and holding a gaze he couldn’t understand.

Shit, his mind was racing, stumbling over his words once more. “I, uh, I don’t, um, know why? Why I said that? Oh, god, I mean, we’re not even there yet, not that I’m expecting you to have to be there, ever, oh god, I am so sorry, I’ll just-”

“Steve,” you cut in, gasping a little and clutching a ridiculously thick arm of his for balance. “Fuck, uh, my leg, my actual leg this time-” With a painful whine, your body toppled against his as you blacked out, warm blood still trickling down your calf.

---

You squinted your eyes open, trying to avoid the glaring fluorescent light the filled the room. The hospital room, you realized, turning your head with a wince to see a large window whose natural light was tragically obstructed by cream-colored blinds. You let your eyelids droop again, hoping that you could avoid the effort of revamping your lighting by just falling asleep, but you had no such luck. You settled for letting your gaze wander aimlessly around the area, which you assumed to be a local Parisian medical center and not the Avengers medbay you had yet to visit - Tony would never allow such an ugly tile pattern within fifty feet of his home.

Shifting carefully, all too aware of the throbbing pain that still burned in your leg, you looked to the other half of the room and stifled a gasp - the one and only Captain America was asleep at your side, leaning heavily to the side of his fragile-looking plastic chair. Your eyes fell to his still-gloved hand, which was clasped in your own, and you briefly wondered how out of it you were that you hadn’t noticed this immediately.

Dragging your free hand over to cradle his face, you called his name softly. Bleary-eyed and painfully cute, Steve blinked his way awake, coming back to you. His shoulders sagged in relief at the smile on your face.

“Hey.” You weren’t necessarily one for feelings or overaffection, but you hoped Steve didn’t notice the embarrassingly obvious adoration in your voice as your eyes drank him in.

“Hey.” His tone matched yours, sleep-husky voice still loving and velvet. You started to draw your hand away, relishing the warmth that emanated from his skin, but he caught your wrist cautiously, gentle enough to let you slip away if you wanted but firm in his request.

You stayed like that, together, for a dreamy few seconds, before he cleared his throat awkwardly. “Listen, uh, so, I’m sorry, about asking, not that I didn’t want to ask because I did, but it was unprofessional and unfair to you and-”

“Yes.”

“What?”

“I said yes, Steve.” He blinked at you adorably in question.

“But I thought you didn’t want anything like that with a, um, coworker?”

You swallowed and looked down at your clasped hands. You had spent far too long keeping people at arm’s length because of your fear, and you knew you could trust the Avengers. You made a tiny, tentative promise to yourself, to give people chances like they had given you. Bringing your eyes to match his, you gave him a small smile.

“Well, I guess it’s a good thing that Captain America is my coworker, and it’s Steve Rogers who’s asking.”

#steve rogers x reader #steve rogers #steve rogers fanfiction #steve rogers fluff #steve rogers imagine #steve rogers x you #my writing #birbswc2019 #i dont rlly like this but i am 2 tired to try harder

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withallthingslove · 5 years

Text

avengers endgame spoiler-filled review

below the cut bc spoilers obviously

even after two viewings this movie is super overwhelming so I’m just gonna jump right in

- clint’s family disappearing was so haunting and traumatic omg

- i didn’t like the music choice over the marvel opening crawl

- nebula was so adorably intense when tony playing footbal with her

- carol is such a bad bitch she just carried an entire fucking ship through space

- steve running up to tony and holding on to him... that was content I didn’t know I needed

- the pepperony hug ughhh I’m not a huge gwenyth paltrow fan but she was so good as pepper in this

- honestly I get tony has been through a lot but he was such a dick back at the avengers compound. I’ve always preferred steve to tony and that scene really displayed why. Yes tony was right something bigger was coming, but his way of going about preventing it was proven wrong both times. I don’t consider ultron to be super canon because joss whedon sucks but tony’s first idea to try and solve it failed, and then the accords also failed and even rhodey regretted it. Infinity war was basically “hey yeah the accords was dumb af and steve was right and now the avengers are scattered.” Both tony and steve were selfish and made mistakes in civil war but the fact that it had been over three years and tony was still soooo angry with steve and holding a grudge just rubbed me the wrong way.

- I really felt for thor when they went to get thanos. Chris hemsworth’s acting in that scene was so good when he realized they had failed

- again who on earth put steve in charge of a support group. And while yes its nice to have some lgbtq representation marvel is way behind on that so to me it did not feel like enough

- paul rudd did so well in this movie and scott is such a good dad ugh

- 10/10 would die for morgan stark. She is soooo cute and it was hilarious when she was like “mom told me to come rescue you”

- i know a lot of people are mad at tony dying bc he could have “retired” but that scene with his daughter before steve, nat, and scott show up shows he could not. He still had a garage where he built iron man suits and suits for pepper. That’s not what someone does when they are out of a fight. That’s why he fell back into it so fast because he never left it. He was still tinkering and preparing and even when he retired he was still fully ready to go back

- i like professor hulk but at the same time i miss bruce

- tony and steve love each other so much it made me so happy when tony showed up at the compound. they’ve had their differences but there is real love there

- speaking of real love I will still never forgive joss whedon for taking clintasha away from us like yes their platonic friendship is great but UGH. They love each other SOOOOOOO much

- tom hiddleston as loki always steals the show and i miss him so much. I was convinced he wasnt dead so I’m sad that he was still dead in the current timeline. But maybe since there is now an alternate dimension with loki and the tesseract he will show up again

- him impersonating steve, his side eye, just... *chefs kiss*

- the america’s ass comment... amazing, iconic, beautiful. And then steve’s “yeah I know” comment to his 2012 self. I’m so glad the russos let steve be funny

- I love how much winter soldier played into this one especially since it was the russo’s first mcu movie. The elevator scene... steve outsmarting the hydra agents. Secretary pierce showing up... and then steve fighting his past self was just *chefs kiss* again. The fact that he knows his own weakness is bucky and uses it against himself

- not excited to see tilda swinton’s character because its just a reminder of marvel’s whitewashing but I appreciated it trying to explain the timeline/dimension stuff

- i also loved that at the army compound tony was able to get closure with his dad, something he deserved for a long time. I think that was another hint he was going to die because his arc was completing while steve’s.... the look on steve’s face when he saw peggy just broke me. absolutely broke me. Steggy was my first ship in the mcu and so steve and peggy hold a special place in my heart. The fact she still keeps the picture of tiny steve after all these years (a reference to agent carter)... they both moved on enough to enjoy life but never truly moved on enough to leave the other behind. And so while tony was getting closure, steve was being reminded of what he wanted most and couldn’t have. I also loved the tie in with agent carter and showing Jarvis this movie was truly a fan service to us all

- okay so rhodey/nebula: so ive never been a huge nebula person but i really liked her in this movie. I loved rhodey’s line about “you work with what you got” as far as their disabilities. I felt so bad for new nebula because old nebula SUCKKSSS and I hate she had to face her. I loved that in this movie thanos was wearing his armor because 2014 thanos was not as strong or secure with himself. His energy was SO different compared to the thanos we saw in infinity war so props to josh brolin

- natasha/clint: Well go ahead and rip my heart out. The audience knows only one of them is coming back but they have no idea. And they love each other SO FUCKING MUCH they both tried to sacrifice themselves to save the other person. That is true love. Jeremy renner is such an underrated actor and his reaction to natasha dying just killed me. But so did scarlett johansson’s acting as much as I hate to admit it because I’ve really stopped liking her as much due to her recent acting choices but she played that scene so well. And I will miss natasha romanoff forever. She deserved so much more and paved the way for all the other female superheroes in the mcu

- everyone crying over nat and especially steve broke me. They had such a special friendship, almost as strong as her and clint and I feel so many people forget that because of how natural they were together. And her last words to him were that she would see him in a minute and then she didn’t come back..

- i just realized i havent talked about thor and thats honestly because my brain blocked it out. I like that they explored his depression but dont like that he was made the joke of the avengers and I don’t think it was handled well. I did enjoy his conversation with frigga and by that I mean it made me cry. (also loki deserves a conversation like that too don’t @ me)

- STEVE WIELDS MJOLNIR!!! IT WAS SO BADASS AND MY DREAM COME TRUE I HAVE NEVER BEEN MORE EXCITED IN A MOVIE. To me that was the absolute highlight of the movie

- And then sam says “on your left” and all the characters come and the music... poetic cinema

- thanos is a weak little bitch and as soon as wanda was beating him he was fine with his own troops dying just so he could get away

- TONY AND PETER REUNITING CURED MY DEPRESSION AND THEN GAVE IT RIGHT BACK

- CAROL IS SO POWERFUL MY LESBIAN QUEEN

- sebastian stan has no business looking this good my god

- I forgot how much I missed peter parker

- I didn’t notice mbaku until my second viewing and honestly the wakandan characters were shafted like poor shuri we didn’t even know she was dusted until a few weeks before the movie

- I know everyone loves the scene of all the women characters carrying the gauntlet but honestly marvel has a long way to go before they reach equality and it honestly wasn’t enough for me

- side note pepper fighting back to back with tony was awesome

- ugh tony’s face when he realizes what he has to do and he looks at strange for confirmation... give rdj an oscar like my god. He knows that the past few years have led up to this moment and he is absolutely terrified and determined and I am tearing up while writing this because I am remembering it so vividly

- peter parkers goodbye had me crying why is tom holland such a good actor

- pepper’s goodbye BROKE ME... “you can rest now” I think that is the epitome of tony’s arc. For his entire storyline he has been trying to right his wrongs and save his friends and the world and that is so much for one man to carry on his shoulders and everyone knew it would be the death of him. I know tony stans are pissed off that he died, but I don’t see him just being able to retire. Obviously I didn’t want him to die, but his whole storyline has been leading up to this. He truly got a hero’s sendoff and was solidified as THE hero of the mcu. This era started with him and it ended with him. It was a beautiful sendoff for the character that started it all. And I don’t think rdj would go along with it if he didn’t approve

- Steve’s ending.... so I knew from spoilers what would happen and while it was something I wanted in theory I was pissed when I first found out. But it somehow worked. If you look at steve’s arc, he has always been a man out of time. For everyone getting mad he was hung up on a girl he kissed once, it’s pretty much confirmed in agent carter that he and peggy were on the DL for 3 years. she wasnt just a crush he knew for a few months. They loved each other and fought side by side for three years and time took him too soon. In age of ultron the only part I liked was steve’s vision where he gets a dance with peggy. As much as he moved on in the present, the possibility he missed with her always haunted him. You can tell in peggy’s video in the winter solider that even though she married and had kids, the thought of steve still gets her choked up. When she sees him as an old woman she immediately crumbles. They both have referred to each other as the loves of their lives.

- So with that said, I don’t think it’s weird or out of the blue that he would suddenly decide to try and go back to peggy. They won, bucky is back and safe, sam is back and safe, he can finally rest, and he has the tools to go back in time. The way I interpreted it, Bucky 100% knew what he was going to do. The look on his face, the tone of his voice. He knew Steve was not coming back, and he also knew he deserved to have that happy ending. So while sam and bruce thought it would only be 5 seconds, bucky turned away from the machine, knowing steve wouldn’t show up there. I ship stucky too because I just want steve happy so while at first I was like “how could he leave bucky??” watching it on screen it made sense. Bucky approved of his choice, and while he was saddened by it, he understood it.

- In my interpretation, I don’t think steve stayed in the main timeline. I think him going back created an alternate timeline where he married peggy, dissolved hydra earlier, and freed bucky earlier. At some point, those two timelines merged, and he wandered over to where he knew they would be. OR after peggy died, he used the technology to travel back to that timeline when he was old. Or my friend suggested he could have met tony stark in his alternate timeline and asked for his help. Who knows. He literally came back with a shield, meaning he was at one point captain america again in that timeline. I don’t think there is anyway he could just stay quiet for 70 years about bucky being tortured and peggy running shield that was secretly hydra. I refuse to believe that. If the russos come out and say that’s what he did, then I’ll backtrack and say I don’t approve of steve’s ending. But as of right now I’m okay with it.

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buzzdixonwriter · 5 years

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Hoo Noo Shmoo?

Never let it be said that this blog is flagging in its enthusiasm for flogging horses so dead they’re found in the glue bin at Office Max.

To whit, the Scorsese vs MCU brouhaha.

Bottom line: Scorsese is right. As well made as MCU movies are, they ain’t cinema, they’re glorified commercials to sell MCU product.

Full disclosure: I should know, since I wrote for G.I. Joe, Transformers, and a host of other toy-based syndicated animation shows. I’m happy with the work I did, I can point proudly to specific episodes I wrote that aspire to be more than mere half-hour commercials…

…but they ain’t art.

They ain’t art, despite our aspirations to do the best job we could, because ultimately we creators were not allowed to create what we felt best for our stories, but what Hasbro deemed vital to their sales.

(The closest we got to art was when Hasbro cancelled The Inhumanoids toy line in mid-production of the TV series, and said we could finish our broadcast commitment however we saw fit so long as it didn’t result in an FCC complaint. As a result, we went nuts.)

My Hasbro / Sunbow experience remains a highpoint of my creative life, so I’m not denigrating the talent, skill, ability, spirit, and enthusiasm of those making MCU movies.

…but they ain’t art.

Now, those who love MCU movies think Scorsese’s comments are a slam against them.

Welllll…no, not directly.

But they do underscore how popularity -- especially of media designed to push product -- is a faulty measuring stick for artistic merit.

Case in point: The Shmoo.

Wuzza shmoo, you ask (and thus proving my point)?

Shmoos were extremely popular in the late 1940s. Part of the wonderfully wacky world cartoonist Al Capp created for his hit Li’l Abner comic strip, shmoos represented a parable on American consumerism, modern day geese laying not mere golden eggs but birthday cakes with candles a’blazin’.

As Capp described them:

They reproduce asexually and are incredibly prolific, multiplying faster than rabbits. They require no sustenance other than air.

Shmoos are delicious to eat, and are eager to be eaten. If a human looks at one hungrily, it will happily immolate itself -- either by jumping into a frying pan, after which they taste like chicken, or into a broiling pan, after which they taste like steak. When roasted they taste like pork, and when baked they taste like catfish. Raw, they taste like oysters on the half-shell.

They also produce eggs (neatly packaged), milk (bottled, grade-A), and butter -- no churning required. Their pelts make perfect boot leather or house timbers, depending on how thick one slices them.

They have no bones, so there's absolutely no waste. Their eyes make the best suspender buttons, and their whiskers make perfect toothpicks. In short, they are simply the perfect ideal of a subsistence agricultural herd animal.

Naturally gentle, they require minimal care and are ideal playmates for young children. The frolicking of shmoos is so entertaining (such as their staged "shmoosical comedies") that people no longer feel the need to watch television or go to the movies.

Some of the more tasty varieties of shmoo are more difficult to catch, however. Usually shmoo hunters, now a sport in some parts of the country, use a paper bag, flashlight, and stick to capture their shmoos. At night the light stuns them, then they may be whacked in the head with the stick and put in the bag for frying up later on.

Of course, in the original strip continuity, the shmoos were quickly eradicated, driven to extinction by food packagers who feared bankruptcy.

It was a sharp, biting message, and one that looked critically at both insatiable consumerism and capitalism’s claims of superiority.

Capp, of course, was too savvy a marketeer himself to eliminate the shmoos entirely, and so he provided for one breeding pair to survive…and for the shmoos to make repeated appearances for the rest of Li’l Abner’s run.

Shmoo mania ran rampant with shmoo dolls, shmoo clocks, shmoo games, shmoo candy, shmoo snacks, and shmoo apparel.

The money truck basically backed up to Capp’s front door and dumped its load on his porch. Shmoos proved insanely popular and it seemed the mania would never end…

…except it did.

To mangle metaphors, you can only take so many trips to the same well before your audience starts asking “What? Beans again?”

And then, in a fickle flash, it’s over.

I’d be hard pressed today to find anyone younger than the boomer cohort who ever heard of Al Capp or Li’l Abner unless their school or community theatre presented the Broadway musical adaptation of the strip (the show remains popular with amateur theatrical troupes such as high schools and colleges because the huge cast of Dogpatch citizens guarantees everybody who tries out for the show will land some part in it).

For all their popularity and merchandise and media impact -- songs on the radio, big spreads in weekly news magazines -- the shmoos left virtually no cultural footprint.

(Full disclosure yet again: I wrote for a Scooby-doo knock-off by Hanna-Barbera called The New Shmoo and it was a piece of crap, abandoning the whole consumerism point of the original shmoos and making them -- or just “it” in our case -- a pseudo-funny dog sidekick for a squad of mystery solving kids. And it wasn’t a piece of crap because we didn’t try our best, it was a piece of crap because the shmoo was treated as ubiquitous “product” under the misconception that of course everybody younger than Joe Barbera would recognize the name and love the character so deeply that they’d simultaneously develop amnesia about what made the original character so appealing.)

Product.

That’s what one of the most brilliant, most poignant, most spot-on commentaries on rampant consumerism and ruthless capitalism ironically reduced down to. Product.

There’s a line in Jurassic Park that resonates here: ”Life will find a way.”

Let’s paraphrase that to “Art will find a way” because like life, art is an expression of the creative urge.

Right now, by and large, it’s trapped in the giant all encompassing condom of corporate consumerism, providing fun and pleasure and excitement, but not really creating anything new, to be wadded up and thrown away when the suits are done screwing us.

But every now and then there’s a tiny pinprick in the sheath, and when that happens there’s the chance of something wonderful, something meaningful, something of lasting value emerging.

It is possible for art to emerge from a corporate context, but only if the corporate intent is to produce a work of art for its own purposes. Michelangelo carved David as a work for hire, the local doge commissioning the sculpture because he wanted to impress peers and peasants by donating the biggest statue ever made by the hottest artist of the era (and even then Michelangelo needed to resort to subterfuge to keep the doge from “improving” on his work with “suggestions” [read “commands”].)

The very first Rocky movie was a work of art because the producers focused on telling a simple, singular story about a loser who could only win by going the distance, not by defeating his opponent but by refusing to be beaten by him.

It’s a great cinematic moment that rings true and it’s going to last forever…unlike sequels Rocky II - V where Rocky fights supervillains like Mr. T and a robot (hey, that was the movie playing in my head when I watched Rocky IV and it was a helluva lot more entertaining than what I actually saw onscreen).

The suits castrated Rocky, reducing him from a unique universal cultural touchstone down to…well…product.

The MCU movies are product; rather, they are two-hour+ commercials to sell product in the form of videogames, action figures, T-shirts, and Underoos.

The real art occurred almost 60 years ago when Jack Kirby and Steve Ditko knocked out page after page as fast as they could, drawing deep from the wellsprings of their own interests, experiences, and passions.

(“What about Stan?” I hear you ask. Look, we all love Stan, but truth be told his great contribution to the MCU came in his service as drum major for the Merry Marvel marching Society. God bless him for firing up the fan base’s enthusiasm for the Marvel bullpen’s work, but compare what his artists did before and after their collaboration with him to what he did before and after his editorial tenure at Marvel and it’s clear upon whose shoulders the muses rested.)

As much fun as MCU movies are (I’ve seen about 1/3 of ‘em and enjoyed most of what I saw), I also recognize in them the harm they do.

They are promoted heavily to sell product to raise the fortunes of one of the biggest corporations on the planet, a corporation that holds control over five of the largest, most popular entertainment brands on the market.

To protect their cash cows, Disney chokes potential rivals in their cribs.

Think there’s going to be another Alien or Predator movie now that Disney owns them and Star Wars? Why create rivals to a mega-successful property you already own? (I will be genuinely surprised if we see another Guardians Of The Galaxy movie in light of the faltering popularity of Star Wars in Disney’s eyes; they’re going to want to shore up their billion dollar investment rather than call it a day and let some upstart -- even an upstart they own 100% -- rob them of revenue.)

Disney’s battle plan to choke out all potential rivals leaves no room in the DEU (Disney Expanded Universe) for independent minded creators.

They want competent hired pens who can churn out the product they desire in order to bolster sales of other products derived from those.

(Even more full disclosure: I wrote for Chip ‘n’ Dale’s Rescue Rangers as well as some Aladdin and Scrooge McDuck comic book stories.)

Disney’s MCU, for all its expertly executed whiz-bang, is a bloated, soulless zombie, a giant gaudy inflated parade balloon blocking the vision of others.

There’s a scene in the movie The Founder -- a genuine cinematic work of art that comments ironically on the selling of a product -- that applies here.

Ray Kroc (Michael Keaton) relentlessly browbeats the McDonald brothers (Nick Offerman and John Carroll Lynch) into letting him replace their real milkshakes with what will come to be known as the McShake, an ersatz product that at best reminds one of what a real milkshake should taste like.

The McDonald Brothers are horrified. Not only does it not taste like a real milkshake, but it goes against the very grain of what they desire as restauranteurs: To provide quality food quickly for their customers, trading value for value.

Kroc will have none of this. To him the customers are simply one more obstacle between him and their money.

He doesn’t see them as the source of his revenue, but as impediments to same.

What benefits them, what nurtures their diets, what gives them pleasure, what trades value for value is completely unimportant to him.

They exist only to make him rich and powerful.

By the end of the film, Kroc has effectively declared war on his own partners, his own employees, his own customers. He recognizes he is not in the business his customers and employees and partners think he’s in (i.e., fast food) but rather in the real estate business, buying land that McDonald’s franchises must lease from him in order to operate.

By the end, he’s not concerned with how well his customers eat, or how well his employees are treated, or how financially secure his franchise managers feel.

By the end, all he wants is the money, and he doesn’t care how his franchises make it so long as they pass it along to him.

As a result, McDonald’s contributes heavily to America’s obesity and diabetes epidemics, advising their employees to take second jobs so they can afford to continue working for them at substandard wages.

Disney’s MCU is a super-sized Happy Meal™ that’s ruining the cultural health of its consumers.

#Marvel #Disn #Jack Kirby #Stan Lee #Steve Ditko #Star Wars #MCU #Rocky #Martin Scorsese #media #movies #superheroes

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bambamramfan · 5 years

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I've just returned from some travels throughout Southeast Asia, and I was struck once again by how pervasive and dominant American culture is worldwide. Our music, movies, celebrities, fashion, and sports are basically the lingua franca for all other cultures that would otherwise have nothing in common. I've encountered humble farmers in the Vilcabamba range of the Peruvian Andes that live at ~17,000 ft elevation in remote villages who harbor a passionate love for early 2000's era WrestleMania. I've met with Jordanian Bedouins who live in tents but can sing every word of Kanye West tracks. And now I've talked to Thai mahouts who live among elephants in the hills of Chiang Mai who have an eye for the apparel of Supreme, an overpriced American skateboarding brand

Sometimes it seems like this level of cultural penetration doesn't even make sense. Ads for televisions in Bangkok prominently featured the new Benedict Cumberbatch Grinch flick, which is strange when you consider that all of 0.7% of the country are Christian and they most likely lack the cultural context of Seussian canon to begin with. Other instances are genuinely sad: at the big S2O festival that closes out Songkran (the Thai New Year celebration), the stages for local acts - which included music, but also muay thai fights, for instance - were almost completely empty as everyone there congregated around C-list American acts like Steve Aoki and 3lau. Hearing a masseuse in a Thai bathhouse humming Drake's In My Feelings leads one to wonder just how much of the Buddhist nation's hypersexualization is attributable to western influence

However one media property above all others has stood out to me in my travels, and that is the Marvel Cinematic Universe Avengers films. This perhaps shouldn't come as a surprise given that it is the #1 highest grossing franchise of all time in terms of ticket sales, but these movies are culturally dominant all over the world. Ask a cabby in any city you find yourself in and even if he only makes it to the movies once every couple years he will tell you about his love for these films. The new one, Avengers: Endgame, just tripled the midnight screening records in China. Which is funny because...

Well, because the main hero of the MCU is called Captain America. He wears an American flag as a costume. He is, from his very origins - and this is played with in-universe, explicitly - a piece of outright propaganda for the US government. And this character is expressly the most heroic figure in the franchise, who other characters turn to for moral leadership because of his unimpeachable integrity and unquestionable virtue. He may not be the strongest or the fastest or the funniest of the heroes, but you can count on the guy in the stars and stripes who answers to the name 'America' to make the right calls and be the good-est good guy in every encounter. It is almost beyond parody how nakedly this franchise propagandizes its country to the world's youth - and it becomes even more absurd when you recognize that these other countries frequently lack the cultural context of the 80 years of cheesy comics we take for granted and are often encountering these characters for the first time fully-formed on the big screen

And this is fascinating because the Chinese government is very controlling about the media content that its citizens consume. There is a de jure quota on the number of foreign films admitted per year - currently 34 - and the State Council has banned entire areas of subject matter from appearing on its nations screens, e.g. time travel which critics speculate is to deter oblique commentary on current political affairs and/or fantasies of changing the fate of the nation. Homosexuality is also banned in Chinese media, leading films like Bohemian Rhapsody to become borderline incoherent in the wake of edits. Even cleavage has become restricted. Lastly, China has cracked down on "the promotion of Western lifestyles", noting that all programming must comply with Chinese Communist Party ideology. Yet somehow they've let the biggest film series in their country be about the heroic "Captain America", paragon of moral virtue, standing up to tyrants and despots, championing the dignity of the individual over the cold utilitarian calculus of the villain

I kept tossing these thoughts around my head as I watched little Thai boys run around with Captain America branded red white and blue squirt guns during the Songkran water festival. You could not dream of a more successful global propaganda campaign than what Disney has stumbled upon completely by accident (the Avengers films are largely the result of Marvel selling off its more popular characters e.g. Spidey, X-Men, etc during a rough financial period). And it's gotten to the point where these films are globally too popular to block; the very last thing Xi wants is to incentivize millions to get in the habit of bypassing party censors over something as trivial as a superhero flick

Which raises the question of exactly how far these films can go before encountering pushback from state censors. Iron Man 3 - starring, in RDJ's egotistical, alcoholic, womanizing, career capitalist Tony Stark, probably the exact antithesis of the attitudes the Chinese Communist Party is trying to inculcate in its citizenry - had a villain that was literally called 'The Mandarin' based on a yellow peril character devised during the Cold War, and was China's second highest grossing film of 2013. Now, granted, the cinematic version sidestepped the issue by making the character a blonde Anglo - as well as adding special Chinese only scenes in an attempt to appease cinema's fastest growing market. But what about when Disney won't budge on matters the CCP can't stomach? After recent rumblings about bringing an LGBT superhero to the screen - as is promised in Star Wars and Harry Potter franchises, as well - will China and similarly minded governments face a reckoning? As I see it their choices are A) entirely capitulate to Western values pervading their media; B) begin more aggressively blocking Western films, angering their citizens and corporations; or C) rely more and more heavily on Bohemian Rhapsody -style cuts in perpetuity, ushering in a future best defined by a hapless cgi animator editing in digital pants at the behest of some bureaucrat, frame by frame, forever

#propoganda still doesn't work #but people act like it does so these are interesting dynamics to discuss

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aikainkauna · 6 years

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Movie meeeehm

Thanks to @nitrateglow for these!

1: A movie you enjoyed as a kid that you don't now

-Probs some comedy I'd find awfully sexist/racist/homophobic etc. now. But of course, I can't recall a specific one, probs because the experience is so deeply squicky and traumatic. Oh, wait, I know. I adored The Great Mouse Detective as a kid, but have heard so many "bleh" comments about it later that I don't want to ruin it by rewatching it as an adult. Why take a happy, cherished, pure and joyous memory away, especially as there are so few of those in my life anyway in proportion to the bad memories?

2: A movie you disliked as a kid that you like/love now

-Not a movie, but I was literally too fucking terrified to watch Doctor Who as a kid on cable, because the Tom Baker repeats they were showing terrified me with the title sequence alone. That empty stare and howling, diddly-duming music were enough to give me nightmares. So I only got into Who in my late teens!

3: Your favorite movie as a kid

-Define "kid." I went through several. I loved the Disney Robin Hood, of course, and at puberty, Wayne's World (yes) and The Princess Bride were my own cult movies, before I had anyone to fangirl them with. Ah, the pre-Internet era.

4: An actor/actress it took you time to warm up to

I remember being weirdly terrified and disturbed by Jeremy Brett as a kid, but then I felt the same about Bowie, and... well. Clearly it was my baby self not knowing WTF to do with all this stirring, restless energy that later turned out to be my skinnyandrogynousbisexualguy orientation thingy. And while I'd first seen Caligari and Casablanca as a teen in the early 90s, I wasn't ready for Connie until he pounced me in 2012. I would not have "got" him the same way and as hard until I was a grown-up, with a wide variety of experiences from many areas of life and a boatload of books/learning behind me. Just... no way.

5: A director it took you time to warm up to

-If anything, I've cooled off various directors I was impressed by when younger. So much of the auteur stuff gets wanky and self-imposing, in this Arrogant Artist Guy "look at my GENIUS big VISION and also insecurity about my penis size" kind of way. I like directors who can be warm and have fun and who show some real humanity (not wanky anvilly/kitchen sink-y sort of "humanity" either). Maybe Branagh? I found him a bit annoying as a kid, but now fap all over his stuff because now I'm old enough to Get It. He is the best kind of fanboy director; his geekiness is catching. Listening to his Thor commentary was a real eye-opener into my realising just how massive a nerd he is, and in a good, "one of us" kind of way.

6: Top five favorite soundtracks of your favorite movie composer

-There isn't just one! But Clint Mansell and Debbie Wiseman turn to gold everything they touch. Debbie especially is hugely unknown still, but she has this most amazing, swellingly Romantic music full of sweeping emotion that I just can't rec her enough. Do check her out; she'll give you goosebumps.

7: Three movies that defined your teen/childhood years

-I think I mentioned those already! But as a teenager, Bram Stoker's Dracula, La Reine Margot and Heavenly Creatures were formative. There were others I obsessed about way more than those, but they weren't as influential--it's more like they were massaging buttons I already had.

8: Sci-fi or westerns?

-Blake's 7! AKA "The Dirty Dozen in Space."

9: Are there any movies you own more than one copy of?

-Ahhahaha. AAAHHAHAHAHA! Of The Thief of Bagdad, I own: The Criterion clusterfuck with the awful clumsy cover someone had their 5-year-old draw, the Nordic DVD, the German Blu-Ray because I live on the edge (what with those Veidt Eye Closeups in HD being a hazard to any uterus) and at least three different digital copies. Because I'm me. I also own two digital copies and one DVD of Casablanca, three digital and one DVD of A Woman's Face and don't get me started on the British telefantasy I have on both DVD and VHS. I have spare copies of both the Caligari Masters of Cinema release and the ITV DVD of The Spy In Black, so I guess I should throw them at somebody.

10: Physical media or streaming?

-Neither. Video files firmly saved onto and run from my hard drive. Fuck streaming with its choppiness (ruins the viewing experience for me) and physical media are usually beyond my budget (unless I save up for a Connie DVD). Besides, I rip my favourite movie discs onto my HD anyway. I want to be able to gif that shit, dammit!

11: Are there any movies you watch on special occasions every year (Christmas, Halloween, birthdays, your mother's aunt's wedding anniversary, etc.)

-Used to do Nightmare Before Christmas on Halloween, but not any more. I still attempt ToB every Christmas. And I used to do All Through The Night with wine on my birthday, but as I can't tolerate alcohol anymore, the experience of Watching ATTN Drunk is no more. Someone start a Halloween tradition with me where we watch either The Student of Prague or Eerie Tales (or both) every year?

12: What movie do you most associate with your best friend(s)?

-Gosh, so few have stayed, so it's more like "movie that reminds you of a broken friendship," yay...?! I've learned to try and not associate movies with people that way any more, because it's more painful than it's worth. Connie is my best friend. He's like Krishna that way.

13: Name a movie adaptation you thought was better than or equal to its source material.

-LOTR put in more facial features and characterisation than Tolkien ever did, and did the tales far less fucking tediously. Imagine if you'd had to sit and watch hobbits walking through the countryside for 6 hours with barely anything happening?! Yeah...

14: What genres do your favorite movies tend to be?

-Historical, fantasy, Gothic Romantic, just Romantic stuff on the whole. More old than new movies these days. Why watch shitty modern chick flicks when I have far better characterisation and far less narrowly defined female lives in old-timey "women's pictures?" And guys who actually fucking shaved, dressed in clothes that were tailored for them instead of rented and saggy, whose bodily expressions weren't frozen for fear of "fagginess," and who weren't pumped full of 'roids.

15: Are you a fan of period dramas and if so, what era do you enjoy best?

-Yes. I love me some costume dramas, but I am seriously picky about them--most post-90s ones have been fucking awful and tend to feature shitty costumes and unkempt hair that would've sent real historical people to Bedlam, wobblycam from hell, vomit-inducingly excessive modernisation to be "edgy", and that one painfully skeletal bint they shove into every period drama ever these days, so it's... slim pickings for a history nerd, these days. There aren't many good ones set in the 17th century/Baroque era, which I love the most: the two Baroque dramas I wholeheartedly love are both series. (The Devil's Whore and By The Sword Divided.) The Angeliques and Musketeer adaptations are riddled with flaws, but there are some glowing bits within. As for The Golden Age of Islam... bloody hell, there really aren't that many good ones out there, are there?! ToB and Jodhaa Akbar and Disney's Aladdin, obviously. La Reine Margot isn't "my" period but it's great, as is Dangerous Liaisons (also not my period)--those are so fucking perfect. And the Connie period dramas, well... I think of them as primarily "silent movies" or "old movies," actually. Of those, The Student of Prague, ToB and The Wandering Jew are the best "costume" ones, IMHO. (I'd probs enjoy Lucrezia Borgia and Carlos and Elisabeth way more, were the copies we have not so smudgy.)

16: Name a movie you love that you would recommend to just about everyone.

-Ah, but we know there are always cynical cunts out there who'd give even Casablanca two stars, so what's the point? I'd still recommend it, though. And The Lion King, I guess.

17: Name a movie you love that you consider an acquired taste.

-Honestly, I'm thinking of telly rather than movies again. You will pry my cherished copy of The Time Monster from my cold, dead hands. Does The Devil of Winterborne count as a movie or TV? That's how far back my love for Mark Gatiss goes. Um... Don't Be A Menace To South Central While Drinking Your Juice In The Hood makes me fucking cry with laughter (the comedic timing is what does it. *beat* "Ain't dat some shit!"). Of Connie's oeuvre, yes, I know Bella Donna is rubbish, but Connie and Mary are SIZZLING and horny and juicy and it's Valid as a BDSM porn movie. And the novel is actually good.

18: Name a film you like directed by/starring a filmmaker/actor you normally don't care for.

-Not so much actor/director, but I did *not* expect to love Thor as much as I did, because I expected a dumb popcorn movie but got great adventure cinema with a touch of Shakespeare instead. I really am not the right audience for regular Marvel features at all, before or after. Fuck Marvel up its dumb macho Republican ass. But Thor is fucking beautiful and operatic and poetic and majestic and Pagan and shit. Branagh knows what I like.

19: Name a movie that blew your mind.

-A Woman's Face (1941). Because. Holy. Fuck. How can I keep on finding yet more details in it six years after first watching it, having watched it countless times by now?! And obvs all the other stuff, like the shockingly good female POV, amazing and complex woman protagonist, amazing writing, amazing ensemble cast, amazing direction, amazing lighting, amazing evil Torsten Slinkypussy Barring and The. Goddamn. Attic. Scene.

20: What genre mash-up would you most love to see that either hasn't been done yet or hasn't been done enough?

-Feminist-savvy historical romance with fantasy elements and hot explicit sex that's not shit. Basically, like the stuff you see in my fics, but better paced and woven into coherent adventure movies.

21: The coolest movie you've ever seen

-Too, too many. But Bogie was the coolest. And Claude Rains had the best acting skills. And Conrad Veidt was Conrad motherfucking Veidt. So what with those three mountains of coolness all converging under the Moroccan sky, I'm sure it's safe to say "Casablanca."

#movies #personal #meme #i am leaving out tons i know #but i must attempt sleep nao #i was quoting don't be a menace to myself just yesterday ffs #every time there's an anvilly Point in a movie #i keep screaming 'mmESSAGE!'

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wackygoofball · 7 years

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Afterthoughts after Ragnarok

So, I had the opportunity to watch both Thor: The Dark World and Thor: Ragnarok as a double-feature at an IMAX cinema yesterday, which was… fangirl heaven, in a nutshell. I can only highly recommend watching the second installment before Ragnarok because it is a nice reminder of the details, basically. And of course, it sets the mood. 😊

I just wanted to quickly type up some initial thoughts on Thor: Ragnarok because I am fangirling hard right now.

THEREFORE – BEWARE OF SPOILER ALERT.

To send this ahead: I went into the movie not having any expectations. I really tried my best to stay clear of great spoilers (other than the clips and scenes that were released as part of the promo). I hoped for a retro-adventure arc from the old days, but I wasn’t holding my breath for it. Though gladly, my hope was not at all disappointed. The bright color schemes, the music, the slapstick moments which are MUCH more prominent in this movie than any of the Thor films… it was what I was hoping for – and more.

Being a proud member of Loki’s Army and a general Hiddlestoner, I obviously have my biases when it comes to what scenes I enjoyed a lot, but overall… the movie did what I wanted it to do (again, I just talk here personal wishes and interests): It made me laugh and took me on a fun ride. That is what I wanted, and this is what I got.

To dig a bit further into the matter, there are some things that I wanna mention that I particularly enjoyed or that interested me:

Obviously, the destruction of Mjölnir alongside Thor unleashing his *true* potential as the God of Thunder is a big theme of this story arc (one that may not be that absolutely original, but that still resonated with the overall theme of what the movie was getting at; to me, it fed in nicely into the narrative and resonated with the Thor movies as a whole). I am actually rather fond of the idea that we see more of the God of Thunder than the God of Hammers (thanks, Odin, for that comment 😉). With this story arc, we reach a new level and a new skillset for Thor to fetch from *and to master,* so I am pretty excited to see what they are going to do with that in Infinity War, and as to where Thor is going to take his newly unleashed powers or where there may be hardships for him.

I do wonder whether Thor will seek *some* sort of replacement. Obviosuly, Mjölnir isn’t going to return in that fashion. It was a unicum and it has been rendered superfluous when it comes to Thor’s thunder powers. However, it *is* the weapon he has been using for… hundreds of years, so it may be that Thor will use *a* hammer alongside his now unleashed true thunder powers. Perhaps a bit of nostalgia or otherwise simply something to use in close combat, which is obviously also part of his fighting style. So, I am pretty hyped to see what may be done with that in the upcoming movies of the franchise.

In that same breath, I suppose it may be worth mentioning that we also saw something with God of Mischief Loki when it comes to new or otherwise not yet made explicit skillsets. Loki touching Valkyrie to dig up the memories she repressed for so long (and drowned it in lots of booze in the most wonderful of fashions ♥), to me, actually fed into the idea of not just introducing new characters and their skillsets or in case of Thor, showing their true potential, but also showing us what already known characters still have in store. While we already knew about Loki’s ability of manipulating and accessing people’s minds, I believe this is the first time we saw him *activate repressed memories* and *witness* them. Yet again, it had me wondering whether that skillset will prove useful in one of the following movies. A random thought I had last night (and please excuse, it was VERY late when I had that thought, hehe) was about whether Loki using that method may prove to be interesting in Bucky’s case and the memories that were deleted/locked away or what not, which may or may not be something of interest in the Infinity War story arc (WHERE ARE YOU, TRAILER???). if said memories were somehow vital to the plot.

Speaking of our favorite trickster, I found his arc a joy. Not only the jokes and the return of the horns, but particularly his trickster-self being back in full swing made me really happy. The previous Thor movie built heavily on Loki’s revenge for Frigga, in general the family problems… which there were… a lot of…, and of course his ongoing wish to lay claims to the throne, out of which he felt cheated once his origin was revealed to him in the first Thor film. The vibe I always had of particularly comic!Loki (though I am not too deeply invested in the comics, I will admit, but from what I have read, that was my general impression) was really this idea of causing, as his name has it, mischief, being the trickster, collaborating with whoever in order to somehow maneuver out of situations, only to be bound to clean up the mess he made (with the Revengers 😉 ). And I found that sort of spirit resonating with Loki in this story arc much more than in previous installments. While I very much enjoyed the idea of revenge and his ongoing battling with his family due to the differences that lie between them, I feared that they would just go on with that instead of giving it a new twist, but I felt like this actually was the twist that suited not just the overall mood of the film but also Loki.

So yeah, I am pretty happy to see Loki back in the role as God of Mischief as much as I enjoy Thor now being in full God of Thunder mode. The story arc had a nice conclusive theme of the two arriving at *who they actually are,* and thereby returning to their roots, which I thought had a nice touch to it.

Other things that have me wondering after having watched the movie: Is Sif to return? She wasn’t one of those who fell *on screen.* Because she may potentially be a bit of a wildcard in the upcoming movies, especially after… Jane and Thor are no more, it seems. But yeah, I don’t know if that was just a filming issue or whatever else. I do hope to see Lady Sif back in all of her glory. Especially since I want to see her interact with Valkyrie! They could bond so wonderfully over being awesome warrior ladies. :3

Speaking of Valkyrie, I really love her. ♥ I love her drinking speed (lol), and for that she is *as for this movie* a secondary character, she had a developed story arc (which of course… is now not the super deep-reaching stuff that you would get at if it were a movie just about her and her origin story in a much more serious setting than the Marvel franchise lays out), Loki’s backflash was gorgeously shot and it really took you into this *epic* moment of defeat when the Valkyries fell against Hela. Another thing I quite enjoyed about how her character was written is the easiness with which she interacts with other characters, she is witty, she is cute, and while hostile towards e.g. Thor and Loki (lol) in the beginning, I found it a joy to see her interact with the Hulk. Since she is so strong, she is unafraid of interacting with him in a friendly manner outside the battlefield, which I found had a nice touch. I hope to see more of her. A lot more.

Now, Hela. Cate Blanchet has the swagger of a Goddess of Death. Holy Shit. I loved the costume, I loved the attitude, and I have no clue how she gets the daggers out of everywhere but she does it majestically, and that is all that matters, lol. While more of a cartoon villain (but that is what fitted the mood best, let’s be real) in many regards, I found some touches of how they framed her return really interesting. While Norse mythology would have something to say about her being made firstborn daughter to Odin when she is actually one of Loki’s children… it was a rather intriguing commentary on how history is made, at least in my reading. Hela has been erased by her own father once she grew too power hungry for him. She was erased from public memory as she was cast into the realm of the dead.

Not only did that shed a rather interesting light on the idea of succession – because now we don't just have one son who was chosen by the father to have the throne as opposed to the son who wanted the throne, but didn’t get entitled to it, but also a female heir who had rights to the throne until she was considered unfit in Odin’s eyes. Actually, the repetition is what intrigued me, because it fed nicely into the idea of Ragnarok on what it is at its core, the Dawn of the Gods and the moment of a self-repeating world. Because Ragnarok is happening over and over, in different forms, and to me, that was the vibe I got from that succession question, too. Loki turned out rather similar to Hela in that way (though with a difference, to which I will return later, so hold on). Hela felt/was entitled to the throne until Odin deemed her unfit due to her violence that did not match his political agenda following the conquest era. Loki felt entitled to the same honor, but was seen as unfit for his ambitions/birth by Odin.

On that same note, I really liked this idea of history being rewritten by the winners (in this case Odin). Odin glossed over Hela’s involvement along with the conquest period (if Hela can be believed) to prevent her danger from reaching further after her banishment. At the same time, he portrayed and literally painted himself in a certain way (not just on the ceiling) that may not have been as reflective of the reality of the origin story of his rule as it could have been.

Similarly, I did find it an interesting way of handling Odin’s legacy after he’s passed away in the early stages of the movie. Odin dies after the conversation with Thor and Loki in which he seemingly tried to make peace with himself and them (and likely with the idea in mind that they arrive at a truce as well, so to have a chance against Hela together). So, the first impression we got was “oh, he leaves this world at peace with himself and everyone else, he is redeemed.” And at first I was a bit like… hm, I don’t expect great narrative arcs in this movie, not the gut-wrenching, complex moral dilemma that… other movies are made for, but that seems rather cheap. However, looking at Odin’s arc in this last movie as a whole, I did find it rather interesting (because yeah, I think he made a good couple of mistakes particularly with Loki that made him prime for some sort of redemption needing to be done). Because after the redeem-momentum, we get this reversal of history narrative via Hela, which gives way and depth to questioning his rule as a whole. And it is concluded when he tells Thor in a vision that he is stronger/better than him, not the other way around. Now of course, protagonist is getting the hype it takes to win over the enemy and unleash new potential and all, but I found *that* as a nice redemptive mode that yet again tied back to the very idea of Ragnarok. Thor, symbolized by having his eye removed like his Father (*cries*), is repeating Odin’s history – but with a difference. He steps up to that legacy, but does so differently from what Odin did. And Odin recognizing that and pinpointing it as the stronger/better way is something that I found hit the point home with the redemptive mode surrounding his death.

Now, this is getting far too long already (I am rambling and I am sorry), but one last thing I wanted to speak of – as a member of Loki’s Army: Loki’s (short but entertaining) reign.

Especially since I started out watching the previous Thor movie before Ragnarok, the question that remained as a sort of cliffhanger was just what kind of rule Loki would pursue. I mean, he was one of the big gun villains in the first Avengers movie, he was the big gun enemy in the first Thor movie, and obviously caused mischief wherever possible. While we knew of Hela taking over, thereby pointing to Loki’s rule not being very long, I personally did wonder what they would have Loki’s rule look like.

He may well have turned out to be the Hela type, kill all the infidels, and be a gigantic asshole with a lot of sass. However, his reign, however short-lived… it was basically one big party. And now of course, it was for comedy for many parts, but I did find it rather interesting and actually resonating with how they set up Loki all the while.

For all his talk and attitude of being the lone wolf and only ever being interested in himself, the God of Mischief has always been seeking the approval of his family, or at the very least, their attention (positive or negative, didn’t matter, so long it was some kind of attention). Ever since learning about his origins, I think the factor that was added to the whole idea of him wanting that throne no matter the costs was that he was seeing the approval of the Asgardians.

And in a way, I find that rather organic storytelling: Loki knew he wouldn’t get the approval of his family after what happened, after what was revealed about him. I mean, he gave that speech (which Hiddleston enacted beautifully, btw) to Odin about how he is now a monster that the children are told about to make them afraid of said monsters. And I think it is rather logical that he sought the approval of the people who are now supposedly afraid o him for his Jotünn roots. Being admired, being accepted by them as king would make him less of a monster, it would get him the approval he could no longer find with his family past a certain point, it would give him the approval he thought he couldn’t get by virtue of his birth. And across the movie narrative, at least that is my impression, that wish did not die down, but actually increased over time.

And now, having seen Ragnarok, I somehow tend to stick to that reading, because Loki relished the approval of himself. But it wasn’t *just* the statue (though it was a matter of heart to him, I am sure), it was that he (as Odin) was partying – with the people. He wasn't just sitting in the throne room feeling powerful. As Thor points out, he didn’t do much of anything with the power he had as King of Asgard for as long as it lasted, but instead… seems to have been partying the whole time. And again, obviously, the comedic moment is quite at the front, but the idea that Loki would spend his reign trying to be friendly with the people, having fun, was not just so very Loki-like (see that theater… damn, I laughed so hard at the play) but also resonated with this overall arc of seeking approval. While all the while claiming not to care what others think of him, Loki seeks it again and again, whether he likes it or not. And in the end, it is and will always be his one family whose approval he is seeking most (as he himself asserted at some point) – he wants Thor’s approval, he wants that guy’s attention, even if it’s just in a negative sense.

While I am most certain that he will turn on Thor again (he did have some fun time before gathering the Eternal Flame with the Tesseract and all), I remain positive that this will simply be status quo now. Thor’s not trusting him is actually, in a way, his trust in him. Thor knows Loki will pull shit, Loki knows that Thor knows… it’s going to be fun to see how they may continue to try to outsmart the other but rather in a friendly manner.

So, to now conclude this way too long rambling: If you want to have a fun Marvel ride, Thor: Ragnarok is your friend. The music, the mood, the story, it flows well and easily. You won’t grow tired or bored, neither are you overloaded with input. The slapstick, to me, was hilarious. And while Norse mythology was very much twisted around to fit into the narrative, I personally found some traces of the idea of Ragnarok not just in the metaphor of it being the people, but also in the way the characters were portrayed and moved through their story arc. It delivers funny, and to me, interesting secondary characters. It may be read as containing some interesting commentary on history making and the question of redemption and legacy alongside the self-repeating world in succession, where legacy ends and characters arriving at where they are meant to be begins.

And finally, I think the movie does something great for both Thor and Loki (and also for Valkyrie and Hulk if in different senses) in that it returns them to their roots. They are now the true God of Thunder and the true God of Mischief again.

And that, to me, is a great way of heading into Infinity War.

It is definitely worth the watch. 😊

#thor ragnarok #thor #marvel #spoilers #thor spoilers

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hagarenmovie · 7 years

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[Translation] CINEMA SQUARE 9/08/2017 FULLMETAL ALCHEMIST

THE SHOOTING SCENE SP

The Director & Producer talk about movie filming

FULLMETAL ALCHEMIST

The shooting of the highly acclaimed movie FULLMETAL ALCHEMIST was done during summer 2016. We had an exclusive interview with director Fumihiko Sori after the end of the movie filming! In addition, there will be special comments from the protagonist Ryosuke Yamada during shooting, and we will also deliver an extremely passionate shooting report that will wipe away the anxiety of the original manga fans.

Despite the huge number of total CG cuts, the major highlight of the movie is deep “brotherly love”

Medieval Alchemist rituals were once performed at the shooting location so it felt like we were destined to shoot here

The idea of making this project had begun 10 years ago, and the presence of Alphonse was the biggest challenge in the live action

— I heard that the planning of the movie had been going on for quite a while.

Sori: Planning started more than 10 years ago. I think we earnestly started working on it right after I finished “Tomorrow’s Joe”. Actually “Tomorrow’s Joe” was a work that included many challenging CGI aspects, so what we developed [from there] was quite effective. The biggest challenge in “FULLMETAL ALCHEMIST” (Hagaren) is the presence of another hero, Alphonse (hereinafter referred to as “Al”) with the leading character Edward (hereinafter referred to as “Ed”/Ryosuke Yamada). Before we could visualize Al convincingly in full CGI, we felt that this work shouldn’t be made. Because I had a great confidence in the CGI techniques that I managed to implement in “Tomorrow’s Joe”, project planning [for Hagaren] began to move concretely from there.

— Surely since Ed’s younger brother Al is a soul trapped inside a suit of armor, it should definitely be a CG character, right?

Sori: Since his height is around 2.2m, it’s almost impossible to visualize him with actual real beings. You’ll understand this once you watch the movie, but Al will move very lightly there (laughs). Conversely, if we manage to bring Al through CGI, I feel that the Japanese movie industry will enter a great new era.

— Even just by [visiting] the shooting location, the theme of the work clearly speaks “brotherly love”.

Sori: That’s right. Although the amount of CGI cuts in this movie is amazing, I would like [the viewers] not to think too much on the CGI (laughs). I don’t want them to worry about the CGI here and there, instead, I’d like the viewers to follow the story of Ed and Al, and feel that Al and his personality really do exist, since it was a superb acting performance. Thanks to Yamada-kun’s acting skills, Ed was brilliantly played.

Someone who can win when he has to, Yamada is “the chosen one”

— How was Yamada-san?

Sori: He is a true actor [T/N: Sori used 役者 (yakusha) here instead of俳優 (haiyuu). Though both means actors, In Japanese terms “yakusha” is considered as an actor who becomes the character and able to bring out more versatility compares to “haiyuu”. So from here I will refer “yakusha” as a true actor if that makes more sense to this translation]. I don’t know much about him as an idol, so I can only watch him as Ryosuke Yamada the actor. If you watch the movie, I’m sure his fans will be surprised. In this movie you will discover a Ryosuke Yamada that you’ve never seen before. He is so keen to learn things and has a deep understanding about the original work. In other words, he doesn’t just simply imitate a character, he is a true actor who’s very motivated to create his own Ed. He is very intuitive, he’s really fluent in using his tongue and voice [in his acting]. He is blessed with a great sense as an actor and there are many things [about him] that surprised me during filming.

— His action performance too?

Sori: Both action and acting performance. No matter what kind of action stunts he needs to do, he’ll do it all by himself. No matter how many times I recommended him to use a stunt double, he’ll say “I’ll do it myself” … he’s a person like Tom Cruise (laughs). Even when everyone around him was nervous, he gracefully took responsibility as the lead, and everyone knew it. One of the moments that surprised me the most, was during an action scene where he had to jump from a really high place after running 25 meters at full speed and he said, “We don’t need to practice.” I thought to myself, “Huh?!” but he managed to do it in one take. Of course he has an incredible physical ability, and his concentration skill is also amazing. At the same time I also thought, “He’s the chosen one.“ He’s the type of person that will win when he has to win.

—The other cast members are also marvelous!

Sori: Though I previously said I was surprised by Yamada’s performance, I think that was also because the acting showdown between every one of the cast members is really amazing, it feels like a battlefield for acting. For example Yamada vs Tsubasa Honda, Yamada vs Dean Fujioka, Yamada vs Yasuko Matsuyuki. Everyone’s respect for the original work is amazing, especially Yasuko Matsuyuki-san’s acting during the final scene, I think she [portrayed Lust] with even more detail than my instruction (laughs). Because Matsuyuki-san was able to do it to that extent, the other people had to do it too. As a director it was fun to have a sparking scene on set!

— Dean-san’s character, Roy Mustang, is also very popular isn’t he?

Sori: Dean-san is super cool! He’s basically a cool person in general, but I was dazed by his acting as Mustang. I’d say this about Yamada-kun too, [Dean] is a person who has an aura and a certain level of coolness that is out of this world that really suit the [Fullmetal Alchemist] world.

— Did the fact that you shot the first half of the movie in Italy contribute to the establishment of the [Fullmetal Alchemist] world?

Sori: It was huge. I was really thankful that we were able to run a 100 year-old locomotive in Tuscany for the shooting, in any case, the popularity of FULLMETAL ALCHEMIST in Italy is enormous. In the beautiful city called Volterra, I can’t be thankful enough for having them cooperate with the shooting by closing an entire main street for 3 days. One of the most impressive things was when we shot in the square of a church in Volterra, there were a lot of Alchemist symbols inside the church and the outer wall. Actually, when I entered the church, there was even a chimera [statue] (a beast that also appeared in the original work). I heard that during the medieval ages alchemists performed their rituals in these places. That’s why the place where the priest goes on a rampage and where [Ed] transmutes his spear are all places where real alchemists used to perform these ceremonies. I can’t help but feel that we were destined to [film here].

— We’re getting even more excited!

Sori: My goal is to have everyone enjoy this film as one single movie no matter from where you watch it, whether you’re a fan of the manga or don’t know anything about it. Please look forward to it!

Edward Elric Actor – Yamada Ryosuke:

I thought, "No one can portray Ed but me!”

— What were your honest feelings when you first heard about this project?

Yamada: Since I really love the original work, I asked myself, “Can we really turn this into a live action?” I was worried about whether I could portray such a popular hero like Ed. But when I saw the demo (CGI) footage of Al, the quality was so amazing that I thought, “Ah, this is alright!” and after that I trusted the director and the staff to handle this project, while I devoted myself to bringing Ed [to live action].

— The costume for Ed is really spot on, but how comfortable was it to wear them?

Yamada: It was really hot [wearing them] (laughs). But personally, since I did countless costume fittings, it really was made to fit my exact body measurements down to the millimeter. At first, doing action scenes while wearing the coat was difficult, but now I’m the opposite, always saying, ‘let’s wear the coat!’ It makes me feel like I’m really [playing Ed].

— What was your impression on Director Sori, working together with him for the first time?

Yamada: We spent some time together inside a car during our shooting in Italy. We talked passionately about the work (laughs). He lets me do things the way I want, in a good way. But this time the CGI (Al) was a huge challenge, as expected it was really difficult… the director was really strict about playing the emotional parts, as I was acting against someone that wasn’t entirely visible to me, I was really worried about it the day prior to the shooting. Since Ed’s [character] base is that of a big brother who loves his younger brother Al and is always thinking about him, I thought, ‘I have to always be a passionate and caring big brother.’

— What do you think about the character Ed?

Yamada: Though this comes from myself, I worked very hard to become Ed, so I’m quite confident about playing him. I didn’t want to give this role to anyone else, so now I think, “no one can portray Ed but me!”

— How did the [Hey! Say! JUMP] members respond to this?

Yamada: It seems that everyone loves the original work, when I got the gig to play Ed, they said things like, “What?! I’m so envious!” Arioka (Daiki) said, “Good thing you’re a pipsqueak, huh?” and I replied, “You’re a pipsqueak too ya know!” (laughs). But really, I’m so glad I’m a pipsqueak!

Location Report: Witnessing Yamada=Ed’s incredible high level of physical ability!

Going back about a year ago. It was August 2016, the hottest time of year, identical to 2017, and Director Sori who had wrapped up shooting in Italy about 1 month earlier, was directing the climax scene of the entire movie in a Tokyo studio after a total of 3 months shooting. That day, a spectacular action scene involving the life of one of the important characters in the movie is taken under a serious heat. And from behind another character, firing flames at it, was Mustang (Dean Fujioka), a popular character that evens out Ed’s popularity even in the original work. Just as Director Sori stated, Dean seems to be portraying Mustang the “Flame Alchemist” perfectly. In a vast open set, there was a scene where Mustang suffered an injury and collapsed, he looked fearless and sexy.

And then, Ed (Ryosuke Yamada) appeared! It was a scene shot with a green screen, his dyed golden hair and bright red coat shines vividly amongst the green. Yamada mentioned how it was difficult for him to do action scenes with the coat at first, but from the second half, he was able to say “Since the coat needs to sway lightly, I thought about ways to make it look even cooler everyday. ” Although it was a quick counter action sequence, in order to avoid a violent attack from the villain Lust (Yasuko Matsuyuki), from an angular starting point we can clearly see Yamada’s high level of physical ability exquisitely shown in each take.

Source: Cinema Square 9/08/2017

#FMA live action #Fumihiko Sori #yamada ryosuke #filming scoop #FMA #Edward Elric #Fullmetal Alchemist

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