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isnorted12pixisticks · 1 year

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Hi pokies, as someone who’s been in the fandom for a hot sec I have some opinions

So buckle up or just scroll past because this is a long one it’s just me word vomiting into the void at this point

Burner account because some of y’all scare me 😘😘

‼️‼️THESE ARE JUST MY OPINIONS ‼️‼️

Ocean

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1. Wtf is y’all’s hate boner with her?

2. I have no clue where y’all got the idea that ocean parents are like these horrible abusive people. Like neglectful? Definitely . But I don’t think that Mr and Mrs offers their kid to take a hit off their bong are going to be incredibly strict and physically abusive towards her.

3. Ocean just a shity person with a superiority complex and that’s ok. she doesn’t need horrible stuff happening to her to justify that

4.Ocean was a bad friend to Constance, she was constantly putting her down through back handed remarks and talking over her “ she has self esteem issues why wouldn’t she?” “ do we really need another organ donor?” And not to mention her say that she believed that Constance did nothing with her life.

Noel

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1. For the love of god stop making him an uwu soft boy twink <- this is not directed at people who just draw/ Write him with more feminine traits I do the same. I’m talking about those who infantilize him as the helpless soft boy who just needs a big strong man (Mischa) in his life and suddenly everything will be ok

2. I hate The Noel is Talia through either a code name or straight up catfish theory

A. The catfishing theory is problematic at best. Yes let’s take the single openly gay character and have him prey on another man character for his own satisfaction. Idk if Mischa’s cool with it in your fanfic it’s still weird

B. To me at least, Talia as a code name for noel just takes away the whole meaning behind her character. Talia is Mischa’s last connection to Ukrain. We see throughout the musical he was constantly trying to text her meaning they spoke constantly. She was his one and only lifeline, something for him to focus on and push through his shity situation to get to

Mischa

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1. I beg of y’all stop himboafying this man, I get he’s big and strong but he’s not dumb😭

A. Mischas smart guys!!!! I get alot of actors portray him struggling with English at times but y’all got to remember fluency ≠ intelligence gance. it’s like his 3rd language cut him some slack. he speaks Ukrainian, Russian, English, and even some Dutch ( not even the Dutch speak Dutch)

B. Just look at his saw6 monologue! Man had an in-depth video essay explaining on a horror movie just ready to go when ocean put him on the spot

C. Mischa can be incredibly eloquent with his words when he wants to be. Ex his Talia monologue/ when he tells Noel he knows what clichés are

2. Listen Im obsessed with Gus halper so I get it we love his mischa BUT DONT COMMENT ABOUT HIM ON NON GUS MISCHAS

Talia

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1. Stop 👏 hating 👏 on 👏 Talia 👏

A. I’ve seen so many people make Talia just a straight bitch in fanfics to justify Mischa not being with her and that feels weird to me

2. The amount of people I’ve seen straight up hating on Talia for doing absolutely nothing but “stand in the way of nischa” is wild. Like I don’t get how you can look at her, a character who doesn’t even have a single line and be like ya no fuck you

Ricky

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1. I revoke my previous statement , I’ve seen some people ( mostly rp accounts) be weird ableist to not only Ricky as a character but his actors and I don’t need to explain why that’s gross

Jane

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1. Honestly I don’t have anything to say here I haven’t really seen anything granted it is pretty hard to mess up a character who’s whole point is shes a blank slate

Constance

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1. I think a lot of the fandom is guilty of seeing constance as just the “ sweet nice wholesome mom friend of the group” when (to me at least) the whole point of Constance was that people thought she was this, was because the never bothered to get to know her past that .

2. In her monologue it’s heavily hinted at that Constance was suffering with depression leading up to the cyclone.

A. Ontop of this we can see throughout musical she was self deprecating “Lost her virginity in a crap box in a crappy town, why of course she did.” you should always laugh at guys jokes otherwise they’ll think your a cow” AND PEOPLE DONT TALK ABOUT THSI ENOUGH

3. Also I dont get the “mom of the group” thing. Like she was nice to everyone and ocean mentioned that she baked but that’s about it

4. I don’t thinks it’s acknowledged enough that Constance was SAd. I don’t care if she wanted to loose her virginity, shes under aged and by Constance’s own emissions the carny was in his 30s

The fandom

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1. Listen I love some angst as much as the next person but there’s a difference between angst and just some straight up hurt p*rn (especially with ocean, again wtf is y’all hate boner for her) I’ve seen literal SA fics written about her wtf

2.This one goes out specifically to you rtc rp accounts😘😘😘 (both on and off this app) there’s a time and a place to rp guys

A. If you're talking to other rp accounts then pop off. But That being said I’ve seen a lot of rp accounts bleed over into non rp post/ videos, while this is normally fine I’ve seen quite a few accounts pushing their head cannons on other non rp accounts as if their facts or an authority on the matter. Again nothing wrong with rp accounts / sharing your head cannons, just time and place guys

3. Look I get it plenty of the actors/ actresses that have been in rtc are attractive but some of y’all need to remember the characters themselves ARE CHILDREN

4. On the topic of the actors/ actresses some of y’all need to learn what boundaries are

5. I saw someone try to pull some pro ship bullshit with the characters once and it haunts me

Rtc

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Listen. I absolutely love ride the cyclone, I’ve been hyper fixatingon it for the past years now that being said I’ve seen more than enough productions to get my fair share of opinions on it

1. Real Ukrainian war footage in Talia

A. It feels in very poor taste at best and just strange up gross at worst to the situation at hand. I get it Mischa’s Ukrainian and that’s a very important part to his character but that doesn’t mean you need to throw real war footage to the end of the song.

B. Talia and mischa story as a whole is tragic enough as is. You don’t need to add in the fact that on top of Talia possibly not even being real we’re now throwing in the possibility that she died in the war? It just seems like over kill to me.

2: Ricky’s disability being written out of the script was really gross. Like I get it they wanted to avoid another yannick situation but this like the worst possible way to go about it

There probably more but I’ve been at this for like 2 hrs (I’m going to update this as things come to me so stay tuned)

#rtc rant #rant post #rtc #ride the cyclone

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moonmoonthecrabking · 2 years

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so okay you know how there's different mischas in all the us performances and how rtcblr mainly has access to 2016, 2018, and 2019?? well, here i have some notes i have that i think provide insight into how each actor has a different interpretation of mischa!!

2016: this is gus' mischa that we've mostly been collectively thirsting over. the most notable difference is that he's not using his ukrainian accent, but a us (possibly canadian??) one. i think this increases the divide between his true self and the person he pretends to be for the sake of the town. he feels like he needs to fit in and show of his middle-class wealth that he didn't have in ukraine. it also highlights how mischa's rage is in part created by the town, how he may have been far more passionate in ukraine, and is only filled with rage so much now that he must live amongst his mother's murderers. something else i saw for No Reason At All is that he doesn't do a body roll when his shirt is ripped open? he just stands there? and i think that this means halper's mischa feels like he has to have this sense of stability, rather than sexualisation. this tracks with fall fair, in which he says "sex... why did i wait?". granted, he has a desire for it, but it's something he hasn't canonically engaged in, and possibly doesn't want to be associated with it as a result. that being said, he still grabs his dick the most. back to the stability thing, he feels like he has to be a provider, he has to steal the communion wine for his cousin, he has to give noel vodka and comfort (notice how noel hugs him while they're sitting down and bonding individually), he has to look after everyone, like he couldn't look after his mother, or the choir on the rollercoaster. maybe that's why he jumps away from noel in disgust when they land in limbo - not because of fruity feelings, but because he doesn't like how noel has his arms around him, rather than the other way around. he is internally a wounded bird, so he overcompensates by making sure no one else feels that way. also: i don't know where this comes into analysis but since mischa is a baritone part, the actors don't necessarily have to be in chest voice for all of this song is awesome. standley and duffy are, but halper uses falsetto for the higher bits in tsia!!

2018: adam's mischa is far more of an awkward teenager, he slouches a lot in the rap section of his performance, and he tends to have shorter, more run-together rhythms. however, in the choruses, when he's directly engaging with constance and ricky, he is far more confident and looks up more. he also takes a photo with ricky in the "0101011" bit!! from this, i get that standley's mischa cares a lot about his relationships with others and finds more value in that than other versions of the character. he's showing the most of himself off in the bridge, making eye contact, his shirt buttons open, body-rolling, when he is surrounded by the rest of the choir. i'd also argue that he's the most "sexual" (i'm using airquotes bc literally none of them do anything otherwise this would be a very different show") in how he performs with constance. he also checks out the girls in the line (btw this doesn't "disprove" nischa for me, because i think a through-line of this song its performative nature and therefore performative heterosexuality"). in the second chorus, he puts his arm around her while she feels his chest, indicating that this version of the character has greater sexual desires than the others, or that he wants to be perceived as such more (i'd have to see/listen to a full show with standley performing as mischa).

2019: i think that chaz's mischa has the most actual confidence of these three versions? by this, i mean that his doesn't seem performative in the same way as gus' or adam's (although, again, i'd need to see the whole show for this). he seems a lot more self-assured, which fits with the "rupaul's drag race" line change, as that indicates that he is secure in his sexuality, whatever that may be. also, i just want to point out how noel is basically spanking ocean in the hard rock cafe bit. like this is how noel and ocean perceive heterosexuality. amazing, i love it. duffy's mischa also makes the most use of the stage - even in his independent rap parts, he moves around a lot and looks at the audience, kind of like a concert (she says, having never been to a rap concert). he seems far more confident of his life's awesomeness rather than the other mischas, who almost need to convince themselves. it's possible that this is a more developed mischa, who's ready to move on and is already grateful for what he got despite his tragic circumstances. all he misses is talia and his mother. and, the line "feeling homesick for my homies in the ukraine/landing in kyiv before we finish off the champagne" is rapped in a way that makes it feel as though he is much more certain that he will be able to give those things to them. maybe this mischa views "what's behind the curtain" as his friends and family before coming to uranium.

#this song is awesome #mischa bachinski #mischa rtc #rtc #ride the cyclone #gus halper #adam standley #chaz duffy #all of these are on youtube #2/3 legally #i love this man

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chicagoindiecritics · 4 years

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New from Jonita Davis on The Black Cape: TIFF Reviews: From Romance Fizzling ‘Mondays’ to Historic Bros in ‘One Night in Miami’

The Toronto International Film Festival Kicked off on Thursday, September 9th with a film that so many Black critics were waiting for, Regina King’s directorial debut One Night in Miami. The film is as of press time, the best film of the fest for me. That does not mean that TIFF2020 is devoid of stories. There are so many tales from so many perspectives that this year’s festival has me watching films until the wee hours of the night. I ended last night with The Third Day, at about midnight–after doing some anxiety baking (peach cobbler). The series is a thriller that will really make you anxious and unable to stop watching at the same time!

Yes, I said baking. TIFF this year is a virtual affair that has most critics taking in the fest from home or wherever they can comfortably view them. My family has been tolerating me roaming the house with noise-canceling headphones on my ears and my eyes glued to the film on my tablet or phone. Here are capsule reviews for the films I viewed at the virtual TIFF over the first two days of the fest.

One Night in Miami

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I’ve read countless accounts of the friendships that our most legendary figures formed while fighting for the rights we take for granted today. Regina King brings this musing to life in her directorial debut film One Night in Miami. In it was Malcolm X (Kingsley Ben-Adir), Jim Brown (Aldis Hodge), Sam Cooke (Leslie Odom Jr.), and Cassius Clay (Eli Goree), as four best friends who come together to celebrate a monumental win.

One Night in Miami is not set up like a biopic or historic narrative this is not. King pulls these four off their pedestal and drops them into a moment that is reminiscent of the Big Chill. She shows us their stark realities in conversations that you will only hear Black people speak amongst themselves. Then she takes us to a hotel room where some of the most explosive action happens, along with the most quotable phrases (“most people want a piece of the pie I want the whole damn recipe”), and raw revelations (Malcolm X realizing that the Nation was corrupt and he recruited Clay to help him leave without incident). The most powerful men of the movement are thus reduced to the human men they truly are, frustrated about their past and petrified of their future.

King’s (and Kemp Powers’s script) depiction is fun and thoroughly entertaining. Audiences will feel like they are a part of the moment. Just prepare tissue for those closing credits.

One Night in Miami premiered at TIFF on September 9. It will be released on Amazon Prime at a later date.

Rating 5 of 5

Penguin Bloom

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A traumatic event can change a person’s life, but what about the rest of the family? In Penguin Bloom, we follow the Bloom family of five as they try to adapt to a new life after an accident that changes the way they live and love forever.

The oldest child Noah, played by (Griffin Murray-Johnston and Essi Murray Johnson as a younger Noah), narrates the tale of a family vacation gone tragically wrong. Noah, his mother Sam (Naomi Watts), father Cam (Andrew Lincoln), and brothers Oli (Abe Clifford-Barr) and Rue (Felix Cameron) are an Australian family that loves the outdoors. They are very active until Sam leans on a fence of a rooftop overlook and falls to the ground. Her injuries leave her in pain and two-thirds of her body paralyzed. At home after all the surgeries, the family tries to adjust to the new way of life, but Sam has the hardest time. Without her, the family seems helpless, until a broken baby bird comes into their lives.

Suddenly, Sam has somewhere to put her energy, a place where she can’t fail (as she feels she is doing in caring for her family). As the bird becomes a part of the family and heals from its injuries, Sam and the rest of the Blooms find their way out the darkness of trauma. Penguin Bloom is more than a saccharine story of a woman’s resilience. It’s about an entire family damaged by trauma and how the healing must include everyone, even those who don’t wear their injuries on the outside.

Noah’s narration drives this home, meanwhile, the cast, which includes Jacki Weaver who plays Sam’s annoyingly cheerful mom, all deliver stellar performances. This is important because Penguin Bloom, despite being a true story, treads the dangerous line between a feel-good drama and a corny Hallmark movie.

Rating 3.5 of 5

Akilla’s Escape

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Akilla (Saul Williams) is a grown man in the drug business, just as the government comes in to legalize things. He’s been in the illicit business all his life, so he knows a boy in trouble when he sees Sheppard. The boy is part of a team that robs Akilla. So, he keeps Sheppard in an attempt to track down the cash. Along the way, Akilla goes back over his own life and remembers how the cycle of trauma is manifesting before his eyes in Akilla.

Charles King’s use of this noir story of drug dealers and gangsters isn’t the type of film the audience will expect. The film is actually a commentary on multigenerational violence and toxic masculinity. Both take a toll on Black men everywhere. The international setting will give Americans a new perspective on a topic that has tackled for far too long. Watch out for Thamela Mpumlwana, the young actor who plays young Akilla and Sheppard. He carries the film well, easily sliding between roles. Audiences will also appreciate King’s depiction of violence as it is more implicit than we are used to from films that delve into the drug trade and gang violence. Akilla’s Escape is a movie that may end up being an education for us all.

Rating 4.5 of 5

Monday

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Sebastian Stan and Denise Gough are Mickey and Chloe, two people who fall hopelessly in love after a Friday night together in Athens, Greece. They are passionate and so deeply in love that by Monday, Chloe decides not to fly out to take a job in the US. That weekend was her last one before the big move. After falling for Mickey, Monday brings a whole new life for her. Monday picks up at the place where most romances end, right after the moment that true love is confirmed, and the couple commits themselves to be together. What ensues is the reality of loving a person you hardly know. For Chloe and Mickey, this also means asking if that first romantic feeling is really enough to keep a couple going after the lust has rubbed off.

Monday offers the stark reality of romance, something that fans of the genre will find interesting. The beginning is shot so well and feels so rich that it feels like enough. The second act, however, flips the entire script onto its head as we see the chemistry influence some very misguided choices that both end up having to live with if they ultimately stay together. There’s a drugged, drunken, desperate dash to rekindle things in the end that may end up making this situation monumentally worse.

Rating 4 of 5

The Third Day

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Jude Law, Naomie Harris, and Katherine Waterston lead this cast of an HBO miniseries about a curious little island that can only be reached by a road that appears in low tide. The Law is Sam, a father, and a husband who goes into the woods on a serious sentimental mission. There he finds a girl attempting suicide. His day ends at this little island where they are preparing for a music festival. However, all signs point to shenanigans afoot. Viewers won’t be able to shake the feeling that Sam should’ve gone home when he had a chance. Not the tide is in and the road is gone until morning. He meets Jess (Waterson) who is there for the festival too, but also well aware of the ancient, Celtic rituals that the island residents are so proud of. They come in Summer.

Winter is Helen, Naomie, is a mother of two biracial girls who come to the island on an outing. She booked the Air BnB, but now no one wants her and the girls in their place. Everyone is inhospitable and they really should leave. However, that means getting to the causeway before the tide comes in. Their stay on the island comes after Sam’s, after the festival. The vibrant, charming community is now ravaged, feral, and the site of a gory happening that may not be over.

TIFF showcased two episodes of the show that were definitely not enough. This eerie show has the feel of that old FOX series Wayward Pines. Nothing is as it seems, and a sinister power seems to be in control of things. These two visits prove that. What is going on and why are two things we must figure out when the show airs on HBO.

The Third Day premieres on HBO September 14, 2020.

Rating 4.5 of 5

Holler

Ruth, played by Jessica Barden, is a girl living in the Rust Belt, in Ohio. Her mother is struggling with opioid addiction, and her brother is a high school dropout. Blaze (played by Gus Halper) is struggling to keep himself and his sister from being hungry and homeless.

The factory that is the only decent workaround has no room. Worse, Ruth gets accepted to college and needs to pay the bill. She and Blaze team up with a no-good scrapper to do nightly raids on construction sites of their precious metals. This illegal job is bringing some real cash and also some danger. Can Ruth get her money and get out safely?

The story is one by the director, Nicole Riegel. I can’t help but wonder why she made Ruth so ambivalent to all the people trying to help her. Blaze even says at one point “I am getting tired of being the only one sticking up for Ruth.” This hints at his annoyance with her ambivalence. I am not sure if it’s a survival mechanism or something more. I also had a tough time getting into this film because it triggered me a bit on a story from earlier this year. Ahmad Arbery was run down by two white men who saw him coming from a construction site. They accused him of doing what Ruth nonchalantly calls work. Ruth and a whole crew of white men and later a woman. The girl’s ambivalence comes off worse with this knowledge on my mind.

Holler is an interesting look at white America in the Rust Belt, their struggle. It drags a bit and is sometimes tedious. However, they do offer a message of struggle to get out of poverty that some may find intriguing.

Rating 3 of 5

The post TIFF Reviews: From Romance Fizzling ‘Mondays’ to Historic Bros in ‘One Night in Miami’ appeared first on The Black Cape Magazine.

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newyorktheater · 5 years

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Brenock OConnor as Conor Jakeim Hart as Larry, members of Sing Street, a 1980s band

“Sing Street” is a stage musical based on the sweet, funny “happy-sad” 2016 Irish movie by writer/director John Carney about a teenager named Conor growing up in Dublin during the economically depressed but musically vibrant 1980s, who forms a band to impress a girl name Raphina. The musical has its pleasures, especially for those nostalgic for the era of made-for-MTV, New Wave synthesized tunes. A talented group of young adult actor-musicians, ages 16 to 25, perform mostly original pastiche songs by Carney and Scottish singer-songwriter Gary Clark, who was part of the 80s scene and continues his hit-making now. But “Sing Street” the stage musical is likely to disappoint anybody who has seen “Sing Street” the movie (which is currently available for viewing online, through IMDB TV, for free.) This comes as something of a surprise given the pedigree of the creative team. Carney has enlisted as the stage musical’s librettist the same playwright, Enda Walsh, who turned Carney’s 2007 Irish movie “Once” into a Tony-winning musical. The show’s scenic and costume designer Bob Crowley won one of his several Tonys for “Once.” The show’s director, Rebecca Taichman, won a Tony for helming “Indecent.” Yet none of them are doing their best work in “Sing Street,” which loses much of the quirkiness of the film, and feels broader and, despite self-consciously minimalist stagecraft, more commercial — closer to, say, “School of Rock” than “Once.” The change is evident from the get-go. The movie begins with Conor playing the guitar while in the background his parents bicker. He repeats their argument as if their words are lyrics, setting them to music. “If we didn’t share a mortgage, I would leave,” he sings in falsetto imitating what his mother has just said. “Go on and leave any time you like,” he sings absurdly deep-voiced in imitation of his father. It’s hilarious, and also pointed, telling us all we need to know about the tensions in the family before we even meet them, and why a smart boy would want to escape his life through music. There is no such opening scene in the musical. Instead there’s something more artificial. We see Conor (Brenock O’Connor) emerging from a dollhouse, and somebody turning on a radio that is broadcasting an interview with a teenager who says he’s leaving Ireland because there are no jobs. Then we see Conor listening to and trying to play along with a recording of Depeche Mode’s “I Just Can’t Get Enough.” He soon gets the hang of it and is joined by the rest of the cast, playing the song hard-edged, yes, but also professionally — as if they are entertaining a paying audience at a musical, which of course they are. The two “Sing Streets,” movie and musical, tell the same story: Conor, forced to leave a good private school that his family can no longer afford, is sent to the rough-and-tumble school run by the Christian Brothers on Synge Street. From the first day, he’s tormented by the priest in charge, Brother Baxter (Michael Moran), and bullied by an abused classmate Barry (Johnny Newcomb.) He sees Raphina (Zara Devlin) across the street from the school, and bravely goes up to talk to her. She tells him she’s a model; “I almost shot a music video last month.” He then and there invites her to star in the music video of his band. And then seeks out his brand new friend Darren (Max William Bartos) to help him put together a band. Happy-sad lessons in love and life ensue. In the movie – and in Broadway musicals like Bandstand and Gettin The Band Back Together – much of the initial action is the recruitment of the band members, whom we meet one by one and in that way get to know as individuals. But we’ve already seen the band together in the opening number of “Sing Street” the musical, doing the Depeche Mode number, and we never see them recruited, or, in truth, learn much about them as individuals. This is too bad, because the performers are good enough that we want to know them more. The show does better with Conor’s sister Anne (Skyler Volpe) a wit and wise ass who is studying to be an architect, and with his big brother Brendan (Gus Halper), a college drop-out and a shut-in who starts off advising Conor in music and love, and ends up admiring him for his willingness to try to escape. Brendan is given the rousing 11 o’clock number “Go Now,” the main effect of which is to wonder why we didn’t notice him more during the rest of the show. The band, which decides to call itself Sing Street (a pun on the location of their school), spends much of their time making music videos. This kind of begs for there to be projections of the possibly funny fruits of their labor. But the only projection in “Sing Street” is of the Irish Sea, always rolling, never-changing. I know there’s symbolism here – the sea as both come-on and barrier to a more fulfilling life for the Irish characters — but still…. Similarly, there is great humor in Conor and his Sing Street adolescent rockers adapting the makeup and androgynous costumes of each star band of the era as he learns about them from his brother. The movie’s costume designer Tiziana Corvisieri and a 13-member makeup department and costume go whole hog in the kids’ transformations, while the designers of the musical go….piglet? Speaking of animals, there is one thing the musical has that the movie lacks – a live baby rabbit. It doesn’t hop though.

Jakeim Hart, Max William Bartos, Zara Devlin, Sam Poon, Brenock O’Connor, Brendan C. Callahan & Gian Perez i

Sing Street New York Theatre Workshop Book by Enda Walsh ; Music and lyrics by John Carney and Gary Clark. Based on the motion picture written and directed by John Carney Directed by Rebecca Taichman. Choreography by Sonya Tayeh. Scenic and costume design by Bob Crowley, lighting design by Christopher Akerlind, sound design by Darren L. West and Charles Coes, hair and makeup design by J. Jared Janas. Cast: Max William Bartos, Brendan C. Callahan, Billy Carter, Zara Devlin, Alan Eskenazi, Gus Halper, Jakeim Hart, Martin Moran, Anne L. Nathan, Johnny Newcomb, Brenock O’Connor, Gian Perez, Sam Poon, Skyler Volpe and Amy Warren Running time: Two hours and 15 minutes including an intermission Tickets: $129 Sing Street is on stage through January 26, 2020

Sing Street Review: Teenage Irish Rockers, Not The Movie “Sing Street” is a stage musical based on the sweet, funny "happy-sad" 2016 Irish movie by writer/director John Carney about a teenager named Conor growing up in Dublin during the economically depressed but musically vibrant 1980s, who forms a band to impress a girl name Raphina.

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