#dramatic love story/action thriller

[superbat-love]

Diana: Okay, I think I’ve shared enough about my love life. Now it’s your turn, Bruce.

Bruce: Hn. Clark kissed me today.

Diana: Finally! I want to hear all the details!

Bruce: I could barely breathe. I felt like I was on top of the world.

Diana: Wow, that must have been an incredible kiss. I’m so happy for you!

Bruce: So am I. I was drifting in space and running out of air. I would have suffocated if Clark hadn’t found me and resuscitated me.

Diana: That’s horrible! How is this a love story?!

Bruce: Would it help if I told you that he went in for another kiss?

Diana: No! You nearly died!

Bruce: We were surrounded by stars… and the remains of my spaceship, but I wasn’t really paying attention to that at the time. Anyway, I thought it was very romantic.

[journalofanoldsoul]

Spooky Night Movie Club (Moon Edition)

⚙️ Moon in Aries - "The Texas Chain Saw Massacre" (1974): This movie is a high-octane, action-packed horror classic that perfectly complements the impulsive and adventurous spirit of individuals with Moon in Aries. With its fast-paced narrative and intense scenes, it mirrors the high-energy and daring nature of Aries Moon individuals who thrive on excitement and adrenaline.

🪄 Moon in Taurus - "Practical Magic" (1998): "Practical Magic" is a delightful and enchanting film that delves into themes of love, family, and the mystical. It's an ideal choice for those with Moon in Taurus, as it revolves around strong family bonds, a touch of romance, and a cozy, aesthetically pleasing backdrop. The movie weaves together elements of romance, witchcraft, and sisterhood, creating a visually appealing and heartwarming experience for Taurus Moon individuals who cherish comfort and emotional connection.

💀 Moon in Gemini - "Scream" (1996): The clever and communicative nature of "Scream" resonates with the inquisitive and chatty qualities of Moon in Gemini individuals. This iconic slasher film keeps the audience engaged with its witty dialogues and intricate plot, making it a fitting choice for those with a Gemini Moon who appreciate intellectual stimulation and quick-witted storytelling.

🏚️ Moon in Cancer - "The Conjuring" (2013): "The Conjuring" is a classic horror movie that explores the theme of protecting one's home and family, aligning with the nurturing and protective instincts of Moon in Cancer individuals. Based on the real-life paranormal investigations of Ed and Lorraine Warren, the film delivers spine-chilling and emotionally engaging experiences. It dives into the dynamics of family bonds and the profound lengths people go to shield their loved ones from supernatural threats, making it a compelling choice for those with a Cancer Moon who deeply value family connections and security.

🪓 Moon in Leo - "The Shining" (1980): "The Shining" is a visually stunning and emotionally intense horror masterpiece, which harmonizes with the dramatic and attention-seeking traits of Moon in Leo individuals. Directed by Stanley Kubrick, the film combines breathtaking visuals with a gripping narrative, creating a sensory experience that resonates with the theatrical and expressive nature of Leo Moon. It delves into themes of isolation, madness, and the eerie, making it a captivating choice for those who relish grand, emotionally charged storytelling.

👻 Moon in Virgo - "The Sixth Sense" (1999): "The Sixth Sense" is a film that meticulously delves into details and intricacies, mirroring the analytical and critical nature of Moon in Virgo individuals. Directed by M. Night Shyamalan, this psychological thriller centers around a troubled child who sees and communicates with the dead. Its focus on observation and unraveling mysteries aligns with the Moon in Virgo's penchant for scrutinizing and paying attention to the finer points of life.

🕯️ Moon in Libra - "Crimson Peak" (2015): As previously recommended, "Crimson Peak" is an exquisitely visual gothic romance horror film that appeals to the romantic sensibilities of Moon in Libra individuals. Directed by Guillermo del Toro, it combines romantic and haunting elements in a visually captivating narrative. The movie explores love, deception, and the eerie, making it a poignant choice for those with a Libra Moon who appreciate themes of beauty, love, and relationships.

😈 Moon in Scorpio - "Black Swan" (2010): "Black Swan" is an intense psychological thriller that aligns with the depth and intensity of Moon in Scorpio individuals. Directed by Darren Aronofsky, it explores themes of obsession and personal transformation through the story of a ballerina's descent into madness. The film's dark and enigmatic atmosphere and its focus on emotional depth make it a compelling choice for Scorpio Moon individuals who seek profound and psychologically complex narratives.

🍂 Moon in Sagittarius - "The Cabin in the Woods" (2012): "The Cabin in the Woods" is a thrilling and adventurous horror-comedy that resonates with the adventurous and exploratory nature of Moon in Sagittarius individuals. Directed by Joss Whedon, the film offers a unique twist on the conventional cabin-in-the-woods horror genre, adding elements of humor and surprise. It provides an entertaining and adventurous experience for those with a Sagittarius Moon who love a blend of thrills and comedy in their horror movies.

🔪 Moon in Capricorn - "Psycho" (1960): As previously recommended, "Psycho" is a classic psychological thriller directed by Alfred Hitchcock. It explores psychological depth and themes of control and power, which reflect the practical and disciplined nature of Moon in Capricorn individuals.

👹 Moon in Aquarius - "Donnie Darko" (2001): As previously recommended, "Donnie Darko" is a surreal and thought-provoking film that aligns with the unconventional and intellectually oriented qualities of Moon in Aquarius individuals. Directed by Richard Kelly, it delves into themes of time travel, alternate realities, and the human psyche.

💧 Moon in Pisces - "The Shape of Water" (2017): "The Shape of Water," directed by Guillermo del Toro, is a visually stunning and emotionally engaging fantasy film that appeals to the imaginative and empathetic nature of Moon in Pisces individuals. The movie offers a unique love story with elements of mystery and the supernatural, making it a captivating choice for those with a Pisces Moon who appreciate themes of romance, fantasy, and emotional connection.

I hope you've enjoyed this selection.

Stay tune for more astro posts.

xoxo J.

[onlydylanobrien]

‘SNL 1975’ Finds Its Garrett Morris, Dan Aykroyd, Chevy Chase And John Belushi

By Justin Kroll, Anthony D'Alessandro January 30, 2024 10:00am

Lamorne Morris playing Garrett Morris, Dylan O’Brien playing Dan Aykroyd, Cory Michael Smith playing Chevy Chase and Matt Wood playing John Belushi

EXCLUSIVE: Lamorne Morris, Dylan O’Brien, Cory Michael Smith and Matt Wood have joined the cast of Sony Pictures’ SNL 1975 that will be directed by Jason Reitman and based on the real-life behind the scenes accounts of the opening night of Saturday Night Live. Morris will play Garrett Morris, O’Brien will play Dan Aykroyd, Smith will play Chevy Chase, and Wood will play Belushi. The original screenplay is written by Reitman and Gil Kenan.

On October 11, 1975, a ferocious troupe of young comedians and writers changed television forever. SNL 1975 is the true story of what happened behind the scenes that night in the moments leading up to the first broadcast of NBC’s SNL. It depicts the chaos and magic of a revolution that almost wasn’t, counting down the minutes in real time to the infamous words, “Live from New York, it’s Saturday Night!”

The screenplay is based on an extensive series of interviews conducted by Reitman and Kenan with all the living cast members, writers and crew. Reitman, Kenan, Jason Blumenfeld, Erica Mills and Peter Rice are producing.

Morris can currently be seen in FX’s fifth season of Noah Hawley’s hit drama series Fargo as North Dakota Deputy Witt Farr. He joined the cast of Netflix’s Unstable for season two opposite Rob Lowe. Prior to this, he starred as the titular lead in the hybrid live-action/animated Hulu series Woke, inspired by the life and art of cartoonist Keith Knight.

O’Brien was most recently starring in Ponyboi, which premiered as one of ten films in the U.S. Dramatic Competition at the 2024 Sundance Film Festival. Up next, he will be seen in the feature films Caddo Lake, from the writing-directing team of Logan George and Celine Held and producer M. Night Shyamalan, and Anniversary, a thriller co-starring Diane Lane, Kyle Chandler, Zoey Deutch and Phoebe Dynevor. His other credits include Searchlight feature Not Okay from writer-director Quinn Shephard, the critically-acclaimed crime drama The Outfit, opposite Mark Rylance, Zoey Deutch, and Johnny Flynn; Paramount’s Love and Monsters and the popular Maze Runner franchise

Best known for his role on as the Riddler on the popular Fox series Gotham, Smith can currently be seen as Julianne Moore’s son in Todd Haynes’ May December. He most recently starred as Varian Fry in Anna Winger’s limited series Transatlantic opposite Gillian Jacobs and Corey Stoll for Netflix. Smith has also worked with Todd Haynes in both Carol (as private investigator Tommy Tucker) and Wonderstruck.

Wood has appeared in the original Broadway cast of Spongebob Squarepants and as husky kid icon Augustus Gloop in the Broadway First National Tour of Charlie and the Chocolate Factory. Television credits include Law and Order: SVU, Instinct and Difficult People.

Morris is represented by CAA, Entertainment 360, The Lede Company, and Myman Greenspan Fox Rosenberg Mobasser Younger & Light. O’Brien is repped by William Morris Endeavor Entertainment, Principal Entertainment LA, and Lichter, Grossman, Nichols, Feldman, Rogal, Shikora & Clark. Smith is repped by Circle of Confusion. Wood is repped by BRS/Gage Talent Agency.

Source: deadline.com

[hotvintagepoll]

I am adoring all of these polls and gif sets and just being fed so many hot vintage people. As someone who really hasn’t watched very many classics, are there any movies you’d recommend for someone just starting to dip their toes in older media but unsure where to start?

Sure! I don't want to sway any voting, but I'll put an incomplete list of favorites that involve hot men not still in the bracket below the cut.

Something to note that applies to most of these old movies—older movies have different pacing than modern movies, so some of these might seem really slow or weird to start. There are also different ways of framing gender and agency, for better and for worse. I've italicized the ones that I think are the best for starting with, but go with whatever genre/aesthetic sounds best.

The Court Jester (Danny Kaye, Basil Rathbone)—a circus performer working for a quasi-Robin Hood infiltrates the royal court. Fun comedy that's incredibly accessible and still so light on its feet. Swordfighting, glamorous medieval costumes, court intrigues, and silly accents.

Singin' in the Rain (Gene Kelly)—fun polyamorous musical comedy. The dancing is incredible, but so is the sense of joy and camaraderie between Gene Kelly, Donald O'Connor, and Debbie Reynolds. Genuinely captures the feeling of hanging out with your best friends. 1920s Hollywood, big movie studios, backstage drama, goofy hijinks.

The Adventures of Robin Hood (Errol Flynn, Basil Rathbone)—classic swashbuckler/romance. It could read a little slow to modern tastes but the action scenes are absolutely killer, as is the sentiment of seeing little guys pull down big capitalists evil monarchs. Swashbuckling, labor activists merry men hanging out in the woods, hot men in tights, social commentary swords, a Maid Marian who really holds her own and falls in love with the socialist

Charade (Cary Grant)—thriller/romantic comedy. Audrey Hepburn's husband dies and leaves her a hidden inheritance, and she's racing some skeevy characters to find it. A little bit scary but mostly charming and gorgeous, and you can find it high quality virtually anywhere because they fucked up the copyright trademark in the opening credits. Romance, murders, Paris, 1960s fashion, chases in the night.

Chitty Chitty Bang Bang (Dick Van Dyke)—this movie is divisive for some reason—I personally like peace, love, and joy, so it makes the list. This is a James Bond movie if James Bond had two kids, lived in a windmill in the south of England, and was into cottagecore inventions more than martinis and racism. This is very much a kids' movie so go in with that expectation, but enjoy the gorgeous production design, the wonderfully silly performances, and Lionel Jeffries pulling out every stop as an insane old man. Dick Van Dyke has excellent DILF energy. Magical cars, big musical vibes, fun inventions, and romantic fantasy.

To Be Or Not To Be (Jack Benny)—comedy/drama. A ragtag Warsaw theatre troupe stands off against the Gestapo after the invasion of Poland. TW for Nazis, obviously, but overall this is a comedy with some heft, and kind of shocking to be this ballsy about fucking hating Hitler's guts in the 1940s. Hambone actors, Shakespeare, spies, 1930s gowns. It's been a minute since I watched it so I don't think there are any TWs here, but go forth with caution.

Witness for the Prosecution (Tyrone Power)—mystery/legal drama based off an Agatha Christie story. The performances are campy fun and the twist would be at home in something like Knives Out. Big dramatics, hambones, lots of talking, a bit of a mindbender.

The Lady Vanishes (Michael Redgrave)—mystery/suspense/romantic comedy. It's a little slow to start but roll with it—once the action moves to the train the pacing really picks up. This gets slotted as a thriller sometimes but it's much funnier and gentler than that. There's some period-typical snarkiness directed at anyone Foreign™ by some of the British characters; the British characters are also made fun of. Trains, British people, international shenanigans, mystery, and humor.

All About Eve (absolutely none of these hot men, lots of hot women though)—a legendary actress fights for her life against the rising star who supplants her. Big drama, big performances, lots of gasp! and dahling! and vicious little quips. New York, theatre pronounced theahhtah, drama queens and plotting.

The Philadelphia Story (James Stewart, Cary Grant)—talk-heavy comedy, lots of quick banter and period transatlantic accent fun. It's a bit shouty and conflict-heavy at times, but I don't think James or Cary have ever been hotter, and Katherine Hepburn is just wow. Very funny dialogue, relatable characters, incredibly hot across the board. There is one instance of a racial slur (not directed at anyone but still there) and one shove. Some people won't like the discussion of Hepburn's character's choices as a daughter and a wife. With all of these movies you'll see a a range of how female characters are presented and treated, and while some period movies fall hard for sexist tropes, I personally think the performances, direction, and subtext of many of these films actually prioritizes the experiences of the female characters and shows them as living, breathing people, even if they're not framed the way they would be today.

[geekedoutbunny]

Husband! Sun Wukong x Wife! Reader

Ch. 2

Paring: Sun Wukong x Reader

Rating: Rated M

Warning: In this story, you will read the following - Slice of Life, Mention of Death, attempted suicide, Past Cheating, Present Cheating, Triangle, Friendship, depression, anxiety, romance, angst, fluff, action, thriller, and drama.

MASTER LIST | NSFW CONTENT

You sat on the cloud, enjoying the beautiful view that was Flower Fruit Mountain, a little monkey lay on your lap sleeping peacefully your fingers gently scratching the top of its head making it sigh in contentment in its sleep. You were deep in thought as you stared at the view. You looked down as you heard determined grunting from MK as he trained with Wukong.

You smiled at the sight of them, happy to see your boys bounding, you sighed as you laid back on the cloud making the little monkey give a little grumble at being shifted in its sleep but he went back to sleep. You stared at the sky, the deep blue always so hypnotic, it was a trip that there was, in fact, an end to the blue wall. Your thoughts went to the celestial world, your memories of traveling with Wukong and his brothers flooded your thoughts.

You smiled fondly at the memory of Azure, Yellow Tusk, Peng, and... and Macaque. Your smile turned into a sad one as you thought of the black-furred monkey. Your eyes danced along the sky as you went through your memories with him. "That was a long time ago... a very long time ago." You said aloud to yourself. Wukong suddenly appeared before you, a cheeky smile on his face as he did.

Your eyes widened some in shock before you smiled at him. "What was a long time ago, hmm?" He asked, playful as he stared down at you with a questioning yet cheeky stare. You chuckled, "Oh just the time when we were younger and when you used to run around wreaking havoc and I had to come and help clean up your mess." You explained as you smiled at him. He gave you a sheepish smile as he looked off while rubbing the back of his neck.

"Yeah, that was pretty long ago." He said through a wavering chuckle. You chuckled up at him in amusement, making him look back down at you in question. "What's so funny?" He asked. You reached up, your hand gently caressing his cheek. "Just seeing you get all embarrassed over a silly memory." You said. He smiled as he stared down at you kindly his hand coming up to hold yours against his cheek.

"Yeah, well, you make me this way, you know that?" He said. You smiled sweetly at him, your heart hammered in your chest gently as the love between you flourished. "UMM!! HEY, MONKEY KING!? ARE WE STILL TRAINING OR WHAT!?" Shouted MK from below you both. You both looked down at him. "WE'RE STILL TRAINING BUD, BUT YOU CAN GO AHEAD AND TAKE A BREAK!!" Wukong shouted back as he gave MK a thumbs up. "COOL!!" MK shouted before he looked around. He looked back up at you both. "I'M JUST GONNA HELP MYSELF TO SOME MORE PEACH CAKE!!" He shouted before he took off towards the kitchen.

You and Wukong chuckled at MK's antics as you both watched him run into the kitchen. You sighed as you listened to MK make a mess in the kitchen, and you rolled your eyes. Wukong looked over at you in amusement. "He sure is a work of art, huh?" He asked in a teasing tone. You looked over at him, slightly annoyed. "Yeah, and no thanks to you." You said, he gasped as he held his chest. "HOW COULD YOU!?" He said dramatically, you rolled your eyes as you smiled at his antics.

"Oh, hush you." You said as you sat up, he moved back some as you did and he watched you curiously as you sat upright on the cloud, the little monkey on your lap looked around in question before it stretched and it hopped down on the peach tree below you. Wukong watched as the little monkey climbed down the tree and ran to his friends. "You might wanna go into the kitchen with MK." You cautioned him. He looked over at you.

"Why? If you're worried about him breaking something, don't worry about it, I can easily fix it." He said nonchalantly. You shook your head. "It's not that, It's just that there's only three slices of peach cake left, and you haven't had any yet." You said as you pointed towards the kitchen below. His face dropped, and his eyes widened in alarm. "AND YOU WAIT UNTIL NOW TO TELL ME THIS!?" He shouted. You shrugged. He looked down at the kitchen below, and he raced off. "HANG ON, MK!! LEAVE SOME FOR ME!!" He shouted as he jumped down and raced into the kitchen.

You sighed tiredly as you could hear some glass breaking and the sound of wrestling going on. You looked up at the sky, a cloud drifting by, the shape of it was odd and you focused on the shape, trying to see what it was. An image of Wukon appeared and you smiled fondly at the cloud, but it slowly faded when Macaque appeared in his place. You sighed as you looked at the cloud in worry. "That was a long time ago, Macaque... and yet, you still haunt my thoughts." You spoke aloud to yourself.

MK sighed in contentment as he relaxed his head against the side of your thigh, your hand gently combed through his once-tangled hair, and you hummed a soft tune as you did, deep in thought. He looked up at you with a curious gaze before he looked down dejected. "Hey, Mrs. Wukong?" He said, a sad tone in his voice. "Hmm?" You asked. He stayed quiet for a moment. "Do you think I'll be able to get as strong as Monkey King one day?" He asked, uncertainty in his voice as he spoke. Your eyes shifted to his face as concern gleamed in them.

"Where is this coming from, MK?" You asked him softly. He sighed as he sat up, your hands resting in your lap as you stared at him with patience. "Well, it's what Lady Bone Demon said... She said that all my efforts would lead to nothing but pain... and I want to continue to get stronger so that I can continue to protect my friends... But it seems that the stringer I get, the more danger I put my friends in... I just don't get it." He explained. You sighed as you moved over to sit next to him.

You wrapped your arm around him, pulling him closer to you, he leaned into your side, and the sad look on his face broke your heart. "You know... Tàiyáng went through the same thing." You spoke gently. He looked up at you with question his eyes gleaming in slight hope. "Really?... Then... How did he handle it?" He asked. You looked off, your eyes trailing up till you saw a picture of you and Wukong on your shelf. "Well, he had his friends to back him up." You said. He sighed and you looked down at him.

"Yeah, well we seen how that turned out." He said in a sarcastic voice. You bounced your head from side to side as you nodded agreeing with his words. "That's true, but that's because he lacked something you don't have." You said. He looked up at you with an arched brow. "And what would that be?" He asked. You smiled. "Pride." You simply said. He cocked his head to the side. "Whaaa?" He asked, the confusion in his eyes was enough but to hear it was enough to make you chuckle lightly.

"You see, Tàiyáng has too much pride... He has a hard time asking for help, and for the simplest of tasks... He's been the strongest for so long that he's forgotten what it was like for him to lean on others and not the other way around." You explained. He stared up at you with a dazed stare. You arched your brow. "What?" You asked him. "Are you sure Monkey King's the sage equal to heaven and not the other way around?" He asked as he twirled his finger in a little circle. You chuckled at his words. "You have no idea how many others have asked me that same thing. But I can assure you that I am not, but I am his wife so I guess that counts." You said with a playful eye roll.

"Yeah, checks out." He said with slitted eyes as he nodded. You smiled at him sweetly. "Listen, MK, your journey is going to be long and hard. You may or may not lose some friends along the way, and that's okay. That's how life works. It's unfair and it seems harsh, but that's so you can mature and make new friends in their stead... Just like Tàiyáng did with you and your friends." You said. MK stared at you with a worried stare before he looked down. "But, I don't wanna lose my friends... I don't want to lose anyone." he said.

You sighed. "Nobody does, MK. They don't want to go through that hardship, but sometimes it can't be helped... Sometimes, pain is what helps us to grow." You explained. He stared up at you with sad eyes before he looked down and he sighed. "That's not fair." He said dejectedly. You nodded as you leaned your head onto his. You both sat there in silence, listening to the sound of the waterfall that showered over the entrance of the cave.

Wukon stood on his cloud high above you and MK, his arms crossed as he had a concerned look on his face before he smiled. "That's why I married her." He said to himself, a proud smile on his face.

MASTER LIST | NSFW CONTENT

[calicohyde]

This is a bit of a weird question, but you're the only one I know about who regularly posts about pirates of any kind (admittedly on your other blog) so I figured I'd ask you: what's some stuff you'd want to see more of in pirate fiction? I'm fucking around with a pirate AU for one of my projects and that made me curious - @transman-badass

TL;DR bullet point lists, bolding for emphasis

Necessities:

even if not going for historical accuracy, make sure character designs accurately represent the setting

queer pirates, in particular trans/GNC pirates

POC (Pirates of Color), in particular Black and Indigenous pirates

pirates with body types befitting their lifestyle

religious diversity

Why did you pick pirates if you're not...

commentating on capitalism, colonialism, class, and "crime"

incorporating pirate legends/superstitions in some way

see above points about diversity

Things I personally want to see:

revisit points on diversity again

antivillains

dramatic irony

song and dance

vulgarity

narrative questions built to have no answers

a wider variety of genres; instead of sticking to action/adventure, fantasy, and romance, try a slasher, slice of life, or heist (etc)

More detail on these points + unintentionally effusive praise for Pirates of The Caribbean and Black Sails under the cut.

This is a bit of a (perhaps?) unexpected answer, but my favorite pirate media (that I remember rip) is actually the original PotC trilogy!

While I love the explicit queer representation in Black Sails and OFMD, as well as the political thriller aspect and social realism + commentary of Black Sails, and I'd obviously love to see more of that, they lack some things the first three PotC movies have that I just really fucking love. I don't think any of them are exclusive to pirates necessarily, but I do think a lot of them are particularly well suited to them, and in some ways when they're not incorporated I personally feel like something is missing.

The og PotC trilogy does have its own political aspect and commentary, it's just a bit less confrontational than BS. I wouldn't say it's so subtle as to be a subplot though, it's still a - if not Thee - primary driving factor to the overall narrative and its plot. In my opinion, no pirate media is complete without some aspect of anticapitalist/anticolonialist/antiassimilationist sentiment at its foundation, even if the pirates are not necessarily heroic or righteous - or are downright wicked (derogatory) - in any other way. Pirates make for the perfect antiheroes, antivillains, and villain protagonists, and the latter two are far less explored than the former. And truly what is the point of having a character cast of primarily career thieves if not to say some type of something about the constructs of money and crime?

Another thing is the incorporation of traditional pirate legends/superstitions! I certainly will not be able to find it at will, but there is a post on this site that I wholeheartedly agree with about how cool it is that PotC has a different set of accepted realities depending on who's territory the story is in - i.e. pirate legends are true when the characters are where there be pirates, but aren't on colonial land. There are also pockets of extra depth to the story and characters that only really occur to you if you look at the work through the eyes of someone who exists within the pirates' world, such as Elizabeth's Kiss of Death At Sea.

It also of course ties in perfectly with the allegory; the further colonialism/capitalism spreads -> the smaller pirate habitat shrinks -> the less magic there is/the more reality is confined to only what Is and can no longer extend to what Could Be, shown most directly by the beached Kraken and Jack's response of "The world's still the same [size], there's just less in it." Which in that particular context also reinforces the above highlighted built-in moral ambiguity/acknowledgement of the beauty and necessity of things that may harm you (or pose a challenge to your conquering power), in that only the movie before the Kraken was a direct threat to Jack, and in fact literally killed him, but he still recognizes its extermination as both an indication of worse to come and as a tragedy in its own right. Also shown really well in how an "incorrect" pirate-drawn map can get you places that, when using an "accurate" colonial-standard map, don't exist. And how Beckett can't get Jack's magic compass to work for him even though he knows what it's supposed to do, only a pirate (or pirate-to-be like Norrington) can use it. The Power of Belief in this way is and always will be my number one homie. I got slightly off topic and just started talking about PotC. Anyway.

The dual accepted realities allow for really great dramatic irony as well. Gods and monsters and cursed treasure and impossibly fast and unsinkable ships and the undead are all real, and the audience knows all that based merely on the setup, but to the characters it's a shocking twist. Black Sails has some dramatic irony that I really love as well. The audience knows that Black Sails is a Treasure Island prequel, and they know the culmination of the featured historical events, but the characters don't. I eat that shit up and it's fucking delicious every time. And I also love that good good opposite of dramatic irony in these too, where the audience will never know something the characters do. BS does it through a well crafted metafiction narrative and unreliable narrators. "A story is true, a story is untrue," and this story acknowledges itself as a story - one told by conquerers, liars, visionaries, and warrior poets. We will never know what "really" happened, and we're not meant to.

Anyway even if pirate legends aren't real or *shrug emoji* in-universe, I again think pirate media is incomplete if a few aren't textually present in some other way.

Back to representation stuff. As I said, while Black Sails and OFMD have it pretty good, there should be way more queer pirates, and in particular trans/gender-nonconforming pirates. I'd specifically like to see a portrayal of Mary/Mark Read as being trans/fluid/whatever, rather than "disguised" or "mistaken" as a man (if the piece features historical figures). Equally so, there needs to be way more racial diversity in pirate media, in particular Black and Indigenous pirates. Probably most of the famous Captains you could name off the top of your head were white Englishmen, but there's a lot of evidence that a high percentage of pirates were not. So tbh I think this is less of a "feels" incomplete thing and more of an IS incomplete thing.

Likewise, there should be more body diversity and religious diversity. These things are obviously inaccurate and a Choice to exclude anywhere, but again imo an extra level of dumbassery to exclude from a pirate thing. Model/movie star body types should be rare; we need to be looking at athletes and laborers when designing Golden Age sailors. We need to be taking into account the available medicine of the time period and the lasting consequences thereof, as well as more of the (known) cultural ideas about body differences, neurological differences, sickness, and death. And as for religion, there seems to be vast swathes of people who think once upon a time everyone was either a Christian (be that Good or Bad) or a Savage (whether Noble/Mystic or not). And that is SO deeply fucking annoying - to say it in the blandest, most diplomatic way possible lol.

Even if you're not going to go in for much historical accuracy, you're doing a fantastical/romanticized/comedic/etc version, or you're making a whole secondary world from scratch, you really should be figuring out what would be accurate to the conditions you create. If your piece takes place on a frigate sailing the open ocean in the tropics for long periods of time while the nearest land is being colonized by monarchic northerners in an approximation of the 17th century, the characters should reflect that just as much as the setting and plot.

Now for some things I wouldn't necessarily be disappointed about being absent, but that I would just be kinda jazzed to see. First: song, dance, storytelling, riddles, foul language, and bawdy jokes. This kind of goes hand in hand with the legends and all, but is an extra layer that isn't put on enough! PotC and OFMD have some song, and BS as already mentioned is pretty heavy on storytelling both diegetically and as a main theme. I just want more.

Second, I'd love to see a wider variety of genres. We're spoiled for pirate action/adventure, fantasy, romance/erotica, and coming of age. I want to see some scifi that isn't just pirates In Space (not that I have anything against pirates In Space or think it's not scifi Enough, but we're not starving for it). Pirate slasher. Pirate slice of life. Pirate whodunit. Pirate time travel. Pirate psychological thriller. Pirate disaster/post-apocalypse. Pirate slipstream/surrealism. Pirate heist!! Pirate procedural? somehow?? You get it.

I think I've talked enough now wkgoiuwksk.

[physalian]

On Writing Theme (Or, Make it a Question)

An element of story so superficially understood and yet is the backbone of what your work is trying to say. Theme is my favorite element to design and implement and the easiest way to do that? Make it a question.

A solid theme takes an okay action movie and propels it into blockbuster infamy, like Curse of the Black Pearl. It turns yet another Batman adaptation into an endlessly rewatchable masterpiece, seeing the same characters reinvented yet again and still seeing something new, in The Dark Knight. It’s the spiraling drain at the bottom of classic tragedies, pulling its characters inevitably down to their dooms, like in The Great Gatsby.

Theme is more than just “dark and light” or “good and evil”. Those are elements that your story explores, but your theme is what your story *says* with those elements. 

For example: Star Wars takes “dark vs light” incredibly literally (ignoring the Sequels). Dark vs Light is what the movies pit against each other. How the selfish, corrupted, short-sighted nature of the Dark Side inevitably leads to a self-fulfilling prophecy of doom—that’s what the story is about.

A story can have more than one theme, more than one statement it wants to make and more than one question to answer. Star Wars is also about the inevitable triumph of unity and ‘goodness’ over division and ‘evil’.

Part of why I love fantasy is how allegorical it can be. Yes I’m writing a story with vampires, but my questions to my characters are, “What makes a monster? Why is it a monster?” My characters’ arcs are the answer to my theme question.

Black Pearl is a movie that dabbles in the dichotomy between law-abiding soldiers and citizens, and the lawless pirates who elude them. Black Pearl’s theme is that one can be a pirate and also a good man, and that neither side is perfect or mutually exclusive, and that strictly adhering to either extreme will lead you to tragedy.

Implementing your theme means, in my opinion, staging your theme like a question and answering it with as many characters and plot beats as possible. In practice?

Q: Can a pirate be a good man? A: Jack is. Will is. Elizabeth is. Barbossa is selfish and short-sighted, and he loses. Norrington is too focused on propriety and selfless duty, and he loses.

Or, in Gatsby.

Q: Is life fulfilled by living in the past? A: Mr. Buchanan clings to his old-money ways and is a sour lout with no respect for anyone or himself. Daisy clings to a marriage that failed long ago, to retain an image and security she thinks she needs. Myrtle chases a man she can’t ever have. Her husband lusts after a wife who’s no longer his. Gatsby… well we all know what happens to him.

The more characters and plot beats you have to answer your theme’s question, the more cohesive a message you’ll send. It can be a statment the story backs up as well, as seen below, questions just naturally invite answers.

—

Do you need a theme?

Not technically, no. Plenty of stories get by on their other solid elements and leave the audience to draw their own conclusions and take their own meaning and messages. Your average romance novel probably isn’t written with a moral. Neither are your 80s/90s action thrillers. Neither are many horror movies. Theme is usually reserved for dramas, and usually in dramatic fantasy and sci-fi, where the setting tends to be an allegory for whatever message the author is trying to send. That, and kids movies.

Sometimes you just want to tell a funny story and you don’t set out with any goals of espousing morals and lessons you want your readers to learn and that is perfectly okay. I still think saying *something* will make the funny funnier or the drama more dramatic or the romance more romantic, but that’s just me and what I like to read.

When it is there, it’s right in front of your face way more often than you might think. Here’s some direct quotes succinctly capturing the main theses of a couple famous works:

“He’s a good man.” / “No, he’s a pirate.” - Curse of the Black Pearl

“What are we holding onto, Sam?” / “That there’s some good in this world, Mr. Frodo, and it’s worth fighting for.” - LotR, Two Towers

“Even the smallest person can change the course of the future.” - LotR, Fellowship of the Ring

“A person’s a person, no matter how small.” - Horton Hears a Who

“You either die a hero, or you live long enough to see yourself become the villain.” - The Dark Knight

“Can’t repeat the past? Why of course you can!” - The Great Gatsby

“Your scientists were so preoccupied with whether or not they could, they didn’t stop to think if they should.” & “Life finds a way.” - Jurassic Park

"Ohana means family. Family means nobody gets left behind." - Lilo & Stitch

“But… I’m supposed to be beautiful.” / “You are beautiful.” - Shrek

“I didn’t kill him because he looked as scared as I was. I looked at him, and I saw myself.” - How to Train Your Dragon

“There are no accidents.” & “There is no secret ingredient.” & “You might wish for an apple or an orange, but you will get a peach.” - Kung Fu Panda

*If any of those are wrong, I did them entirely from memory, sue me.

Some of the best scenes in these stories are where the theme synthesizes in direct dialogue. There’s this moment of catharsis where you, the audience, knew what the story has been saying, but now you get to hear it put into words.

Or, these are the lines that stick in your head as you watch the tragedy unfold around the characters and all they didn’t learn when they had the chance.

When it comes to stories that have a very strong moral and never feel like they’re preaching to you, look no further than classic Pixar movies.

“Not everyone can become a great artist, but a great artist can come from anywhere.” - Ratatouille

“I’m not strong enough.” / “If we work together, you don’t have to be.” - The Incredibles

“Just keep swimming!” - Finding Nemo

Ellie’s adventure book, to live your own adventure, even if it’s not the one you thought it would be - Up

The Wheel Well montage, to slow down every once in a while, because in a flash, it’ll be gone - Cars

The entire first dialogue-less section of Wall-E, to stop our endless consumption or else

The real monsters are corporate consumption - Monsters Inc

One cannot fully appreciate happiness without a little sadness - Inside Out

With enough loud voices, the common man can overthrow The Man - A Bug’s Life

A person’s worth is not determined by their value to other people - Toy Story

These are the themes that I, personally, took from these movies as a kid and later in life. If I remembered the scripts any better I could probably pull some direct dialogue to support them, but, sadly, I do not have the entire Pixar catalog memorized.

—

After you’ve suffered through rigorous literary analysis classes for years on end, the “lit analyst” hat kind of never comes off. Sometimes you try to find a theme where none exists, coming up with your own. Sometimes you can very easily see the skeleton attempt at having a theme and a message that came out half-baked, and all the missed opportunities to polish it.

Whatever the case, while theme isn’t *necessary*, having that through line, an axis around which your entire story revolves, can be a fantastic way to examine which elements of your WIP aren’t meshing with the rest, why a character is or isn’t clicking, how you want to end it, or, even, how you want to approach a sequel.

Unfortunately, very, very often, a movie, book, or season of TV has a fantastic execution of a theme in its first run, and the ensuing sequels forget all about it.

No one here is going to defend Michael Bay’s Transformers movies as cinematic masterpieces, however, the first movie did actually have a thematic through line: “No sacrifice, no victory.” They didn’t stick the landing but, you know, the attempt was made. Where is that theme at all in the sequels? Nonexistent. They could have even explored a different theme and they abandoned it altogether.

Black Pearl’s thematic efforts fell away to lore and worldbuilding in its two sequels. Not that they’re bad! I love Dead Man’s Chest, but to those who don’t like the sequels, that missing element may be part of why.

Shrek and Shrek 2 both centered on their theme of beauty being how you define it and no one else. Fiona finds true love in her “true” form, then strengthens that message in the sequel when she has the chance to be “normal” and conventionally attractive, and still chooses to be an ogre, to be with Shrek. Shrek 3’s theme is…? 

When it was never there, that theme is missing isn’t so obvious. When it used to be there and got left behind, it leaves a crater in its wake everyone notices, even if they can’t pinpoint why.

—

TLDR: Theme is more than just vague nouns and dichotomies. Good, evil, dark, light, selfishness, altruism, beauty, ugliness, riches, poverty, etc are what your story uses. Your theme is what your story has to say with those elements, using as many characters and plot points as possible to reinforce its message. Is it necessary? No. Is it helpful and does it lead to a richer experience? Yes.

[oswincoleman]

The Jetty reviews!

Beware, some of these reviews contain spoilers! I will highlight some non-spoiler parts of the reviews here though.

Soundsphere magazine: ⭐⭐⭐⭐⭐

The newest BBC One series ‘The Jetty’, which is full of shocks, twists, and more turns than you can shake a stick at, will immediately grab your attention and won’t let go until the credits of the final episode roll.

It’s safe to say, from the opening few scenes, The Jetty is an outstanding piece of cinematography!  The beautiful lakes of West Yorkshire are almost characters themselves, from their haunting stillness to their choppy and aggressive waves.  The metaphor never seems lost with this series.

With a stellar cast helmed by the ever-brilliant BAFTA and Emmy Award nominated Jenna Coleman (The Wilderness, Doctor Who) as recently widowed and single mother, Detective Ember Manning as she investigates a fire in a small town in Lancashire

Coleman shines as Ember, just as she does in almost all of her dramatic roles, she plays grief in a new light and as the case rears its head, Coleman just goes to prove she really is one of the best actresses of our generation.

Inews: ⭐⭐⭐⭐

The ever-reliable Jenna Coleman is the glue that holds the series together, but it’s these flashes into the past where the drama really comes to life. 

Amid the tennis and the football and Glastonbury taking up the schedules recently, TV has been crying out for a series like The Jetty – one the entire nation can really get stuck into and chat about at work the next day. I can’t remember the last time a BBC crime series gripped me this much.

The Standard: ⭐⭐⭐⭐

The Jetty is a complex series, and Coleman carries it beautifully; whether she’s doggedly interviewing suspects or breaking down at home, she’s never less than magnetic. The police case is just the start of the story, really: what the show is really about is power, and how power can be abused, especially in relationships between young girls and older men.

The setting is also a stroke of genius. The picturesque lake acts as the focal point of all the action, veering from pretty to ominous as it laps at the titular jetty of Mack’s boathouse, hiding both secrets and bodies. The end result can be unbearably tense at times, but the show also offers flickers of light in the form of Ember’s relationships with her nearest and dearest.

It’s a welcome breath of fresh air in a series that spotlights and celebrates women – as well as pointing out the dangers of being a young girl in a world where men lurk in the shadows. It’s a message that feels all too relevant today; the show doesn’t offer any easy answers, but the end result is electric.

The Guardian: ⭐⭐⭐⭐

Jenna Coleman stars in a very good thriller that evolves into a dark, funny and moving look at how women navigate the brutally male world. It’s better than you would ever expect … especially after that opening

The Times: ⭐⭐⭐⭐

https://www.thetimes.com/culture/tv-radio/article/the-jetty-review-a-thoughtful-metoo-thriller-with-a-smart-twist-cx3z2z2zm

Still, it is an impressively mature and engaging role for Coleman. Her dry put-downs of her sidekick Hitch (Archie Renaux) were neatly done, showing that sexism operates on many levels, big and small, conscious and unconscious. Sometimes it can just be a thoughtless remark. And Jones was also careful to show that toxicity in this community wasn’t entirely male. 

Horse pleasuring aside, it also looks fabulous: breathtaking winter sunsets, the lovely lake glinting in the sharp grey light serving as an emblem for all the murkiness that lies beneath the surface of what shapes into a carefully calibrated four-parter. Too many dramas seem to voyeuristically revel in the terrifying threats that women and girls face. This shows what can be done about it.

What to Watch:

The Jetty should come with a warning because this new thriller is about to become your next TV obsession. 

I hope you haven't got much on for the next few days, because you are going to be busy watching Jenna Coleman in her latest thriller - and her first-ever role as a police detective.

I have always been a big Jenna fan, right from her early career as Jasmine Thomas in Emmerdale back in 2005. Since then the British star has spent almost two decades in film and television starring in huge shows like Doctor Who, Victoria, The Serpent and more recently her gripping Prime Video thriller, Wilderness (another show you really have to check out of you haven't already - you won't regret it!).

But somehow The Jetty feels different. While Jenna is very familiar with taking on lead roles in huge TV shows, this four-part thriller marks her first role as a TV detective.

So if you do one thing this week, set aside four hours to yourself and watch The Jetty - this is a show that everyone is going to be talking about. 

Stylist

The new BBC miniseries stars Jenna Coleman in a magnetic, layered turn as Detective Ember Manning, a whip-smart, no-nonsense police officer in Lancaster. After the old yacht club, now a showy holiday home, is burned down, Ember’s investigations lead her back to the cold case of Amy Knightly, a local teen who went missing 17 years ago. As her investigations continue, Ember is faced with the disturbing possibility that her late husband, Mac, may have been involved in the girl’s disappearance. To give away much more would spoil the delightfully twisty-turny plot that ensues, but suffice it to say, this show offers up a truly gripping crime story. 

But what makes The Jetty a true work of nuance is that it refuses to be overcome by the very real darkness it is portraying – as such, it feels quietly, doggedly brave. Instead of succumbing to doom, gloom and victimhood, it is littered with moments that capture the vast array of experiences of womanhood. Some particularly lovely moments of release include Ember and Hannah belting out KT Tunstall’s Suddenly I See in the car and, later, dancing wildly to The Killers’ When You Were Young. Being a woman in the world is still profoundly dangerous, but it is also filled with elation, joy, friendship, silliness and hope. The Jetty may seem like your average nail-biting detective thriller, but below the surface, it has surprisingly poetic depths.

Financial Times: ⭐⭐⭐

[knee-stockings]

So I’ve been listening to lots of podcasts at work lately to break up the monotony of my office job. Mainly they’re horror, suspense/thriller, drama, that kind of thing. Trying to give ratings without spoilers~

(Check out updated pod recs here)

The Left Right Game (a journalist investigating an urban legend that gets increasingly more dangerous as they go): 5/5, this being one of the first ones I listened to set the bar really high tbh, it was great, immersive sound design, genuinely suspenseful and creepy moments, interesting plot, my only gripe is that I didn’t love the ending but I couldn’t dock a star just for that, highly recommend, maybe I’ll retire to Wintry Bay someday 

Alice Isn’t Dead (delivery trucker goes searching for her believed dead wife, comes across supernatural towns and creatures and a conspiracy that goes way deeper than one missing woman): 5/5, so so good, enjoyed a lot, I loved learning the truth about the Thistle men, still don’t completely understand oracles but that’s okay, some delightfully creepy moments, this will be high on my recommendation list (also it’s by the Welcome to Night Vale people, which I actually haven’t listened to lmao)

Harley Quinn and the Joker: Sound Mind (it’s a Harley Quinn origin story basically): 5/5, very enjoyable, sound design great, plot was fun, I don’t know how accurate this story is to the original Harley Quinn origin story but I liked this a lot

The Burned Photo (two women try to fight a familial curse haunting their bloodlines): 4/5, not bad at all, I thought the sound design was great and immersive but I thought the monster’s voice was a bit goofy idk, the plot wasn’t bad though ofc it was pretty bittersweet and sad in the end, tho I think it was never going to be happy for everyone involved

Blackwood (group of teens investigate the town urban legend and uncover more than they bargained for): I can’t decide…3.5 maybe? It was okay. I didn’t love it or hate it, I’m pretty neutral about it. It was interesting enough

Gaslight (girl goes missing and then reappears to her best friend years later with little explanation): 3/5, feels like there should be another season, wasn’t as dramatic/suspenseful as I thought it would be (maybe that’s my own fault tho, from the description and stuff I thought there would be more to it)

Ice-Cream (teens suspect the friendly neighborhood ice cream man of abducting little kids and uncover a dark secret): 4.5/5, interesting and a lil creepy, there’s something oddly funny about hearing someone scream “fuck you Beelzebub” even in context, sound design is pretty good and voice acting is great, finale was also pretty good but I’m docking half a star bc of that very last bit and bc I said so, overall short n’ sweet, no pun intendo (I’m kinda glad that it’s only the one season and not super long, gives the feeling of not overstaying its welcome. Also in awe that they made it within like a month, gonna go listen to their other podcast Cascadia too)

Cascadia (submarine expedition to uncharted waters, gone wrong, we almost died!?): 5/5, by the Ice-Cream people so I expected great sound design and voice acting and said expectations were met tbh, yes god love the drama, ocean depths are inherently scary to me so this is top tier horror, season one was chef’s kiss beautiful and I heard season 2 is coming so I’ll be waiting eagerly for that

Listening now:

Within the Wires (season 1 is relaxation cassette tapes from another world, season 2 is a guided museum tour I think): also by the WTNV people, interesting so far, the plot that unfolded in the first season was cool to watch as it played out, but also I am so sad. I like it so far

Rabbits (girl goes searching for her friend who disappeared because of this mysterious Rabbits game): feels like a really slow start after a few episodes, I kinda wanna get to more action soon please

Wake of Corrosion (apocalypse where characters are trying to find other survivors and also answers): mild shrug, not sure what to make of it just yet. Only like 2 episodes in so I think I need to give it a bit

Ars Paradoxica (scientist accidentally invents time travel and is thrown back to the 1940s): pretty interesting so far, science is fun 

Spoiler comment for Cascadia under the cut bc it's the one I just finished and I have Thoughts

As much as I enjoyed Cascadia, when I think about the expedition for more than 2 seconds I get confused. Not the whole alien thing, that’s fine, it’s Badger and Maria and their ulterior motives. Why in the world did Badger spend millions of dollars to make a submarine that’s faulty on purpose? And there was so much media coverage around it so the second something went wrong reporters were practically beating him over the head with microphones, so why risk so much bad press? Plus sacrificing three other talented divers who trusted him with their lives??? That’s the most confusing to me. There’s no way Badger foresaw them getting attacked underwater and losing Declan alone, so he must have been fully prepared to lose captain AND crew. Holden said that he saw Badger as a father, and yet he chose Holden to die? He said he handpicked them, so what did Holden, Alia, or Iris ever do to him to deserve being sent on a suicide mission? Doing all this just to get rid of Declan and be with Maria doesn’t feel right. Feels like there should be something more there. Tldr: surely Badger had another reason for conducting the suicide mission, right? Also since season 2 starts with Lila all grown up, a diver just like her father, I wanna know her opinions of her mother and of Badger. Did she learn about her mother’s betrayal? Is Badger still involved in funding deep sea diving or did the FBI take him out of that? Omg who’s the father of her little sibling…I’m so curious…

[mt07131]

book recommendation tag game!!

rules: recommend as many books as you like. please include genre and some basic information on it (either your words or a copy+paste synopsis). feel free to include cover art, a personal review, trigger warnings, and anything else! just don’t spoil the book!

tagged by @dekarios and hmmmm if anyone sees this and wants to do it, consider yourself tagged by me <3

Gideon The Ninth by Tamsyn Muir (Sci-Fi)

The Emperor of the Nine Houses has invited the necromantic heirs of each house to participate in a test to join him in immortality. Every necromancer needs a cavalier, however, and the only way Gideon Nav will earn her freedom from the Ninth House is to pick up a sword.

I want to say more about GtN SO BAD but I can’t because spoilers. This book quite literally fundamentally changed me, I think about it at least once a week. This was the book that got me back into reading more consistently so take that as you will.

A Good Girl’s Guide To Murder by Holly Jackson (True Crime)

Five years ago, Andie Bell was murdered by her boyfriend Sal Singh, and everyone knows it. At least, everyone thinks they know it. When Pippa Fitz-Amobi decides to investigate the case as part of her senior project, she begins to unravel dark secrets that will change the case- and her life- forever.

Another one of of my absolute favorite books and favorite series that I will always recommend. I really love how AGGGTM dives into the collective obsession with true crime and how it actually affects people who are involved.

Iron Widow by Xiran Jay Zhao (Sci-Fi)

Being a Chrysalis pilot in Huaxia is a boy’s dream and a girl’s death sentence. But when Wu Zetian kills the pilot responsible for her sister’s death through the Chrysalis’ mental link, she is labeled an Iron Widow and paired up with the strongest yet most controversial male pilot to tame her. She will not give up her power so easily though.

I was excited for this book and it more than exceeded my expectations. I love Zetian as a character, and the worldbuilding is excellent. I won’t lie when I say I’m foaming at the mouth for Heavenly Tyrant.

Six Of Crows by Leigh Bardugo (Fantasy)

Kaz Brekker has the chance to pull off the heist of a lifetime that will make him rich beyond anyone’s wildest dreams, but he can’t do it alone. He must gather a crew of Ketterdam’s most talented to succeed- as long as they don’t kill each other first.

The crows!!!! I love them!!!! I liked the grisha trilogy set in the same world, but I loved the crows duology SO much more. All of the characters are fantastic but Kaz and Inej will always have my heart.

We Are Watching Eliza Bright by A.E. Osworth (Thriller)

Eliza Bright is living her dream as a coder at Fancy Dog Games. When a workplace harassment incident goes unresolved, Eliza takes her story to a journalist to bring light to her situation. Unfortunately, this also makes Eliza a target for the violent collective of male video game players, who threaten her life not only online, but in real life.

I am not normally one to read straight up thrillers, but this one was disturbing yet fascinating enough that I read it all in one day. While it is a fictionalized dramatization of Gamergate, what Eliza faces can feel all too real to someone who knows how game fans can be.

Warcross by Marie Lu (Sci-Fi)

Teenage hacker Emika Chen, desperate for cash, takes a chance and hacks into the international Warcross Championships, accidentally glitching herself into the action and becoming a sensation. When Warcross’ creator offers her an official place in this year’s championship to uncover a security issue, she uncovers a sinister plot that could bring Warcross as the world knows it to its knees.

I’ve read quite a few of Marie Lu’s books, but the Warcross duology was SO GOOD. Another book with stunning worldbuilding that also doesn’t feel so far off from our current technology, I’d highly recommend to anyone who loves sci-fi.

[199degrees]

LISA i need bollywood movie recs PLEASE

omg ash, beloved, this is like the best thing anyone has ever asked me...this is finally my time...😁💖 here we go! (doing a "read more" because this might get long)

I just went with a lot of stuff I watched in my youth (lol) and these are kinda basic but still good and fun so I hope this can help you out a bit! 🫡

☆ = personal fave

Om Shanti Om, 2007 ☆ (literally like every genre, amazing songs, deepika padukone, and honestly one of my favourite movies in general. For real, every genre: romance, drama, comedy, action, horror even, period piece, celeb cameos, revenge, reincarnation...)

Devdas, 2002  ☆ (drama/romance, I watched this way too much as a child, which may explain the way I am)

Kabhi Khushi Kabhie Gham, 2001 ☆ (so much drama/romance, top tier songs, AMAZING cast)

Taal, 1999 (I've never personally watched this fully, but my family absolutely looooves this movie, and the songs are amazing too)

Jab We Met, 2007 (romcom - haven't watched this in forever but I remember having fun lol)

Ra.One, 2011 ☆ (action/sci-fi, I really like this one because it's sci-fi, which I don't really see a lot of, and Akon sings like two songs in this)

Chalte Chalte, 2003 ☆ (romance/drama, I shed A Lot of tears. Always.)

Kuch Kuch Hota Hai, 1998 (ROMANCE, childhood friends to lovers, pining, etc etc. And I don't think I've watched this but my parents LOVE this movie so. Added to the list!)

Duplicate, 1998 ☆ (comedy/action/romance, this one is kinda silly but holds a special place in my heart <3 it's fun, okay!)

Fida, 2004 (romance/thriller, batshit insane movie tbh. I think that's all i have to say)

36 China Town, 2006 ☆ (mystery/thriller, amazing songs - again, and a fun mystery! kinda predictable now that i'm older lol but still fun)

Salaam-E-Ishq, 2007 (romance, drama, a bunch of different stories in one, and ofc a lot of Drama)

Kal Ho Naa Ho, 2003 (romance, and I shed A Lot of Tears...I haven't rewatched this in forever because I know I'll cry a lot but it's good!)

Dil Ka Rishta, 2003 (romance/kinda dramatic...as per usual, an amnesia story but it works! And Aishwarya Rai looks gorgeous as per usual!)

Kabhi Alvida Naa Kehna, 2006 (DRAMA!!!/romance, god so much drama...it had 6/7 year old me SHOOK and even now. Insane. There's some cheating in this one.)

Capping it off here but I hope you enjoy some of these! 🥰 And perhaps I shall link my Bollywood playlist in another post...

[authoralexharvey]

INTERVIEW WITH A WRITEBLR — @red-the-dragon-writes

Who You Are:

Red Dragon || Ne/nem/nir

I'm a 22-year-old Queer writer who loves horror. I've been writing stories since I was a little kid and come from a family of aspiring authors (all the way up through my grandparents!) I enjoy working in a deliberately stripped-down style featuring a narratively close third person limited point of view featuring an opinionated narrator, untrustworthy characters, and limited description.

What You Write:

What genres do you write in? What age ranges do you write for?

Action, comedy, fanfic, fantasy, horror, psychological, sci-fi, thriller, tragedy. New adult and adult.

What genre would you write in for the rest of your life, if you could? What about that genre appeals to you?

Can I say "horror fusion" haha? It would have to be horror. I really love getting to pull reactions out of my readers, and horror also lets me push the boundaries of what I've ever seen in fiction before without shying away from how what is new or unusual can also be uniquely unsettling. Plus- no one ever expects horror protagonists to be smart, and I like the lack of pressure required to just write characters being stupid, whereas in a traditional mystery or action story usually the main cast is intended to be smarter and cooler than the reader. I delight in using dramatic irony to build reveals up in such a way that the audience knows before the main characters do, and that works best in horror where it allows me to drive up the tension as well. However, in my actual writing, I like to fuse horror with comedy or mystery or some other genre to make it a little more fun. Horror- in my experience, at least- hits hardest when you can get the reader to laugh a couple times.

What genre/s will you not write unless you HAVE to? What about that genre turns you off?

I definitely don't like "genre"/happily-ever-after romance. I'm pretty firmly aromantic, and at this point in my life I find romance to be almost painfully boring. I find it really hard to write a romance as my central driver of plot, and even moreso when it's a normal romance without either action-adventure or horror elements.

Who is your target audience? Do you think anyone outside of that would get anything out of your works?

I'm not sure I have a "real" target audience. I primarily write fanfiction at the moment while I overhaul my original work ideas, so that's a start- people who like Transformers. A lot of my work deals with adult topics like sex and abuse or coercion, so my audience is also above the age of 18 and comfortable reading about that, or at least interested in some way. And from there... I'm not sure. Fans of black comedy who like to watch characters experience awful torment, I suppose. I find that a lot of stories in the same general vein as what I do tend to "shy away" from the edge or otherwise try to soften what they're writing about somewhat, and I'd rather lean into whatever I'm writing. Like a car crash, or something. If other people are talking about fenderbenders, I'm going to go the full nine yards and write about totalling both vehicles demolition-derby style. In conclusion, I guess I'm aiming for a specific part of the Transformers fandom, wherein instead of reading light-hearted stories they want something worse, but at the same time hardcore angst where the character never gets a break and it's all very miserable just isn't striking a believable chord, or they want the characters involved to have a little more agency over their life than just being the Character Things Happen To.

What kind of themes do you tend to focus on? What kinds of tropes? What about them appeals to you?

I like themes of power, coercion and control, as well as themes of petty rebellion slowly shaking off the yoke of someone else's coercion or control. I think nearly everyone in their life has experience with some authority figure that wanted them to do things that would have either been harmful or counterproductive, and I'm no different. While I typically turn this up to eleven in my writing, it's definitely coming from a place of personal experience- if not with the topic, then at least with the concept. I also really like themes of family - not necessarily good or bad, but always flawed in some kind of way. And I really enjoy playing with ideas that violate "the sanctity of the mind" in some way, whether it be mind-reading, spells or coding tricks to get into your mind and force you to behave differently, or having to share a body and essentially just be a mind working with multiple people to do anything. I just really like making characters work around problems that real people only vaguely experience, but are close enough to real life that the reader can have a frame of reference for it, and I think that shines through with all my favorite things.

What themes or tropes can you not stand? What about them turn you off?

My least favorite trope is probably bodice-ripper-style "rape as seduction" like you find in classic romance novels and/or a "perfect victim" character that is only ever acted on and never gets a chance to stand up for themself. I understand it's something other people like or want to see, but defiance runs in my veins, and it always comes over as hugely unrealistic to me. At the end of the day, I want to watch characters struggle up toward the light, even if they fail in the end; if they just sit down and die- or, worse, decide they're okay with this after all- I'm always going to walk away unsatisfied. I'm also not fond of fantasy creatures that are inherently evil. From my pen name and username it's pretty clear I like dragons; I'm also fond of snakes, spiders, centipedes, jackals, and wasps. Animals are never inherently evil and people are even less inherently evil, because you're able to much more easily communicate with them. If the fantasy creatures are on the other side of an ideological divide, sure, but I really am not fond of "ogre instead of human" as shorthand for "100% evil villain we can never ever make peace with." If a character is being given the kind of intelligence you'd find on a human and some grasp of speech, I find it really frustrating when they're just Super Evil in search not of some goal that can be discussed but just because Ooh Evil Monster. It feels both lazy and really frustrating to me, and has been the number-one reason I put down fantasy novels since I was ten.

What are you currently working on? How long have you been working on it?

My current original fiction project is technically a genre romance (I know, I said I'd never write those!) that deals more with poisonous ideology, religious intolerance, and genocide than actual romance. I've been working on it since roughly 2017, and at the moment I'm reworking the plot to try to zero in more effectively on what I want to say with it. For a little background context, my whole family is Jewish, and I came up with the idea for this one during the Trump Administration while I was slowly coming to be more aware of politics than I'd been previously. This story deals a lot with the anxieties of being Jewish in a world like today's, so I really want to make sure that the point comes across despite the many layers of abstraction and fantasy I'm filtering it through. It's a story that's close to my heart despite the fact that, frankly, what I -have- written of it not being very good because I wrote it when I was sixteen.

Why do you write? What keeps you writing?

That's a tough question. A large part of what gets me writing is that I have ideas in my head that I desperately want to communicate to other people, but I don't know how to make it work if I only describe them outside of a narrative context. But what definitely keeps me writing is the response I get from other people. I have been working on detangling this for years, but like many other writers on the internet these days, attention really keeps me going. When I was younger I used to print my short stories and show them to all of my relatives; now I post them on Tumblr and ArchiveOfOurOwn and show as many of my online friends as want to read it.

How long have you been writing? What do you think first drew you to it?

I started writing when I was five or six, shortly after I learned to read. I mentioned that I come from a long line of other aspiring authors; my father has been writing novels since before I can even remember. I learned to write because I fell in love with reading and wanted to make my own stories that were nicer to dragons, since I was a little kid and really liked dragons and hadn't yet found anything where they were the real main characters. Both of my parents were very supportive of this, which helped a lot, because otherwise I don't think I would have kept writing my whole life the way I have.

Where do you get your inspiration from? Is that how you got your inspiration for your current project? If not, where did the inspiration come from?

A lot of my inspiration comes from seeing other people fumble some part of a story and being convinced that I can do it better. I don't think this is terribly unusual, but it is a little bit annoying when I'm trying to identify influences or inspiration and all I can point out is things that I think weren't very good, or were good -except- for this one element that I'm actually riffing off of. Outside that... A lot of my more ambitious works in progress actually come from weird dreams with narratively interesting setups that I decide to run with, or random bolts of inspiration that hit when I see some random image and get a "vibe" to capture. For example, the inspiration for my long original project that I'm working on came from a dream; but the inspiration for the Valentine's Day project that I'm currently writing comes from my friend mentioning the movie "My Bloody Valentine 3D" one too many times when I was in a bad mood and making me want to write the worst valentine ever because I thought it would be funny and it had an interesting"vibe" to it.

What works of yours are you most proud of? Why?

Last year, I decided to just write a lot rather than writing things that were good. Turns out that this is a very effective way to write things that are good, but as a result it's all Transformers fanfiction. Regardless, I think the work that I'm actually most proud of is a fairly long epistolary horror told through emails about a character being brought to an alien planet and rapidly discovering that things are not as they should be and the planet is a lot more alive than it seems. It was a really lightweight project that I intended to kind of just take up space while I worked on a different thing, which didn't work out, but it wound up doing a lot of things that I think were, in retrospect, really interesting, and the character writing in it is some of the best I think I've ever done. At the end of the day I think that unusual formats have a lot of potential when it comes to creating stories that have some kind of unusual flavor to them, and I'm always chasing after that feeling of "this is the first time I've ever seen this".

Have you published anything? Do you want to?

I've never professionally published anything, but I would like to.

What part of the publishing process most appeals to you? What part least appeals to you? Why?

To be honest, the part of publishing that most appeals to me is the part where I get paid and can go to my relatives and tell them that I got published by an actual publisher and now I have a real book out. The part that least appeals to me is every other part of publishing. It's always sounded like a major hassle and a giant pain in the ass to me (when I was growing up, my father was constantly sending his books out to publishers, and so far has still never been published) but, at the same time, I'd love to be the first person in my family to have a book published by Tor or Hachette or some other real-deal imprint.

What part of the writing process most appeals to you? What part is least appealing?

The part of the writing process that most appeals to me is the part where I've written something cool and I can show it to other people. I also really like getting to write horror sequences or fight scenes, but my favorite part is basically just asking for a beta or getting to share the finished work. The least appealing part of writing for me is definitely editing. In order to get around my dislike for editing, I've gotten to the point where instead of actually doing regular edits, I literally just rewrite the entire story using the first draft as an outline. This takes forever and it's not very fun either, but it's better than going through line by line and trying to figure out which parts are good and which ones aren't. I have never gotten the chance to work with a professional editor before, and I imagine the experience is different when somebody else is doing the editing for you, but as it stands I hate editing my own work.

Do you have a writing process? Do you have an ideal setup? Do you write in pure chaos? Talk about your process a bit.

I absolutely write in pure chaos. The only thing I need to make sure that I can write is a warm drink - tea or coffee- and music I like playing. I've discovered that one of my favorite places to write is outdoors in the middle of the night over the summer, but I can and will write anywhere. I'll be writing in my college classes later today. Then I'll come home and sit on my bed and write some more. And then, historically speaking, I'll go out and I'll write on my phone while sitting in the back of a bar or something, and I'll come home and write in the kitchen while my dinner's cooking. I pretty much never stop writing when I've got an idea in my head. I write on vacation, while at the grocery store, when I'm supposed to be working, and every other time besides.

Your Thoughts on Writeblr:

How long have you been a writeblr? What inspired you to join the community?

I've been a writeblr for about three or four years these days. I really joined the community around 2020, when during quarantine lockdowns I decided to write an alternate universe take on the backstory of one of the characters that I have in my long-term novel project because I didn't want to work on that. I wound up joining regular so that I had some kind of community to talk about that wip in, and I've stuck around ever since. I've been tangential to writeblr since well before that, though- I love seeing writing on tumblr and I really enjoy original fiction.

Shout out some of your favorite writeblrs. How did you find them and what made you want to follow them?

Natalie Ironside - @natalieironside - writes a lot of trans-focused action stories that appeal to me both as a trans individual and a person who likes action. Her protagonists are often characters who don't necessarily wield a ton of institutional power but fight for what they want and what they deserve regardless. Ezra - @doikayt - another Jewish writer, which I appreciate, but also every part of their writing I've seen is really cool. Speculative fiction is a favorite genre for me, even though it's one I don't often write in myself. Jax Wolff - @blind-the-winds - a writeblr I'm newer to following but really like, they post some really interesting snippets and do a lot of tag games.

What is your favorite part about writeblr?

Definitely the interactive aspect. If you interact with writeblr, writeblr will interact with you. I love attention and I love getting to see other people's writing, so this is perfect for me.

What do you think writeblr could improve on? How do you think we can go about doing so?

Writeblr has a bigotry issue. It happens. In any community where people are showing up to share their creations without someone at the door vetting them when they come through, there will be people who are bigoted or who have biases that they have not vetted. It's something that most marginalized individuals, myself included, have already come to expect from most online communities. However, because writeblr is an interconnected and highly interactive community, when issues of antisemitism or Islamophobia or racism or sexism or homophobia come up, it's almost impossible to avoid seeing it and it's very frustrating that everyone seems to feel the need to jump in and defend their friends if they believe that the bigotry wasn't poorly intended or it was accidental. I don't want to be trapped in and on ending chamber of "hey, look how antisemitic/Islamophobic/racist/homophobic/otherwise hateful this writer is" for however long the issue is being brought up- it's emotionally taxing- and I know that other marginalized writeblrs who do the hard work and speak out against people who are being bigoted tend to see much more aggressive and, frankly, bigoted backlash than the people they're speaking to or about. I don't know how to fix this, because it's an issue basically everywhere, and if there was a fix for it I'm sure someone would have mentioned it already. But I would like to see more support for a: marginalized writers in the writeblr space, and b: those of us who would like to disengage from the topic after a short period of time. At the end of the day, I'd like writeblr to be a space where writers of all stripes can spend their time- not only cis, straight, white, Christian, abled writers. A lot of how people pitched writeblr to me when I was thinking about joining in was on the idea that Tumblr is a place with less of the traditional barriers of entry than traditional publishing, but if the bigotry issue runs unchecked, eventually it will just be a space with the same kind of demographics as traditional publishing.

How do you contribute to the writeblr community? Do you think you could be doing more?

I don't really contribute much. I play tag games sometimes and I occasionally make advice posts after I found something that works for myself. I could certainly be doing more, but honestly, I'm kind of lazy and I don't really have that much to say, so on the advice front I've kind of made all the posts I have to make already, and I'm not terribly well suited for running events or communities. I'm much more happy to be a person in the background and a leader in the forefront here.

What kinds of posts do you most like to interact with?

I like reading short snippets- in the range of 100-1000 words- and I enjoy interacting with interactive games, like a tag games or ask games. I think my favorite kind of post would have to be tag games where we share short snippets of our wips- the best of both worlds.

What kind of posts do you most like to make?

I like to share snippets of my work. This is probably the easiest for me to do, because all I have to do is copy blocks of text and paste them into tumblr.

Finally, anywhere else online we may be able to find you?

My main Tumblr is @bitegore :D

Questions For Fun:

What is your favorite dragon-related story? What makes it your favorite?

For my favorite dragon-related story I had to split this question into two parts, because I read so many books with dragons in it that I can't help but differentiate between stories where dragons are people and stories where dragons are very intelligent and scary animals. The first dragon story i want to talk about is the Heartstrikers series by Rachel Aaron, an urban fantasy novel following the Only Nice Dragon after he gets kicked out of his home for being too nice and therefore disappointing the family. It's been a big inspiration for how I write since I first read it when I was fifteen; the idea of a protagonist not taking the two options set out for them but making their own choice, the idea of a world where magic and modern society and technology blend and interact, and different social modes of interaction and how they might not seem as useful as they wind up being (aka; the power of friendship, treated more seriously, lol) all really compel me and I enjoy Aaron's storytelling a lot. The only reason I wouldn't necessarily consider this a "final" answer is because, like a lot of other urban fantasy novels, the dragons in this are shapeshifters and the protagonist spends most of his time in a human form. The other one I could probably talk about would be the Dragonriders of Pern series, which I'm really due for a reread of. Pern is one of those series that I read as a kid that rocked my whole world. Not only is it about dragons, which I love- but it's also one of the early sci-fi fantasy stories where the genre was still finding its feet, and much like other stories in the same vein from the same time, the slow reveal of the sci-fi elements underpinning the fantasy absolutely fascinated me when I was a kid and still do for me now. The things I like about both series are different, but one of my favorite things is when dragons are treated as neutral parts of the world or positive ones, rather than uniquely evil monsters. I think I mentioned that that was a trope I don't like very much, and while it can be done well- Maur from The Hero and the Crown by Robin McKinley is a great example of a dragon so evil that even killing him doesn't solve the problem, and that's another favorite book of mine- it really delights me when instead dragons are just there, for better or worse. And while the worldbuilding in both books is very different, with enormously different styles and aesthetic trappings and social structures, both put a lot of work into crafting a world that feels believable, which is another thing I really enjoy in my stories and which makes these two beat out a lot of other narratives where dragons are more of a unique rarity or an aberration upon the face of the world they're in. And, finally… I just think they're cool. They're stories that both do things that, at least when I read them, I hadn't seen before. The stylistic trappings of fantasy and science fiction from the late 60s and early 70s, like Pern is, are very different from modern genre conventions, which makes the experience fun and novel for me as someone who was born in the early 2000s, and Heartstrikers- an urban fantasy speculative-fiction novel set in Detroit with an unusual spin on a "standard" magic system and very interesting legal setup- also felt like a breath of fresh air when I first read it.

Who is your favorite Transformer?

My favorite Transformer would have to be Vortex. He's interesting- a violent bad guy character who also manages to be nonchalant and amused almost every time he's on-screen. And, of course, it doesn't hurt that I think his design is really cool. A big robot with swords on his back that he uses to fly with? That's cool and I love it.

What is your favorite piece of horror-flavored media? Why?

It's hard for me to answer this question. My default is to answer with the horror movie I like best- Us by Jordan Peele, a movie so incredibly well-paced I have genuinely never seen the like before or since- but that's just straight-away horror. Down The Rabbit Hole by hypnoticwriter, a work referencing the Mystery Flesh Pit project by Trevor Roberts, is also really good, but the line between thriller and horror is indistinct at best, and usually when I say "horror-flavored", I mean that horror elements have been thrown in for seasoning and spice rather than consuming the tone of the work and changing the genre entirely. I think for this question I'm going to go with Transformers, actually. In terms of genre, the All Hail Megatron story is closer to a disaster survival story with action elements than horror. It tells a story about the Autobots being nearly defeated and the Earth being taken over by the Decepticons. But many scenes are paced and written like horror. Dangerous monsters are hunting the surviving Autobots, fuel is running out... and on Earth, the Decepticons see humans as vermin or playthings. It's a really fun series and one I really enjoy.

[charliethomascoxuniverse]

"Stone of Destiny" set to cause a stir

Press and Journal: October 4, 2008

Some say it was the greatest robbery in Scotland's History, others that it bolstered calls for independence. Now cinema audiences have the opportunity to decide for themselves as Stone of Destiny opens next week.

The true story of Scotland’s most daring robbery hits cinema screens on October 10, when Charles Martin Smith’s latest feature, Stone of Destiny, is released.

The all-star cast includes Charlie Cox (Casanova, Stardust) and Kate Mara (Shooter, Brokeback Mountain) alongside Scottish screen legends Billy Boyd (The Lord of the Rings, Master and Commander) and Robert Carlyle (Trainspotting, The Full Monty) as well as Peter Mullan (My Name is Joe, Children of Men) and Academy Award winner Brenda Fricker (My Left Foot).

Written and directed by Charles Martin Smith, Stone of Destiny is based on the real-life story of Ian Hamilton, played by Charlie Cox, who led a group of four university students to steal back the legendary coronation stone of Scottish kings and queens and symbol of Scottish independence – the Stone of Scone.

Frustrated by political apathy and Scotland’s diminishing sense of nationhood, Hamilton sought to reawaken Scottish national pride and spur his generation into action.

For hundreds of years, the English had jealously guarded the Scottish coronation stone, the Stone of Destiny – an ancient block of sandstone symbolically used in coronation ceremonies which Edward I took from Perth in the 13th century.

Hamilton led a group of university friends to London to make a dramatic gesture to reinstate Scotland’s place on the political map. Despite having little money and even less experience, they hatched an ambitious plan to break into Westminster Abbey in the wee hours of Christmas morning and “liberate” the most powerful symbol of Scotland’s nationhood, the Stone of Scone – otherwise known as the Stone of Destiny.

Hamilton’s daring act was a moment of great Scottish pride.

Based on Ian Hamilton’s book, The Taking of The Stone of Destiny, the movie was filmed in Glasgow and London and, fittingly, had its world premiere at the Edinburgh International Film Festival in June this year.

Among those attending the premiere were Sir Sean Connery, Nairn-based Oscar-winning actress Tilda Swinton and the entire cast.

While Charlie Cox burst into public consciousness in 2007 with his lead role in Matthew Vaughn’s Stardust, the 25-year-old London-born actor was no beginner.

After making his big-screen debut in 2003 thriller Dot The I, he went on to work opposite Al Pacino in Michael Radford’s lush film version of The Merchant of Venice and Heath Ledger in another film set in the Italian city, 2005’s Casanova. Subsequently acting alongside Robert De Niro and Michelle Pfeiffer in Stardust, Cox evidently has no fear of challenging himself to the limits.

However, accepting the role of Hamilton threw up two challenges – perfecting a Scottish accent and coming up against Scottish acting giant Robert Carlyle, who plays Hamilton’s reluctant mentor, John MacCormick.

Speaking of Carlyle, Cox said: “He’s one of my favourite actors; in many ways, more so than some of the big guys because he’s more my generation.

“I’ve grown up watching his films and he’s a jobbing actor who does great role after great role.”

And mastering the accent?

“Absolutely terrified – and still am. There’s no real excuse for it, is there? It’s my job to get it right, and I’m not great with accents. I’m not one of those people that can turn it on. I had to really work hard with it. And I know that I’ll watch the film and hear sounds that are off and wrong, and I just hope that doesn’t take away from the performance, and I hope it’s not too obvious to others.”

Having spent months filming a story he initially knew nothing about, it’s interesting to hear his views on the completed film.

“I loved it. I thought it was incredibly charming,” said Cox. “I felt like I did when I read the script. I thought it was a wonderful story and told brilliantly. And I really feel like Charlie Martin Smith has translated that very well on to film.”

Playing a person who is still alive makes the role that wee bit harder, too.

“It’s a bit mad, isn’t it?” said Cox. “It’s a wee bit more pressure. I feel, with the other characters that I’ve played, anything extra that I bring to it is justifiable because it’s my own invention. Whereas that’s not the case here.

“You’re playing someone who does exist, who was documented, and although what I know of Ian is what he is today, and the bits of information I have from the 1950s and the rest of his life, I don’t have any video footage of him. So I had to make my own mind up, which is more freeing.

“But it’s a pressure. If I don’t do him justice, if I get him wrong, it’s not OK. His son was on the set, who, ironically, is a friend of mine. Ian (Hamilton) has seen it, but not on the big screen, and that makes a big difference.

“If you don’t know much about film, if you haven’t worked a lot with film, you can watch it on a small screen and think that you’ve seen it. But then it’s a different experience.”

Like Mel Gibson’s Braveheart, Stone of Destiny is tipped to stir Scottish blood.

“I read something in the paper the other day. The biggest boost of national pride in Scotland over the last 50 years was the release of Braveheart,” said Cox. “They had more rallies and letters when Braveheart was released than over anything else.”

Although he knew nothing of the story beforehand, having learned it, Cox feels it contributed to the movement for Scottish independence.

“Although it didn’t have a direct impact into the Scottish government, it was certainly a huge catalyst towards all of that,” said Cox. “Ironically, and a lot of this is by chance, filming it now is interesting because the nationalist party are in power. Not only was that not the case back then, it was far from it. It was not even feasible.”

~*~

[denimbex1986]

'Ever since he burst onto the scene with his breakthrough role as Moriarty in BBC’s Sherlock, Andrew Scott has thrived as a universally beloved actor who has won admiration for his eccentric villains and his more understated, dramatic roles. While he has become an icon of the small screen, particularly in the realm of British television, Scott has also appeared in some of the biggest and most celebrated movies in recent years.

It is a testament to his versatility that his best projects contain everything from queer comedies to war dramas, thought-provoking thrillers, and even major blockbuster cinematic events. While admirable turns in films like Catherine Called Birdy went mostly unnoticed, these ten titles mark the highlights of Andrew Scott’s sensational career and represent the actor at his very best.

10. 'Handsome Devil' (2016)

Directed by John Butler

A coming-of-age film from Ireland that deftly weaves drama, comedy, and complicated notions of romance together, Handsome Devil marks an underrated highlight in the career of up-and-coming star Nicholas Galitzine. He stars as Conor Masters, the star student of a rugby-obsessed all-boys school who forms a bond with a lonesome new student. Their growing friendship finds support in Adam Scott’s Mr. Sherry, even as he faces hostilities linked to his sexuality.

With overtones of self-discovery and forbidden love, Handsome Devil engages in its core theme of same-sex love in a manner that is universally accessible and powerfully heartfelt. The story is perhaps a tad formulaic at stages, but it overcomes its pitfalls with exceptional and effective performances, brilliant use of music, and a sharp sense of humor that brings a pleasant layer of humanity to what is a dramatic story.

9. 'Spectre' (2015)

Directed by Sam Mendes

Aside from Sean Connery’s era, Daniel Craig’s James Bond films are regarded as the best of any of the 007 actors’ runs in the franchise. Spectre was far from the best Bond movie of Craig’s tenure, but it still excelled as an exciting, action-packed spy blockbuster. It follows 007 as he looks into a sophisticated criminal organization known as Spectre, headed by the elusive mastermind Ernst Stavro Blofeld (Christoph Waltz).

Scott is a secondary antagonist, “C," the Director-General of the Joint Security Service, who thwarts MI6’s efforts to stop Spectre while actively striving to end the 00 operatives. Spectre has its flaws, namely a severely underutilized Waltz as Blofeld, but Scott provides some smarmy villainous heft, with his penchant for playing a great bad guy on full display and marking an underrated highlight of a somewhat disjointed film.

8. 'Locke' (2013)

Director: Steven Knight

Operating with a simple and unconventional yet entirely captivating premise, Locke has become something of an underrated cult classic, gambling everything on Tom Hardy’s lead performance and coming up trumps. It follows a construction manager throughout a 90-minute drive, covering the phone calls he makes in that time. The conversations relate to a major upcoming project, issues he’s facing with his family, and the premature labor of a woman he had a one-night stand with seven months prior.

The supporting cast is incredible, featuring Olivia Colman, Ruth Wilson, Tom Holland, and Andrew Scott. They only feature as voices on the phone, with the film intensely focused on Locke’s reactions to the conversations. Scott voices Donal, Locke’s work trainee, who he coaches through the preparation of a pour despite everything else going wrong around him. Locke is a fascinating and absorbing film executed incredibly to be something of a hidden gem of the 2010s.

7. 'Pride' (2014)

Directed by Matthew Warchus

A triumphant mixture of comedy, drama, and true story intrigue that flaunts an urgent weight while remaining uplifting and fun, Pride is one of the most underrated and brilliant comedies of the 2010s. Set in the summer of 1984, it follows a group of gay activists who recognize they face a common political enemy and rally behind the lengthy strike conducted by the National Union of Mineworkers in Wales.

Juxtaposing the mineworkers against the gay rights activists, Pride strikes a clever thematic balance that deftly uses the issues faced by one group to highlight the suffering and angst of the other. Nestled within the film’s impressive ensemble cast, Scott handles a lot of the dramatic impact of the film as Gethin, a homosexual man with a tragic past tied to his coming out. Scott adds a layer of raw realism to an otherwise uplifting story, showing more sides to the situation.

6. 'Black Mirror' (2011 - Present)

Created by Charlie Brooker

Netflix’s hit anthological series Black Mirror has become a global phenomenon. Each episode features a different cast as it explores social and technological anxieties through the lens of a dystopian near-future. The second episode of Season 5, “Smithereens,” sees Andrew Scott star as a rideshare driver who kidnaps an intern at a major social media company to learn more about the system’s internal workings and expose the online entity's true nature.

The episode is loaded with thematic heft, coasted on Andrew Scott’s sensational central performance. Still, “Smithereens” is considered a middling installment of the series, largely because of its singular tone and somewhat formulaic approach. However, Black Mirror is widely regarded as one of the greatest television shows of the modern era for its insightful and thought-provoking narratives, as well as its ability to lure A-grade talent like Scott on the regular.

5. '1917' (2019)

Directed by Sam Mendes

Sam Mendes’ ambitious and thrilling war drama famously fuses its shots to appear as one continuous take. It follows two soldiers through the hell on earth that was the front lines of WWI. As such, 1917 is a breathtaking technical achievement that features an impressive supporting cast around its two young stars, George McKay and Dean-Charles Chapman, who portray soldiers sent on an urgent mission to warn another battalion that they are walking into a deadly ambush.

Colin Firth, Mark Strong, and Benedict Cumberbatch were just some of the stars to appear briefly in the film, with Andrew Scott likewise getting a cameo early on as Lieutenant Leslie, the weary soldier who advises the two messengers how to cross no man’s land. 1917 was warmly received by fans and critics alike, and while it perhaps isn’t the most focused showpiece of Scott’s talents, it still gives him enough to impact the story and set the bleak tone of the film.

4. 'All of Us Strangers' (2023)

Directed by Andrew Haigh

One of the best romantic hits of 2023, the magical and powerful All of Us Strangers sees Andrew Scott put in arguably the greatest dramatic performance of his career alongside Paul Mescal, Claire Foy, and Jamie Bell. He stars as Adam, a lonely screenwriter who forms a relationship with a mysterious neighbor, Harry. Drawn back to his childhood home, Adam stumbles upon his parents, who look the same age they were when they died 30 years prior.

A powerful acting showcase by all involved, All of Us Strangers is a beautiful and overwhelming portrayal of grief that is bold and ambitious in its approach yet remains centered on its driving human emotions. Scott delivers a career-defining performance, embodying a myriad of emotions while remaining detached and elusive. With flourishes of fantasy and the supernatural, All of Us Strangers is a unique and captivating movie that is among the best and most underrated features of 2023.

3. 'Band of Brothers' (2001)

Created by Steven Spielberg & Tom Hanks

While he had the briefest of appearances in Saving Private Ryan, Andrew Scott returned with a slightly greater role in Steven Spielberg and Tom Hanks’ next war series, Band of Brothers. One of the greatest miniseries ever made, it tracks the soldiers of Easy Company, an American Airborne division who were on the front lines from the Normandy invasion on D-Day to the very end of the war.

An all-encompassing dive into the horror and humanity of war, Band of Brothers earned high praise for its effective battle sequences, excellent character work, and authenticity to the real experiences of the soldiers. It also features an incredible supporting cast, with Andrew Scott appearing in the second episode, "Day of Days." Other actors who briefly appeared include Michael Fassbender, James McAvoy, Simon Pegg, and Tom Hardy.

2. 'Fleabag' (2016-2019)

Created by Phoebe Waller-Bridge

Perfectly balanced between authentic, real-life drama and hysterical comedy that is painfully accurate yet completely absurd, Fleabag has become a modern television classic despite its mere 12-episode, two-season run. It follows the titular Fleabag (played by series creator Phoebe Waller-Bridge), an emotionally lost and volatile woman in modern-day London struggling with the recent death of her best friend while combatting family woes and romantic headaches.

The defining relationship of the series comes when Andrew Scott enters Season 2, with his performance as the Priest working flawlessly in conjuncture with Waller-Bridge’s wry wit and skewering, unfiltered comedy. Fleabag remains one of the greatest comedy series of all time, a poignant and powerful drama and a wonderful meditation on the enigmatic nature of love. Many would argue it is the greatest project Scott has ever worked on and stands tall among the best shows ever made.

1. 'Sherlock' (2010 - 2017)

Created by Mark Gatiss & Steven Moffat

Ever since he rose to fame, Andrew Scott has shown an endless versatility that can be applied to everything from quiet and quaint roles to explosive, bombastic characters. Yet, his greatest work remains his breakout performance in the hit BBC series Sherlock. The show was one of the major television sensations of the 2010s, following Sherlock Holmes (Benedict Cumberbatch) and Dr. John Watson (Martin Freeman) as they investigate crimes in modern-day London.

While the chemistry between the two leads was flawless and largely defining of the series’ brilliance, few fans would deny that the episodes that feature Andrew Scott’s Moriarty packed an added heft because of the actor’s infectious presence. Completely unpredictable, dangerously psychotic, yet entirely lovable all the same, Andrew Scott’s portrayal of Moriarty helped elevate Sherlock to be one of the greatest television shows of all time, and it remains a brilliant highlight of the actor’s career thus far.'

[cantsayidont]

Hateration holleration, oddball selections:

MOTHERS' INSTINCT (2024): Peculiar drama-cum-thriller, set in 1960, starring Jessica Chastain and Anne Hathaway as suburban neighbors Alice and Celine, whose friendship is disrupted when Celine's young son Max (Baylen D. Bielitz) is killed in an accident. Afterward, Celine becomes unusually attached to Alice's son Theo (Eamon O'Connell), who was Max's best friend, which begins to make Alice very nervous. Does Celine mean Theo harm, or is Alice's guilt (she was watching Max at the time of his accident) making her paranoid? The way the plot plays out offers little tension and few surprises — it feels a little twist-deficient as a thriller, attempting to compensate with a surprisingly dark finale — and it doesn't offer a lot of motive for the eventual drastic escalations beyond "sometimes motherhood makes women crazy." Also, while one can see why Chastain and Hathaway were interested in these parts as actors, they both seem a little too old for their characters, and Anders Anielsen Lie and Josh Charles are both wasted as their respective husbands. CONTAINS LESBIANS? Early on, it seems like there's something between Alice and Celine, but the movie isn't interested in exploring or even acknowledging that. VERDICT: Grim and gloomy, but never very exciting, and it keeps flirting with the idea of making some kind of point about the sexual politics of its time that never gels.

THE POKER HOUSE (2008): Lori Petty made her directorial debut with this semi-autobiographical drama, scripted by David Alan Grier from Petty's story about an eventful and upsetting day in the life of a 14-year-old girl named Agnes (Jennifer Lawrence), growing up dirt poor in a rough, mostly Black neighborhood, where her mother Sarah (Selma Blair) turns tricks when her boyfriend/pimp Duval (Bokeem Woodbine) isn't running illegal poker games, leaving Agnes in loco parentis for her younger sisters (Chloë Grace Moretz and Sophi Bairley), who hang out at the local bar while Agnes is at school. The story takes some dark turns — it centers on Agnes being sexually assaulted by Duval — but because it's based on Petty's own life, it's never indulgently sordid, and, with the notable exception of Sarah, it has a lot of compassion for the people in Agnes' neighborhood, who are doing the best they can with almost nothing to work with. As a result, the film is heartfelt if not particularly polished. (Curiously, it was produced by prolific TV writer-producer Stephen J. Cannell, best known for detective and action shows including THE ROCKFORD FILES, THE A-TEAM, HUNTER, and SILK STALKINGS, with a score by TV perennial Mike Post.) CONTAINS LESBIANS? Nope. VERDICT: If you like Lori Petty and can handle the subject matter (CWs apply for sexual violence), it's worth a look.

THE RAINBOW (1989): Earnest but somewhat awkward Ken Russell dramatization of the last section of the 1915 D.H. Lawrence novel, set around the end of the 19th century, about a young woman from Derbyshire, Ursula Brangwen (Sammi Davis), who has affairs with both her swimming instructor Winifred (Amanda Donohue) and a young soldier named Anton (Paul McGann), while striving for financial, intellectual, and romantic freedom that her era doesn't offer or encourage, especially for women. It's sort of a prequel to Russell's 1969 adaptation of Lawrence's WOMEN IN LOVE, which follows Ursula and her sister Gudrun 20 years later. I have not read either novel, so I can't say how Russell's versions compare, but taken strictly on its own terms, THE RAINBOW feels like something director Stephanie Rothman might have made for Roger Corman in the '70s, with dollops of Second Wave feminist idealism in what often plays like an exploitation movie. The uneasiness of that mixture leaves no space to interrogate some troubling aspects of the plot, like Ursula's racist ideas about moving to India with Anton, or her violent outburst at a student in the school where she becomes a teacher. CONTAINS LESBIANS? Ursula is bisexual, and part of the plot deals with her relationship with Winifred. VERDICT: At the risk of undermining my literary bona fides, I thought it worked far better as an exploitation movie than a feminist drama.

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i shouldnt really be giving any hot takes on character design as someone who, despite having mild success in the adoptable scene in highschool, absolutely does NOT still got it when it comes to character designing (nowadays im just trying to do my best orz) but i do think one of the most important things with character design is that they serve the medium theyre in well.

like, a super exaggerated shape style triangle man with tiny legs a la mr incredible works great for an action cartoon movie but i dont know how good that style would work in a visual novel where you tend to only see the top half of the body. you wont be able to appreciate the tiny legs 😔

and as much as i goof on the visually cluttered anime boys in otome games and their odd fashion choices (kent from amnesia. at least 21 belts. 11 on one arm alone) i genuinely think they work for what they need to do, like all those fucking sashes and scarves and cords and capes and swishy things on the ikemen sengoku guys, painful to draw for me who wants to draw a goofy comic of them but WONDERFUL for an unanimated visual novel sprite, flowing clothes and hair adds a lot of movement to static images that you'll be staring at for 20-50 hours.

but of course on the visual novel/japanese adv game end of things u also have stuff like phoenix wright and the absolutely beautiful hotel dusk that tend to have blockier silhouettes than the fluttery flowing cloth and hair of like, a character in a bishoujo game from Key or something, but their sprites are animated which benefits from the blockier and (usually) less cluttered designs.

and theres still lots of exaggeration to be had to get very varied character designs, like the jake hunter games have a very grounded semi-realistic style but everyones posture and body types and expressions are pretty distinct, just the distinction is focused on the upper half of the body rather than the whole body like you would focus on with a comedy slapstick cartoon or like a comedy newspaper comic strip. okay its becoming increasingly obvious through what im talking about that i grew up in north america in the 00s-10s using deviantart where if ur cartoons didnt look like disney or pixar or like i dont know johnny test ur designs were considered not good enough so im still in that world. im still in that world. i hope the world is more open now

and something like the hotel dusk designs also would work well for drama or thriller comics - like i was also thinking about big sparkling shoujo manga designs and like. in a comic if ur like a garfield slapstick comedy u wanna look like a garfield, but if ur constantly doing closeups with serious emotion like a romantic drama shoujo manga, having big glittering expressive eyes and emphasizing the upper half of the character is pretty effective for the combination of medium and genre. i also think naoki urasawa's character designs would look so so good in a hotel dusk style game, that guy makes like the perfect thriller design, varied and diverse in shapes but so effective for a serious toned horror mystery thriller thing will lots of closeups of characters faces. i guess because i love serious and dramatic stories about people talking a whole lot i do gravitate towards this style of character design, where the emphasis is on the silhouette from the waist up LOL but it really goes to show that some character designs that may not fit the late 2000s comedy animation shape-based design philosophy have their own places where they thrive <- obvious thing everyone knows except for me who was on deviantart too much when i was 12

i think what im trying to say is i think big boobied super busy anime girl vtuber designs are fine, good even. i like em, i think they do the job and a lot of work goes into them. u only have a headshot/bust (heh) shown on screen 99% of the time u might as well make it with a bunch of particle effects and cool hairclips and lace and weird moving head wings or some shit. slap some sparkles on that thang