#emmys thoughts on hannibal

[newvision]

“Maddeningly polite” is one of my favourite expressions from the show tbh. Cause Hannibal is soooo fixated on politeness himself, killing people because they’re rude, his entire person suit being the embodiment of “polite”. “When life becomes maddeningly polite, think about me, Will” ??????? He’s saying the politeness he forced down everybody’s throats maddens him. He’s hinting at taking off the person suit with/for Will. He’s ready to stop the polite charade

[tinycatstars]

i have homework but i just spent an hour organized my bookmarks on ao3 >:) so now i have a lil public collection of my fav agere fics and series yayay

[raven--stag]

I just finished 2x07. Thoughts:

HOLY MOTHER OF FUCK.

SAM REID!!!!! THE ACTOR THAT YOU ARE!!!!! I'M ENGRAVING YOUR EMMY AS WE SPEAK!!!!!

Claudia my love my baby I will always love I miss you you deserved better I'm so sorry that a bunch of mentally ill gays dragged you into their drama instead of killing themselves going to therapy

I genuinely hope that they'll keep Delainey and Claudia will haunt all of their asses for eternity

I want that twink OBLITERATED FUCK YOU ARMAND AND YOUR STUPID FANFIC (i still love him but not right now)

That scene. The revisit of Claudia's turning. I have no words.

Ben Daniels. I have nothing to add. Just. In love with him and his performance. What an actor.

That's it for now my brain is not braining. That was truly an episode of all time best piece of media since Hannibal and Black sails. W O W.

[lorezhaze]

⭐️🪷 Roleplay Inquiry Post! 🪲✨

Intro & Info:

Lo | 22 | he/they

19+, no/minimal triggers and little limitations, 3rd person literate writing (1+ paragraphs) discord only (message me for user!) I really enjoy world building and knowing your character’s feelings even if it seems like a random string of thoughts!

NSFW scenes and/or undertones/themes at some point. I do like smut, especially paired with angst and certain dynamics, but if that isn’t your thing we can always keep it limited or fade to black.

Plots I’m willing to explore:

- hunger games, two people from opposite teams. queer themes; gay men, trans person called upon as their assigned gender at birth.

- stalker falls in love with someone, all falls apart when things go too well and their obsession crosses paths with them and they eventually go out, but break up. stalker is determined to watch over their lover while also keeping others away from them until they “come to their senses” on their own time.

- son of a rich politician falls in love with a narcoleptic sex worker he hires.

- post-apocalyptic setting, final survivor of a run down camp continues to live among the undead of their loved ones. another survivor from a nearby camp stumbles upon the ruins of the previous camp while scavenging and sees someone alive on the other side of the fence, living with the dead as if they were dead as well. day by day they come back, bringing their new things, trying to bring some life back into them again.

I’m more than willing to hear out any of your plots/ideas as well!

Original characters:

Lena - delusional obsessive-compulsive stalker with dangerous tendencies/habits, 26, they/them pronouns (unlabeled).

Celeste - post-apocalyptic OC, unlabeled/gnc, 27, loses their mind after their family, friends and everyone else in their survivalist camp perishes, but continues to live among them as if they’re dead as well, numb and on auto-pilot mode.

Emmy - intersex narcoleptic sex worker, 22, he/she/they pronouns. adopted into and estranged from a wealthy well-known family after their biological father died overseas and they were taken from their mother by the system.

Alexei - trans hunger games victor from district 6 (transportation/metal-workers, modifying the district to work on the production of transportation as well as the train tracks to give them a little bit more of a purpose). name was pulled for the hunger games a few days short of their 19th birthday, which also sparks their journey with their gender identity + presentation.

⭐️ Feel free to inquire for full bios of characters you’re interested in! characters will also likely have corresponding pinterest boards and playlists. ✨

Fandoms/ships I’m willing to explore:

(bolded characters are those i’m willing to write as)

OFMD

- Izzy/Blackbeard

- Izzy/Blackbeard/Stede

- Izzy/Lucius

- Jim/Lucius

HANNIBAL

- Will/Hannibal

MR ROBOT

- Tyrell/Elliot

UNTIL DAWN

- Josh/Chris

- Josh/Mike

SCREAM

- Billy/Stu

KILLING EVE

- Eve/Villanelle

🍀 Message if interested, interact to boost 🌿

[witches-unruly-heart]

Musical Ask: Phantom of the Opera

MY BABY! MY LOVE!!! 😭😍 (I'd insert a crying heart eyes emoji if I had it)

Favorite song God there's so many to choose from 😩 But I'm gonna pick a few -- The Music Of The Night, Wishing You Were Somehow Here Again, Down Once More 😍

Favorite character Raoul 👀 He may be an insolent boy and a slave of fashion -- but he never kidnapped Christine. I also love Madame Giry 🥰

Favorite pairing Raoul and Christine 🥰

Favorite costume Hannibal dress, Masquerade dress, Wishing You Were Somehow Here Again dress, Erik's skeleton outfit, Raoul's whole look when he comes to save Christine (🥵) (I'll include a picture at the end)

Favorite actor/actress in it THERE ARE SO MANY!! Ramin Karimloo, Sierra Boggess, Hadley Fraser, Earl Carpenter, John Owen Jones, Scott Davies, Emmi Christensson, Liam Tamne, Killian Donnelly,

Least favorite character Carlotta and Piangi -- and unpopular opinion, but Meg Giry (I'm sorry)

Least favorite song Second half of Wandering Child / Bravo Bravo ... Gives me a headache every time 😅

Least favorite actor/actress in it THE ENTIRE 2004 movie cast! Don't get me wrong ... I love the actors, but I hate them in the movie!

If I've seen it live or not I HAVE! I saw it in London and it was amazing, not to mention it was lead by three understudies/alternates! (Erik/the Phantom, Christine and Raoul's understudies/alternates were on) 😍

Dream role (if I could actually sing) LORD! If I had the pipes for it I'd go for Christine 😅

A headcanon Simple -- Love Never Dies never happened (I'm sorry -- but it was a mess 😅 I do love Til I Hear You Sing, Love Never Dies, and Beneath The Moonless Sky)

Dream casting Oh dear, where do I start -- I gotta shorten it down to one or two per character 😅 Christine - Celinde Schoenmaker or Lucy St. Louis (they've played the role previously, but I've not gotten to see them) Erik/the Phantom - I'll take anyone who's previously played him on stage (No, not you Gerard Butler) ❤️ but maybe Ramin Karimloo ❤️ or Killian Donnelly ❤️ Raoul - HADLEY FRASER! But same as with the Phantom -- anyone who's played him on stage ❤️ Or Bradley Jaden, in Italy! 😍 Madame Giry - Liz Robertson from the 25th Anniversary at the Royal Albert Hall 😍 Or Emma Thompson ❤️ Meg Giry - Holly-Anne Hull, or Katie Hall ❤️ Monsieur Gilles André - Philip Griffiths (he either has to play André or Reyer 😅) Monsieur Richard Firmin - Scott Davies (My Phantom from when I saw the show) Carlotta Guidicelli - Honestly, Wendy Ferguson (25th anniversary at the Royal Albert Hall) Ubaldo Piangi - Wynne Evans (25th anniversary at the Royal Albert Hall)

(in the production I saw it was no vest, but suspenders, and I think the shirt was a little ripped (and more open to show his chest) but I cannot post about the Phantom of the Opera and not talk about my boy Hadley! 😅😍

Want to get my thoughts on a musical? Send it my way ❤️

[22drunkb]

Hi, sorry to bother you. Wanted to ask if you've watched/heard of House of the Dragon by any chance? I remember reading your masterful fairytale analyses on Hannibal back in the day, and having watched Hotd recently your blog was the first that came to my mind when I thought of reading some juicy after-viewing meta and analysis. Apologies in case you have already mentioned the show before and I missed the post. I would be also very interested in your tv and film recs. Any recent favorites?

Hi! Thank you for thinking of me; that is a real compliment.

I got off the GoT train around s3 or 4 (some discussion of that here) and, to be honest with you, endured the next several years of its dominating the culture pretty long-sufferingly, so I have not watched HotD. Sorry I don't have anything to offer you on that!

Recent favorites will also be slim pickings because I've been too slammed/burned out (and recently, sick) to watch much of anything lately, but:

For TV, right now it's pretty much Andor. I had also given up on Disney Star Wars, but heard so many interesting things about Andor specifically that I decided to give it a try and it is very good. Like, confusingly so. If you had asked me a year ago whether "psychosexual drama" (as opposed to like, props or design) was a phrase I would ever use in relation to Star Wars, I would have laughed, but here we are. It's received a lot of deserved praise for...pretty much everything (acting! set and production design! writing! political engagement!), but I still feel that some of the thematic aspects of the writing are underappreciated. It's not just politically intelligent, but it's experienced and funny in the ways it portrays activists, revolutionaries, and fascists. It shows you multiple sides of every character and sets them up to echo each other in interesting ways that make sophisticated, understated points about how people pursue their aspirations under their particular constraints. It has very quietly built an entire theme around the idea of "climbing" that links beautifully into Rogue One without having to announce it or wink about it. I am always a sucker for drama that is interested in responsibility and complicity, and this one is very interested in those things.

It was a couple years ago now, but I loved Station Eleven. Interestingly, in very different ways, this show and Andor share an interest in the theater troupe as storytelling device--which I always like, probably due to having imprinted on Rosencrantz and Guildenstern Are Dead at a young age. But it has a lot to say about surviving, and how to do it, and why. It handles time and memory and referentiality in interesting ways. All the technical aspects were excellent, but this show was specifically and especially robbed of an Emmy for costume design.

Speaking of Rosencrantz and Guildenstern Are Dead, I rewatched the movie version early in the pandemic and I think it's deeply misunderstood and underrated. I hadn't thought about this before, but I would bet it would appeal to a lot of Hannibal fans. Abstruse dialogue, tragic confrontation with inevitable Fate, self-awareness about being caught in the narrative, codependence, what's not to like.

I have not yet gotten myself together to watch the new Interview with the Vampire series, but I am 90% sure I and any Hannibal fan would love it.

Besides Hannibal, my standbys remain Black Sails, Person of Interest, and Leverage. Fleabag isn't a standby in the same way but is excellent in its entirety.

Some series I never finished for a variety of reasons but thought were great: The Expanse (still want to finish it!), GLOW, The Good Place, The Americans, Doom Squad, Killing Eve (though I hear they fucked up the ending). I think Mr Robot is very much worth watching for the first two seasons, after which point one should pretend it ceased to exist; same for Legion, except that the s2 finale also doesn't exist.

As far as reality TV goes, I genuinely love Blown Away. (Think Top Chef or GBBO, but for blowing glass.)

Movies: last year all I saw was Nope and Top Gun: Maverick, and I just watched Glass Onion the other night. Nope is wonderful (wrote something short about it here). I was already a stan for the original Top Gun (#problematic? yes! camp classic? also yes!), but even if you're not, it is an unbelievably layered and interesting cultural artifact in relation to Tom Cruise's Star Image, Whither America, and Whither the Film Business. Glass Onion was fun!

I feel the same way about The Green Knight and The Menu as I do about the IWTV series.

Some friends of mine have started asking me to recommend a classic 60s film every time I go over there, so I have recently had occasion to rewatch The Court Jester (spoof on medieval period pieces--there is no The Princess Bride without this movie--astoundingly clever songwriting, virtuoso comedic performances from Danny Kaye, Angela Lansbury, and Basil Rathbone, interesting gender and queer dynamics) and The Odd Couple (absolute comedy classic about two divorced friends who move in together and cannot handle it. Also much queerer than I realized as a child.) They both remain magnificent.

Hope something here hits for you!

[westeroswisdom]

Bella Ramsey's portrayal of Lyanna Mormont, blunt in a refreshing way, is not far off from the actor's IRL persona.

Here's part of an article featuring them by The Independent's Louis Chilton. I thought the section on neurodivergence was especially interesting

"I want to play a villain. A real dark, evil, nasty human being. Someone like Hannibal Lecter in Silence of the Lambs,” says Bella Ramsey in a voice as sweet as piped icing. The ambition may seem incongruous emerging from the mouth of the 20-year-old British actor, but they’ve got the range, I don’t doubt. [ ... ] Ramsey has a truly great face: moonish and dark-eyed, somehow both shrewd and unguarded at once, yet unmistakably young-seeming. They’ve already been knocking around the industry for more than six years, since first being cast in Game of Thrones as the spiky Lyanna Mormont. As a child on set, Ramsey was precocious. “Being a kid actor, I didn’t like the separation,” they say. “The thing I hated the most was being patronised. I didn’t like the fact that I could only be on set for a certain amount of time, and had to go and do tutoring. I get why the hours protections for child actors are phenomenally important – but I hated feeling like I was lesser or separate from the adult cast.” They explain that they always “got along better” with adults as a child. (They left school at 12, taking online classes and being tutored instead.) “I wasn’t intimidated by going onto a set with a load of people twice, three times my age,” Ramsey says. “As I’ve grown up, I’ve learnt that I have autonomy to stand up for myself and for other younger people that I work with now. I want to enable them to advocate for themselves in the way that people older than me taught me to advocate for myself!” A relevant factor in all this: Ramsey is neurodivergent. (It’s common for neurodivergent children to relate more to adults than their peers.) For Ramsey, it’s something of a two-way street. Firstly, they say, the rigour and structure of a film shoot is “incredibly beneficial for my brain”. This extends to the catering, to knowing they will have the same breakfast each day. “This is exactly what I need, to not really have to make many decisions,” Ramsey explains. “When I’m on set I really thrive. When I leave sets, especially when I’ve been in that bubble for so long… it’s quite an intense pressure, which can be scary.” But Ramsey says the way their mind works has proved just as advantageous for their acting craft. “I wouldn’t be an actor if it wasn’t for my neurodivergence,” they say. “It’s just a part of me and it’s incredibly helpful in terms of acting. One of my things is that I have insane levels of visual perception compared to all the other things. I’ve been watching people and absorbing everything since I was really young… all these characters that I play, there’s an element of them that’s already inside me because I’ve seen someone be that before.”

By coincidence, Bella Ramsey was one of eight people in the arts featured in a New York Times article by Maya Salam a few days ago called The Breakout Stars of 2023.

“The Last of Us,” HBO’s stunningly heartfelt zombie apocalypse thriller. Given that its source material was a beloved, acclaimed 2013 video game that has sold over 20 million copies, the bar was extraordinarily high. The show’s debut season delivered, in large part because of the synergy between the duo at its center: Pedro Pascal as Joel and Bella Ramsey as Ellie, two characters who find themselves on a cross-country quest, dodging reanimated corpses to (hopefully) save the world. Ramsey, 20, who was born and raised in central England, offered a layered, tenacious, haunting performance as a teenager who is coming-of-age while being humanity’s possible last hope. They have been a working actor since they signed on to “Game of Thrones” at age 11, as the scene-stealing giant slayer Lyanna Mormont, and went on to have celebrated turns in the BBC/HBO adaptation of “His Dark Materials” and Lena Dunham’s 2022 period comedy, “Catherine Called Birdy.” For “The Last of Us,” Ramsey nailed a specific combination of contradictions — funny and quirky, but violent and rough — that Craig Mazin and Neil Druckmann, its creators, were looking for. “There are few people better between the words ‘action’ and ‘cut,’” Mazin told The New York Times. Ramsey’s performance earned them an Emmy nomination, for outstanding lead actress in a drama, joining the likes of established stars such as Keri Russell and Elisabeth Moss. “It’s only recently that I’ve accepted I am Ellie, and I can do it, and I am a good actor,” Ramsey told us.

[willgrahambf]

is there anything funnier than the lines, “do you know what happens when we stimulate your prostate gland with a cattle prod? hannibal does. he helped us milk you,” delivered by caroline dhavernas with an unflinchingly straight face

[gaywatch]

"overestimate their power/importance in the grand scheme of things" - that's bad. That means we can't change it(

*Your ask served as a springboard for my brain to think through this and some related stuff, but of course with such a short message to go on some of this may not directly apply to you or what you were trying to say. This is just my resulting ramble and isn't necessarily aimed at you personally or assuming you meant a bunch of things, but more of a general response to a broad topic. <3

*This ask is a response to this post.

Yeah, on one hand it means mainstream shows really don't have to listen to us if they don't want to. How queer-friendly they are or will be is basically determined right out of the gate by who the showrunner/producers/studio execs are, and queer fandom almost never has the numbers to actually change their minds.

On the other hand, we've seen what happens when queer fandom runs completely amok on a queer show and it turned an Emmy winning series into a national laughingstock. (Yes, I mean Glee.) There's a balance between "hi can you please respect us" and "here's a list of demands fulfill it or die" that fandom in general reeeeeally doesn't have a handle on yet. It's tempting to think fans need more control over mainstream stories, but trust me...we really don't. The loudest fans are rarely the ones anyone should be listening to in this day and age. We say fans should have more influence but which ones? On which shows? For which reasons? "Listen to fans" doesn't mean much to creators in this context because most of the time everyone is screaming for something different. Fandom is rarely unanimous, and when it is it's even more rare for that thing is queer related.

Carrying influence is a double-edged sword on an extremely case-by-case basis. Creators are not slaves--we can ask for things and they can give us things, but the second we make actual demands it becomes a struggle for creative control where we have none and are entitled to none. It's not our show/movie/book. Loving a series doesn't make a fan a writer, and acting like it does is the fastest way to alienate/aggravate the creative person in control of the thing you love. Loving a creator means ultimately trusting their creativity even if they don't do exactly what you would personally prefer. This is why fanfiction and fanworks are so incredible, because that's where all our control lies. Where we get to kick them out and do whatever we want. Not everything needs to be or belongs in canon. I'd probably go so far as to say that most fandom ideas should stay in fandom.

I think the ideal situation really was Hannibal: A showrunner started a project with mostly hetero ideas. Fans had an incredible, passionate, largely un-demanding response to his project with decidedly NON hetero ideas. He saw what the fans saw, decided the non-hetero possibilities would benefit the work greatly (he was right) and implemented those ideas as much the network would allow. (It is not a coincidence that the showrunner was a gay man.)

Wheel of Time is looking to be an excellent example too, where a same sex relationship strongly hinted in the books becomes actual canon in the show adaptation instead of the usual complete erasure of hints to begin with.

Over the years, it's the Wheel of Time kind of change I find myself hoping for over any "direct influence." We need showrunners/directors/writers/studios to be more open to queering a previously conceived straight narrative, especially when those possibilities enhance the narrative or are already hinted at in source material. In order for that happen, we need a healthy cycle of social progression between art and life. Real life progress (queer rights/acceptance) influences artistic progress (queer representation), artistic progress influences real life progress, over and over as both move forward.

This is a large, unwieldy, and complicated subject but these are some of my scattershot thoughts.

[marleneoftheopera]

I can't believe I'm about to be that person, because it genuinely doesn't matter to me if Christine has a blonde wig or not (and it doesn't suddenly make her Leroux accurate or whatever).... But, with the London production seeming to tailor the wigs a bit more to each actress, like Yukina Haseba in the ballet chorus in Hannibal, where she has black straight hair (which is in a plait before it's curly in her Degas get up), and Lucy's textured Christine wig versus Holly's more wavy wig, I wouldn't be surprised if a future Christine is more likely to have a blonde wig if they think it works with her complexion.

London (and other European productions for that matter) definitely are good at tailoring wigs to their actresses. And not just for Christine, but for other female members. Which is nice to see that it goes all through the cast and not just the female lead.

It is a possibility, especially since this new London production seems keen on trying out new things. I wouldn't mind having another blonde Christine, but hopefully they give her a better shade of blonde. Emmi's always looked too bright to me. Which was funny because she is a natural blonde and yet with a blonde wig didn't look right. A strawberry blonde or something golden. Her own hair color just made into a Christine wig. Just something a little warmer.

But I also don't know if we will see another blonde Christine soon. In the production's run there has only been one true blonde Christine in Emmi Christensson. And let's be honest, there was definitely someone who thought "She's Swedish and naturally blonde. Let's try it out!" It seemed to take them a bit to get there; they had Myrra Malmberg who was Swedish in the show back in 1998/99 and they gave her a pretty standard brunette wig.

I think we are more likely to see lighter wigs first. Something like Celinde Schoenmaker or Harriet Jones' had in their first wigs. Very light, almost blonde or red under lights, but also brunette.

[newvision]

Will answering “part of me will always want to” when Jack asks him if he’ll slip away with Hannibal is actually an insane thing to say cause at any other point during the show before that episode Jack would not have wanted Will to get this close to Hannibal. But now he needs him to!!!!!!!!!!!!! So he is forced to accept the part of Will that is fascinated by the very reason Hannibal is supposed to go to prison, his cruelty & violence, and therefore also that part of Hannibal. Will might as well have said “I wanna eat people with this guy and that’s the very reason why you need me to help you”. And the next scene is him being petty and jealous towards Hannibal’s wife. How did Jack not quit after one single day of working this case

[masterthespianduchovny]

I never wished for Gillian’s relationship to fail, but I was largely indifferent to it and it has nothing to do with Gillovny. Funny enough, I do actively dislike David’s relationship for obvious reasons.

I wasn’t super involved in the tumblr fandom during 2015-2016, but I do remember all of the fuckery that went down with David and gillian. Their behavior was what ignited dormant and new shippers. It added flames for those who never let that flame die.

So, you had all of G and D’s antics and shit, which many were going crazy over. Some notable people as well who have since distanced themselves from that era. Like most people were for this shit because whatever was going on between them was too hard to dismiss as being friendly or professional behavior. Or even harmless flirting.

Now, there are those who always insisted that G and D were acting and putting this show on for the fans. I guess to drive ratings, but this argument has always been nonsensical to me. For starters, people who are interested in Gillovny are going to watch regardless. Almost everyone else don’t give a shit and was going to watch the revival for Mulder and Scully. The things fans went crazy over wasn’t enough to even get anyone interested in the show who wasn’t already interested.

Like, the kimmel interview is mostly only interesting to someone who follows Gillovny or knows of their history. Other people would find their behavior interesting, but would they really make them watch the show??? And it’s barely even a headline.

So, what they were doing back then was enough to get philes excited, but not enough to drive ratings. Which cancels out the idea that they behaved the way they did to garner attention.

But, the naysayers kept insisting that this was all a PR ploy.

After (???) season 10 premiered, Gillian was spotted with Peter I suppose. And she kept being spotted with him. Don’t know the true timeline. But, when this happened, suddenly, these same naysayers were Gorgan. They were all in on Peter and Gillian and throwing shots at Gillovny fans and how we were “played.”

(It must be noted that just because Gillian ended up dating Peter doesn’t mean she didn’t have a thing with David. Lol)

Over time, they were gassing up this relationship and talking about Peter’s greatness and how he and Gillian balanced each other.

For me, my bullshit meter was going on.

Yes, some fans just wanted Gillian to be happy and shit, which I’m all for, but the loud gorgan supporters used this relationship to “get back” at the Gillovny crowd. I honestly don’t know how hostile it became between the two groups, but from what I did see, this support was superficial, which was proven years later.

Because, imo, how can you be for a relationship that just started and you barely know anything about it? How can you know all of this about two people you have no insight on? Gillian keeps her relationships largely private and we know even less about Peter’s relationships (read: marriage), yet there are posts about how these two are a good fit? Lol

What solidified my indifference was Gillian’s behavior. Pre like 2013, Gillian wasn’t really featured in the media all that much because she wasn’t doing any noteworthy projects. Then, she did the fall and was featured more. She was very vocal about being a feminist and shit. “Future is female”, talking about her same sex relationships, didn’t want to be in relationships unless she was in control. Isn’t this the woman who famously ended a relationship by going home and leaving her then boyfriend on the beach to find his way home? Lol.

Gillian’s image was very independent, assertive, I’m the boss, blah blah blah.

Then, she gets with Peter and it’s “he’s responsible for my success.” Peter this, Peter that, blah blah blah blah.

Gillian’s image is now submissive, insecure, handing the reigns over to her man.

That was something that made me look at her differently and not care for her relationship. It felt like whiplash from her previous image.

That image she cultivated with Peter was so contradictory in what she presented herself as while they were together. So, although I still supported her professionally, I just wasn’t here for the relationship.

Ironically enough, Gillian and Peter are the ones who come off as having the PR relationship compared to whatever David and Gillian were doing. Maybe not on the red carpet, but Gillian has (always) been silly and sexual with David. There are x files outtakes that proves this. She jokes/“jokes” with David about wanting to suck his “cock” and David has said shit to her like “did you just cum?” In many of their interviews, Gillian is the the giggly and silly.

Even when Gillian was with Mark and David was still with Tea, that dynamic was there, but a muted. 2015/16 was more pronounced, but it didn’t come out of nowhere. So, the idea that this was PR doesn’t track.

But, Gillian gets with peter and, suddenly, she has a personality change and is singing the praises of her boyfriend who she later works with.

Do I believe this was a PR relationship? Tbh, I don’t give a shit either way. But, PR relationships exist and have always existed in Hollywood. They function many ways: to bring attention to one or both parties, to deflect from (potential) rumors, to build hype for a project, etc.

Peter and Gillian were gassing each other up and shit, selling one another and their relationship. Many famous married couples don’t even talk about their spouses like them (and, yes, I believe these married couples love one another).

The thing about David and Gillian is that, even tho some thought something may have been going on around 2015, some people have always thought they were fucking at one point in time. Others think they just have massive chemistry. But, why would they need to fake a thing between them that they won’t admit to to manufacture interest in the show that people were excited to see come back? It sounds contrived, doesn’t it?

Compare that to: a well loved and acclaimed actress who hasn’t had meaty work in a while getting together with the creator and writer of a show that’s an Emmy darling. They’re always singing each other’s praise, which is noteworthy for a person who doesn’t talk about her relationship much. Who she then later works with on said show.

Which one sounds more like PR?

The actors who’ve had mad chemistry since they’ve auditioned together? Who’s chemistry never wavered even when they couldn’t stand each other and now are in a better place?

Or...

The actress and writer who talk about how wonderful their partner is and that this relationship is so mature, and then later work on his show together before breaking up a month later?

I honestly don’t think it’s absurd to have skepticism towards gorgan. Many of those adamant that gorgan was real and others are delusional are invested in gorgan because their anti Gillovny. And some did truly want to see her happy, but most weren’t invested in that way.

Whether someone thinks gorgan was real or not, I found it embarrassing on Gillian’s part. It’s probably more embarrassing if it was PR and sad if it was real.

And I know ppl will disagree with that because they found the relationship mature and supportive, but again, crediting Peter with the success of her career??? You can’t even argue, “she means now” because Gillian was getting a career resurgence and rave reviews for Stella Gibson and bedelia de murier (???). She had her role in American gods (I know it was one episode).

And in each of these roles, it was “omg! Gillian Anderson!!!”

She was so loved in Hannibal, they fucking expanded her role. And this was all pre Peter (American gods may have had some overlap).

Gillian isnt “struggling” for roles because people don’t want to hire her, she’s “struggling” because she’s trying to find roles that balances being a working actor with being a hands on mom.

And that’s why I was always “meh” about the relationship. I don’t think Peter’s a bad guy and he’s good at his job, but the way Gillian’s persona changed during this relationship was off putting and I didn’t care to get invested in them for that reason. But, as I mentioned on other occasions, the vocal support of the relationship and notable silence when they ended will always be fascinating to me. I honestly believe that gorgan support was fueled by the anti Gillovny crowd and backlash to David’s relationship (its a 🤮 for me too) and behavior towards Gillian regarding the x files’ potential continuance.

[brave-clarice]

“Clarice” Liveblog: Episode 2

Again, some extremely unfashionably late hot takes.

(Special thanks to @kathrynethegreat and @special-agent-pendragon​ for encouraging another liveblog!)

Clarice is working out! And eating junk food! I love it.

and cleaning her gun!

hey, Ardelia is drinking what I’m going to assume is her grandmother’s “smart people tea”.

Krendler disciplining Clarice already is infuriating but appropriate.

“I lost control.” Oh no, I don’t like that. Don’t make Clarice unstable. Her mental and emotional state never had anything to do with her failing career.

getting weird mixed signals from Ardelia. Last week, she obviously didn’t want Clarice to lie/stick to the script Krendler gave her, but now she’s telling Clarice she messed up by not doing so...?

“I better know you if you’re calling this early.” Amen, Ardelia.

I’m in love: this cinematography is straight out of the film (when she’s flying to WV with Crawford)!

“When’s the last time you went back to Appalachia?” “It’s been years.” What??? It has NOT been years--Clarice was JUST in West Virginia last week as well as in Silence, and she arguably attended college there as well. (UVA is at least nestled in the mountains, and you don’t have to drive far outside the Albemarle Valley to hit Appalachia proper.) After all the details about her character they’ve been nailing, they miss this glaring error? 

I like the tiny details she’s noticing (like the guy biting his nails). Not only because she’s an investigator, but because it’s reminiscent of Hannibal’s influence (imo).

Clarice Is Short: The Saga continues

still not getting any creepy vibes off Krendler. He’s going to be much less effective as an antagonist if he isn’t lewd as well as a dick.

I really don’t care for the way the opening “credits” fade out from the death’s-head moth to Clarice’s face. There are MANY animals that represent her, or parts of her, in the books--lions, lambs, horses, and of course birds--so this choice feels empty and lazy to me.

also lazy: having a fellow agent straight-up tell her in episode 2 “you shouldn’t be in the Bureau.” Maybe in two or three years, after some further “Death Angel”-type incidents, I could see this blatant rudeness, but not yet.

“Reesey”? Thanks, I hate it.

this flashback must be of Clarice’s little brother. That answers one question I had last week. That said...Clarice’s brother doesn’t play the same role in her story that Mischa does in Hannibal’s--but this sure feels like a Mischa-esque flashback.

good: they’re finally getting to the source of Clarice’s actual trauma!

bad: this is NOT how Clarice found out about her father. In fact, that whole incident is laid out in detail in the novels, and there’s nothing overly literary/un-cinematic about it, so this feels unnecessary. “The police are here! Something happened to Daddy!” No, bad! Show, don’t tell!

she would’ve known better than to introduce herself to that kid as “Clarice Starling, FBI,” come on now.

were they regularly able to wire tap hair clips in 1993? 

actually, nothing in this show looks very 90s to me so far. I’m sad about it.

so in eighteen months, Ruth Martin has gone from a junior Senator to the Attorney freakin’ General, and now she might run for governor?? At least let her get settled in one position of power first, why don’t you!

yet more Buffalo Bill flashbacks...alas.

are they trying to make this guy another surrogate Hannibal character? He’s commenting on Clarice’s accent and the dryness of her skin, asking about who she “left behind”...it all feels very Hannibal. (I know he’s a Charismatic Cult Leader trope, too--but when played off of Clarice...)

“Ew.” “I hate this guy.” I laughed.

I understand that Clarice probably feels conflicted re: her siblings in the book, but I’m really not digging the flashbacks of this Tim Burton character her brother.

@ the writers: Clarice already has the lamb backstory/symbolism, too. We don’t need this Little Brother stuff.

*shrieking* Mrs. Starling! At the sink washing the blood out of his hat!!! 

...aaand they had to ruin it with the brother’s painfully bad dialogue. Will still be good for gif-making, though.

are we supposed to interpret all these flashbacks as Clarice being incapable of controlling her emotions/state of mind? She keeps losing herself in memories and emerging all doe-eyed and panicky. I don’t like it.

not to be a broken record but...Clarice should be TOUGH. Again, Ardelia only saw her cry once in seven years. But she’s more worked up in this scene than Jodie was in Memphis!

when Mr. Cult Leader shouts “Agent Starling! Agent Starling!” he sounds exactly like Hannibal calling her back to his cell in the asylum. That has to be intentional. 

damn, wish that I could look as good five minutes after I’ve been crying as Clarice does.

I LOVE that Ardelia gets to be the crucial behind-the-scenes book-smart partner to Clarice’s action heroine.

AG Martin’s just playing politics by turning a blind eye to the crooked sheriff. But when her own daughter was just kidnapped and almost killed, she looks like a real hypocrite.

gosh, Rebecca Breeds is great. I already hope she gets nominated for an Emmy.

so Krendler is...doing the right thing???

Clarice’s father was definitely not a sheriff. I hope she’s just exaggerating for dramatic effect. (Maybe this will be clarified later.)

she couldn’t just sit with a manipulative guy without getting emotional, but she’s cool as a cucumber while telling an extended story about her father? HmmMM.

sometimes her mannerisms and facial expressions are so much like Jodie’s that it’s uncanny, like here when she leans forward to confront the Cult Leader.

“She did it.” Damn straight!

another great callback to Silence. this show’s camera crew knows its stuff!

“He’s concerned I have some residual trauma from Bill.” I. Hate. This. Subplot--and all its OOC implications.

“Catherine was close to her father, too.” Ooh, a nice allusion to the novel! Clarice makes note of their “common wound,” the loss of a father, when she’s in Catherine’s apartment in Silence.

she is just SO pretty.

little Clarice looks a LOT like Rebecca Breeds. I hope we see some more of her. 

The Good:

the continuing visual nods to the Silence film via cinematography

Mama Starling!!!

Clarice’s “The World Will Not Be This Way Within the Reach of my Arm” attitude, refusing to leave without helping the victims.

Ardelia Mapp coming in clutch! 

Clarice being, generally, a badass

and using psychological tricks/mind games to pin the antagonist...that’s the woman who disarmed a monster with just a few words.

Rebecca Breed’s acting has been phenomenal so far.

I like Clarice’s haircut a lot better when worn down (though it’s not very practical for fieldwork, so we probably won’t see it much).

The Bad:

the continuing Buffalo Bill-related Trauma Subplot. Ugh.

all the flashbacks to Clarice’s brother (and the not-so-subtle suggestion that her brother is, symbolically, another lamb).

will the real Paul Krendler please come forward? this guy is so TAME.

the other agents’ hostility towards Clarice needs to be toned down slightly so that it can escalate. Otherwise, where’s the tension?

is this actually 1993? I’m not feeling it. Shouldn’t it have a little of that Season 1/2 X-Files aesthetic? Please give me more than once-an-episode references to pagers and fax machines!

that glaring Appalachia continuity error...it’s still bugging me.

I missed the overt Hannibal references, even though they’re not necessary to any part of this episode. A lady can dream!

Overall, I really liked this one despite my various issues with it. It started shakily but built to a great finish. The emphasis across both episodes on Clarice being in the FBI not just to “get out, get anywhere,” but out of a genuine desire to help victims has been wonderful. I just hope they don’t swerve too far into the “too traumatized and emotionally compromised to function” lane. It would be a disservice to Clarice’s character and to her journey (and would smack too much of “Hannibal really did prey on her weak mind/brainwash her”.

Things I’d still like to see: More of her personality. Her hobbies and interests. That she’s cleaning her gun is great! Now let’s see “Poison Oakley” practicing her sharpshooting skills. Or car shopping. Or clothes shopping to show off her “developing taste.” (Ardelia can come!) I’ll take literally anything. Give us more of Clarice’s sense of humor as well. She had some subtle funny moments in the pilot, and it’s nice to see Rebecca smile for a change.

And Krendler? Smear that man in grease! I appreciated a happy ending even though Clarice’s career is, as we know, already in a downward spiral--the last thing we want is for every episode to be a slog, especially when a good chunk of the audience hasn’t read the book and doesn’t know Clarice is doomed to fail in the Bureau.

However... Krendler’s not a “redemption arc” kind of character. Or even a “run-of-the-mill sexist asshole” character. This is a man who spent seven years systematically sabotaging a young woman’s career because a) he was jealous that she solved the Gumb case before him, and b) she wouldn’t fuck him. He was a Justice Department official working fist-in-glove with a serial child molester who was planning some of the heinous vigilante justice imaginable. THAT’S why his very gruesome end at Hannibal’s hands felt deserved--even Clarice thought so! In short, he needs to get nasty.

Anyway, thanks for coming to another long-overdue TedTalk. Fingers crossed that the next one will be more timely (aiming for Sunday night)! 

[tornrose24]

Thoughts on Cinema Sins ‘Everything wrong with Phantom of the Opera’ video.

Well at least ONE of the movies I was hoping Cinema Sins would cover happened. Some sins were expected, but I wasn’t expecting that the CS guy apparently saw the musical and has some knowledge about the history of PotO in general.

-”Several people died.” No not really unless not everyone got out of the burning opera house.

-Knew he’d make a Minions joke the second ‘illumination’ was mentioned.

-Aww, no sins off for the use of the Overture music? And its from the 80’s so of course it would sound the way it does.

-Ok, I admit showing the seats losing their dust and becoming brand new again as a ‘what if’ for movie theaters when quarantine was over was amusing.

-There’s a difference between good opera singing and annoying opera singing, which is why the ladies didn’t care for Carlotta’s singing.

-I wonder what a Silence of the Lambs opera would be like, speaking of CS getting his Hannibals mixed up.

-Raoul and Christine are supposed to be around the same age, so the fact that Patrick Wilson was like 13 years older than Emmy does make the ‘childhood sweethearts’ thing strange.

-Oh great, now CS made 2004!Raoul and Christine’s age gap as problematic as with her and Erik’s by pointing that out.

-Minnie Driver is a great Carlotta AND was a memorable part of this film.

-Oh Christ, 200,000 francs equals almost a million bucks in today’s world? Isn’t that a little too much to demand, Erik?

-Yeah Emmy doesn’t exactly HAVE the right voice for Christine when you compare her to other stage Christines (but at least she doesn’t have a weird vibrato like a certain someone).

-Christine doesn’t strike me as a super social person, and her father was a supporter of her musical talents so it makes sense that she wouldn’t be amongst her new fans and pay a visit to the chapel.

-I wonder if Ramin (aka one of the best Phantoms) found out that he was compared to Harry Styles in this video.

-Christine was supposed to keep her lessons a secret, so it makes sense that she’d confide in Meg after that.

-CS points out the unfortunate implications of Christine being a child when she was approached by Erik in this adaptation and I’m pretty sure CS is going to utterly destroy Webber for this someday.

-Actually yeah-where the hell did everyone go when there was so many people outside Christine’s dressing room a few moments ago?

-I do appreciate CS calling out Giry for just letting the Phantom stalk Christine and not stopping it sooner. (And it does feel strange that she’d let the girl she considers a surrogate daughter go through this).

-”Psychedelically laced smoke.” Every fan thinks that too.

-Also, the mirror is a trick mirror. Kind of obvious later.

-Also he needed her to think he was a divine tutor and didn’t show up until Raoul came into the picture (and because he wanted to move on to actually facing her like a real person).

-Well the horse WAS in the book, but him being part of Christine’s ‘possible hallucination’ makes sense too. Also the idea of her ridding the Phantom is amusing.

-No that WASN’T the sewers they were going through–the opera house literally had an underground lake and there’s a history behind it since the opera house this story is based on is real. 

-Erik building the statues makes more sense to me since the guy is meant to be hyper talented.Also note that this is where you can especially tell CS had experience with die hard fans of the book since he refers to the Phantom by his actual name for this sin in addition to saying WHAT they told him specifically.

-Actually CS has a good point about how the final note of the title song is shown off. They should draw more attention to Christine singing that note since its not only a display of her talent but a show of just how much influence/power Erik has over that. Instead we don’t see Emmy singing (and as anyone will tell you, she sang it as an E flat and not an actual E note).

-Yeah that scarf mask is weird.

-The smoke eye has been a mystery for AGES CS and no one can answer why.

-Love the description of singing “Music of the night” as to treat it like going to a glorious destination.

-Thanks for reminding me why the casting choices and changed up backstory makes 2004!Erik worse than he needs to be (God... what the hell were you thinking ALW and JS?!)

-If CS is familiar with the musical, I wonder if he’s aware that 2004!Erik was many a teenage girls’ crush with that in mind.

-Ah the return of the original ‘creepy doll that looks like a character’ that I almost forgot about. Except CS makes it more creepier by pointing out something about it that makes 2004!Erik more creepier than he needs to.

-CS keeps referring to actors by whatever they were in/a character they also played. And I’m just reminded how strange it was to see Emmy in Shameless (and she’s not enough to make me want to watch that show).

-CS forgot that the managers were supposed to be ass-kissing when he wondered why they were in the dressing room.

-If I remember correctly, a company performs one opera production at night and then practices/rehearses for the next one during the day. The one they perform happens for a certain amount of time before its time to switch out. But yeah, the film makes it look like this is all happening in 24 hours which shouldn’t be possible.

-Nothing for that guy mooning Carlotta? Ok then, moving on I suppose.

-I’ve seen this movie hundreds of times and I NEVER saw the boat in the woman’s wig until it was pointed out.

-Was he not paying attention? Erik kills Bouquet because the guy was trying to go after him. The original reason why he died in the book was for the same reason.

-I’m glad that CS has sympathy for Christine for all she went though in a supposed 24 hours. I’d crack under all that too.

-Surprised he didn’t sin the snot shot on the roof. (You know what I’m talking about).

-Yeah, so much for a secret engagement if you got the ring exposed.

-Not sure why CS finds the gold guys funny other than they are ‘just there.’

-I would love to see the party-goers go after Erik since they DO outnumber him as an alternate scene during that moment after ‘Masquerade.’

-No ‘This is Sparta’ jokes? Ok then, moving on I suppose.

-Christine’s dad is implied to be famous in this movie (explaining the mausoleum, but in the book he was poor so he shouldn’t have one). But that does raise questions as to why Christine seemingly has little money to her name in this version.

-Dude, seeing the gave fight scene as Nite Owl vs. Leonidas was something I couldn’t unsee for more than 10 years. But I bet the Snyder fans loved that joke. (Speaking of CS and superhero films WHEN WILL YOU STOP TEASING ME WITH ‘ANIMATED SUPERHERO FILMS’ THAT ARE JUST ANIMATED DC FILMS AND SHOW ME THE ONE I ACTUALLY WANT TO SEE?!)

-I would love to see a Home Alone version of PotO since CS pointed it out.

-Actually I would love to see the au where CS is a critic in the PotO world and just not give a shit if Erik threatened him.

-Yeah, Raoul making Christine the bait and endangering her IS messed up. As much of a dolt he is, novel!Raoul would NEVER have done that to her.

-Erik’s hair looks nice because its a wig, CS.

-Oh boy, the reveal of the bad make up. No surprise it got a sin. I loved that CS showed Lon Chaney’s version (and hopefully will get people to watch the original silent PotO) and was more impressed by it over what this movie had. I also love how blunt CS is in summing up the deformity.

-There wasn’t a fire when the mob went after the Phantom in the musical. But as history can prove, some mobs care more about their goals than their own safety.

-I think they wanted to squeeze in one more trap before the final confrontation and Raoul WAS trapped in a room that became filled with water in the book and silent film. Though I’m amazed CS didn’t notice the reverse direction the bubbles were going during that scene.

-I don’t know how to answer why Christine was just standing around and doing jack shit to help Raoul during the final confrontation.

-A recreation of one of the most famous kiss scenes in musical history and CS just sums it up as ‘yeah your first kiss always sucks.’

-I love the contrast of Super Mario music with shots of PotO for the bonus round.

-Holy crap, that WAS a lot of candles.

-Some of the alternate audios for the last bit were unfamiliar but that Bug’s Life scene for when Christine is heading towards the mirror is perfection.

-And of COURSE CS would use that one Mission Impossible scene.

Final verdict: Predictable at times, but pretty amusing for a PotO fan like myself. I do hope the next movie musical CS covers is ‘Little Shop of Horrors.’

[marvelhero-fics]

Silent Britain

Series - Prologue

Pairing: Tom Holland x Reader 

Summary: You and Tom are working as love interests in a new Scorsese film, essentially leading to be love interests in real life

A/N: Sorry, it’s been a hot minute since I've posted! Anyway, this is basically going to be a whole series. I have no idea how many parts it’ll be, and I’ll be updating at least every two weeks (but I’ll aim to update it weekly!) I thought it was kind of a fun idea so essentially in the film Tom plays a bad-boy mob members son, while the reader plays the opposing mob members daughter. Please enjoy! (This chapter is a bit of a slow-burn, but it’s essentially just setting up the plot and everything!) 

Also, all the italics in this story are the readers thoughts!

Word Count: 1,500

Silent Britain Masterlist || Full Masterlist 

Prologue

The uncomfortably loud alarm buzzed through your tired mind. A glance to your left told you it was 7:00 am. Time to get up. One arm reached out to turn your alarm off, while the other went to wipe your eyes as they opened sluggishly, adjusting to the illumination in your bedroom that crept through the blinds. Wasting no time, you moved your body from your large bed and stumbled your way to the kitchen. The house was quiet, no music playing, no TV’s on, signalling to you that your roommate/best friend, Evie, hadn’t woken up yet.

The thick script left on the dining table caught your attention. It was for an upcoming, untitled Nolan film. You’d been asked to read the script to audition, however you only made it about half-way through it last night. Looks like thats on today’s agenda.

Acting was your absolute passion. You’d been lucky enough to start your acting career about 4 years ago, acting in 2-3 bigger films, every-so-often working alongside a well known celebrity. Working alongside Robert Pattinson in dramatic indie film was pretty cool, considering you’d grown up around all the Twilight hype. Playing Brad Pitt’s daughter in another film was also a big moment in your career. Not to mention your recent role in the Emmy award winning show Big Little Lies really helping define who you were as an actress. Ever since then you’d been asked to audition for quite a few more roles. Shockingly, it actually took a bit of a turn on you. People recognised you more often, which meant it was harder to leave the house. It also meant you started comparing yourself to other actors your age, to which you never thought you’d live up too. Being rich and famous really wasn’t all it was cut out to be.

While mindlessly making breakfast, your phone began buzzing on the hard, marble bench top. It was your agent, Melissa.

“Hey, Mel.” You quickly answered,

“Morning, (Y/N), how’re you doing?” Her thick American accent sung through the phone. Melissa was from California. You weren’t, you were born and bred in England, and you’d continued living just outside of London throughout your career. It was just much easier having an agent closer to the action of Hollywood.

“Good, I’m a little tired, it’s like seven AM over here.” You responded,

“Well it’s 11 at night over here, but I’ve just received some fantastic news and I couldn’t wait to tell you.”

“You’ve got my attention.” You chuckled slightly, leaning down to rest on the kitchen bench, ready to intently listen to whatever Melissa had to say.

“You remember that Scorsese film you auditioned for a while back, Silent Britain?”

Oh my god. “Yea, of course I remember, what about it?” Your palms became clammy and your voice shook slightly.

“You’ve been offered the role! You’re playing Elizabeth Baker!”

Your head immediately fell to your hands. You were just unbelievably over-joyed, you didn’t even know what to say. This would undoubtedly be your biggest role to date. “Mel, oh my god, this is such huge news, I really didn’t think I’d get it. This is so, so, so incredible.” You stood and began pacing the kitchen.

“It gets even better, guess who else is already signed on?”

“Who?”

“Tom Hardy is playing your father, Anthony Hopkins is playing your grandfather,” Your jaw had already hit the floor at this point, “Chrisitan Bale is also signed on, and Jude Law’s set to play one of the detectives.”

“Melissa, holy fuck.” You paused, “holy fuck. This- that’s so many actors, incredible actors-”

“And there’s plenty more to be signed on. So I’m assuming you’d like the role?”

“Of course I’d like the role!”

“I’m sending through all the paper-work and details for you to flick through, I’ll also mail over a script ASAP so you can go through the whole thing. You’ll have to fly out here in about 2 weeks for the initial meet up with Martin and the cast, so I’ll book that in now, and we can work out the rest of the details when you’re here, how’s that sound?” Melissa explained quickly,

“Yea, yea that sounds perfect, when’s filming set to start?”

“It says mid-June, which is in two months, if all the actors have been accounted for by that time.”

“Okay, I’ll get all my shit sorted out and I’ll see you in two weeks! Thanks so much Mel.”

And with that, the two of you hung up. Leaving you alone with your thoughts. A fucking Gangster Scorsese film. It doesn’t get better than that. That’s peak-of-the-career shit right there. Everything you did the rest of that day was purely in order to be organised for your flight. You hadn’t been this excited since you landed the role of Reece Witherspoon’s daughter in Big Little Lies. After screaming in pure bliss with Evie about the news, you went to your nearest shopping centre to get any possible supplies you may need. Shampoo, conditioner, dry shampoo, toothpaste, a power board, a charging cable, new comfortable clothes, not that you really needed anymore, new nicer clothes, not that you fucking needed anymore, the list went on. Evie even came with you, as if your impulse control wasn’t already low, Evie made it plumet, suggesting you needed every second thing she laid her eyes on. You even bought a notepad with the Taxi Driver movie poster on the cover because Scorsese directed that too, and it’ll be funny incase I ever need to take notes.

You shut the boot of your car, hopping into the driver's seat next to where Evie sat comfortably in the passenger’s seat.

“So who else is in the film? Besides Venom, Hannibal Lecter, Batman, and John Watson.” Evie smirked at her own joke,

“Ha ha. Very funny.” You stated, pulling out of the car park. “That’s all I know about at the moment, here” you passed her your phone, “check my emails, I might’ve gotten an update.” Evie took the phone from your hands and held it to your face to unlock it.

“Melissa Bradd sent another email, with attached file, more details…” Evie muttered, mainly to herself as she opened the document. “Hmm, Anthony Hopkins, Tom Hardy, you-” Evie gasped heavily.

“What, what is it?” You quickly interjected.

“I’m going to shit my pants, I’m gonna actually die right here, right now-”

“Evie, what the fuck!? What is it?!” You almost wanted to pull over the car.

“Timothee Chalamet is playing Joseph Baker, your brother!” She practically shrieked. Christ. Obviously you adored Timothee’s work, he was incredible and so devoted, but Evie absolutely adored him, for a long time now.

“Oh my god,” you uttered, just above a whisper. Reacting to not only Evies reaction, but also that another big name was going to be on screen beside you. “Anyone else?”

“It doesn’t even fucking matter who else is in it!” Evie sung, flailing her arms in the air.

“Evie, who else is in it!” You repeated, feeling a little on edge. Her gaze returned back to the phone screen, her excitement still clearly coursing through her veins.

“So far, Finn Wolfhard is set to play your younger brother, and Michael Fassbender and Christian bale are signed on as your uncles,” She read.

It was at this moment, your hands really started shaking. You tried gripping the wheel as tightly as you could, but it honestly felt like most of the blood in your body was vanishing, you didn’t seem to have control over much of anything, especially not your breathing. Evie looked over at you.

“Hey, (Y/N/N), you okay? You’re kind of looking a bit pale.” She spoke quietly,

“That’s a lot of big actors, Evie.” You responded, your mouth entirely dry.

“Yea, but you’re a big actor too, you know. You’ve been in some big films!” She lightly tried to reassure you.

“Eve, I’ve been a background character in like 3 big films.” You peered over to her, quickly returning your glare back to the road.

“You’re in Big Little Lies, that’s a big show.”

“I’m a daughter, I’m not a main character at all. This movie, I’m a fucking huge character in this movie. This movie practically fucking revolves around me, Tom Hardy, and Hopkins.” Your voice elevated as you spoke.

“Let’s just get home, and then we can talk it all through.” Evie said calmly, clearly not paying much mind to what you’d just said. You nodded in response. And, as if on cue, your phone chimed.

“What was it?” As you asked, Evie began scrolling through your phone.

“Another email from Melissa.”

“And?...”

“A couple more actors signed on.”

“And?...” Your head was far too close to exploding.

“Well, Rachel Weisz is playing your mum, and Daniel Craig is another uncle,” Evie was speaking softly, “Idris Elba is a detective, and- uhm- Tom Holland is your love interest…”

And there goes the explosion. “I need to pull over. I’m about to have a stroke.”

[gracie-p8-officialblog]

Spilling Tea On Phantom of the Opera 2004

DISCLAIMER: I just want to say from the start that it is not my intention to offendanyone, you're entitled to your opinions and I'm allowed to have mine...

Ok, so, I just watched this movie a few days ago on my laptop and it was pretty much my first time sitting through the movie. I watched a few clips of the movie on YouTube but... Then, I decided to watch the whole movie. And this was my reaction.

Don't get me wrong! There WERE parts I liked but... That was just half of the movie... But overall... Um... It was meh. Ahem. Down to business!

My opinion on Gerard Butler as the Phantom? Um, wow. And not in a good way. I feel like this was a case of a talented performer being grossly miscast as the Phantom. I think this Tumblr post best describes on what I thought of his singing.

"He's supposed to have the voice of an angel, but it sounds like he's been gargling vinegar" ~Quoted by @faded-florals

Don't get me wrong. His voice is quite good for an untrained singer but... The Phantom is one of the biggest musical theatre roles of all time! It's right up there with Jean Valjean. It's really not a role that could go a competent singer, someone who's never sang professionally before but could be good once they've been trained up a bit. The role demands a truly great singer... And he wasn't right for the part.

His voice felt too strainy, growly and rock-ish for the Phantom. I didn't like how Joel Schumacher bought into the whole "sexy Phantom" thing and cast a hunky heart-throb, who was nowhere near disfigured enough. It's meant to be a gothic thriller novel with a small romantic subplot, not a B-grade vampire romance movie!

As for Emmy Rossum as Miss Christine Daae... it's true, her voice is good. She should know though, should she wish to excel, she has MUCH still to learn (Heeeeehee. Sorry. Couldn't resist.)

Emmy's Christine had little-to-no character growth and personality but I don't think it reflects her as an actress, but reflects more on the director and casting director because of how young she was (but more on that later)

Not only that, her Christine was SIGNIFICANTLY dumbed down and oversexualized. I mean, the entire point of the story is that Christine grows strong enough to overcome the trauma of an abusive relationship and make sure that her abuser never hurts anyone ever again but still shows the Phantom compassion and sympathy. I mean, her story arc is her becoming strong-willed enough to overcome the Phantom's pull/spell/enchantment/hypnosis or whatever you percieve it as on her! And don't get me started on her costumes because of the SEVERE lack of modesty.

The chemistry was a little flat because she was underage and her two male love interests were both in their 30s (which totally isn't HER fault, of course, but the directors could easily have cast someone else older)

Her voice, too, strikes me as being much too young and undeveloped. She has a very pretty, sweet-sounding quality to her singing but she doesn't sound rich and operatic enough to be a convincing Christine. Rebecca Caine and Amy Manford do the best job of singing the way I think Christine ought to sound- a maturing opera voice! Though POTO is NOT an opera (you wouldn't believe how many people actually think it is...), it does revolve around opera, and Christine is an opera singer, not a pop star.

And now onto... Everyone's favourite vicomte!!!!!!

C'mon people, put your bottles down. It is a truth universally acknowledged (or at least in the wee Raoul Defense Squad Circle) that Raoul is one of the greatest and most underrated boyfriends to ever exist in musical theatre and it's almost impossible to hate him because of how relatable he is.

Ladies, puh-leeze. He's much more relatable than you admit and face it, we all have a little bit of Raoul in us. Failure to see things staring us in the face, saying or doing the wrong thing at the wrong time, having a 'see it to believe it' attitude when we have little-to-no evidence on something... yeah, don't pretend you don't see a trend. Raoul is relatable whether we want him to be or not.

My thoughts on Patrick Wilson as Raoul, he was one of the few redeeming qualities of this not so great movie. Yeah, the swordfight and Tarzan leaps were a little too much but can you blame him?! And though I feel like that foppish wig made him look more like a magic elf prince than a vicomte, he couldn't control that!

His Raoul was so gentle and caring! Yeah, his acting was a bit stiff but at least his voice wasn't a chore to listen to, it has this warm, tender, comforting quality to it which suits Raoul. I really loved the way he sang "Don't throw away your life for my sake" and "I fought so hard to free you" in the Final Lair (😭😭😭) It feels like Raoul is genuinely apologising to Christine.

I know, I know... The Hadley Fraser fans are approaching with menacing expressions as we speak but let me clarify. I still think Hadley is amazing but... His Raoul kinda felt a little too shouty for me and his Raoul was closer to the LND-canon than POTO-canon (not his fault though).

Miranda Richardson (aka. Rita Skeeter) as Madame Giry is kind of weird. I mean, I know Madame Giry's supposed to be a little Strange and Mysterious. But this Mme. wasn't really Strange or Mysterious at all, or even slightly Spooky at all. She was just kind of an oddball. Popping up in random places to give warnings about the Phantom and looking at people as if she were questioning their life choices or something. As for her daughter... well, Jennifer Ellison's Meg was so-so. She's got a sweet-sounding voice and that added scene where she looked for Christine in the lair was a nice touch... But... Her Meg was kinda forgettable and uninteresting. Meg is supposed to prance around shrieking that the Phantom of the Opera is here, not whisper it in a blase manner that you half expect to be followed up with, "by the way, what's for lunch?" Not to mention, she rivaled Christine as far as low-necked costumes went.

Minnie Driver as Carlotta was spot on! Yes, I know she didn't sing the score but her acting was alright. She was very over-the-top and self-centered, which is great for Carlotta, but I felt her portrayal was a little too childish to be accurate. Carlotta is a successful middle-aged diva who's willing to scream and storm when she doesn't get her way, but she isn't a two-year-old pouting and throwing tantrums. (Yes, there's a difference.)

Ciaran Hinds and Simon Callow played Firmin and Andre, respectively. Their managers kinda felt like twits and nothing more. Also, Firmin's masquerade costume was ridiculous. The stupid kind, not the funny kind. ...Well, okay, it was a little funny.

I'm not going to touch on every song here, but I will say that "Hannibal" was beyond awful (if you thought the costumes in the stage version were a bit risque, you should see the movie ones- no, actually you shouldn't) and that "Think of Me," while very nice, was not particularly memorable. Christine's dress, however (despite its less-than-ideal neckline) was GORGEOUS, even though it looks completely out of place in a musical that supposedly takes place in ancient Alexandria.

"Little Lotte" kinda lost its charm by being spoken instead of sung. And Gerard Butler's voice in "The Mirror" was too rough and raspy for my ears and made me cringe in sympathetic shame. The title song was like a cheesy, campy B-grade horror movie tbh, trying way too hard to be spooky and chilling ("ooh, look, Phantom's Lair! It's DARK and SCARY down here!") and succeeding only in being cringeworthy. Not that I've actually ever seen a bad horror movie- or any horror movie at all, for that matter. Unless you count this one.

Christine's costume, too, annoyed me no end. She was basically wearing a corset and drawers under the dressing gown. *facepalm* The dressing gown is supposed to go OVER your COSTUME to keep it CLEAN, peeps. It's not a BATHROBE. And the amount of eye makeup she had on would terrify a raccoon. Yikes.

Though I liked the random horse because of its nod to the Leroux novel.

"Music of the Night" was so blah-slash-touchy-feely that it made me summarily uncomfortable.

I'd like to be able to say something nice about "I remember/Stranger than you dreamt it" but I have none. One thing that bugged me to no end was how Christine is no longer wearing stockings, like dude, that gives some GROSS implications. Anyways, let's skip to Il Muto!

Oh, but first I should say that "Notes" was rather a flop and that "Prima Donna" is unmemorable and indeed should probably be fast-forwarded as there's a rather unsavory bit involving a crew member showing the audience what he thinks of Carlotta's behaviour.

"Il Muto," I must say, was pretty doggone funny. Carlotta's "Your part is silent. Leetle toad," cracked me up into a bunch of giggling little pieces, and the little vignette of the Phantom tinkering with Carlotta's throat spray made her croaking later on a lot more believable.

Now for "All I Ask Of You", SQUEEEEEE!!!!!!!!! I honestly can't understand how anyone could listen to this song and still maintain that Christine and Raoul don't belong together. He represents everything she needs- stability, protection, a guiding hand and affirmed affection. She represents everything he needs, in turn- someone to show affection to and his childhood friend.

One thing I definitely think could have been left out was the scene in which Erik kills Buquet- we totally did not need to see him being chased, terrified, through the rafters and finally strangled. Gross.

And the Phantom and his rose crouching behind that statue... I think this was supposed to be sad, but there was too much snot mixed with tears for it to be sad. It was, again, gross. So was Gerard Butler's pathetic attempt at the "all that the Phantom asked of you" line. And the lack of a chandelier crash in that scene made the song anticlimactic.

And "Masquerade" was so-so but... The Phantom's entrance is anticlimactic somehow, and his Red Death costume (if indeed it's supposed to even BE the Red Death) is unimpressive. I don't like how Raoul just runs off to desert Christine as soon as things start looking ugly (yes, I realize he was going to get his sword, but still... something could have happened to her while he was gone. Duh, did this guy learn anything from "Little Lotte/The Mirror"? Just sayin)

As for Madame Giry's flashback immediately following, I like how it gives us some of the Phantom's backstory, but it seems really abrupt. You don't even realize until she's done that she was talking to Raoul the whole time- it sounds like she's just randomly reminiscing about Stuff, and if you didn't know the story you might be sitting there thinking, "who is this strange woman again?"

Also, Christine leaving wherever-it-is at, like, five in the morning to go to who-knows-where, completely oblivious to the fact that the Phantom is driving her. Whaaaaaaaaa? How'd he know she was planning to go for a graveyard stroll? Was he watching her through the mirror again? THAT'S JUST CREEPY.

"Wishing You Were Somehow Here Again" was rather mediocre and dulled down the fact that it is a Christine Empowerment™ song. Why, exactly, does Christine's father have the biggest monument in the cemetery? If he were a rich and famous violinist as his crypt seems to suggest, why on earth was his daughter struggling along as a chorus girl taking free music lessons?

The swordfight... Well... I had mixed feelings about it. Sword fights are all well and good, but... The swordfight takes away the element of mysterious danger to the Phantom. Okay, fine, Christine getting Raoul to spare the Phantom's life is a nice touch, I guess, but did it strike no one else that his "now let it be war upon you BOTH" makes absolutely NO sense after that? If she just saved his life, why would he suddenly be all, "thanks, but no thanks, I'M GOING TO MURDER YOUUUUUUUUUU"?

And "Twisted Every Way" was after "Wishing" which made ZERO sense. Plus, I didn't like how they cut most of it because in the musical, it gave Christine a spine!

"Point of No Return"? Hooooooo boy....... There are so many things wrong with this number. Let's just a list a few.

*HOW did no one recognise the Phantom through his "disguise"?! At least in the stage play, it made more sense because of how he was wearing a cloak that obscured most of his body.

*Christine's sleeves falling down over and over again were REALLY annoying.

*It was just too touchy-feely for my taste.

*The fact that Emmy Rossum was a teenager during filming made this scene gross because of the way they oversexualized Christine in this scene.

*Gerard Butler's voice in that scene made me cringe and shake my head in sympathetic shame.

*In the stage play, Christine ran from him, showing her own agenda and resistance to his pull! While in the movie, she didn't resist him!

*Now for the one that took the cake... The disfigurement! Or it would be a disfigurement if it actually made him look, y'know, deformed. Instead, as several people have put it, he looks like he got a bad sunburn or something. It's really rather pathetic. It makes him look more like a drama queen than he already is! Yeah.... I really don't like this movie.

On to... Final Lair!!!!!!!! It was a flop. From Raoul's whining and flailing around and his stringy hair flopping about (shallow complaint, I know, but it's so ugly) to Christine's sappy melodramatic "don't make me choooooooose" faces to the Phantom's prancing around with his ropes and maniacal laughter that somehow wasn't really scary at all... yeah, it was a flop. A major, major flop. And though The Kiss wasn't all that bad, all I could think of was, "She's SIXTEEN! SIX! TEEN! THIS IS CREEPY, DISTURBING AND GROSS!"

Which is why it's so difficult for me to admit that, um, I... cried at the end.

I COULDN'T HELP IT GUYS HE WAS ALL ALONE THERE IN HIS LAKE WITH HIS MONKEY AND HIS SMASHED MIRRORS AND HE WAS CRYING AND IT WAS SAD.

And then that rose on the gravestone? That single red rose? And the look on Old Raoul's face (still Patrick Wilson, by the way, under all that makeup) when he saw it and realized he wasn't the only one visiting Christine's grave? Yup, I lost it again there, too. And I really didn't want to. Because I tend to cry over movies I love, y'know? And I didn't love this movie. At all

Yet I still cried at the end. I'm not really sure why. I think perhaps it had something to do with the way the story still "got" me, deep down inside, despite the lousy casting and less-than-perfect singing and ridiculously unnecessary elements that totally didn't need to be there. It's still a tragically beautiful romance, and even a bad film can't kill that.

In conclusion, I think Mary Poppins can best express what I thought of POTO 2004.

In conclusion, I rate it a 2.7/5