#in fact there's many other actors whose acting i DO talk about for hour on end with my mom

[airenyah]

i don't know where my sudden ohm obsession has come from in the past two weeks

[satorinnie]

love and war

pairing; gojo satoru x f!reader

genre; angst

wc; 3,6k

warnings; jjk manga spoilers

notes; i think its obvious the ending is a bit rushed but i still tried my best :/ got the motivation to write the ending but then lost it again...but i wanted to post it today so here it goes. would love to hear feedback on it!

it wasn’t meant to play out like this. no, he wasn’t meant to find out about it, not like this at least.

that was the last thing you ever wanted.

everything was going so fine, maybe too fine, but still, nonetheless, things were perfect between the two of you just this morning. how did it come to this?

he was looking at you, blindfold off, crescent blue eyes reflecting each emotion he held so so openly. the only times you saw him this vulnerable was when the two of you had talked about his past, his regrets, and what if’s. his eyes were full of adoration at that time, looking at you like you were a pure blessing from the heavens, an angel sent to save him from his drowning thoughts, to let him be himself.

but now, now they were looking at you with so much hurt, anger, regret, and oh so heartbroken.

you had seen, witnessed, first-hand what the receiving end of gojo’s furious gaze ended with. it wasn’t pleasant, that’s for sure, and you had sworn to yourself you would never be on the receiving end of it.

oh, how the tables have turned.

it was understandable why he was so mad; god knows you would be too. because you, who had delicately pieced back his broken heart and trust after the events of getou, had now broken it, by your very own hands at that.

how did it all come to this? you had no idea. you knew starting a relationship with him was wrong and off-limits from the very beginning, but the temptation had surpassed your rationality just like eve when she bit the apple. you never thought you’d fall this deep down the hole, so deep that you forgot–no, ignored your true mission.

to monitor gojo satoru and sukuna’s vessel and kill them when you got the order.

it was last year when the head sorcerers in england had given you this mission. if gojo was unbeatable and unrivaled in japan, you were the same in england. perhaps your curse technique wasn’t as strong as his, but it was versatile and a very reliable technique.

after itardori yuuji became the only sukuna’s vessel, japan wasn’t the only country sour about the thought of it; in fact, it had caused a panic in europe as well. and as england was the country that ruled the jujutsu world in europe, you were assigned with monitoring the vessel and the owner of the six eyes. they wanted their eyes and hands on the boy with the infinity.

but you befriending everyone there, joking with the curse himself, and becoming lovers with the one and only gojo satoru was definitely not how you planned for things to go. it spelled trouble from the beginning, getting close to the shaman who had an ego and power rivaling the gods. but, unfortunately, you were now too deep to just leave without explaining everything to him, and even hoping for a chance that he’d forgive the lies you fed him throughout your times together was a little farfetched.

how could you make him believe that everything you said was genuine, and out of true love? the answer was you couldn’t because the betrayal in his eyes was enough for you to gulp down those hopes, taking a deep breath to prepare for the argument that was about to come. “look–satoru, please let me explain and don’t jump to conclusions.” you lifted your hands in front of you as an act to calm him down, walking closer to him with a futile attempt to hold his hands.

“explain what?” a laugh escaped his throat, one mixed with desperation and madness, “that everything between us was a lie? a mission for you? how do you plan on slithering your way out of this now, huh?” his voice rising with each word he was spitting out of his mouth.

you were desperately trying to keep up the expression that you had everything together, when in fact, you didn’t at all. your hands were starting to shake because you were scared of losing the man in front of you whom you were utterly in love with. the boy with the infinity held your heart in his palms, and he had no idea about it. “nothing was a lie, alright! i know how that document looked, and i can’t lie and tell you that isn’t true, but my love for you is–”

“keep those fucking lies to yourself y/n–you know, everyone knows already. megumi, yuuji, maki, even shoko–”

“stop cutting me, gojo! i know it might be unforgivable, but you have to believe me when i say i forgot about the mission. i love you, okay? i am undeniably and utterly in love with you, and that’s why i’ve been ignoring every call, every message they’ve been sending me about the task because i can’t do it!” you were screaming now, hands in the air, trying to voice out every single emotion you were feeling in that moment.

“well, it’s too bad that i don’t love you anymore! you know, i’ve known about this for a few weeks now and was hoping you’d open up to me about it, but–”

you froze at his last sentence.

“–you what? so you’re telling me that everything that happened in between us during those weeks was an act? all fake? you were just waiting for me to open up so you could what, break my heart in a more grand way?” now you had to give it to him, not only was he secretly smart, he was also a great actor who had you fooled for weeks now. the room was silent after your words, both your eyes staring deep into each other; you, waiting for his answer.

and you watched as he opened and closed his mouth, not sure how to answer your question. but you knew what that meant; with his hesitance, you had found your answer. breaking your eye contact, you looked down at the floors of the home you used to share; you could hear your heart shattering into millions of pieces with just the sound of his breathing.

“alright,” you whispered into the air. running your hand over your face, you leaned back against the kitchen counter. “so how will this go? are you going to let me go or are we gonna have a full-on fight right now? or is everyone already waiting outside the door to capture me?” you were doing your best to avoid eye contact, it was already too heard keeping your tears from falling, and you knew one more look at the eyes you loved so much would break you.

there was silence for a few minutes, but in your eyes, a few minutes was an eternity long. the fact that he was debating the question you left was heartbreaking already. but you weren’t afraid to fight; you had come to japan prepared for the worst-case scenario, and getting to know satoru up close, you believed you had a fair chance at winning.

“–im giving you twenty-four hours to leave this country. if you don’t–you know what’s to happen.” this had you lifting your head in the speed of lightning, eyes wide mouth agape, you could only watch as gojo satoru left your shared house without sparing you a single glance.

he was oblivious to how he carried your heart out the door when he left you stranded in the middle of the kitchen.

it was an hour after your discussion, and you were still in the same spot he left you. still standing, still too paralyzed to move. the reality of things being over was just starting to weigh on you, but you knew you had to start packing because not only gojo; but england was going to be after you too.

you failed the mission. and you didn’t plan on returning back.

war is a slippery slope. what would you do? becomes what will you do? becomes what have you done?

looking around the now-empty home, you built with gojo; tears started falling from your hallow eyes. so many memories resurfaced in one moment; it was overwhelming. the day your first saw him when he was trying to crack a joke at nanami to get him to smile. or the time he first asked you out admitting he had found you a force to be reckoned with and how you had managed to bewitch him. the day you accepted, the day he made you see stars behind your eyes from pure bliss. the day he proposed living together. the day you danced around the living room with his obnoxious music playing at the back, head laid against his chest humming to the melodies. how you felt like a family when you saw him and the students act so close–

how long has it been? how long have you been pushing your actual task behind the lies and excuses you fed yourself. was that person you? the ever so stone-hearted y/n breaking her facade for the boy with infinity.

my god, my god, whose performance am i watching? how many people am i? who am i? what is this space between myself and myself?

it was all getting too much. when had you fallen down the hole to never leave again? should you be grateful, or should you curse the fact that despite all misfortune, you can still feel love and unearthly love but still for earthly objects?

finally getting a grip on yourself, your feet moved down the hall to your shared bedroom, and without wasting a glance at his side, you quickly started to pack your stuff to leave japan.

gojo wasn’t doing well himself. he thought he had finally found true happiness after all the loss he had to go through, and it all turned out to be nothing but an act built on lies. after he left your shared home, he had wandered around in the streets with no destination in mind and the cold chilly air blowing past him. his blindfold was still off, the moon making his crystal blue eyes shine even more, still with unshed tears at the brink of it—a dam about to break.

he knew he lied to you when he told you he didn’t love you anymore and only hoped the years of the facade he had to keep up was enough to fool you into believing his words when in fact, it was the very opposite. he loved you so much–so much that it broke him when he read the document that was mailed to you weeks ago. you and him were an inseparable duo–the strongest and his tamer. the boy with the infinity and the girl who held him down with gravity.

upon wandering the streets for god knows how many hours, he found himself in front of a riverbank. the light of the moon was radiating, creating a painting of a million stories for the broken boy. but while being so engrossed with the view in front of him, he had failed to feel someone creeping up behind him; with his infinity down, nanami was able to lend a hand on his shoulder. “i’m assuming you talked with her.” he broke the silence.

his silenced gaze worried his friend; they promised to keep it between themselves. while nanami believed letting the kids know would be the better choice, gojo was adamant about keeping your good image in front of them. he knew how much they adored you, and he would hate to be the one to break it to them. “i did.”

“and what choice did you go with?”

“i gave her a full day to leave, and if otherwise–” he gulped down the lump forming in his throat, “–if otherwise, i told her i would fight her.” tears now slowly starting to trail down his porcelain skin, an odd view to see for his foes.

“you did the right thing.” nanami tried his best to console him in a way. this was a new image for him; he never saw gojo break down like this; the last time he saw his best friend (he would never admit that to his face, though) like this was when he had to kill getou, even then he had managed to keep up the aloof facade. but he knew his feeling for you ran much, much deeper than that. he has witnessed what your companionship had done to him. it was what pieced him back, and now what broke him.

it’s been years since you left, but you were back now. back in japan after two years of staying away, traveling to many different countries, on the runaway from the higher-ups in england. you would’ve preferred your return to be on good news and such, but unfortunately, it was the opposite. your friends back in england had informed you about how they planned on ending gojo’s life once in for all today with a team of experienced sorcerers, and although you wanted to keep away from trouble as much you could, you couldn’t let the man you love die.

with your hood covering your face, you walked down the streets of shibuya, the once war zone that led to many disastrous events in the past years under your feet. you heard about everything; the culling game and the capture of gojo satoru, thank god those were all in the past now, and everyone was well–except nanami, and the new had broken you. just like gojo and the students, he also had a special place in your heart, his calm attitude always grounding you. you don’t think his last thoughts of you were good–considering what gojo had told you the night you left, but still, his death was unexpected news to you.

you didn’t know how you were going to approach the topic; there was a big chance they’d attack you the second you entered their line of vision, not allowing you to voice out the news–but it was worth the try nonetheless. taking your hood down, you entered a cafe; the need for caffeine after the long flight back here was strong, the anxiousness and stress not allowing you to sleep. what you didn’t expect was seeing the three first years–now third years–you loved so much sitting in the cafe chatting idly, not noticing you. you wanted to keep it that way, but on your way out, a feminine voice called out your name. “y/n sensei? is that you?”

your steps halted, freezing in your stop. the confrontation was inevitable now, causing a stir in a crowded place was the last thing you wanted so you turned around to see nobara staring at you with wide eyes, megumi and itadori behind shocked just as her. what you didn’t expect was her running straight at your engulfing you with wide arms; a big grin plastered on her face. “where were you! you disappeared out of nowhere, and gojo sensei wouldn’t tell us anything! we were really worried; you left me alone with these two idiots–you know you’re the only one who understands my pain–”

“–i’m sorry, i had to go on an abroad mission, and it took too long. it’s good to be back.” you hugged her back tightly, still trying to process the new information she threw at you. gojo had lied, and that made you question everything you believed in. had he also lied about his love for you back then? but that was for later–for now, you wanted to cherish this news and spend time with your favorite students, learn about their well-being and their stories.

“come on, let’s sit shall we? we got lots to catch up on.”

it was now midnight, and you were waiting somewhere in the middle of the forest for your dreaded meeting with gojo. you managed to convince the kids into telling gojo to meet you here without actually letting him know it was you. they were excited, to say the least, talking about how you and he were the epitomai of soulmates, two pieces meant to find each other, filling up the gaping hole you both had. you were very nervous, fidgeting in your spot, hiding behind the tree waiting for him to arrive, and when you heard footsteps nearing you–you knew this was it, heart pounding like crazy.

walking out of your hiding spot, you slowly made your way over to him, hands stiff at your sides anticipating his reaction. “gojo.” he looked at you, blindfold on this time. still, you could see his displeasure from how his body stiffened at your voice, looking at you with a straight face. “what’re you doing here? i thought i told you to leave.” you sighed, walking closer to him, “i know, and i am going to leave again, but before that, i need to tell you something–” you were cut off by the powerful shake of the ground, throwing you off balance resulting in you falling to the ground.

behind you were your old friends from england, standing tall and mighty together–a force to be reckoned with; you were once one of them, but alas, that was the past. “thanks you leading us straight to him y/n.” elizabeth smirked looking at your fallen state, “you made things a whole lot easier for us.” she continued. looking back at gojo, you were surprised to see his hands locked in some type of chain. how did they manage to get past his infinity–unless he didn’t have it on in the first place. did let his guard down once he saw you? why would he do that?

“no, no, no– leave him alone, elizabeth! i swear to god i’ll rain hell upon all of you!” you stood up desperately trying to leave the makeshift cage your friend had put you in when a sudden idea came to you. it was risky, but it would save him, and that–that was all you needed, your purpose of coming here in the first place.

“lover boy is being quite over there. what is it? cat got your tongue?” she was taunting you and definitely enjoying it too. walking closer to you, she neared your face while the others were beside gojo, “you’re both fools believing you guys could be together in the first place, that’s how it works–” she was cut off by the stomp of your foot on the ground lifting a piece of rock–the one gojo was on, up to the air, away from your ex-friends. if you couldn’t save yourself, you could at least save him; apologize for your past mistakes.

from where you were, you couldn’t do much, but you used all your might to send rock flying in the air towards them meanwhile keeping gojo away from them. your cursed technique was called upon the tainted sorrow, the ability to manipulate gravity, and it was unrivaled in europe. you trained too much to reach where you were, the strongest just like gojo, but even the strong can fall, and all it takes is the blink of an eye.

you were on the ground again, but this time blood pouring from your insides, a deadly piercing through your abdomen. while you were so engrossed with trying to keep gojo safe, you hadn’t realized he was already off the piece of rock fighting the rest. and he had made the mistake of underestimating them, resulting in the struggle. but that distraction was enough for elizabeth to pierce the cursed knife through you.

one second you were on the ground; the next, you were in someone’s arms. looking up, you were met with the crystal blue eyes you had grown to love staring right back at yours. this reminded you of the moments where you used to lay on his chest, hands tangled in his snow-white hair, his hands keeping you tight against him, eyes staring at each other with nothing but love. how unfortunate things weren’t that way now. you bleeding onto his hands which hopelessly applied pressure to your wound in hopes of saving you, his blindfold now off, tears slowly caressing his face. it was a sight for the eyes. you lifted your hand up to cup his cheek, imprinting a red hand mark right where you touched him, “satoru–”

“save your breath, i called for shoko; she’ll be here any minute, and we can save you–” you silenced him with your thumb on his lips, “satoru, this was inevitable, even if you save me now, they’ll still be after me. it’ll be a never-ending cycle.”

“no, i can keep you safe, y/n. remember? it’s us against the world, baby. always has been and always will be.” he kissed your forehead, still keeping you close. his eyes were shut tight; he could feel your consciousness slipping away and knew he couldn’t save you. but can’t a man hope? and as you uttered your last words, body temperature turning cold, breathing stopping, he knew right then and there this was where he lost it all. this was how he lost the light of his world, in his own hands, between his arms.

“for what it’s worth, i love you, ain’t that the worst thing you ever heard.” and he knew those words would haunt him for an eternity. follow him wherever he went. the ghost of you will always be with him, never leaving. you will hold him down by gravity with just your soul. yet he still wanted to curse the gods for taking you away from him, his fresh breath of air, his anchor.

your love was strong, but the timing was wrong, and love decided that you both didn’t belong.

[darlingpetao3]

Thank You For Ruining My Life: An Homage to Tom Cavanagh

“You’ve ruined all my future expectations of men.”

The costume-clad woman had the courage of steel to say this to the then 53-year-old actor, Tom Cavanagh of The Flash, in front of a ballroom filled with a couple hundred people. This brave utterance was spoken during the 2016 Fan Expo Vancouver convention during a Flash question and answer period with actors Tom Cavanagh and Candice Patton. In its third season, the show was undoubtedly still hitting its stride in popularity, and the room was packed to hear these two speak.

The brave woman whose turn it was at the microphone was referring to Tom’s role as Ed Stevens on the NBC 2000 hit, Ed. I had not known of this show previously, but having now heard such a proclamation intrigued me. “You’ve ruined all my future expectations of men.” That was a tempting notion, and as I continued to listen to this disarmingly charming and wittingly funny man steal the stage, Tom intrigued me even more. I’d watched him play three different versions of Harrison Wells on The Flash since the show’s premiere date, yet I hadn’t truly noticed him in a “life-ruining” way before.

Little did I know that Tom Cavanagh would not only eventually ruin my expectations for men as well, but he would change my life in other ways, too.

After the Q&A, I had this urge to buy a S.T.A.R. Labs T-shirt from one of the vendors at the convention. In my head, I thought I would purchase something so that I could have an excuse to talk to Mr. Cavanagh at his signing booth. Again, he intrigued me, and I wanted to experience more of his incredibly likeable personality. So, I dragged my friend with me to wait for what was maybe ten minutes in a queue. Shortly, I was paying the assistant for my autograph I would soon acquire. They wrote my name on a sticky note so that Tom would know how to sign a personalized message to me. And then, it was my turn.

His eyes sparkled when he turned his attention to me. I instantly had a feeling this was just the way he was naturally. Oh yeah, and I swear to God I’d never seen eyes that blue in my entire life. It genuinely stunned me.

“Hi!” he greeted me.

“Hi!” I responded, equally as thrilled. Tom admired the T-shirt I had brought and took note of my name on the piece of paper. I remember us joking together about the extremely lax security in and around S.T.A.R. Labs on the show, which prompted his message to me on the heather-grey cotton. He wrote my name, [followed by a heart!] and a very welcoming, ‘Come on by, just walk right in!’

I had official clearance from Harrison Wells himself.

I thanked him very much, leaving with my treasure folded over my arms. My friend and I walked towards the hall’s exit, and I couldn’t shake this feeling inside me. It felt strange—I couldn’t name it for the life of me. It felt like an odd fluttering with a simultaneous yet contradictory slightness of breath. My head was confused and would continue to be so for the rest of that weekend.

As I waited at my gate in the airport on that Sunday evening to head home, all I knew was that the moments at the con featuring Tom were the highlights of the weekend for me.

And that I was going to begin watching more of the other films and television shows he’d been in. What was the show the brave cosplaying woman had said ruined her expectations of men? Oh yeah, Ed.

Maybe I’ll start there…

***

Feliz Navidad, Feliz Navidad…

In my house, it’s never really Christmastime until Michael Bublé croons through the speakers of the wooden stereo system in the living room. It felt especially festive as it was now Christmas Eve—a month and some change since the con. It was late, possibly ten o’clock. I was lying on the floor in front of the Christmas tree with my trusty laptop, a word document open. I was writing three holiday-song short stories featuring the new muse in my life, Harrison Wells. I wanted to be able to post them the next day, so my fingers were taptaptapping away.

I had written a handful of things before 2017, most of which had been Marvel-related, under my second, ‘rebirth’ pen name online. I was a little fish among all the grand and fabulous writers on Archive of Our Own, and in many ways, I still feel like that little fish. I was only just learning and feeling out the psyche of the Wells characters. Each one is so different. In my rewatch of the previous seasons of The Flash, I’d taken diligent notes, and as I’d later learn with each following rewatch, I would know them all—what they think, how they talk and behave—like the back of my hand. It was fun to suss out these guys, and I found that I was growing to love the act of writing even more.

One month later, in January, I would post all the stories I’d written thus far on Tumblr. I’d just created an account and, who knows? Maybe I’d get a wider range of readers on here, too.

Might as well give it a shot, right?

***

Wild horses couldn’t keep me from attending Fan Expo Vancouver 2017, especially when the big news dropped. Not only would Tom Cavanagh be attending again, but so would Carlos Valdes, Danielle Panabaker, Candice Patton, and the convention-elusive star of the show himself, Grant Gustin.

Before the moderator for the Flash cast’s Q&A panel could utter the final thanks to the actors at the end of the session, I bounded from my seat and sped down to the photo op booth where the cast would be taking “Team Up” photos with fans. ‘Sped down’ has to be the most appropriate couple of words because I indeed felt like a true Speedster dressed head to toe as the small screen’s adaptation of Jesse Quick, the angsty and brilliant daughter to Harrison Wells turned superhero.

After waiting in a queue that felt like ages, I was next to stand with Team Flash. As I took a step forward, all of the actors’ and actresses’ eyes—the people I spend time with every Tuesday evening—were on me. I heard a familiar voice approve of my costume. It was Danielle.

“Tremendous.”

Grant even joked that he thought for a second Violett Beane, the actress who plays Jesse Quick, had shown up to surprise them. “I was like, what’s Violett doing here?” he said.

I stood in the back row, happily sandwiched between Tom and Carlos. I dared to let my hands rest on their backs, and I couldn’t contain my joy. Shortly after, when I received my near-instant physical photograph of the moment, I saw Tom had pointed at me. In my mind, it felt as if in his gesture, he meant, hey, look at this cool person. Haha. I couldn’t be further from it.

I would go on to further be uncool in public as I later found myself virtually shaking and almost hyperventilating in line for a one-on-one photo op with Tom. The guy dressed as Kid Flash behind me gave me a few encouragements of the “it’ll be okay” variety. As my turn finally arrived, the lovely man of the hour greeted me with a bright smile in recognition of my Reverse Flash T-shirt (I had done a quick change before this photo op because I had worn a Flash T-shirt for a photo with Grant).

“Great shirt!”

The internet comes up with many hilarious and fitting words, but none such so than the term “Cavanarms.” One of the said Cavanarms found its way around my shoulder in such a casual way. My hand rested on his back, and I have told anyone who will listen about how soft his sweater was. What was approximately a five-second interaction will stay with me forever. And to this day, I will always regret how I’m standing beside him in the picture—there’s a distinguishable gap between us. I could have been closer—should have been!—but I like to use the fact that I felt as if I’d combust into flames if I were any closer to the man.

Maybe I’d have another chance to combust later again that day because, believe it or not, this fan hadn’t had enough of seeing Mr. Cavanagh in person. And since he was appearing at the con for this day only, there was no way I was going to squander any opportunities. Besides, there was still one final thing left on my convention docket: the autograph. In my mind, going to get his autograph was an excuse to get to talk to him and simply be in his presence for longer than five seconds. Here, take my money. I’m a sucker, and I’m proud of it. I saved all year for this kind of thing, and Fan Expo has always been my ultimate nerdy Treat Yoself Day.

Plus, this year I came equipped with a question for Tom (something for which I may have prepared a little too far in advance).

“Which of your characters would win in a lawyering battle: Ed or Miles?”

Miles was Tom’s latest character from his newly released project Darrow & Darrow, a fellow lawyer as Ed Stevens (remember, the man who ruins women’s expectations of men?), whom he portrayed almost two decades prior. What I loved about Tom when I got to ask him this was that he was silent for a moment following the question. He was genuinely putting thought into my question. As he pondered, Tom continued to autograph the photo of us together taken mere hours ago.

“Ed. He would wipe the floor with that other guy. Like, Miles is great, but Ed has a rapier-sharp mind, you know?”

I wholeheartedly agreed with his answer and felt relieved inside for some reason. We thanked each other (as politely as two Canadians can) before I left him to pay attention to the next lucky soul in line. I made the mistake of casting my eyes downward at the signed photo.

Tom had signed two little hearts over the I’s in my name. He really needed to stop adding hearts to my things, or I was just going to melt to the floor. In fact, I started to make these strange noises as I tried not to completely maul everyone in front of me while exiting. My friend ushered me as fast as physically possible on our way out of the main hall. One man took one look at me and asked, “Are you okay?”

No.

“Yep!”

The second I made it out of the herd, I broke out into open space. First came the minor hyperventilating. Then came the squealing followed by laughter. Top it off with various fangirlish comments of, “He’s so beautiful!”, “His eyes are so blue!” and “I love him!” and I was probably quite the sight to see (but at a convention, that’s considered normal!). My friend smiled on as she let me express everything that I had to keep inside until I had the right time to expel my emotions. I was on cloud nine. Ten, if at all possible.

The next day would be the con’s final day, which I would attend alone. My friend needed to catch the ferry in order to prepare for her courses the day after. I did a scan of the convention hall one final time in case there was something I missed purchasing. Afterwards, I sat on the cold hard flooring of the convention centre hallway for a bit of a break. I was wiped out. With my phone in hand, I smiled at the messages from this one Tumblr blogger who had been following my posted adventures at the con. I had seen and replied to many of her comments on my stories I’d written thus far, and I enjoyed her matching enthusiasm for Tom and The Flash in general. I felt her to be a kindred spirit. I had no idea then that I was chatting with one of my future best friends, L.

***

I spotted her.

She was wearing an identical shirt to the one I had on—a light grey T-shirt with a sequinned Spider-Man mask in the corner, which around it read, We met on the Web. A giddy me couldn’t wait for the short escalator ride to end. Her back was to me and facing the baggage claim, so here was my chance to surprise her instead.

I towered over my friend, E, and donned a low, authoritative voice.

“Excuse me, Miss, can you come with me?”

She squealed a greeting to me and I returned it as we hugged for the very first time after two and a half years of online friendship. We would still have about two hours to kill until our mutual Tumblr best friend, L, touched down at Chicago’s O’Hare Airport from across the Pond.

Something I noticed was that E and I carried on talking during our wait like it was second nature, that we hung out like this all the time. Whereas when I met L in person for the first time the year previously, our first meeting was that of quiet, delighted shock, unknowing how to react to one another’s physical presence. It almost felt like a fantasy. The closest thing we’d ever gotten to this was visiting over video chats! I’m not sure what each of these different reactions in these separate meetings meant, but what I do know is that I’ve never had such strong female friendships such as these—so full of uplifting support and love for one another. They are the greatest ladies I’ve ever had the pleasure of knowing.

And as a searching L eventually turned the corner to meet us in the Arrivals terminal, I caught sight of her Tom & Grant bandana tied around the handle to her carry-on bag. It was an item she had received in return for helping fund the short film produced in 2018 (I’d bought the ringtone). Seeing the accessory jolted me to remember that the former of the titular short was the reason for this long-awaited get-together holiday in the Windy City in the first place. Tom Cavanagh, unbeknownst to him, had just officially united three online friends, each from a different country, to spend six full days of in-person bonding and a whole lot of fun.

***

I should have been shelving books.

I should have been doing a lot of library-related tasks, but my head was elsewhere. Anywhere other than the small-town public library where I work. Instead, I sat on the carpeted floor of the Junior/Young Adult section with my phone in hand and a dreadful article title staring back at me.

“The Flash: Carlos Valdes and Tom Cavanagh to Exit after 7 Seasons.”

My world felt like it was falling apart.

Tom was leaving? There had been rumours and wonderings spreading around the fandom regarding whether he was leaving the show. With a storyline ending with a monumental sacrifice and a time-travelling man saying his farewells, it all seemed to point to the fact. I should have known… I could have rivalled Supergirl as being the Paragon of Hope after all the optimism I doled out to my followers and friends who would come to me worried Tom would exit the show. I would always give reasons to deny such a thing could happen, claiming that I’d believe when I saw it.

Well, there it was, and I definitely saw it.

One could feel the ripple effect over the internet of the shards of broken and riled-up hearts around the world.

Tom’s exit was on his terms, having not felt challenged by his character’s plotlines, as mentioned in a recent Entertainment Weekly article. As a viewer—and I am a viewer (Mike and Tom Eat Snacks, anyone?), it has been increasingly difficult to look past the missed shots made by story editors and showrunner, so understandably, the actor would want to seek something more exciting and meatier. That said, Tom has always shone on-screen and taken what he’s been given in stride. He turns unearthed material into diamonds and indeed shines on screen. Steals it, even! Tom easily makes the episodes he’s in better, and when he’s missing, you feel the loss. The few episodes of Season 7 without him only give us a tiny hint at how the show will be without him going forward. It much resembles when you might bring out your favourite jigsaw puzzle, only to find that the one piece you need to complete it isn’t there.

***

On a personal note, as I write this, I am roughly 20 followers away from reaching a milestone of 2,000. I have written well over 200 stories for The Flash alone (whether they be short or long, one-shots or chaptered), and goodness knows how many words I’ve generated altogether over the course of these many years with inspiration from the show and my favourite character. I’ve written and co-written novel-length stories, one monumental Wellsian story of which was done alongside L and E (almost solely done through alternating text messaging in the app, Line) that reached over 108,000 words and consisted of 42 chapters. And when I’m not writing for my blog, I’m also working on trying to accomplish my dream of becoming a published author. Just as I thought before I launched my Tumblr blog, I think again now: Might as well give it a shot, right?

***

I have watched virtually everything Tom has been in that I could get my hands on, both physically and electronically. Sure, a few titles are out of my reach and probably lost to the very early 90's forever, but from what I've seen through Tom's filmography is enough to know that he can do anything. He can play the romantic leading man that will make you fall head over heels for him or a deranged killer that will have you genuinely scared of him. That is talent. Tom always brings something new to the table from each role to the next, and (when he's not playing those psycho killers) you can't help but admire his craft.

Not only is his acting stellar, but from what we as fans have gathered on the man, Tom has got to be one of the kindest men in the business. His humour and sheer ridiculousness could get anyone through a tough time (we’ve seen plenty of bloopers and behind-the-scenes videos to prove this!). He has clearly bottled and stored an endless supply of Fountain of Youth™ and each year continues to wow us with his handsomeness. Tom is charming, dedicated, and yes, arguably holds the world record for Bluest Eyes.

In my eyes, Tom Cavanagh gave me the two best friends I could have ever asked for, as well as plenty more lovely friends I’ve continued to make online. (One day, I hope to meet him again so that I can tell him in person how because of him, I’ve met such very important people in my life). Through Tom, I have truly found my passion for writing, and in doing so, segued me to dare to dream of becoming a published novelist. I wholeheartedly believe all of this would not have happened if it weren’t for those first series of events that led me to meet Tom and love and admire him immensely. He is indisputable proof that there are indeed men like him out there. Indeed, he did ruin all of my future expectations of men. He ruined my life in the absolute best way and I am eternally grateful.

I am very much looking forward to what Tom will do next. I think it’s rather needless to say that I will follow him in his career, as he has gained a devoted fan for life. He represents so much to me and so much of it I have gained since meeting him that fateful day, when I thought to myself, Maybe I should buy this T-shirt and get this guy to sign it. Wherever Tom goes in life, I’ll be here to cheer him on.

I have a pretty good feeling plenty of others will, too.

[jj-lynn21]

Stellan interview

"Stellan Skarsgard Is Finally Seizing the Spotlight"

https://www.thedailybeast.com/stellan-skarsgard-is-finally-seizing-the-spotlight

With roles in “Dune,” the Star Wars series “Andor,” and “Hope,” the character actor par excellence has never been more popular. He talks to Marlow Stern about his stellar career.

Few if any actors have built a resume as impressive as that of Stellan Skarsgård.

After achieving teen-idol status in his native Sweden—even releasing a pop single—due to the TV series Bombi Bitt, Skarsgård transitioned to film acting. It was in the mid-’90s, with roles as a sadistic oil rig worker in Breaking the Waves, a fiery abolitionist in Amistad, and a haughty mathematician in Good Will Hunting, that the towering, stone-faced Swede would cross over into America, and establish himself as one of the finest character actors alive.

He’s since maintained a healthy diet of what he calls “experimental films,” including a total of six with Danish auteur Lars von Trier, and Hollywood studio fare, such as the Pirates of the Caribbean and Mamma Mia! films, the Thor and Avengers superhero extravaganzas, The Girl with the Dragon Tattoo, and Cinderella. And right now, at the age of 69, Skarsgård is at his most prolific. There was his Golden Globe-winning turn in HBO’s Chernobyl, the upcoming villain in Denis Villeneuve’s Dune, and a main role in the Disney+ Star Wars series Andor, which he’s filming right now in London. Oh, and he’s fathered eight children, including the actors Alexander, Gustaf, Bill, Sam, and Valter.

“There’s no competition, really,” the elder Skarsgård tells me of his talented brood. “There’s some joking competition at the dinner table, but I know they’re better than me, so I’ve given up.”

Skarsgård’s latest is the Norwegian drama Hope. Directed by Maria Sødahl, the wife of his frequent collaborator Hans Petter Moland, it is a heartrending autobiographical film about a long-married couple, Anja (Andrea Bræin Hovig) and her theater-director husband Tomas (Skarsgård), whose atrophying bond is put to the test when Anja develops terminal brain cancer. As they fight for Anja’s survival, the two reevaluate how their relationship went off-course, and why they fell in love in the first place. (The U.S. remake rights were quickly snapped up by Nicole Kidman and Amazon Studios.)

Anne Frank’s Stepsister: How Trump Reminds Me of HitlerNEVER AGAINMarlow Stern

In a wide-ranging conversation, Skarsgård opened up to The Daily Beast about his many great films, the controversy surrounding pal Lars von Trier, being a nudist, and much more.

How have you been passing the time during the pandemic?

In different ways. The first half of the year I was at our summer house on an island outside of Stockholm, and all my kids—who were also actors, most of them, and they weren’t working either—were all out there in two houses eating dinners together, having a good time, and seeing the spring inch-by-inch, everything grew, which you never get time to do otherwise. But this job I’m doing here now [in London], I was supposed to fly back and forth from Stockholm because I’m shooting this Star Wars series called Andor, and it would have been very convenient because it’s only a two-hour flight, but because of the quarantine I’ve been stuck here. For more than a month I’ve been alone in a hotel room staring into the wall.

Speaking of the Skarsgård household, I read a quote from your son Alexander who said that when he was a teenager, “Dad was always walking around [without clothes] with a glass of red wine in his hand.” Was that your vibe during the pandemic?

Not this time! Is it the wine that worries you? [Laughs]

Did the stress of the pandemic make you feel less… free?

No, I’m still taking off my clothes when I get home very often—and my kids also, some of them do. It’s not a big thing. We’re Swedes! And we have no God that says we can’t show our body parts.

What about it do you just find so liberating? I don’t go the full monty but when I go home, I do tend to take off my pants and let loose a little bit, because it is constricting.

If it’s warm enough you don’t need clothes, right? Unless you’re ashamed of your body—or taught to be ashamed of certain body parts. For me, it’s all upbringing. It’s cultural. Some cultures don’t care about what part of the body you show, and some cultures are very precious, and some cultures the women can’t show their faces.  

I’m curious what life was like in the Skarsgård household, because you’ve helped produce so many talented kids. Alexander described it as “bohemian,” similar to what you described during the pandemic, filled with dinner parties and a free-flowing atmosphere.

It’s always been a very open house, and the kids’ friends, it’s been easier to sometimes be in our house than their houses—especially during puberty, when conflicts arise—because we’re very relaxed and non-judgmental in our family. It’s really, truly pleasant. And my kids are more like pals to me. There’s no hierarchical relationship at all. It’s very nice. We just have fun!

It’s a very talented—and frankly, attractive—family. How did this happen?  

How did I make kids that look so good? [Laughs]

Is that something you’re particularly proud of?  

[Laughs] Well, the looks I don’t care so much about, but I’ve had two beautiful wives—and very smart wives—and that’s helped a lot. I’m not going to take much credit for anything. But what I’m proud of is, when I hear from other people in the business about Gustaf or Sam or Bill or Valter or Alexander, I hear that somebody worked with them and they were really nice on the set and totally cool with everybody, and how no matter what menial job anyone had on the set they were nice to them, then I’m proud. If they win awards it’s secondary to that, because that is a lottery anyway. Awards are sort of like reality shows.

They really are a popularity contest. Let’s talk about Hope. It could have very well been called Grief.

I thought it sounded bland to begin with, but in fact the film is about hope—and about love. It’s not a normal cancer film where it’s all about beating the cancer or fighting against it, but it’s about someone who gets a death sentence in a family situation with a lot of kids, like I have, and everything that was petrified in the relationship floats up again. It’s about how they rejuvenate their relationship, and through those horrible circumstances, find love again.

There’s one very powerful scene in the film that really encapsulates many elements and themes that it explores, and it’s the sex scene between you and your wife. It manages to capture the joy of reconnecting as well as the grief you’re experiencing.

I think it’s a great scene, because it starts beautifully—very gently—and it looks like it’s going to be really nice for both of them, and then her anxiety sets in, and things start to bad. And it does go bad pretty fast.

On another level, I’m an American and we don’t see sex very often in movies. And when we do, we don’t see it in the service of such complicated emotions.

With sex in film, it’s difficult, because sex is something that feels fantastic when you do it, and it looks ridiculous when you watch. Those humping movements like a dog? It’s not sexy at all! So, you can’t do a sex scene that looks like it feels, so they always have to be about something else. The sex scenes I had with Emily Watson in Breaking the Waves, it was about her curiosity, because she discovered her first penis, she discovered sexuality, and it was totally about the relationship. The sex was just there. And in this film, the scene is not really about sex but about something else. I don’t think I’ve ever seen a sex scene that looks like it feels, and that can convey that beautiful thing that sex can be.

Really, in America, we get almost no sex scenes in movies. And it’s 2021.

It’s very strange. It’s not as bad as during the Hays Code, when you couldn’t let the lips meet for more than one second.

You just had a train going into a tunnel.

[Laughs] Yes, that very subtle image. But in America, you have a strong, strong tradition of bigotry or fear of sexuality. Only two years ago, in nine states in America, it was still illegal to have sex outside of marriage, and my American friends have told me that when they were growing up, it was even regulated how they could have sex—you couldn’t have oral sex or anal sex—so it is so ingrained in American culture that people’s sexuality is not a private thing, but something that everybody should interfere with.

Hope is also an exploration of mortality. Is that something you think about often? 

I’ve never been that interested in it. I’ve always been aware of it. It’s the only thing you know in life—you’re gonna fucking die. But already many years ago, I thought I’d had such a fantastic life that it would only be fair that I died, because I’ve already lived more than most people. So, I don’t feel any injustice in death. And I’m not afraid of death because I’m not religious, so I don’t have to worry about whether I’m going to end up in hell or heaven. But I have small children still, my youngest is 8, and I’m no spring chicken anymore, so I think about how I should stick around for at least another ten years until everything is set.

I read that you’d studied a bunch of religions in the wake of 9/11 and reached the conclusion that it was all sort of bunk.

I grew up with total freedom of religion—my parents weren’t religious, though my grandmother was very religious. It was taught to me without judgment, and it was a very tolerant upbringing I had. But I hadn’t read the Bible. And after 9/11, when I saw George W. Bush standing in front of TV cameras and claiming that God had put him there, I thought maybe it was time to read what they actually believed in. So, I read the Quran and I read the Bible. There are some fantastic stories—as fiction, it’s sometimes brilliant and sometimes boring—but the God in both the Quran and the Bible, there’s only one reason to really worship them, and that is fear. It’s a power that says, “If you don’t worship, you’re going to die—and not only die, but burn in eternity.” It’s a bit autocratic and dictatorial, I would say. It’s very hard for me to worship something under threat.

And if God put George W. Bush in the White House, then God has a very cruel sense of humor.

[Laughs] Yeah, he does. And the latest president said the same thing.

But he doesn’t believe in God. He only believes in himself.

Yeah. I think that if he had more appreciation from the liberals in America, he would have just as well gone populist-liberal.

I think so too. You know, I read that your Dogville co-star Nicole Kidman already picked up the remake rights to Hope for Amazon.

She’s picked up the remake rights, yeah.

Both you and your son Alexander have shared some pretty intense scenes with Nicole. There’s that dramatic scene in Big Little Lies where Nicole hits your son in the dick, and it almost seemed to me like payback for what you put her through in Dogville.

[Laughs] Yeah, I’ve done two films with her and Alexander just finished doing The Northman with her. But she’s lovely. I really like her. She’s so cool.

At least it was a prosthetic and not Alexander’s real thing.

Yeah… coward! [Laughs]

I gotta say, between Chernobyl, Hope, Dune, a Star Wars series, and even a Simpsons cameo as yourself, how does it feel to be at your most prolific at 69?

I’m just working! I’m doing my job and having fun doing it. I’ve been lucky and a lot of good projects have emerged. It goes up and down, you know, throughout life. And I don’t think I could have a better life than I’ve had. I don’t have any regrets. And I don’t have to be the star or be in something very successful, I just have to have fun.

Nice. Do you feel you’re underrated? I think you’re someone who’s so consistently great in everything that it can almost be taken for granted how great you are. I know you won a Golden Globe recently, and that was long overdue, even if it’s mostly bullshit.

I don’t know! I can tell you: it’s much better to be underrated than overrated. So, I’m very comfortable if I am underrated. But I’m a Swede with an accent—or most of the time I have an accent—and for being a Swede with an accent, I have been extremely successful internationally, so I can’t complain. When it comes to the big studio movies, and I’ve been in four or five gigantic franchises that have paid a lot of bills for me, their concerns are financial, and I’m not a ticket-seller. I’m a solid fucking actor, and I’d rather be an actor than a star.  

It gives you the mobility.

Exactly. The freedom I have. I can easily do small, experimental films and strange stuff—films that could ruin another actor’s career—so I’m in a good position.

I wanted to ask you about Breaking the Waves, because it’s the 25th anniversary this year and I consider it a masterful film. And it was Emily Watson’s first film, which is just extraordinary. How did you two establish such strong chemistry?

She’s British, which means she comes from a rather prudish society too, and to take on a role with an obscure Danish director—who wasn’t that famous at the time—and to take on a role with such explicit sex and nudity took enormous courage, but she was fantastic. My job was to love her, and that felt easy, but I think that she felt loved, and I think that she felt secure, which is essential for being able to do anything courageous. But she’s such a brilliant, talented, wonderful woman. I finally got to work with her again in Chernobyl. I mean, you just have to look at her and everything comes.

There’s this longstanding debate over whether Breaking the Waves is misogynistic or not, and I personally find it to be a misreading of the film. I’ve always thought of it as a biblical allegory of sorts about a desperate woman navigating a deeply sexist world.

Absolutely. Lars doesn’t have that in him. Those fantastic female roles that he has written, if you want to defend women in film, you’ve really got to take care of him because he writes the best roles for them. Those roles are very much him, and he definitely doesn’t have a negative attitude toward women. He loves them. There’s a plague of labeling people—not for what they’re really saying, but for what they appear to say. He was stamped as a misogynist and then he made a bad joke about Hitler at Cannes, and everyone stamped him as a Nazi, which is the furthest thing from what he is.  

Stellan Skarsgard and Emily Watson in Breaking the Waves

You stamp people as a “racist,” a “fascist,” a “communist,” I mean this fucking stamping is as smart as QAnon. It’s frightening. The fantastic thing about mankind is that we’re not one thing. We’re all capable of the most brutal and horrible crimes and we’re all capable of love. We do good things and we do bad things. There are nuances. The way of seeing people as “good” or “bad” guys is forcing something upon humanity that is really dangerous, because when you say someone is the “bad” guy then you’re saying you are the “good” guy, and it’s forcing you to not look at your own flaws.

I’m a huge fan of Lars’ films but I think one thing that’s really colored people’s opinion of him are the allegations that Bjork made against him on Dancer in the Dark. You didn’t have the biggest role in that film, but is it something you witnessed?

I’ve never seen him do anything like that. It’s not him. And if you talk to any of the other women who have worked with him over and over again, you will not get those kinds of accusations. But the Bjork and Lars conflict was enormous during the shoot, and it had very little to do with #MeToo. Lars, like all directors, in the end is a control freak, and Bjork has controlled everything in her career—from the music, to the costumes, to the way she sounds—and if two control freaks try to make a film, there will be conflicts. I got phone calls from Lars during the shoot where he was in tears. She left the set several times, and it had nothing to do with sexuality. She tore up her clothes. They had a very difficult relationship. But you’ve gotta pick your toxic males. You can’t put a “toxic male” label on everybody, otherwise it will be watered down, that label.

I’m so excited for Dune. What can you tell me about it? Denis Villeneuve said that your Baron Vladimir Harkonnen is different from the comics or the David Lynch film in that he’s not as much of a caricature but a calmer, more sinister presence.

The thing about it, and why I’m looking forward to this film as well, is because it’s Denis Villeneuve. Whatever he does, he creates an atmosphere that is dense, that you can touch, and you’re just sucked into it. You’re never bored—even if he does long, slow takes. The atmosphere builds up, and you’re in his universe. I think it will be the same with this one. He’s lovely to work with, and a beautiful man. I did eight or ten days on the movie, so my character doesn’t show up for too much, but his presence will be felt. He’s such a frightening presence where even if he doesn’t say anything, I think you’ll be afraid of him. And I’m extremely fat. I had eight hours in the makeup chair every day. And in some scenes, I look very tall because I levitate. You’re going to have a lot of fun with it.

The whole HBO Max day-and-date thing is weird, and I hope as many people as possible get to see the film on the big screen.  

Oh, definitely. I think they made a deal with AT&T—which owns Time Warner, which owns HBO, which owns my phone—that they cut a four-week deal where it’ll be just for the theaters, but I’m not sure. That could change.

I also feel culturally obligated to ask you about Andor, the upcoming Star Wars series you’re in. What’s that about, and who do you play in it?

As you know, they’ll shoot me if I say anything! I can’t even get a proper script. It’s printed on red paper so I can’t make any copies of it, it’s ridiculous! Of course I’ve seen all the Star Wars films, because I’ve had children in the ‘80s, and the ‘90s, and the 2000s, and the 2010s. I’ve had children in five decades, which means you’ve seen all the Star Wars films—and seen all the toys as well. But when I saw Rogue One, it had much more atmosphere and seemed a little more mature—and that was Tony Gilroy, who’s the showrunner on this one. So, hopefully this one will be a little more than little plastic people falling over.

Was a part of the motivation to do Andor to look really cool to your kids?

I do think like that sometimes! I’ll go and do a children’s movie for that reason. But also, I’m not the most mature person myself, so who doesn’t want to go and fly a spaceship?

Plus, now you can give your kids action figures of yourself and say, “Play with me.”

Fuck yeah. Go play with dad. Don’t disturb him! Go play with him! [Laughs]    

I’m not the most mature person myself, so who doesn’t want to go and fly a spaceship?

OK, this is kind of a silly question, but do you have a favorite movie death of yours? My favorite has to be in Deep Blue Sea, because in that one you get your arm ripped off by a shark, and then the shark uses your body as a battering ram to destroy this underwater facility.

I would say that is probably, in terms of inventiveness, my favorite one too. It was Renny Harlin. Yeah. I like it! Fortunately, I didn’t have to spend that much time on that stretcher—it was a doll. But it looked really cool! And the sharks weren’t CGI back then. It was mechanical sharks, and they were pretty dangerous. The little boy in me was very excited.

Another movie of yours that I love, for entirely different reasons than some of these other ones we’ve discussed, is Mamma Mia! Is it basically a vacation filming these? I imagine the cast parties are a lot of fun, because it seems like you all are having a ball.

Well, it is. I’m not a singer and I’m not a dancer so I was scared stiff, but the only way to make it work—because it’s not much of a story—is that we had fun doing it, because that joy is contagious to the audience. And we really had fun. It was very relaxed in Greece there on the beaches, and the parties we had there were very good too. It was a nice bunch of people to hang with.

When the cast of Mamma Mia! goes wild in Greece, who is the one that parties the hardest? Who’s the VIP?

It depends what you mean by partying! I usually get pretty drunk. Down there, Colin [Firth] and I were pretty good at it. And at those parties, we also had 50 dancers in their twenties, and they had much more stamina.

I have to ask: Will the gang get back together for a third one?

I don’t know! It took 10 years between number one and number two, so if it takes another ten years, I don’t know. Some of us may just be there in urns, with our ashes!

You released a pop single in the ‘60s, right?

Yes. When I was 16, I became extremely famous in Sweden. We had one TV channel back then and I did this TV series, and it was like being a rock star. But it meant also that all kinds of shady people thought they could make money off me. So, this guy calls me from Stockholm and says, “Stellan, can you sing?” And I said, “No.” And he said, “Well, try it!” And then I hear this guitar on the other end of the line, I go, “Ahh!” and then he goes, “Perfect! Come over to Stockholm.” I went to this very shady studio in the suburbs and we recorded it, and then the guy who was running the project said, “I listened to the tape now, and I think it’s better if I sing and you speak on the record.” So, I don’t sing on the record. But there were very cruel headlines in Sweden. One paper had a headline that read, “Stellan Skarsgård, who we loved on this TV series, we don’t like anymore.”

That’s so mean! In addition to Breaking the Waves, another film that really raised your profile in the United States was Good Will Hunting—which holds up remarkably well. Some of my favorite scenes in that film are the ones where you and Robin Williams are jousting. And I know he’s a wild card, so what was it like shooting those?

He really is a wild card because anything can come out of him, and he can say anything and do anything, and he has this urge to do it because he has these three parallel brains that are constantly working on finding something funny or interesting. Sometimes, even when we would do ten takes and everybody would be happy with them, he’d say, “I have to get something out of my body,” so we would do one extra for that. You didn’t know what you’d experience when the camera would start rolling—you just had to dance with it. And it was fantastic. He was such a lovely man and had no ego. He was just a volcano of creativity and ideas.

Do you ever think about your legacy? You not only have a bunch of talented children but also have amassed such a strong body of work.

The thing is with legacy: you won’t be able to enjoy it, so just forget it. No, I don’t. And it doesn’t matter. If you’re extremely successful, it takes a decade and you’re gone from people’s minds. You can only hope that your children remember you for a couple of years, at least!

Well, they’ll have the Star Wars toys, at least.

They’ll have the toys! That’s right. [Laughs]

[ava-candide]

Poldark’s Aidan Turner on playing Leonardo da Vinci

The newly married heart-throb actor learnt to paint left-handed for his new role, and he’s still daubing now, he tells Ed Potton

Aidan Turner takes on the role of Renaissance polymath Leonardo

I’m trying to work out where Aidan Turner is Zooming from. Is it London, where he moved to in 2017 after his Ross Poldark became the drooled-over king of Sunday-night television? Dublin, where he grew up, trained as an actor and returned to spend the first lockdown with his parents? Or Rome, where he shot his new series, Leonardo, in which he plays a young Leonardo da Vinci?

“None of the above!” Turner says. “I’m in Toronto.” The enigmatic charm, feline eyes and gleaming locks that he deployed so mercilessly in Poldark, The Hobbit films and Being Human are all there. “My missus is working here,” he explains, and so is he. That’s the American actress Caitlin FitzGerald, his partner of three years, whom he met when they starred in the 2018 film The Man Who Killed Hitler and Then the Bigfoot. At first I assume the “missus” is laddish affectation but it turns out that it’s official: Turner and FitzGerald, both 37, got married in secret in Italy in August after filming finished on Leonardo. You can almost hear the sighs of disappointment ripple around the world.

Turner won’t say any more — he is famously guarded about his personal life — but he looks insanely happy in the couple’s rented apartment. FitzGerald — whose grandfather Desmond was a CIA agent and organised several plots to assassinate Fidel Castro — is shooting a series, Station Eleven, in Toronto while her husband works on another project that he’s not allowed to talk about. In their downtime they’ve been watching I’ll Be Gone in the Dark, an HBO documentary series about the Golden State Killer, and, on a lighter note, Ottolenghi and the Cakes of Versailles. They share the apartment with Charlie, an ebullient Norfolk terrier that Turner has to eject from the room halfway through our interview when he starts yapping. “I’m surprised he behaved for so long,” he says

Eight-part series Leonardo has been criticised for warping history

Like many of his fellow thesps, Turner has been doing a great deal of lockdown painting. “We have a roof garden here and the light has been really good,” he says. “I probably shouldn’t be saying this because I don’t know if the landlord knows. It’s not messy work anyway!” Unlike some of his peers — I’m looking at you, Pierce Brosnan — he has yet to unleash his daubings on the world. How would he describe his style? “I struggle to say abstract, but I haven’t quite figured out what it is yet.” Did it help with playing Leonardo? “I don’t know. If you saw my paintings, you’d assume very much not,” Turner says. He has a studied line in self-effacement, honed after years of “sexiest man on TV” questions.

Leonardo premiered in Italy last month and was watched by seven million, many of them doubtless keen to see Turner brooding in a succession of smocks. The eight-part series has been criticised for warping history, having the artist accused of murder and featuring an apparently fictional muse, Caterina da Cremona, played by Matilda De Angelis from The Undoing. Luca Bernabei, the chief executive of Lux Vide who produced the series, defended it stoutly. “Matilda De Angelis’s character did exist. She was a model Leonardo asked to paint,” he said. “We have been really careful in our research. But this is not a documentary, we are not historians and this is not a university history lecture.”

And if the history pedants are spluttering, the art pedants should be happier — the series goes to considerable lengths to make the painting look authentic. Each episode is themed around a different masterpiece, from the portrait of Ginevra de’ Benci to The Last Supper to the Mona Lisa, and the candlelit cinematography is often sumptuous. Turner’s research included a private view of a Leonardo exhibition. “I spent some time alone with the actual paintings, which was brilliant,” he says. “They’re just like high-definition photographs. I couldn’t wrap my head around the fact that a human had done this.”

Aidan Turner attended an artist’s boot camp before filming started

The series opens in Florence in the 1460s, with Leonardo a pupil of Verrocchio, played by the veteran Italian actor Giancarlo Giannini. Before the shoot Turner and his co-stars went on an artists’ boot camp (brush camp?) supervised by professionals. He says the hardest part was learning to paint, as Leonardo did, with his left hand. He compares it to learning to ride a horse for Poldark, which he pretended he knew how to do before going on a crash course when he got the part.

Brushwork was the same, he says. “I realised I had to get good quite quickly and look like I knew what I was doing with my left hand, which is more difficult than you would think. It’s keeping it steady — you find it just moves around a lot. Leonardo was very slow and precise — I think I got it down. After a few weeks you start picking up the brush with your left hand, it becomes natural.”

Leonardo was a vegetarian, Turner tells me, “and apparently later in life opened some sort of vegetarian restaurant”. He was also gay, something that, despite reports, the series does not shy away from. Was this Turner’s first time kissing a man on screen? He laughs. “Of all the things I was expecting you to ask next, that wasn’t one of them! In a lot of ways it was just another love scene. The fact that the gender was different — that was never a thing. No, it felt right. It didn’t feel any different at all. But yeah, to answer your question, that was the first time, which I’d never really thought of until now.”

What did feel weird, he says, were the Covid protocols. “Suddenly people are wearing masks and shields and hazmat suits. We had a big sanitisation machine as we walked in that would spray us. You take off the mask when you shoot the scene and it’s a bit strange for a second. Then you realise it’s the first time you’ve seen your co-star’s face that day. It’s not conducive to a very creative environment, for sure. But we made it work and nobody got sick.”

Turner spends a chunk of the first episode painting De Angelis, and both actors know what it’s like to be ogled. She has been asked endlessly about her naked locker-room sequence in The Undoing, just as he has been reminded of his shirtless scything scene in Poldark. Before that there was his lusted-after vampire in Being Human and his sexy dwarf in The Hobbit — branded a “dwilf” in some quarters — although that “definitely wasn’t the intention”, he says. “I think I just had less prosthetics on my face. My make-up call was 20 minutes and everyone else was sitting in the chair in the morning for three and a half hours. It wasn’t good to be around the other dwarfs in the mornings, that’s for sure.

“I get why people are interested,” he says of the ogling. “It’s just when it keeps coming up.”

We move on. According to a recent survey Cornwall has overtaken London as the most desirable place to live in Britain. Does he think Poldark played a part in that? He laughs. “Maybe we nudged a few people in the right direction. I think people forgot how beautiful that side of the world is. One of the first reviews of Poldark we read was like: ‘We can’t believe that this is our country, it looks like the south of France.’”

Could Poldark return, and would Turner be in it? If they stuck to the chronology of Winston Graham’s books they would have to leap ahead a few years. Maybe he could play an aged-up Ross Poldark in latex and fake paunch? “I don’t know if I’d be keen on the ageing-up thing,” he says. “It never really works. I don’t know whether they need to be too strict with that gap anyway. There’s the possibility someday, maybe. I enjoyed working with everybody on Poldark, from the writers right down to all the cast and crew. It really is like a family. So I’d be open to chat about it. But not for a while.”

Before that he will appear as the apostle Andrew in The Last Planet, the forthcoming biblical epic from Terrence Malick, revered creator of The Thin Red Line and The Tree of Life. Well, he doesn’t know for sure if he will appear. Actors of the calibre of Rachel Weisz, Mickey Rourke and Jessica Chastain have seen their performances in Malick films vanish during editing.

“You want what’s best for the film. And if you don’t fit into it, you don’t fit into it,” Turner says in the tone of hair-shirt devotion that actors tend to use when talking about Malick. With a cast including Ben Kingsley and Mark Rylance as Satan, the movie is meant to tell the story of Jesus through a series of parables. Turner doesn’t really have a clue, though.

“You don’t necessarily know what you’re signing up to. You’re signing up to Terrence Malick,” he says. The director has “a great way of working. Everything is around ‘where is the sun’ at this particular time. That’s our natural light and it’s all we use. So things happen fast. There’s no trailers, hair, make-up, we’re just all together. You don’t know from day to day what you’ll be doing. It’s quite renegade stuff. That’s the way I always wanted to work.”

It’s closer to the immediacy of the theatre, which is where Turner started out. The son of an electrician, Pearse, and an accountant, Eileen, he represented Ireland at ballroom dancing before falling into acting. After studying at the Gaiety School of Acting in Dublin he acted in plays for five years and in 2018 he returned to the stage to rave reviews in Martin McDonagh’s The Lieutenant of Inishmore in the West End. Rave being the operative word — his performance was bracingly unhinged. “I can’t wait to get back to the theatre,” he says. “That’s what we’re looking at probably next.”

Turner’s character in The Lieutenant of Inishmore was an Irish freedom fighter, but he is reluctant to talk about the prospect of Irish reunification (“So I don’t get shot when I get home,” he told one interviewer). Culture is safer ground, and his native country is going through a purple patch with Sally Rooney in literature, Fontaines DC in music and the likes of McDonagh, Jessie Buckley and Denise Gough in drama. “It tends to happen in waves,” Turner says. “Coming out of drama school, Colin Farrell was such a big thing. When these actors really make it you can feel some of their light begin to shine on the industry back home.”

Like Farrell, Turner is an international star, although it has mainly been in period roles: Poldark, Leonardo, Andrew and his breakout turn as the 19th-century poet Dante Gabriel Rossetti in the 2009 series Desperate Romantics. It must be something about the hair.

That could be about to change, though. Toronto often stands in for New York, which suggests that his current mystery project has a contemporary setting. Does he yearn to act in jeans? “Yeah, you’re right,” he says with a laugh. “After Leonardo, I think tights and knee-length boots are out for a while.” Many would beg him to reconsider.

[alyblacklist]

New interview from Vanity Fair (Italy) with James Spader (in Italian).  Translation via Google translate below (corrections welcome):

Eight years after its debut, the TV series with Megan Boone and James Spader is back on FoxCrime. Already renewed for a ninth season, the show won't provide any representation of the Coronavirus or American politics. "We are an escape from reality and we want to remain so." 

"In eight years, not a single episode has gone far and wide." The voice of James Spader, on the last Friday in the red zone, peeps out from a distant space, from an America in rebirth, whose present enthusiasm has not found any representation in the television series of which he is the protagonist. Spader, The Blacklist's Raymond Reddington, has strenuously opposed the possibility of contaminating one's fictional universe with the dross of the present. "Our show has always existed within a parallel world. Over the years, we have never bothered to plot a plot that had to do with real life, with newspaper headlines and news stories ». The Blacklist, whose eighth season is set to debut on FoxCrime on prime time on February 12, "has defined a universe of its own, to which it has remained faithful." Therefore, no Joe Biden, in the twenty-two new episodes of the television series. No pandemic. 

The Blacklist, on air since 2013, will only find the characters who have made it a cult. Raymond Reddington, a repentant criminal whose decision to cooperate with the police is not the daughter, alone, of a sudden goodness of heart; Elizabeth Keen, special agent responsible for following his confessions; Donald Ressler, Harold Cooper, the set of FBI agents and gangsters whose "Red" is determined to secure a future behind bars. 

Many television series usually set in fictional universes have, however, decided to make an exception and give their own representation of the pandemic. Why this categorical "no"? 

“For a few, but effective reasons. I think one of the strengths of our show has always been its verisimilitude. The Blacklist is a parallel universe, in which credible characters live. This allowed the audience to find an escape from reality in the series. I think many viewers watch The Blacklist because it allows them to detach themselves from the problems related to everyday life, and this has led us to exclude the pandemic over everything ». 

However, you will have had to face the restrictions that the Coronavirus has brought with it. 

"Absolutely. We had to deal with many restrictions, we had to limit the number of people present in a given location. But, net of the difficulties and the productive effort that required us, I think I can say that a magnificent job has been done ». 

Work that will continue: The Blacklist has already been confirmed for a ninth season. What still remains to be told? 

"Much. It may seem absurd, but in eight years we have never found ourselves beating around the bush. No episode, in the eight seasons, was thought of as a filler. I remember one day talking to Jon Bokenkamp, ​​the director. He had a twenty-minute longer bet on his hands. We tried to figure out how to cut it, which unnecessary scenes to eliminate. In the end, it was twenty minutes longer than it should have ”. 

Aren't you bored playing the same character for eight years? 

"No. On the set of The Blacklist, I've never had a mediocre or mundane day. The series has always been very exciting and the very idea of ​​moving forward excites me. There are many surprises in this new season. There are more for the public than for me. The writers and I talked for a long time about what we were going to do, so nothing could surprise me once shooting started ». 

And this would lead us to think of a certain repetitiveness ... 

“It would induce, though. When I play the part of Red I'm not surprised by the story we're telling, but by the world we're making it in. ' 

 Explain. 

"One of the great entertainments of being an actor is being able to be surprised by your reactions: there is amazement in the physical and emotional responses that are given in certain situations. There is some wonder in seeing a location for the first time. There is growth in looking at a problem or a fact from a new perspective. The surprise, when you are an actor, is not about where you get to on the show, it's about the little things, the details, even personal, that we discover as we go on ». 

So what has Raymond Reddington left you over these eight seasons? 

"From the beginning, what I loved most about Red was his irreverence, his sense of humor. I discovered and learned to love his pervasive and profound longing for life ». His character is highly ambivalent. 

Has he really never despised him? 

“I don't usually make judgments about my characters. I have a deep understanding of everything Raymond stands for. Rather, I'd say there are things about Red that Red doesn't like: his brutality and the danger he poses to others, for example. But I think Red is aware of the qualities that make him strong and able to survive the worst circumstances in life. He saw the tremendous price of loss and witnessed it. He feels how bad death does. This led him to strongly desire sweetness, calm, love. He is a dichotomous character, and it is this ambivalence of him that has made him so interesting ».

 He often talks about his collaboration with the writers. What exactly does it consist of? 

«In a real collaboration. Let's talk about everything that has to do with the show. We talk before the writing of the scripts, during the shoot. Let's talk about the new entries and the possible suppression of some characters. We are talking about subplots that can last years, months or days. Let's talk about the tone of the show, the dialogues. We talk during the holidays. This series keeps me awake at night ». 

 And do you think it's a good thing? 

“Let's just say I've always had trouble sleeping. When I wake up, my mind begins to travel fast. I tend to be an obsessive compulsive person, so I often stay up at night shaping ideas about The Blacklist. It happens that I waste hours trying to remember them, so as to put them on paper the following morning ». 

Elizabeth Keen, the special agent played by Megan Boone, is one of the strongest female characters on television. How do you judge the change that Hollywood is aiming for, the progressive abandonment of gender roles? 

«I find it fundamental. For me, as a man and actor, it always has been. I have always felt more comfortable in the company of women. I grew up with a female majority in the house, a terrific mother and two older sisters. I've always been attracted to strong female characters and the ones I've met in my films have been. I've always looked at the world from a female perspective, and I can't imagine doing otherwise. I understand, however, that it took the industry some time to get here. Today, I feel like saying that it is only a matter of time for the real and definitive change to be achieved ». 

 Digital has imposed a decidedly sustained production rate, even on linear television. Do you find such trouble to be good? 

«I state that I, on the other hand, have never felt in competition with digital or Netflix. Netflix aired The Blacklist, creating added value for all of us. Streaming brought us audiences, and it was great. In general, I'm happy to have the huge amount of programs we have now. Competition is a good thing, it leads to excellence, it spurs commitment ". 

 Cinema, television, theater. In his career he has done everything. Which medium did you prefer? 

“On television, I found a greater opportunity for further study. The Blacklist is the second TV show I work on, and has been running for over 150 episodes. My first character I played in The Practice, then in Boston Legal. Either way, I found it fascinating to see how it evolved, not in history, but over time. My TV characters have aged with me, and I with them. I think it's the best thing about working on television ».

Nothing bad then?

“You wake you up in the morning.When I started acting, I found myself working on the stage.It was a night job, and I've always been a night person, not a morning person.So when I found myself making films, I always tried to play characters who lived at night. What, this, that I managed, if you notice. It was television that forced me to turn. TV is a day job, which starts very early in the morning. It was a shock.I haven't gotten used to the sound of the alarm yet. '

[lastsonlost]

Many of the women promoting the “cancellation” of men in comics, and demanding they post the recent empty promise known as #ComicsPledge, are in fact hypocrites.  In this article, I’m going to present evidence of lies, collusion, rumor spreading, and, in my opinion, defamation and contract interference.

I personally know that they’ve colluded for YEARS to take down men. Specifically those with conservative politics and philosophies. This is an ongoing, coordinated effort. How do I know this?

Because I obtained access to their PRIVATE FACEBOOK GROUP.

This is Part 1 of the #Hypocralypse leaks

There is simply too much to put in one leak, so I will make the following three points for now.

1. The so-called Comic Book Whisper Network, which has been dismissed as conspiracy since 2016, is real, and I have hundreds of screenshots to prove it.

2. The Whisper Network has been targeting men and trying to destroy their careers, and use their connections in the comic book media to do so.

 3. Whisper Network members have acted unprofessionally and unethically at best. At worst, they have engaged in what I believe could be illegal behavior.

MY STORY

I first heard about the Whisper Network back in mid-2016 from folks I knew at Image, DC, Marvel, and later, Valiant.  Depending on who I chatted with, sometimes the group was called ‘The Women’s Network’, other times ‘The Whisper Network’, occasionally ‘The Whisper Campaign’, and eventually there were more conspiratorial names used mockingly (a friend called them a gender-swapped 4Chan, which became ‘FemChan’ to some insiders).

Regardless of the name, it was all the same group.

The same five or six names kept popping up in conversation over and again. As time ticked on, I noticed a trend on Social Media: half a decade of rumors, false allegations, cancellation attempts , and they almost always traced back to these same five or six people.  The goal of this Whisper Network, according to industry folks, was simple: choose a target, smear them until they lose their reputation, their income, and are ultimately blacklisted – opening up job opportunities for the same people who started these smear campaigns in the first place.

 Behind the scenes these “cancellations” are painted as morally or politically motivated, but in the end it’s all financial. As time passed, the group in question seemed more and more like a reality. I saw their influence. I saw things I knew to be verifiably untrue go viral online, appearing in what I thought were legit news sources. I felt angry and helpless seeing innocent people getting attacked, but did not know what to do. 

A few years passed and by 2018 almost everyone I interacted with in the industry seemed to know about the Network, from top level editors right down to the letterers. It was an open secret, but no one was willing to speak up for fear of being targeted themselves. They knew the consequences.

And after all, this was a secret network. Without proof, there was no point in going public because members would just deny its existence, and use their media connections to smear anyone who challenged them.

 THEN THINGS GOT INTERESTING

December 16, 2018, Whisper Network member Gail Simone, who joined the Network 6 years ago (4 years before the following tweet was posted), mocks “doofuses” who speculate that a “whisper campaign” exists.

At this point in late 2018, I was still skeptical of the Whisper Network’s existence. I’d heard many stories of individuals spreading rumors and lies, and plenty of malicious behavior was going on behind closed doors. Though I wasn’t ready to believe it was a coordinated effort, or collusion was involved.  Then, certain people began openly mentioning the Whisper Network and my attitude changed.

 March 26, 2019, Heather Antos, a member herself, did not outright mention the Whisper Network or her involvement, but she made what some took as a veiled threat to those who got on her bad side.

 Heather “milkshake girl” Antos’ colorful backstory at Marvel, and later at Valiant, is notorious in the comic industry. A conversation about office rumor-spreading and bullying is never complete without someone bringing up a juicy Antos anecdote. Everyone has one.

Up until then, I still hadn’t seen ACTUAL PROOF of a larger scheme. But then, something changed in 2020.

January 8, 2020, Alex de Campi, who I would discover is one of the most active Whisper Network members, openly admits there is a Network. I have no idea if this was a slip or a brazen attempt to show off her power and influence, but this appeared.

Eventually, everything I had heard and read was confirmed beyond any shadow of a doubt after I gained access to their private Facebook group.

I WAS INSIDE THE WHISPER NETWORK!

This is the place where the Whispher Network has been colluding for years. And although their activity is not confined to just this site, from what I can tell, this was where they first met, and started their coordinated campaigns.

Members of the Secret Group called “Comic Book Women”

At present time, there are 440+ members of the secret Facebook group, called COMIC BOOK WOMEN. From what I can tell, a few are regular users, though many of them have never posted.

https://www.facebook.com/groups/comicbookwomen/ 

*unless you are a member, this will not show up in a search

Secret Facebook groups offer the same level of privacy as closed groups, but operate under a cloak of invisibility. No one can search for secret groups or even request to join them. The only way to get in one is to know someone who can invite you. Everything shared in a secret group is visible only to its members.

This secret group includes a list of members whose actions and connections speak for themselves. Members such as:

Zoe Quinn

Gail Simone

Alex de Campi

Heather Antos (aka Heather Marie)

Mags Visaggio (aka Magdalene Francis)

Mairghread Scott

And several key members of the group are women who work in the comics media and can be used to run damage control, including women like Heidi MacDonald of Comics Beat.  They have contacts outside of the secret network as well, with some male allies in both comics and the media.

Just the fact that all of these folks were secretly linked in a private network came as a shock to me, considering their reputations and the accusations that they’ve made. Immediately I began to connect the dots…

They’ve denied for YEARS that they coordinate their actions in private. And yet they always coincidentally appear on Twitter, retweeting and amplifying each other’s accusations, signal boosting one another, and helping them gain traction. And their allies in media – Bleeding Cool and CBR specifically – will turn those same tweets into stories almost instantly & with no fact-checking or verification, sometimes within the hour.

I’m going to start explaining who the key actors are, and, from my perspective, how they coordinate these attacks.

KEY ACTORS

There are too many people to focus on at once, so I will have to break this into several posts, but I will start with one of the clear group leaders IMO.

Alex de Campi is well connected, despite never being part of the Big Two (since, from what I’ve been told management is well aware of her bullying, harassment, rumor-spreading and unethical behavior that goes back years, and depending on who you talk to she’s almost as notorious as Antos or Tess Fowler).  She just wrapped up a graphic novel campaign on Kickstarter with David Bowie’s son, the Hollywood film director Duncan Jones. It grossed over $366K

All the while she makes baseless accusations while demanding transparency from everyone else.

Now, I’ll take you into their private network.

Two years ago, on May 13, 2018, De Campi launched a private campaign to target an independent creator, claiming she was using her connections to have Simon & Schuster cancel their book.

In addition to contacting the publisher, others in the Whisper Network coordinated their efforts to contact media outlets to have the narrative changed, according to the posts in this thread.  Again, in my opinion, this could end up as a defamation or tortious interference case, and has many implications regarding media bias as well.

 

The following month, on June 23, 2018, de Campi posted private text messages between herself and writer Max Bemis in what appeared to be an attempt to damage his career. Despite Bemis being mentally ill (diagnosed with bipolar disorder in 2014), de Campi still posted the private messages with malicious intent IMO. According to US and UK law this is an actionable offense: posting private texts without both parties consenting.

[captain-ross-poldark]

Poldark’s Aidan Turner on playing Leonardo da Vinci

Ed Potton

Friday 2 April 2021

Aidan Turner takes on the role of Renaissance polymath LeonardoJUSTIN SUTCLIFFE/EYEVIN

I’m trying to work out where Aidan Turner is Zooming from. Is it London, where he moved to in 2017 after his Ross Poldark became the drooled-over king of Sunday-night television? Dublin, where he grew up, trained as an actor and returned to spend the first lockdown with his parents? Or Rome, where he shot his new series, Leonardo, in which he plays a young Leonardo da Vinci?

“None of the above!” Turner says. “I’m in Toronto.” The enigmatic charm, feline eyes and gleaming locks that he deployed so mercilessly in Poldark, The Hobbit films and Being Human are all there. “My missus is working here,” he explains, and so is he. That’s the American actress Caitlin FitzGerald, his partner of three years, whom he met when they starred in the 2018 film The Man Who Killed Hitler and Then the Bigfoot. At first I assume the “missus” is laddish affectation but it turns out that it’s official: Turner and FitzGerald, both 37, got married in secret in Italy in August after filming finished on Leonardo. You can almost hear the sighs of disappointment ripple around the world.

Turner won’t say any more — he is famously guarded about his personal life — but he looks insanely happy in the couple’s rented apartment. FitzGerald — whose grandfather Desmond was a CIA agent and organised several plots to assassinate Fidel Castro — is shooting a series, Station Eleven, in Toronto while her husband works on another project that he’s not allowed to talk about. In their downtime they’ve been watching I’ll Be Gone in the Dark, an HBO documentary series about the Golden State Killer, and, on a lighter note, Ottolenghi and the Cakes of Versailles. They share the apartment with Charlie, an ebullient Norfolk terrier that Turner has to eject from the room halfway through our interview when he starts yapping. “I’m surprised he behaved for so long,” he says.

Eight-part series Leonardo has been criticised for warping historyPA

Like many of his fellow thesps, Turner has been doing a great deal of lockdown painting. “We have a roof garden here and the light has been really good,” he says. “I probably shouldn’t be saying this because I don’t know if the landlord knows. It’s not messy work anyway!” Unlike some of his peers — I’m looking at you, Pierce Brosnan — he has yet to unleash his daubings on the world. How would he describe his style? “I struggle to say abstract, but I haven’t quite figured out what it is yet.” Did it help with playing Leonardo? “I don’t know. If you saw my paintings, you’d assume very much not,” Turner says. He has a studied line in self-effacement, honed after years of “sexiest man on TV” questions.

Leonardo premiered in Italy last month and was watched by seven million, many of them doubtless keen to see Turner brooding in a succession of smocks. The eight-part series has been criticised for warping history, having the artist accused of murder and featuring an apparently fictional muse, Caterina da Cremona, played by Matilda De Angelis from The Undoing. Luca Bernabei, the chief executive of Lux Vide who produced the series, defended it stoutly. “Matilda De Angelis’s character did exist. She was a model Leonardo asked to paint,” he said. “We have been really careful in our research. But this is not a documentary, we are not historians and this is not a university history lecture.”

And if the history pedants are spluttering, the art pedants should be happier — the series goes to considerable lengths to make the painting look authentic. Each episode is themed around a different masterpiece, from the portrait of Ginevra de’ Benci to The Last Supper to the Mona Lisa, and the candlelit cinematography is often sumptuous. Turner’s research included a private view of a Leonardo exhibition. “I spent some time alone with the actual paintings, which was brilliant,” he says. “They’re just like high-definition photographs. I couldn’t wrap my head around the fact that a human had done this.”

Aidan Turner attended an artist’s boot camp before filming startedVITTORIA FENATI MORACE

The series opens in Florence in the 1460s, with Leonardo a pupil of Verrocchio, played by the veteran Italian actor Giancarlo Giannini. Before the shoot Turner and his co-stars went on an artists’ boot camp (brush camp?) supervised by professionals. He says the hardest part was learning to paint, as Leonardo did, with his left hand. He compares it to learning to ride a horse for Poldark, which he pretended he knew how to do before going on a crash course when he got the part.

Brushwork was the same, he says. “I realised I had to get good quite quickly and look like I knew what I was doing with my left hand, which is more difficult than you would think. It’s keeping it steady — you find it just moves around a lot. Leonardo was very slow and precise — I think I got it down. After a few weeks you start picking up the brush with your left hand, it becomes natural.”

Leonardo was a vegetarian, Turner tells me, “and apparently later in life opened some sort of vegetarian restaurant”. He was also gay, something that, despite reports, the series does not shy away from. Was this Turner’s first time kissing a man on screen? He laughs. “Of all the things I was expecting you to ask next, that wasn’t one of them! In a lot of ways it was just another love scene. The fact that the gender was different — that was never a thing. No, it felt right. It didn’t feel any different at all. But yeah, to answer your question, that was the first time, which I’d never really thought of until now.”

What did feel weird, he says, were the Covid protocols. “Suddenly people are wearing masks and shields and hazmat suits. We had a big sanitisation machine as we walked in that would spray us. You take off the mask when you shoot the scene and it’s a bit strange for a second. Then you realise it’s the first time you’ve seen your co-star’s face that day. It’s not conducive to a very creative environment, for sure. But we made it work and nobody got sick.”

With his wife, the American actress Caitlin FitzGeraldREX FEATURES

Turner spends a chunk of the first episode painting De Angelis, and both actors know what it’s like to be ogled. She has been asked endlessly about her naked locker-room sequence in The Undoing, just as he has been reminded of his shirtless scything scene in Poldark. Before that there was his lusted-after vampire in Being Human and his sexy dwarf in The Hobbit — branded a “dwilf” in some quarters — although that “definitely wasn’t the intention”, he says. “I think I just had less prosthetics on my face. My make-up call was 20 minutes and everyone else was sitting in the chair in the morning for three and a half hours. It wasn’t good to be around the other dwarfs in the mornings, that’s for sure.

“I get why people are interested,” he says of the ogling. “It’s just when it keeps coming up.”

We move on. According to a recent survey Cornwall has overtaken London as the most desirable place to live in Britain. Does he think Poldark played a part in that? He laughs. “Maybe we nudged a few people in the right direction. I think people forgot how beautiful that side of the world is. One of the first reviews of Poldark we read was like: ‘We can’t believe that this is our country, it looks like the south of France.’”

Could Poldark return, and would Turner be in it? If they stuck to the chronology of Winston Graham’s books they would have to leap ahead a few years. Maybe he could play an aged-up Ross Poldark in latex and fake paunch? “I don’t know if I’d be keen on the ageing-up thing,” he says. “It never really works. I don’t know whether they need to be too strict with that gap anyway. There’s the possibility someday, maybe. I enjoyed working with everybody on Poldark, from the writers right down to all the cast and crew. It really is like a family. So I’d be open to chat about it. But not for a while.”

Turner with Eleanor Tomlinson in PoldarkMIKE HOGAN

Before that he will appear as the apostle Andrew in The Last Planet, the forthcoming biblical epic from Terrence Malick, revered creator ofThe Thin Red Line and The Tree of Life. Well, he doesn’t know for sure if he will appear. Actors of the calibre of Rachel Weisz, Mickey Rourke and Jessica Chastain have seen their performances in Malick films vanish during editing.

“You want what’s best for the film. And if you don’t fit into it, you don’t fit into it,” Turner says in the tone of hair-shirt devotion that actors tend to use when talking about Malick. With a cast including Ben Kingsley and Mark Rylance as Satan, the movie is meant to tell the story of Jesus through a series of parables. Turner doesn’t really have a clue, though.

“You don’t necessarily know what you’re signing up to. You’re signing up to Terrence Malick,” he says. The director has “a great way of working. Everything is around ‘where is the sun’ at this particular time. That’s our natural light and it’s all we use. So things happen fast. There’s no trailers, hair, make-up, we’re just all together. You don’t know from day to day what you’ll be doing. It’s quite renegade stuff. That’s the way I always wanted to work.”

It’s closer to the immediacy of the theatre, which is where Turner started out. The son of an electrician, Pearse, and an accountant, Eileen, he represented Ireland at ballroom dancing before falling into acting. After studying at the Gaiety School of Acting in Dublin he acted in plays for five years and in 2018 he returned to the stage to rave reviews in Martin McDonagh’s The Lieutenant of Inishmore in the West End. Rave being the operative word — his performance was bracingly unhinged. “I can’t wait to get back to the theatre,” he says. “That’s what we’re looking at probably next.”

Turner’s character in The Lieutenant of Inishmore was an Irish freedom fighter, but he is reluctant to talk about the prospect of Irish reunification (“So I don’t get shot when I get home,” he told one interviewer). Culture is safer ground, and his native country is going through a purple patch with Sally Rooney in literature, Fontaines DC in music and the likes of McDonagh, Jessie Buckley and Denise Gough in drama. “It tends to happen in waves,” Turner says. “Coming out of drama school, Colin Farrell was such a big thing. When these actors really make it you can feel some of their light begin to shine on the industry back home.”

Like Farrell, Turner is an international star, although it has mainly been in period roles: Poldark, Leonardo, Andrew and his breakout turn as the 19th-century poet Dante Gabriel Rossetti in the 2009 series Desperate Romantics. It must be something about the hair.

That could be about to change, though. Toronto often stands in for New York, which suggests that his current mystery project has a contemporary setting. Does he yearn to act in jeans? “Yeah, you’re right,” he says with a laugh. “After Leonardo, I think tights and knee-length boots are out for a while.” Many would beg him to reconsider.

All episodes of Leonardo will be on Amazon from April 16

https://www.thetimes.co.uk/article/poldarks-aidan-turner-on-playing-leonardo-da-vinci-wnmqhxqxr

[bokunowritingacademia]

Crimson Wings and Broken Masks

AO3 Version

Relationship: Reader/Hawks

Rating: T

Summary: To most people, that’s all he was. An actor in a mask, playing his part on the greater stage. It didn’t matter who he actually was, but solely that he kept up the appearance.

But you saw the moments where the mask broke. When it shattered into nearly unsalvageable pieces, sharp and stained with old blood, scratches and dents from experiences of long years past that even you had yet to learn about.

What mattered is that you saw him as vulnerable sometimes—a person, not just a hero with a good quirk.

-

To the average viewer, fan or even tabloid-based critique, Kiego Takami—known only as Hawks to the greater public—seemed nothing more than a self-absorbed ladies’ man who cared more about mixing up the status quo than being something of a traditional pro hero. Even outside Japan, his reputation (where it wasn’t overshadowed by a country's local heroes) he was just another shallow celebrity who just happened to have a powerful quirk, and a heart half-in on using it to better the world.

To most people, that’s all he was. An actor in a mask, playing his part on the greater stage. It didn’t matter who he actually was, but solely that he kept up the appearance.

But you saw the moments where the mask broke. When it shattered into nearly unsalvageable pieces, sharp and stained with old blood, scratches and dents from experiences of long years past that even you had yet to learn about.

But what mattered is that you saw him as vulnerable sometimes—a person, not just a hero with a good quirk.

So when you find him perched upon the top of his hero agency’s building, you find yourself wholly unsurprised. Worried, as any partner would be for their emotionally enigmatic boyfriend, but unsurprised. You knew the last couple weeks had been hard on him, and that was only based on the few things he deigned worthy to burden you with (‘it isn’t a burden, Takami, I promise’)—you can only assume the water was far deeper than what it looked at the surface.

The sunset cast a soft orange glow over everything it touched, the shadows growing longer with every passing minute. You can feel it against your back, with the last warm remnants of summertime.

You approach with no attempt to hide the sounds of your footfalls on the cement, but Hawks doesn’t make a move to show he’s realized your presence. Instead, he sits, over the edge of the roof, wings expanded wide on either side of him, crimson feathers looking all the more brilliant in the deep warm glow of the fading sunlight.

The breeze, as soft as a whisper, caresses against them, each feather trembling against it. But silent does he remain, an unwavering pillar overseeing the vastness of the city below--and not a single person to realize that even now, someone watches over them.

A society where heroes can enjoy a little boredom... I'll make it happen, I promise.

“Hey.”

Though soft, the sound of his voice brings you out of your thoughts. 

A small smile starts to tug at your lips as you step closer. “Your desk secretary said you’d probably be up here.”

“Eh? Thought I told Iwata to keep my rooftop brooding on the downlow.”

You move another step closer, almost an arm’s length away from him. The view over the city is mind-bogglingly expansive, even from a few strides back from the edge. Had he been sitting here all this time, since his last patrol of the evening?

Watching?

“In fact,” you say, almost sheepishly. “he told me you’d say that too.”

The man doesn’t respond. The only indication that he might have even heard you is the gentle shuffling of his crimson wings, slowly pulling back towards his body. You can practically feel the stress echoing from his body, feel the tension he keeps bottled up somewhere so deep that not even you can scarcely reach.

But you can reach out, physically. It’s mostly just an instinct to touch him somewhere, to offer an anchor of touch so that he knows he’s not alone. You can’t quite reach his shoulders--the wings are still stretched open enough it’s nearly impossible with him facing away from you--but your fingers do manage to touch, and then card through the layers of soft red feathers that cover one of his wings.

Soft to you. You know how they can each, individually, be used as tools. 

As weapons. 

Things used to save lives as much as they likely have been to take them.

As if it stung, the wing beneath your fingertips trembles. You’re about to pull your hand back in mild alarm, thinking you’ve done something to hurt him--perhaps even aggravated a wound he’d gotten and not told you about--but the wing settles against your touch.

It’s hard to understand what’s going through Hawks’ mind at the best of times when he has such a careful control on even the smallest facial tells--

But you hear him sigh, and the comfort it brings to you is almost silly for anyone who didn’t know him as well as you do. Though it is true you have a hard time reading him physically, there is but one point of expression that seems to elude him and come easy to you: the way he sighs. 

The stilted push of air in stress, as if he’s trying to force the tension out of him.

The deep, languid exhale of peace, letting himself settle into its comfort.

The rushed, half-hidden chuckle he tries to hide.

You wonder if there’s anyone else in the world that notices it.

The gentleness of how he sighs now, with your fingers buried in the feathers of one of his wings, is the single but powerful declaration that your touch feels good to him. So you repeat the motion, over and over, slowly moving closer until you have both of your hands slowly stroking through feathers that mimic the rich, warm glow of the sun as it starts to dip below the horizon at your back.

“...it’s been a while since you’ve let me do this,” you murmur after a few moments, picking out a few feathers that seemed to have met the last of their days; color fading, as if the breeze itself would have had them flying loose and free into the evening wind.

“Yeah,” Takami agrees. “Been a rough couple of weeks.”

“You can take a day off.” Another few fading feathers fall from the rest, through your fingers and towards your feet. “-the stress is starting to take its toll. I can’t remember the last time you’ve had this many molt at once.”

“Eh.”

If the single syllable wasn’t enough to show his disinterest in being honest about his feelings, the vague shrug--or what you assume is a shrug--does plenty to send the message.

“Takami.”

Though gentle, his name on your lips still falls firm and worried. You’re about to open your mouth to say something more, but there’s no chance to do more than part your lips before his wings are stretching out, and upwards, arching so that you can see his face looking at you over his shoulder, leaning on one of his hands.

With the other, he reaches out to you, expression relatively unreadable save for the quirk at the corners of his lips.

“C’mere and sit next to me already.”

Though some part of you wants to stand firm on your concern, the rest of you knows it’s not the time for a talk like that. It knows that, in the end, you just want him to know you’re with him for everything his life and career throws--big or small.

But you don’t make it easy for him. A dramatic sigh leaves your lips as you tilt both head and eyes to the side, as if having to think about it.

“I dunno,” you bring a hand up to your chin for extra emphasis. “You did make me wait at the apartment for like, an hour, and didn’t return my call at lunch.”

Hawks purses his lips together as if pained and pouting. “Oh come on baby bird , don’t be like that.” He reaches his hand out again, expression shifting into something coy. “Just sit up here with me for a few minutes, and then I can fly us home all romantic-like, sound fair?”

Though there’s not one singular detail that acts stronger than the others, the culmination of them--the softness of his expression, the tease of his words, the honest adoration in the petname--is enough to make you drop the act like a rock into a lake.

You reach out to take his hand, letting the man pull you into his lap in one strong, careful motion. If this had happened several months earlier in your relationship, you might have worried about being so close to the edge of the roof, overlooking the steep drop down several stories onto the pavement below. But this isn’t several months before, and your mind trusts the man whose arms envelope your body and hold you tight against his chest.

Hawks perches his chin over the top of your head and, for a few seconds, the two of you simply watch the flickering landscape below. 

Car lights in the street, the office lights turning on in several buildings as the sunlight fades into dusk. Even as the day winds down, the city yet remains vibrant and bustling, and it makes you vaguely grateful that Hawks doesn’t have to work as many overnights as he did when you first met him. Or, at least, you’ve managed to convince him to sleep on occasion. It doesn’t always stick.

“So,” you break the silence and reach a hand up, idly stroking a thumb over the man’s cheek. “You gonna tell me about all the shit happening with work?”

“Nah,” Hawks says as honestly as he does casually. You’re half a second away from giving him an annoyed flick before he quickly explains, “I’m still working through some case details and my brain just needs some alone time with them is all. I’ll give you all the dirty details once it’s over--just a few more days.”

“You promise?”

“Yeah.”

He tilts his head into your touch and allows a sigh to escape him. Gentle, languid--and you believe his words.

“Besides,” he continues after a moment, tone turning amused and teasing. “Nobody can keep me away from my lil’ hummingbird for too long. I’d go fucking nuts without you.”

“You can say that again, birdboy.”

“ Excuse me, ” Hawks tenses up suddenly against you, and you can hear as much as see his wings stretch out, wide and imposing--though a little less so when you’re snuggled up against his chest. “I’m a bird man , thank you very much.”

“Uh huh.” laugher bubbles up behind your tongue, spilling out when you simply can’t hide how silly--and yet how sweet--his overdramatic posturing is.

But when the laughter between both of you die back down into silence, and the sun finally settles behind the horizon to let darkness start taking over the newborn night sky, you pat a hand on Hawks’ chest.

“Alright, birdman , how ‘bout you get us home like you promised. I had dinner on and everything.”

“Dinner? Oh, now that changes everything.” He moves, lifting up to his feet even with you settled comfortably in his arms, wings outstretched. “What’cha make?”

“A surprise.”

He lifts from the roof, gradually up and into the air with just a few meaningless flaps of his brilliant crimson wings--even with nobody around, there’s still a remnant of that actor putting on a show.

“Okay then,” he says. The wind brushes over your cheeks, like an evening kiss, and you settle into his arms without a single worry for the cityscape below you. “How about we take that surprise dinner and pair it up with a movie?”

“Now you’re thinking like a man who cares about his mental health.”

“Well, I got someone like you t’help make that possible,” Hawks nuzzles his chin over the top of your head, and repeats the words of just several minutes before. “I’d go absolutely nuts if you weren’t here to help pick up all the pieces of me when I fuckin’ drop them down the stairs.”

To that, you say nothing; words aren’t needed. At that point, all that mattered was the feeling of the air rushing past the two of you, the warmth of his body, the steadfast strength of his arms holding you,

And the soft, fading sunlight, shining brilliantly on Hawks’ crimson wings.

[shhhlikeme]

Hello! I want to start off by saying you’re really pretty and your writing is amazing 🥺👉👈 Could I request a oneshot where the s/o of either Yamaguchi or Suga (which ever you prefer they are both my babies) get into an argument and the s/o ends up flinching out of habit during it, and maybe some cute fluff at the end?

Sugawara Koshi x Reader Angst Fluff !!!!

———————————

A/N: Hello! EYEEE want to start off by saying im blushing thank you angel💖💖💖 of course you can. Request anytime I’m all ears and keyboard taps!

This is super fluffy so I hope you like it!!!!

Yams is my favourite but I haven’t written a Suga story yet and I have a little crush on him so I’ll pick him, yay! (Also, Suga’s voice actor in the dub sounds so attractive to me ugh)

———————————

“Hey baby!” You walked into your boyfriend’s room that his parents let you into. You flicked the lights on.

can we all collectively agree that Suga’s parents are some Queen Elsa & Jack Frost looking mfs?!

Surprised because you didn’t tell him you were stopping by, Sugawara’s eyes lit up when he saw you

“Y/N, what are you doing here?” He scrambled off his bed to you, giving you a chaste kiss.

You can’t tell anyone this, but Suga’s parents secretly invited you because they have been worried about their son

From their perspective, Suga came home everyday seemingly drained and depressed

He would mutter a hello to his parents, go straight to his room and lock the door

You didn’t know this, because your boyfriend was completely normal with you and with his friends from school

He was his regular cheeky self that you loved

But you couldn’t deny his parents anything and you wanted to see your baby so you agreed to come over one night after school to kind of “catch him in this act” that his parents described

You scanned your handsome boy’s face and it made you frown

He did looked drained. That’s not normal considering school had been out for maybe an hour and you just saw him during last period looking chipper.

He had lines under his eyes and his shoulders were slumped/lower than usual. Not to mention his eyes betrayed him because they looked like someone who was really going through it, even though you could see that his spirits lifted with your entry

You didn’t say anything, opting to poke his stomach instead and smile up at him

for someone’s whose weak spot is his ticklish tummy, the joy from his laugh didn’t reach his eyes whole heartedly like they normally did

You tested one last time.

“I made you tempura, just the way you like it,” You placed the wrapped dinner plate you bagged on his dresser, gauging his reaction.

Koshi appeared like he was a stage actor when he gave you a big smile and said thanks.

Your heart immediately sank then, because you knew his parents had been telling the truth.

There was something wrong with your Koshi. Very wrong.

Ok. Here goes.

You turned around to lock his room door and took his hand

You gestured for him to crawl back into bed which he seemed genuinely happy about.

You straddled his waist, sitting in a position where he couldn’t hide his face from you nor could he escape when this questioning started

“Uh oh. You only sit on me like this when you want “to talk.”

You nodded. He knew.

Your boyfriend liked talking about his feelings but not when they could potentially bring down the mood of others.... and with this specific circumstance where he was able to hide his sadness from you so well, you had no choice but to jump straight into playing hardball.

“Shishi.” You used the embarrassing pet name you made for him and he slightly blushed.

Marry him, aight?

“Yeah? You okay? I’m listening baby tell me.” He looked at you with his shining eyes.

“What’s wrong?”

Suga didn’t miss a beat. He was well rehearsed. “Wait—me? This talk is about me? Nothing. Why do you ask?”

“Well why are you laying in your bed with the lights off at 4pm? You’re usually doing your school work at this time. That’s what you text me.”

Suga sighed. “I was just tired today, that’s all.”

“Shishi.....”

“Y/N, baby. trust me I’m fi-“

“Is it about volleyball?”

Koshi sat up quickly, cradling your back to make sure you were safe. He scooted backwards, making it so his back was leaning on his headboard.

“Can I please put you next to me?” He asked.

You mentally noted that he didn’t answer the question.

And that he wanted to get out of this “truth spell” position

So it was about volleyball. You ignored his question back and pushed forward.

“Did something happen? Is Daichi injured again? Or is Ukai quitting—“

Suga locked his jaw, looking away from you. “No no. It’s not that— I’m fine. I’m good.”

You couldn’t tell who he was trying to convince more: you? Or himself?

You pushed a bit further.

“Tomorrow is your Senior game, right? You, Asahi, Daichi and Kiyoko will be awarded for the years you put in, right?”

Suga, looking pained, gently moved you off his lap to sit next to him. He got out of bed and paced the room. You knew you were about to crack him but you weren’t too concerned because he needed to let whatever this was out. It’s bad enough that your baby was having such internal conflict like this. It was depressing him and he was dealing with it all by himself.

You stared at him and moved to sit up on your knees, prepared to deal the final blow.

“Are you sad about not playing, Shishi?”

The volcano that Sugawara had been trying so hard to keep in finally erupted at your words.

“SAD?! Am I sad?!” He practically roared at you loudly.

You flinched because it was the first time you have ever heard your boyfriend raise his voice in anger, let alone at you. You remember that he told you he’d only shown his team that side of him once during a game and they were shook, rightfully so. He was kind of scary like this.

“YES I’m sad! But mostly, I’M PISSED! EVERYONE expects me to walk on stage tomorrow and accept an award I had no part in contributing to?! I have been on this team for 3 years, 2 of those years as a starting setter and those two years accounted for bullshit seasons for Karasuno. The one year I sat my ass on the bench is the year we WIN! The year the crows got their wings back I AM SITTING OUT! No one wants to admit it but what the fuck does that tell you, me, and everyone, huh?! It tells us that I was the problem. I was the broken part: the gear that caused the machine to malfunction. The gear that Kageyama came in and fixed—2 years my junior. I’m pathetic, you know?! How many captains sitbon the fucking bench while I watch my best friends play the sport we all love equally? Then I have to walk around all day pretending I don’t feel this way because I am too busy stopping Kageyama and Hinata from pummelling eachother, telling Tsukishima to stop being so mean, mitigating Yamaguchi and Ashai’s panic attacks, Forbidding Tanaka and Noya’s anger issues and the reward I get for all it isn’t the luxury of playing like Daichi who does similar work. I get no reward. I pretend to be happy the Sugawara that I used to be. I’m not happy. The only time I take off that mask off is when I get home and by that time I’m so exhausted from keeping up the facade that staying in the dark until I have to go to school again and put the mask back on is the only way I can cope. So YES I’m fucking sad, Y/N. Sad is an understatement.”

you stayed silent as you listened to every emotionally charged word, letting him catch his breath

Your heart had been shattered around the 4 second mark of his speech, hearing the mental turmoil your baby had been going through in his voice

He was going through all of that pain...

And in spite of it he would still call you every night and listen to you talk about how annoyed you are at your little sister for stealing your shirt

He didn’t change for you because he didn’t want to stress you out and that made you feel like a failure as a girlfriend

After a few minutes of Sugawara calming down, you opened your arms for him invitingly

“Come here.”

Suga looked at you, obviously fighting back tears. Not being able to bare going through it alone anymore, he mounted the bed again, hugging you then maneuvering your bodies so that he was spooning you.

“I saw you flinch. I’m so sorry for scaring you.” He whispered as he kissed the back of your hair. “I love you. So so much, Y/N.”

You reached back to run a hand soothingly against the side of his face. You felt wet tears there and you repeated the soothing gesture. “I love you more, Shishi.....” You backed up so you were pressed closer to his warm body, reinforcing the fact that you weren’t going anywhere. “And Shishi when you’re ready... I can’t wait to tell you all the reasons why you’re the team’s and my....MVP, alright?”

Sugawara nodded into your hair before tightening his grasp on you.

———————————

A/N: This is probably the post I’ve written that is the most realistic in terms of cannon character sentiment. As an ex competitive volleyball player I believe this is truly how Suga feels :( at least youre there to cheer him up!!

[floggingink]

OH HERE WE GO LADIES IT’S RIVERDALE, CHAPTER EIGHTY: “Purgatorio”

I’m tuning in to be VERY entertained on the grounds that I missed almost the entirety of S4 and will not understand anything

we open with an incredible analogue comparing the football team to the Army, as men do construct rituals: football players get blown into the sky, etc., in a heartrending mash-up of Archie’s innocence + the American ideal/expectations/pipeline of masculinity

Archie Company is decked out appropriately to storm Hürtgen Forest

that art direction trope where a character’s hearing goes EEEEEEEEEEEEEE after an explosion……...delightful

the Vixens and friends cheering him on from the sidelines as if Archie can only process his unprocessable present through the lens of his past………...hits the spot

distressingly wood-based rifles for our purposes

Archie > Dawson: I don’t mind telling you I felt emotion upon Archie hoisting his war buddy over his shoulders to that quadruple-toned “Chivalric Archie Using His Strength for Good” tune, like when he broke his whole hand busting Cheryl out of Sweetwater River

WHEN HE SAW HIRAM LODGE, I’M TELLING YOU! 

Hiram’s dragon-scale gloves? absolutely savory; he would

“Yonkers” is one of those New York place names I don’t totally buy is real (Poughkeepsie is another)

the sepia-toned light in this hospital room rings true judging by all the Captain America fanfiction I’ve read; I also like the mint-colored hand towels draped on Archie’s bedframe bought, one assumes, using the Department of Defense’s Kohl’s Cash

Archie made Sergeant, which is the best ranking for a fictional character: important enough that they can be a leader, get into trouble; low-profile enough that you don’t have to write them in the room making terrible decisions; probably won’t die immediately, as a Captain or Private might be

Fifth period is AP English: Archie reads A Farewell to Arms to Corporal Jackson, a WWI novel by Hemingway that Jug definitely turned him onto

Christ, Archie looks good in that on-leave jacket thing

I like Jackson’s subtle graph paper-print hospital gown

Gay?!: was Jackson in love with Archie? is he gonna bus to Riverdale once he’s off his pain meds? RAS, is that you in there?

God you know I love that haunted-ass Exorcist wooden bench bus light lighting

how long has the WW been relocated under Pop’s??? I do NOT know what happened to La Bonne Nuit

Sexy, aesthetic Southside: Fangs’ hair? his Tony Stark glasses? the girls’ “I’m a Slave 4 U” Burmese pythons? Toni’s headdress and immaculate glossed lip? 

Sixth period is Intro to Film: the only part of From Dusk till Dawn I’ve seen is Salma Hayek putting her toe in Quentin Tarantino’s mouth but judging from that I figure I’d like the rest 

The female gaze: Jesus Sweet Pea still looks good

Toni’s stage is flanked by twin pillars of melting candles and I would like someone to track those down for my bathroom

if they lay one hand on Pop Tate…

Betty appears to be, on her own, running the FBI training course. Betty is such a freak

Betty’s FBI-appointed psychologist is “Dr. Starling,” wears a great yellow blouse; Betty eats what appears to be a mini-sized Milky Way

her blond FBI trainer-boyfriend (uh) Glen appears to be an unholy fusion of Jimmi Simpson and that one actor with brown hair and really sharp light eyes whose acting credits I can’t think of right now, you know who I’m talking about (not the guy from Vampire Diaries)

I quite like her patterned blouse and I hate his yellow (gold?!) and blue tie

Please protect Betty: obviously we stan the Silence of the Lambs shit even as it remains infuriating Bryan Fuller couldn’t get his hands in it

Betty’s cat’s crying was so disturbingly baby-like that I had to leave the room once I realized it was in fact a cat

I’ve watched the Elisa Lam tape too many times in recent hours to handle this hallway shot

REALLY GROSS LICKING NOISES

the Trash Bag Killer coming at her was scary :(

Betty’s lovely blue knit cardi with the puffed sleeves!

50 Shades of Betty: clearing her throat before the doctor quite finishes her sentence—Lili Reinhart continues to be great at conveying “slightly perturbing subterranean tension”

was Charles a serial killer too??? oh damn!

Betty has been successfully holding off giving Glen a key to her place until now, an era that must come to a close

fellas, “Do I at least get a kiss?” is a bad move

Veronica was rich: Veronica’s new digs: exposed brick, bougiely avant-garde chandelier; possibly an elevator door right there behind the dude?

Veronica has married Hiram, to no one’s surprise

Chadwick looks like Jimmi Simpson and brunet Evan Peters plus a jaw

Veronica’s single-puffled-sleeved gown…..madamn (she has absolutely been taking secret birth control pills)

Summer + Blair = Veronica: of course Veronica would be great at Howard Ratner’s job; I MUST know what “specialty showcase haute couture offense” Vinnie has committed

T-Dubbs’ green jacket

Veronica pretended she was working at like, a department store? but she MISSED the EDGE post-day-trading

their apartment is so expensive that their bedroom is totally exposed

oh my god, Hermione

Best costume bit: please get me these satiny green high-waisted slacks?! and ugh her blouse has shoulder tassels……..she’s flourishing

“That’s threatening to an alpha like Chad.”

yes, they have a private elevator. fine.

Glen and Chad get their ties from the same Men’s Warehouse

“When that helicopter went down on the way to Martha’s Vineyard…”

you know kissing is 4-real when one person cups their hand to the back of the other person’s neck all close

I don’t understand the drop of the Glamergé egg but I appreciate that there is one and that Veronica is like, get this the fuck out of my house

Veronica’s shiny cropped tweed two-piece, Yvonne’s weird feathery coat that matches her bf’s shirt (you know she’s supposed to be “too much” because she’s got big hoop earrings)

God, Jughead is next and I’m not gonna be able to handle it

OH GOD IT’S SO MUCH WORSE THAN I THOUGHT

Alphabet City?! the piano?? the fucking East Coast Beat typewriter shit—the day robe? I’m—READING CLUBMASTERS? FORSYTHE???

OH GOD HE’S DATING ANOTHER WRITER (she has nice pants)

Jughead eats: “that place you like” is a HOT DOG STAND in the middle of SOME GRASS

I’ve seen Brick like thirty times: Jughead wears high-ankle light blue jeans, grey socks, and spectators that blend to create the illusion of wading boots. I’m going to commit a crime

Jughead doubts it: “So did Kerouac. And Hemingway. And Fitzgerald.” 

fuck yes I love Floundering Jughead, and his Pushy Agent who pronounces “career” like “Korea,” and the continuing tradition of Jughead getting kicked out of his house

I like Literary Grifter’s sweater

the Brat Pack, and most of the Rat Pack for that matter, were actors, but I assume RAS couldn’t resist the rhyme 

I was 100% afraid we were about to learn Cora was an uncomfortably-young undergrad

the musical cue as she reaches into her bag is absolutely as if she’s taking out a gun, and it might as well be! it’s the scariest thing in NYC: an unpublished manuscript

showrunners doing a classic I Love Lucy job partially concealing Vanessa Morgan’s pregnancy via medium close-ups, draping black clothes

Cheryl slowly turning to ask if doesn’t she look okay 10/10 icon

Cheryl’s pins: she has either a tiny spider or maybe a tick

Cheryl’s sheaths: the lacy red thing, amazing

why is Cheryl’s left hand gloved?

Cheryl’s a chaos angel from hell: Cheryl’s going to forge a Rembrandt, which unfortunately means she’s my favorite person on the planet (she does not look happy about doing this)

btw is Nana Rose an Immortal?

please tell me about Toni’s eyelashes

EXTREMELY HAUNTED DOLL?!

“Damn good coffee”: Archie’s earnest “Where are people gonna sit for the bus?” slayed me

fuck YEAH Ghoulies party house! terrible music but really good skull spray paint art

Jug looks LOW lol

Veronica’s blouse + buttons, impeccable

I’m writing a scene where it’s gay.: Tabitha/Squeaky

the hellscape semi’s red backlighting and its skeleton’s red eyes

I like Linette’s glossy bomber!

the trucker who’s about to kill her can’t also be the Trash Bag Killer….truckers have to stick to too much of a schedule….but he could be Betty’s meandering serial

I loved this episode

NEXT WEEK: Archie brings the FBI down on some people paying their rent :(

[msawesomegeek]

Alita battle angel – Movie review

A/N: look at me, watching a movie. Yay. However it might be me thats hungover and procrastinating doing an exam. Anyways. I have a lot of thoughts on this movie.

SERIOUSLY SPOILERS AHEAD, skip the whole first section if you wanna avoid.

Okay, so, Alita battle angel, is a two hour movie that came out last year. It is about Doctor Ido, who in the scrapyard finds a core that's still alive and gives her a body. Alita wakes up and doesn't remember who she is. She learns the ways of this world in Iron city and about the floating city Zalem, and we meet (I'll be honest here, I liked him but I cannot for the life of me remember his name right now so let's call him whatshisface for now.) whatshisface, he is the love interest and he really wants to go to Zalem. We are also introduced to Vektor a rich guy who runs motorball, a popular sport. He is working with Ido's ex wife and she also has a hard on for going back to Zalem. A bunch of stuff happens, Alita finds out she's a marsian warrior, gets in a fight with a bounty hunter after becoming one herself. Enters the motorball tournament to get money to give to whatshisface so he can go to Zalem, action happens. She finds out no one goes there intact only in the creepiest way possible, talks to the person whose been the puppet master all along. Enters the big tournament to become an ultimate champion to go to Zalem. The end.

Mostly spoilerfree zone now.

So. Normally I do not go into that much detail about a movie's plot, but I wanted to do it here to show just how much this movie is just far too complicated. It suffers, sadly like a lot of action movies these days, from sequel syndrome. In which you can tell they wanted to cram a lot of info into this movie but also have a lot of exposition for the sequel, which ends up needlessly complicating and confusing the plot of the movie that you're already watching – think Suicide Squad or Justice League. The worst part of this is you're watching a movie hoping for an ending and then you're not getting it. A movie should be a story told from beginning to end, not beginning and then we reveal that there is a final boss and you just killed the small boss.

Besides that, I also wanted to write out the storypoints to show how weird and confusing it gets. I get wanting to build tensions and conflict, but I honestly felt like it tried to do everything, meaning we didnt really have time to get interested in any of the plot points in depth. (oh my god I just remembered whatshisface's name!). And that way it also feels like you're not watching a cohesive plot but like a sequence of events that are sometimes related. That lack of focus even extends to the characters. Alita spends the first half of the movie really wanting to kill this dude, and then just forgets about it until the end of the movie. Like, what?

And that also brings me to another problem with this plot, *sighs* it suffers from Spiderman 3 disorder – and by that I mean, this movie, has a villain problem. The villains are far too many, and also almost constantly has weird motivations, like there are logical motivations that would make sense for them to become antagonistic, but the movie just opts for the weirdest ones. Like the bounty hunter, wants to kill Hugo (whatshisface), and they spend like 10 minutes on it, and it seems like it is because he wants revenge on Alita from earlier, but then he just does not try to kill her or anything when she shows up! I had to rewatch those scenes, and I still have no god damn clue why he wants to kill Hugo! And that is a problem! AND then, you have Vektor sending all these other bounty hunters to kill, which is, fine. But again, I have no f*cking clue why HE wants to kill her? Why does the evil overlord that controls everyone want to kill her? Like, the fact that there are this many villains is a problem on its own, but then I at least need to know WHY all these villains are there (okay I am gonna do something that is normally illegal on the internet); I mean at least in Spiderman 3 we all knew WHY they wanted to kill Toby Maguire! How, just, how, do you mess up something so fundamental?!

Sadly the next problem is kind of related. Most characters. Look I get that there are some conflicts that are needed. But like, especially Hugo, what?! Like I get his crime thing being wrong and why it would create some conflict, but it seems so forced somehow. And like, when his girlfriend wants to do something really dangerous to make his dream happen, he tells the others he quits. But then why from there not just come clean to Alita, and be like, sorry babe I used to do this because I was in a desperate situation, but now I have learned something. It would have been compelling for his character. Because honestly he has some sweet moments, but otherwise I feel like he is just selfish. And that is fine, but make it compelling selfishness! Also except for the last 10 minutes of the movie, why does the Ido's wife have to be there? It seemed weird. The only antagonist I actually enjoyed was bounty hunter guy because he had just a pinch of a personality sprinkled in there. Alita is fine, maybe a little op, like let her train or something. Ido was good and honestly probably the best character in this movie, but his motivations are so weird sometimes.

So, uhm, what was good? Well, the fight sequences weren't bad, I liked them. The special effects were pretty cool. I loved what they did with those extreme zoom ins on her eyes. The acting was good. Cinematography was pretty good, not noticeable, but also weren't any scenes where I didn't know what was going on. The soundtrack has a very James Cameron vibe to it, which was okay.

Overall, did this movie suck? Yes. For multiple reasons, the story is weirdly paced and put together in a way where it feels like they wanted to cram like three books into one movie (or as I like to call the "opposite Hobbit effect", I'm sorry, I dont know why I have started making weird names for things to amuse myself during this review but here we are I guess.). And a lot of the plot points seemed forced, there are too many villains and all characters need to be tweaked so we actually understand their motivations for things. But visually it was pretty. But I'll be honest, I dont even recommend watching this as a its so bad its good. It is just weird, confusing and bad.

1 out of 10 stars (and that one star is for the actors and the visual teams only.)

So those were my thoughts, tell me what you thought? If you disagree with me and I completely misunderstood your favourite movie! Or if there is any other movie you wanna talk about or want me to watch and review – send me an ask. :)

- Em

[ordinaryschmuck]

What I Thought About Loki (Season One)

(Sorry this is later than it should have been. I may or may not be experiencing burnout from reviewing every episode of the gayest show Disney has ever produced)

Salutations, random people on the internet. I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

Do you want to know what's fun about the Marvel Cinematic Universe? It is now officially at the point where the writers can do whatever the hell they want.

A TV series about two Avengers getting stuck in a series of sitcoms as one of them explores their personal grief? Sure.

Another series as a guy with metal bird wings fights the inner racism of his nation to take the mantel of representing the idea of what that nation should be? Why not?

A forgettable movie about a superspy and her much more mildly entertaining pretend family working together to kill the Godfather? F**king go for it (Let that be a taste for my Black Widow review in October)!

There is no limit to what you can get with these movies and shows anymore, and I personally consider that a good thing. It allows this franchise to lean further into creative insanity, thus embracing its comic roots in the process. Take Loki, for example. It is a series about an alternate version of one of Marvel's best villains bouncing around the timeline with Owen Wilson to prevent the end of the universe. It sounds like just the right amount of wackiness that it should be too good to fail.

But that's today's question: Did it fail? To find out my own answer to that, we're gonna have to dive deep into spoilers. So be wary as you continue reading.

With that said, let's review, shall we?

WHAT I LIKED

Loki Himself: Let's get this out of the way: This isn't the same Loki we've seen grow within five movies. The Loki in this series, while similar in many ways, is still his very own character. He goes through his own redemption and developments that fleshes out Loki, all through ways that, if I'm being honest with you, is done much better in six-hour-long episodes than in past films. Loki's story was already entertaining, but he didn't really grow that much aside from being this chaotic neutral character instead of this wickedly evil supervillain. Through his series, we get to see a gradual change in his personality, witnessing him understand his true nature and "glorious purpose," to the point where he's already this completely different person after one season. Large in part because of the position he's forced into.

Some fans might say that the series is less about Loki and more about the TVA. And while I can unquestionably see their point, I still believe that the TVA is the perfect way for Loki to grow. He's a character all about causing chaos and controlling others, so forcing him to work for an organization that takes that away allows Loki time to really do some introspection. Because if his tricks don't work, and his deceptions can't fool others, then who is he? Well, through this series, we see who he truly is: A character who is alone and is intended to be nothing more than a villain whose only truly selfless act got him killed in the end. Even if he wants to better himself, he can't because that "goes against the sacred timeline." Loki is a person who is destined to fail, and he gets to see it all with his own eyes by looking at what his life was meant to be and by observing what it could have been. It's all tragic and yet another example of these shows proving how they allow underdeveloped characters in the MCU a better chance to shine. Because if Loki can give even more depth to a character who's already compelling as is, then that is a feat worth admiration.

The Score: Let's give our gratitude toward Natalie Holt, who f**king killed it with this series score. Every piece she made is nothing short of glorious. Sylvie's and the TVA's themes particularly stand out, as they perfectly capture who/what they're representing. Such as how Sylvie's is big and boisterous where the TVA's sound eerie and almost unnatural. Holt also finds genius ways to implement other scores into the series, from using familiar tracks from the Thor movies to even rescoring "Ride of the Valkyries" in a way that makes a scene even more epic than it already could have been. The MCU isn't best known for its musical scores, partly because they aim to be suitable rather than memorable. But every now and again, something as spectacular as the Loki soundtrack sprinkles through the cracks of mediocrity. Making fans all the more grateful because of it.

There’s a lot of Talking: To some, this will be considered a complaint. Most fans of the MCU come for the action, comedy, and insanely lovable characters. Not so much for the dialogue and exposition. That being said, I consider all of the talking to be one of Loki's best features. All the background information about the TVA added with the character's backstories fascinates me, making me enthusiastic about learning more. Not everyone else will be as interested in lore and world-building as others, but just because something doesn't grab you, in particular, doesn't mean it isn't appealing at all. Case in point: There's a reason why the Five Nights at Freddy's franchise has lasted as long as it has, and it's not entirely because of how "scary" it is.

There's also the fact that most of the dialogue in Loki is highly engaging. I'll admit, some scenes do drag a bit. However, every line is delivered so well that I'm more likely to hang on to every word when characters simply have honest conversations with each other. And if I can be entertained by Loki talking with Morbius about jetskis, then I know a show is doing at least something right.

It’s Funny: This shouldn't be a surprise. The MCU is well-known for its quippy humor in the direct acknowledgment that it doesn't take itself too seriously. With that said, it is clear which movies and shows are intended to be taken seriously, while others are meant to be comedies. Loki tries to be a bit of both. There are some heavy scenes that impact the characters, and probably even some fans, due to how well-acted and professionally written they can be. However, this is also a series about a Norse god traveling through time to deal with alternate versions of himself, with one of them being an alligator. I'd personally consider it a crime against storytelling to not make it funny. Thankfully, the writers aren't idiots and know to make the series fun with a few flawlessly timed and delivered jokes that never really take away from the few good grim moments that actually work.

It Kept Me Surprised: About everything I appreciate about Loki, the fact that I could never really tell what direction it was going is what I consider its absolute best feature. Every time I think I knew what was going to happen, there was always this one big twist that heavily subverted any and every one of my expectations. Such as how each time I thought I knew who the big bad was in this series, it turns out that there was an even worse threat built up in the background. The best part is that these twists aren't meant for shock value. It's always supposed to drive the story forward, and on a rewatch, you can always tell how the seeds have been planted for making each surprise work. It's good that it kept fans guessing, as being predictable and expected would probably be the worst path to take when making a series about Loki, a character who's all about trickery and deception. So bonus points for being in line with the character.

The TVA: You can complain all you want about how the show is more about the TVA than it is Loki, but you can't deny how the organization in question is a solid addition to the MCU. Initially, it was entertaining to see Loki of all characters be taken aback by how the whole process works. And it was worth a chuckle seeing Infinity Stones, the most powerful objects in the universe, get treated as paperweights. However, as the season continues and we learn about the TVA, the writers show that their intention is to try and write a message about freedom vs. control. We've seen this before in movies like Captain America: The Winter Soldier or Captain America: Civil War, but with those films, it always felt like the writers were leaning more towards one answer instead of making it obscure over which decision is correct. This is why I enjoy the fact that Loki went on saying that there really is no right answer for this scenario. If the TVA doesn't prune variants, it could result in utter chaos and destruction that no one from any timeline can prepare themselves for. But when they do prune variants along with their timelines, it takes away all free will, forcing people to be someone they probably don't even want to be. It's a situation where there really is no middle ground. Even if you bring up how people could erase timelines more destructive than others, that still takes away free will on top of how there's no unbiased way of deciding which timelines are better or worse. And the series found a brilliant way to explain this moral: The season starts by showing how the TVA is necessary, to later point out how there are flaws and evil secrets within it, and ends things with the revelation that there are consequences without the TVA keeping the timeline in check. It's an epic showcase of fantastic ideas met with exquisite execution that I can't help but give my seal of approval to.

Miss Minutes: Not much to say. This was just a cute character, and I love that Tara Strong, one of the most popular voice actors, basically plays a role in the MCU now.

Justifying Avengers: Endgame: Smartest. Decision. This series. Made. Bar none.

Because when you establish that the main plot is about a character getting arrested for f**king over the timeline, you're immediately going to get people questioning, "Why do the Avengers get off scot-free?" So by quickly explaining how their time-traveling antics were supposed to happen, it negates every one of those complaints...or most of them. There are probably still a-holes who are poking holes in that logic, but they're not the ones writing this review, so f**k them.

Mobius: I didn't really expect Owen Wilson to do that good of a job in Loki. Primarily due to how the Cars franchise discredits him as a professional actor for...forever. With that said, Owen Wilson's Mobius might just be one of the most entertaining characters in the series. Yes, even more so than Loki himself. Mobius acts as the perfect straight man to Loki's antics, what with being so familiar with the supposed god of mischief through past variations of him. Because of that, it's always a blast seeing these two bounce off one another through Loki trying to trick a Loki expert, and said expert even deceiving Loki at times. Also, on his own, Mobius is still pretty fun. He has this sort of witty energy that's often present in Phil Coulson (Love that character too, BTW), but thanks to Owen Wilson's quirks in his acting, there's a lot more energy to Mobius than one would find in Coulson. As well as a tad bit of tragedy because of Mobius being a variant and having no clue what his life used to be. It's a lot to unpack and is impressively written, added to how it's Owen Wilson who helps make the character work as well as he did. Cars may not have done much for his career, but Loki sure as hell showed his strengths.

Ravonna Renslayer: Probably the least entertaining character, but definitely one of the most intriguing. At least to me.

Ravonna is a character who is so steadfast in her believes that she refuses to accept that she may be wrong. Without the proper writing, someone like Ravonna could tick off (ha) certain people. Personally, I believe that Ravonna is written well enough where even though I disagree with her belief, I can understand where she's coming from. She's done so much for the TVA, bringing an end to so many variants and timelines that she can't accept that it was all for nothing. In short, Ravonna represents the control side of the freedom vs. control theme that the writers are pushing. Her presence is necessary while still being an appealing character instead of a plot device. Again, at least to me.

Hunter B-15: I have no strong feelings one way or another towards B-15's personality, but I will admit that I love the expectation-subversion done with her. She has this air of someone who's like, "I'm this by-the-books badass cop, and I will only warm up to this cocky rookie after several instances of them proving themselves." That's...technically not B-15. She's the first to see Loki isn't that bad, but only because B-15 is the first in the main cast to learn the hidden vile present in the TVA. It makes her change in point of view more believable than how writers usually work a character like hers, on top of adding a new type of engaging motivation for why she fights. I may not particularly enjoy her personality, but I do love her contributions.

Loki Watching What His Life Could Have Been: This was a brilliant decision by the writers. It's basically having Loki speedrun his own character development through witnessing what he could have gone through and seeing the person he's meant to be, providing a decent explanation for why he decides to work for the TVA. And on the plus side, Tom Hiddleston did a fantastic job at portraying the right emotions the character would have through a moment like this. Such as grief, tearful mirth, and borderline shock and horror. It's a scene that no other character could go through, as no one but Loki needed a wake-up call for who he truly is. This series might heavily focus on the TVA, but scenes like this prove just who's the star of the show.

Loki Causing Mischief in Pompeii: I just really love this scene. It's so chaotic and hilarious, all heavily carried by the fact that you can tell that Tom Hiddleston is having the time of his damn life being this character. What more can I say about it.

Sylvie: The first of many surprises this season offered, and boy was she a great one.

Despite being an alternate version of Loki, I do appreciate that Sylvie's her own character and not just "Loki, but with boobs." She still has the charm and charisma, but she also comes across as more hardened and intelligent when compared to the mischievous prick we've grown to love. A large part of that is due to her backstory, which might just be the most tragic one these movies and shows have ever made. Sylvie got taken away when she was a little girl, losing everything she knew and loved, and it was all for something that the people who arrested her don't even remember. How sad is that? The fact that her life got permanently screwed over, leaving zero impact on the people responsible for it. As badass as it is to hear her say she grew up at the ends of a thousand worlds (that's an album title if I ever heard one), it really is depressing to know what she went through. It also makes her the perfect candidate to represent the freedom side of the freedom vs. control argument. Because she's absolutely going to want to fight to put an end to the people who decide how the lives of trillions should be. Those same people took everything from Sylvie, and if I were in her position, I'd probably do the same thing. Of course, we all know the consequences that come from this, and people might criticize Sylvie the same way they complain about Thor and Star Lord for screwing over the universe in Avengers: Infinity War. But here's the thing: Sylvie's goals are driven by vengeance, which can blind people from any other alternatives. Meaning her killing He Who Remains is less of a story flaw and more of a character flaw. It may be a bad decision, but that's for Season Two Sylvie to figure out. For now, I'll just appreciate the well-written and highly compelling character we got this season and eagerly wait as we see what happens next with her.

The Oneshot in Episode Three: Not as epic as the hallway scene in Daredevil, but I do find it impressive that it tries to combine real effects, fighting, and CGI in a way where it's all convincing enough.

Lady Sif Kicking Loki in the D**k: This is a scene that makes me realize why I love this series. At first, I laugh at Loki being stuck in a time loop where Lady Sif kicks him in the d**k over and over again. But a few scenes later, this setup actually works as a character moment that explains why Loki does the things he does.

This series crafted phenomenal character development through Loki getting kicked in the d**k by the most underrated badass of the Marvel Cinematic Universe. It's a perfect balance of comedy and drama that not every story can nail, yet Loki seemed like it did with very little effort.

Classic Loki: This variant shows the true tragedy of being Loki. The only way to survive is to live in isolation, far away from everything and everyone he loves, only to end up having his one good deed result in his death anyways. Classic Loki is definitive proof that no matter what face they have, Lokis never gets happy endings. They're destined to lose, but at least this version knows that if you're going out, you're going out big. And at least he got to go out with a mischievous laugh.

(Plus, the fact that he's wearing Loki's first costume from the comics is a pretty cute callback).

Alligator Loki: Alligator Loki is surprisingly adorable, and if you know me, you know that I can't resist cute s**t. It's not in my nature.

Loki on Loki Violence: If you thought Loki going ham in Pompeii was chaotic, that was nothing to this scene. Because watching these Lokis backstab one another, to full-on murdering each other, is a moment that is best described as pure, unadulterated chaos. And I. Loved. Every. Second of it.

The Opening Logo for the Season Finale: I'm still not that big of a fan of the opening fanfare playing for each episode, but I will admit that it was a cool feature to play vocal clips of famous quotes when the corresponding character appears. It's a great way of showing the chaos of how the "sacred timeline" works without having it to be explained further.

The Citadel: I adore the set design of the Citadel. So much history and backstory shine through the state of every room the characters walk into. You get a perfect picture of what exactly happened, but seeing how ninety percent of the place is in shambles, it's pretty evident that not everything turned out peachy keen. And as a personal note, my favorite aspect of the Citadel is the yellow cracks in the walls. It looks as though reality itself is cracking apart, which is pretty fitting when considering where the Citadel actually is.

He Who Remains: This man. I. Love. This man.

I love this man for two reasons.

A. He's a ton of fun. Credit to that goes to the performance delivered by Jonathon Majors. Not only is it apparent that Majors is having a blast, but he does a great job at conveying how He Who Remains is a strategic individual but is still very much off his rocker. These villains are always my favorite due to how much of a blast it is seeing someone with high intelligence just embracing their own insanity. If you ask me, personalities are always essential for villains. Because even when they have the generic plot to rule everything around them, you're at least going to remember who they are for how entertaining they were. Thankfully He Who Remains has that entertainment value, as it makes me really excited for his eventual return, whether it'd be strictly through Loki Season Two or perhaps future movies.

And B. He Who Remains is a fantastic foil for Loki. He Who Remains is everything Loki wishes he could have been, causing so much death, destruction, and chaos to the multiverse. The important factor is that he does it all through order and control. The one thing Loki despises, and He Who Remains uses it to his advantage. I feel like that's what makes him the perfect antagonist to Loki, thanks to him winning the game by not playing it. I would love it if He Who Remains makes further appearances in future movies and shows, especially given how he's hinted to be Kane the Conqueror, but if he's only the main antagonist in Loki, I'm still all for it. He was a great character in his short time on screen, and I can't wait to see what happens next with him.

WHAT I DISLIKED

Revealing that Loki was D.B. Cooper: A cute scene, but it's really unnecessary. It adds nothing to the plot, and I feel like if it was cut out entirely, it wouldn't have been the end of the world...Yeah. That's it.

That's my one and only complaint about this season.

Maybe some scenes drag a bit, and I guess Episode Three is kind of the weakest, but there's not really anything that this series does poorly that warrants an in-depth complaint.

Nope.

Nothing at all...

…

...

...I'm not touching that "controversy" of Loki falling for Sylvie instead of Mobius. That's a situation where there are no winners.

Only losers.

Exclusively losers.

Other than that, this season was amazing!

IN CONCLUSION

I'd give the first season of Loki a well-earned A, with a 9.5 through my usual MCU ranking system. It turns out, it really is the best type of wackiness that was just too good to fail. The characters are fun and likable, the comedy and drama worked excellently, and the expansive world-building made me really intrigued with the more we learned. It's hard to say if Season Two will keep this momentum, but that's for the future to figure out. For now, let's just sit back and enjoy the chaos.

(Now, if you don't excuse me, I have to figure out how to review Marvel's What If...)

[solar-pxwered]

A List Of Norman Reedus Movies/Shows I Have Seen And My Opinions On Them

1. The Boondock Saints

The Best. A classic. Bloody and inappropriate and if I remember my count correctly, contains 194 “fucks” or variations of it (this movie certainly illustrates the diversity of the word). Terrible Irish accents. A KICKASS soundtrack. Willem DeFoe crossdressing. Dropping toilets on people’s heads. Over the top action sequences. Cheesy dialogue. Campy as fuck. I freakin’ love it.

2. The Boondock Saints 2: All Saints Day

Some people didn’t like this one as much as the first one, and I admit that I wasn’t as fond of the new detective in this one as I was of Smecker...but, overall, I really enjoyed it and I drove 2 hours to see it in theaters. I love Romeo more than Rocco. The humor was on point. It was nice to see the original actors for Doc, Dolly, Duffy and Greenley. There was more terrible Irish accents, another KICKASS soundtrack, cheesy dialogue, over the top action sequences, still campy as fuck. I freaking love it.

3. The Walking Dead

Cannot even describe how much I love this show. I have ALWAYS loved zombie related shows and movies so this show was right up my alley from the very beginning all the way back in 2010. I watched it religiously every Sunday. I adore this roller coaster ride of a show and I especially adore Daryl, Carol and Jerry. This show has it all: Comedy, drama (hella lots of that), tragedy and triumph...and it never fails to pulls me in and hold my interest.

4. Mimic

Honestly, I saw this a LONG time ago and I hated it because...well, because I have a cockroach phobia, ok?! Don’t judge. Norman’s part was pretty small, not one of his lasting impressions on me.

5. Six Ways To Sunday

This is a weird one. It’s about an overly innocent 18 year (played by Norman) who gets involved in the Mob and develops an alter ego that’s violent and his complete opposite. There’s murder, prostitutes and good ol’ fashioned mother-son incest and it wasn’t a movie I suggest for the lighthearted or anyone with those sort of triggers. 

That being said, I watched the whole thing and didn’t hate it. It was just uncomfortable...as seems to be a theme with Norman Reedus movies.

6. Dark Harbor

This fucking movie...

Ok, so, I’ll be straight with you: I really enjoyed this dumbass movie. It had me guessing right up to the very end and it took me on a very strange ride along the way. 

If watching someone sexually feed a woman a poisonous mushroom, lots of dark eyed staring scenes or Norman Reedus making out with Alan Rickman is your thing, then go for it. 

7. Let the Devil Wear Black

It’s modern Hamlet. What else is there to say? If you like Hamlet, you’ll like this movie. If you like pre-car accident, baby face Reedus with the black hair, you’ll like this movie. I liked it.

8. 8MM

You know what the best thing about this movie is? Nicholas Cage. He steals the damn show no matter what movie he’s in and no one can even deny that fact. Norman’s part in this one is pretty small too but I liked this movie anyway because...well, Nick Cage. Enough said.

9. Bad Seed

I honestly can’t remember how this movie ends, all I remember was that it wasn’t at all how I expected it. I liked this movie because it’s a psychological thriller and that’s my most favorite genre of all time. The movie’s premise is a guy suspects his wife of having an affair and comes home one night and finds her murdered so he goes after her lover (Reedus) to try and kill him because he believes he was the one who killed her. It’s a cat and mouse chase sort of thing...now I need to rewatch it because I can’t, for the life of me, remember how it ends.

10. Gossip

Ok, no JOKE, this is the best movie I ever randomly discovered and I can’t believe how many people have never heard of it! It’s got some big names in it (Lena Headey, Norman Reedus, James Marsden and Kate Hudson to name a few).

It’s a psychological thriller/mystery drama in which three friends start a rumor at their school as a social experiment for their class. The rumor grows, however, and suddenly it’s out of their hands and spiraling out of control. People start getting hurt, reputations get dragged through the mud and then it escalates to the point of someone losing their life. The three main characters {Reedus, Headey and Marsden) try to figure out the truth behind the out of control rumors and discover more than they ever imagined, or ever wanted.

I HIGHLY recommend this movie. I really, REALLY do. The ending is one of the best twists I’ve seen in a LONG time.

11. The Beatnicks

This movie is so weird. It’s like...it’s just really weird. It revolves around two beat poets who find a magic box that somehow magically helps them get good at being poets but it’s like...an evil box and so they decide to only use it once and then get rid of it. Yeah, it’s a weird movie. Not my highest suggestion.

12. Blade II

Ok, if you’ve never seen the Blade Trilogy then I just don’t even know what to tell you. 

My favorite of the three movies, Blade 2 gives us the glorious Reedus character of Scud, the pot smoking, horrible-shirt-wearing, mechanical genius and Blade’s sidekick. Not only is he precious and adorable, the movie in all is enjoyable and has a fun rave-esque soundtrack. 

The one thing I hate? *SPOILER ALERT* Scud’s scummy betrayal.

13. Tough Luck

This is another one of those movies that I liked but it’s just so freaking weird. 

It’s a psychological drama where a down on his luck con artist, Archie (Reedus), tries to rip off a carnival worker and gets caught. As punishment, he’s hired to work at the carnival  to pay off the debt. He gets involved in a scheme to murder the owner’s wife, but falls in love with her in the process.

Things go to shit. He gets the short end of the stick. More plots and lies develop. It’s all twisted until the end and the answers fall into place.

I really like this movie, it’s one that I kept and still have my copy of. 

A word of warning though, never leave this movie on your movie shelf for your father to find and watch while you’re away at college, resulting in your mother calling you and asking you why you have such a nasty movie. Because the sex scene at the end is OUTRAGEOUS. I mean, it is the FUNNIEST fucking sex scene I have ever seen in my life and I can’t ever watch it without cringing and laughing. My mother, however, didn’t think it was funny at all and my father was too shocked to even form a sentence.

I highly suggest this trippy as hell movie.

14. Octane

Ok, to be fair, this movie is actually alright, although Norman’s character gets the shittiest death possible. I mean, imagine dying because some psycho vampire kisses you and bites your tongue out. That’s one shitty death.

But, overall, this is a good thriller. Johnathan Rhys Meyers plays the villain and he’s always pretty quality. The story is basically a teenager has a disagreement with her mom and gets picked up by this drugged up, blood sucking, vampire wannabe cult and indoctrinated joining them. Her mother joins up with a tow truck driver (Reedus) whose daughter was also kidnapped years ago and who has been hunting the cult down ever since. 

It was a cringe filled, yet interesting, movie and I didn’t hate it.

15. John Carpenter’s Cigarette Burns

This is John Carpenter....OF COURSE I liked this one. 

I won’t say what it’s about because that would ruin the story, but it’s part of an anthology and John Carpenter loved Norman’s role so much he STILL talks about it today and suggests Norman to people in the industry.

It’s a good one if you’re into horror shorts or anthologies or the genius of the legend that is John Carpenter.

16. A Crime

I had completely forgotten about this movie until I started making this post, but now that I remember...I REALLY liked this one!!

This is a pretty sad one, but it was very good and Norman’s acting in it is absolutely wonderful. His character’s wife was murdered and the suspect was never found so his neighbor, who really likes him, creates a fake culprit so that he can finally get some closure. 

This is a good one. I suggest this one if you’re in the mood for a strange sort of romance movie that has underlying thriller tones.

17. Moscow Chill

I remember watching this one, and I remember enjoying it, but I honestly can’t remember anything about it except that it’s a Russian film in which Norman plays a computer hacker who gets hired to hack into a Russian bank and gets caught and put in prison. But I honestly can’t remember what happens in detail.

If you like foreign movies with hacking and subterfuge plots, then give it a try because I do remember enjoying it while I watched.

18. Red Canyon

This one is kinda fucked up. Imagine Daryl Dixon mixed with Breaking Bad mixed with Deliverance and you’ve pretty much got the story...

A brother and sister return to their mother’s hometown to settle things and put their horrible past behind them...but upon returning they end up reliving the nightmare all over again.

It’s a good thriller/horror watch, but there are scenes of sexual violence so if that’s not something you can handle, then don’t watch this one.

19. Hero Wanted

This. Is. A. GOOD. Movie.

Cuba Gooding Jr. is the lead and he does an AMAZING job. Gooding’s character is a garbage man who falls in love with a girl who never takes any notice of him. To get her attention, he stages a heist in which he is supposed to jump in, save the day, and win the girl...only the heist turns out to be real and he is shot and the girl is also shot in the process. He sets out for revenge and gets in way over his head.

Norman’s part in this isn’t very big...but HOLY SHIT, was it impactful. His character didn’t have a lot of screen time, in comparison to a lot of other people, but he had a solid backstory and reason for being involved and MY GOD did I cry about it. This was actually the first movie of his I watched AFTER discovering Boondock Saints and it solidified my love for his acting abilities.

A very good watch. Highly suggest.

20. Messengers 2: The Scarecrow

This one is pretty ok, actually, as far as lame horror movies go. 

The plot is simple: Blonde, beardy, corn farmer Norman gets slowly driven insane by the haunted scarecrow in his field that he thinks putting up is a good idea for some damn reason. He starts to get more and more violent and rapey as time goes on until his family is forced to take up arms against him.

It’s not bad. Second part in what I THINK is a trilogy? I’ve only ever seen the first two. If you like horror movies then this one is a good watch. As I mentioned though, there is an attempted rape scene in this one so just be aware.

21: Pandorum

It’s an alien movie. Astronauts run into a species that is stronger and hungry for tasty humans. Shepard (Norman’s character) doesn’t make it out alive. If you’re not in the mood to see Norman get LITERALLY gutted or other characters get nommed by aliens, then don’t watch.

If you ARE, then go ahead and watch, because it was pretty alright.

[marvelous-maximilian]

[AO3]

Tony not-so-subtly wrinkles his nose, and Howard can’t help but empathize. He, too, is beginning to lose his patience, and would quite literally do anything to get out of this conversation as quickly as possible. Their audience, however— a senator who knows just enough about rocket science to bullshit his way into looking like he knows what he’s talking about— isn’t really giving the Starks an opening to hightail it out of the interaction. 

Obadiah had been getting on Howard’s case, recently, for rather understandable reasons. He was the CEO of a multi-million dollar company, whose wife had recently died, and he had vanished from the public eye for months. The longer he stayed in isolation, the more people wanted a story, and many have already begun to weave conspiracy theories and outright slander. After a certain amount of months, the story that he was busy ‘grieving’ seemed too flimsy to the public, apparently. The board was getting restless, a point Obadiah kept making, and so Howard had no choice but to accept an invitation to a charity event. One that Maria would typically be the one to attend.

Of course, many had expected Howard to come alone, like he usually did when he went out to make connections. Instead, he had taken a leaf from his late wife’s book and brought along Tony, and went even further to bring along Peggy and an agent of hers by the name of Nick Fury. He can’t understand why people would be surprised by this. There’s no way in hell he’s letting his son out of his sight, not even for a single night. Besides, Tony was always seen at charity events alongside his mother. Howard may not be Maria, but he was still Tony’s parent, and there was nothing wrong with keeping this unofficial tradition of attending charities together alive.

Unfortunately, not everyone seemed to agree with that line of reasoning. While a good half of the attendees were charmed with Antonio, having met him before on many occasions and were quite used to his quick wit and abundant intelligence, the other half that Howard was more familiar with were... Condescending at best. At worst, they were downright insulting.

The amount of times the Starks had to endure blatantly false accusations of Howard buying Tony’s way through his schooling, from both business rivals and supposed partners, was enough to really get their blood boiling. Many were too caught up in their own egos to catch Tony’s displays of higher knowledge. Some even laughed and called him ‘cute’ when he attempted to open a discussion on artificial intelligence.

(Howard can already tell that Tony is going to take those personal insults and use it to fuel his ambitions. He doesn’t know where, exactly, his son got it into his head to pave the way for real, fully-functional artificial intelligence, but from the few comments the boy had made, Howard had no doubts that he will succeed. When Tony was focused, practically nothing could shake him out of it until he was finished with the job.)

This senator in particular seemed to be among the variety who wasn’t attempting to be insulting, but certainly came off that way. He spoke like he was the smartest man in the room— which, considering the amount of scientists in the room, he most definitely was not. He had continuously brushed away every attempt at conversation Tony made with a shake of the head, pointing a look towards Howard in a ‘kids these days, they think they know everything’ sort of expression.

As if Howard would agree. Christ, it really had him grinding his teeth.

Things really came to a head when the senator ruffled Tony’s hair. 

Let it be known that Antonio Edward Stark did not like being touched by people unless they were either family, or had explicit permission to do so. He didn’t like hugs from strangers, he didn’t like it when old ladies pinched his cheeks, and he very much did not like having his hair tousled by grown know-it-alls who can’t help talking down to people who are smarter than them.

“You should carry a plant around,” Tony said, fluttering his eyelashes in that all-too-innocent way he does before he says something that’s bound to make Howard lose his marbles. Big eyes paired with his now mildly messy hair, he looked like the picture of sweetness. 

As a businessman, Howard should probably make some attempt at stopping his son from insulting any of the other guests, regardless of how absolutely infuriating they are. Especially when they’re someone in such a high position of power. As a father, he’s rather looking forward to whatever his kid has to say, regardless of the many scrutinizing eyes on them.

Fatherhood wins out, so he stays quiet, letting the senator dig his grave as the man leans down and starts to talk like the patronizing imbecile he is.

“And why is that, young man?”

“To replace the oxygen you waste whenever you talk,” Tony replies, grinning back sharply. Beside Howard, Peggy chokes on a sip of apple cider, and starts coughing.

Around them, the noise of the other guests decrease in volume, many having overheard. The coughs seem to echo a bit in the silence, so Fury guides Peggy away from the center of attention, blending into the crowd, but keeping an eye on the Starks. Neither agents want to end up with their faces plastered in the tabloids, but they still have a job to do.

The click of a camera goes off.

“Tony,” Howard scolds, putting on the act of a disappointed father. “I’m so sorry for my son’s behavior, if you could excuse me for a moment—”

He picks Tony up and into his arms, then walks away, not bothering to wait around for Senator What's-his-name’s remarks. As soon as they’re far enough, out of earshot and away from the majority of the eyes that had witnessed the interaction, Howard leans towards his son’s ear.

“Do you have any idea,” he whispers, “Any idea, how difficult it was not to laugh?”

Tony giggles, and buries his face into his dad’s shoulder, body shaking in a way that, to those peering from the outside, made it look as though he were crying.

“Seriously. Fantastic performance, Tony,” he continues to whisper. “You’d do pretty good as an actor. I think you deserve a reward.”

“Make it something that looks like you’re trying to shut me up,” Tony suggests, mumbling into Howard’s coat.

“Great idea. Let’s go get you some juice, yeah? You’re probably thirsty, I bet.”

“Orange juice?”

“I don’t see any spread out, but I’ll ask one of the staff.”

They don’t have orange juice, but they do have banana milkshakes, for whatever reason, and although that isn’t what Tony was hoping for, he takes it anyways. A flute of champagne is also offered to Howard, which the man isn’t too happy about, but he still accepts it with a smile. It’s not like he has to drink any of it, right? 

Tony seems to have the same idea, because after a small sip of his milkshake, he clearly decides that he hates it. The boy doesn’t show it in his expression, but the carefully blank mask is just as much of a tell as scrunching up his face would be. 

“Don’t like bananas?”

“I do,” Tony assures, slightly turning his nose away from his glass. “I don’t think I like it mixed with milk though.”

Howard chuckles and pats his son’s head.

“You don’t have to drink it, then. C’mon, let’s go get Peggy and leave. We’ve been here long enough, and I’m sure we’ve got some orange juice at home.”

After abandoning the milkshake and champagne, they find Peggy and the younger agent, Nick, not too far, the two having been watching the Starks from the crowd. The journey home is not necessarily long— not even a full hour away, in fact— but it’s long enough that Tony ends up falling to sleep against his father’s side in the car. It’s not the first time Tony’s fallen asleep beside Howard, but the novelty of it never seems to wear off whenever it happens.

When they roll up into the driveway, rather than waking his son, Howard lifts him up and carries him towards his room, walking past SHIELD agents who aren’t all that great at pretending they’re not completely amused by how adorable a sight the father and son duo make. Or maybe they just think Tony is adorable, which would make sense considering they’re all wrapped around the kid’s finger.

Halfway towards the bedroom, Tony blinks himself awake, grumpily squinting up at his father. Howard gives him a fond smile, about to tell him to go back to sleep, when things suddenly go to shit.

Tony’s face twists up in pain, and he starts crying.

“Antonio?!”

Immediately, Howard kneels down and sets Tony onto the ground, and SHIELD agents begin to crowd in.

“Papá,” Tony groans, wrapping his arms around his stomach. “Papá, fa male.”

“Maybe it’s food poisoning,” one of the SHIELD agents suggests, which makes the universe decide to prove them wrong, evidently, because that’s the exact moment Tony turns on his side and starts vomiting blood. 

Howard freezes up, breath stuttering to a stop. He sees Maria and Tony’s faces side by side, and it’s like his world is crumbling around him. He doesn’t know what to do, doesn’t know if he can do anything, and the panic taking over him is drowning out the voices and chaos.

“Out of the way!”

Peggy pushes past the SHIELD agents, clapping a hand on Howard’s shoulder, forcefully turning him to look at her.

“Howard, pick him up. We’ve got to go.”

“What?”

“The hospital,” Peggy explains. “Pick him up, we’re getting back in the car and driving to the hospital. Now.”

Her instructions bulldozes through his panic and has him spurned to action. Not even a minute later, they’re speeding towards the nearest hospital.

[swanlake1998]

Article: Cicely Tyson and the Enduring Legacy of Arthur Mitchell’s Dance Theatre of Harlem

Date: February 24, 2021

By: Zita Allen

Cicely Tyson, the legendary 96-year-old Black actress whose February 16 funeral at Harlem's Abyssinian Baptist Church was attended by, among others, Tyler Perry, Lenny Kravitz, and Bill and Hillary Clinton, is remembered for performances that transcended stereotypes and made an indelible impression on a nation's heart and soul.

Among the most fondly remembered is her breakout role in the 1972 movie Sounder, which depicts a Black sharecropper family's struggle to survive in the Jim Crow South. The role catapulted Tyson to stardom, winning her an Academy Award nomination and a reputation as someone committed to enhancing Blacks' representation in the arts. Throughout a seven-decade career, countless critically acclaimed, award-winning roles in films, onstage and on television reaffirmed that image. Yet one role reflecting the depth of that commitment is much less visible—the supporting one she played working with longtime friend Arthur Mitchell when he envisioned, shaped and established the groundbreaking Dance Theatre of Harlem.

The first time many learned of it was during the Riverside Church tribute following Mitchell's passing in 2018. There the elegant, petite Tyson recalled, through tears and laughter, their decades-long friendship: "To say he was one of the dearest persons in my life is an understatement." The story she shared that day, which is recounted in her current memoir Just As I Am (written with Michelle Buford), involves an important piece of dance history.

Following the 1968 assassination of civil rights leader Dr. Martin Luther King, Jr., Tyson writes that she and Mitchell, like so many others, wanted to "carry on Dr. King's legacy...to move his dream from rhetoric to reality." Then, Mitchell had a brainstorm. It happened one morning at 3 am, during one of their hours-long, late-night phone calls that had become a habit following their chance meeting on a New York City street several years earlier, when Tyson's star was beginning to ascend and Mitchell's was shining bright at New York City Ballet, where he would become the company's first Black principal dancer. That night on the phone, Mitchell had a eureka moment: "I've decided what we should do. I am going to form my own dance company." Tyson recalls, "The fervor in my friend's voice, the passion with which he spoke, dragged me from my bed. I washed my face, pulled on a trench over my pajamas, and took a cab over to his place a few streets away. On Arthur's living room floor, amid papers and photographs he'd assembled while brainstorming, we sat talking about how we could move his vision forward."

Before the sun came up, they had invited the actor Brock Peters, a mutual friend, to join the deliberations. The three thrashed out Mitchell's vision, as Tyson writes, of "opening a classical ballet school, a place where Black children—toes pointed, horizons expanded—could learn the rigors and discipline that had lifted him toward prominence." And, as the saying goes, the rest is history. Mitchell would reach out to his mentor, famed ballet teacher Karel Shook, beckoning him to return to New York from the Netherlands to be part of the venture, and secure the pivotal support of NYCB's George Balanchine and Lincoln Kirstein.

Countless young dancers have benefited from the vision hatched during a late-night phone call between two close friends. Not the least among them is DTH's current artistic director and founding company member Virginia Johnson, whose career includes critically acclaimed performances in such ballets as Balanchine's Agon, Giselle, A Streetcar Named Desire and Fall River Legend.

Recalling the charismatic Tyson, Johnson said recently that the actress was not only a dear friend of Mitchell's but also served on the DTH board for a time, becoming one of the company's national advisors. "[She was] a voice we looked to," said Johnson, "to tell us how she saw DTH in the world as the world changed, moving forward." Tyson even accompanied DTH on tour, teaching acting classes for the dancers. "It was an amazing experience," Johnson said. "She was teaching us a craft that we would use as dancers as much as she used it as an actor." In fact, while Johnson's roles in such dramatic ballets as Agnes De Mille's Fall River Legend "came in the '80s, when Tyson was no longer that involved with the company," Johnson said, "what she taught me in those early days stayed with me and were part of the tools I used to develop those characters."

Of course, Cicely Tyson will always be remembered as the legendary actress whose career reflected a desire to shatter stereotypes and battle injustice. She portrayed characters who embodied strength, resilience and dignity. She must also be remembered as Arthur Mitchell's dear friend who helped form the blueprint of a ballet company that would accomplish a similar mission: shattering stereotypes and battling injustice while embodying excellence.