#jack wilder icons

[twentyonespiders]

Guys what should my new pfp be (blame truly-very-British for the new hyper fixation)

[midwestmunster]

Tony Curtis + Jack Lemmon, 90’s

[dnd-class-polls]

Class List

All descriptions are from this post on D&D Beyond - any alterations will be from myself. The 'main stats' are generally the stats I've found that are believed to be best attributed to each class - and are not strictly indicative of what type of stats those classes would have. They're kinda like extra guidelines to give an idea of what abilities each class may be more focused towards.

If you have any more questions, please feel free to send me an ask and I'll answer it to the best of my abilities!

Barbarian:

The barbarian is the perfect class for those who like to run into the midst of danger and start swinging away at enemies to deal big damage. They have access to Rage, which allows them to deal additional damage with melee attacks while also taking reduced damage from common sources of damage. They are a relatively straightforward, hack-and-slash class that focuses more on strength.

Main stats: Constitution / Strength

Bard:

Bards use the arts to fuel their magic and to support allies on the battlefield. Thanks to their Jack of All Trades feature, they can be good at just about any ability check you'll need to make. Their spell selection is limited until you get Magical Secrets, which lets you learn two spells from any class. Overall, the bard is great as a support role - as well as interacting with NPCs.

Main stats: Charisma / Dexterity

Cleric:

Although they make incredible healers, they have a flexible spell list and a wide range of subclasses that allow them to take on just about any role in an adventuring party. Want to destroy enemies with a warhammer, heal and buff your allies, or just fire off destructive spells from afar? The cleric can make it happen.

Main stats: Wisdom / Strength

Druid:

Druids draw their magic from nature itself, and have a range of ways to apply their abilities in both combat and healing. Druids have the wild shape ability, which lets them transform into beasts; they may play support and heal allies well; or they can focus on battlefield control by casting spells like entangle.

Main stats: Wisdom / Dexterity

Fighter:

The fighter class is like a more flexible version of the aforementioned Barbarian class - where Barbarians have their rage ability and strength, fighters can have access to a range of subclasses - which may suit knight or archer builds better.

Main stats: Strength / Dexterity

Monk:

This class focuses on martial arts, and wears light armour as a melee fighter. They use Ki points to gain additional attacks through Flurry of Blows, additional movement speed through Step of the Wind, and more. They have great combat utility and maneuverability.

Main stats: Dexterity / Wisdom

Paladin:

Paladins are warriors who are oath-bound, often to a divine cause - but not all the time. They are tanky combatants who bring the hurt to foes with their iconic Divine Smite feature, which lets you add damage to your attacks by burning spell slots. The class also offers some healing via Lay on Hands. Paladins are like a midway point between a fighter and a cleric, and are great for players who want to don heavy armor, have big swings in damage, and provide a bit of aid to allies.

Main stats: Strength / Charisma

Ranger:

Rangers are adept warriors skilled at traveling through the wilderness. They stalk and hunt down their enemies, and have features that allow them to safely navigate otherwise dangerous regions. They get some spells, and these assist them in taking down enemies or just making friends with creatures - which may join them in battle. While most players might imagine a ranger as someone who fires down on their enemies with a bow, the ranger can also get up close and personal.

Main stats: Dexterity / Wisdom

Rogue:

The rogue is the premiere stealth class in Dungeons & Dragons. The Sneak Attack feature allows you to deal massive amounts of damage, and Cunning Action allows you to take the Dash, Disengage, or Hide action as a bonus action, giving you a lot of maneuverability in combat. If you like sneaking around, picking locks, stealing treasure, and assassinating your enemies, rogue is the class for you.

Main stats: Dexterity / Wisdom

Sorcerer:

Sorcerers are characters whose magic comes naturally to them. In most cases, a sorcerer's bloodline is intertwined with some greater entity, like a celestial being or fiend. They get a limited number of spells but can modify them using their defining feature, Metamagic. This class feature allows them to tweak spells in various ways, including increasing their range, making them hard to detect, or simply giving them more oomph. They use Metamagic by using sorcery points.

Main stats: Charisma / Dexterity

Warlock:

By making a deal with an otherworldly entity, warlocks gain the privilege of using magic. Whether the entity is benevolent or sinister, creating a warlock allows players to fulfill a “deal with the devil”-type of character. They get access to unique spells only they can learn. This includes eldritch blast, the best damaging cantrip in the game.

Main stats: Charisma / Dexterity

Wizard:

Wizards gain their magic from studying it - instead of simply having it from their bloodline or from a warlock patron. They have the biggest selection of spells available and have numerous specializations that allow them to either focus on one of the particular schools of magic, or a particular facet of spellcasting. WIth a huge array of spells, and a great variety of subclasses, wizards are one the most flexible and most advanced classes in the game.

Main stats: Intelligence / Wisdom

Honorary mention

Artificers:

The newest class in the game is the artificer. This class is perfect for those who enjoy crafting. Artificers have the ability to infuse items with magical properties, as well as create their own set of magical items. To supplement this, they have access to a limited selection of spells and subclasses that allow you take on any role you please, whether that's a damage dealer or support character.

Main stats: Intelligence / Dexterity

Unfortunately, due to the 12 option limit on polls, I won't be including Artificers in the polls that I post. (⁠;⁠ŏ⁠﹏⁠ŏ⁠)

[hancockstan]

Man, I finally watched Goncharov for the first time and it’s crazy how so many spy/thriller/action movies have made obvious references to it that I never picked up before. Like that scene in Atomic Blonde with the umbrellas is just like the end of the second act when Goncharov realizes that Nickolas has betrayed him but still has to keep working with him so that his sister that runs the chop shop won’t back out of the deal with Sterling’s crew. And I only now realize what a clever twist atomic Blonde had on that scene since obviously the average person already knows the beats of Goncharov even if they never saw it, just through pop culture osmosis. So when she ultimately fails to protect Spyglass it comes as a double shock to the audience who has already seen a million parodies and references where this scene goes right for the protagonist. Also the end of the movie where Goncharov and Ivan are driving out to the middle of the wilderness and both of their actors are actually sleep deprived and suffering from carbon monoxide poisoning is more iconic the Jack Nicolson in the Shinning. Sorry not sorry.

[chirpsythismorning]

Rick Conroy's Recent Rentals:

Romancing the Stone (1/2/3)

As a refresher, this is a shot from 4x02: Vecna's Curse. Robin, Max, Dustin and Steve are using the Family Video's database to look through the most recent rentals of all the Ricks in town as hints for which one Reefer Rick is, so that they can find his address to track down Eddie.

Unfortunately for them, the selection here for this specific Rick didn't give off 'reefer' vibes and so they moved onto the next one. Luckily for us, the Duffers are nerds and this could be important.

While there are several Rick's they skim through, this one in particular had me intrigued. And so I will be analyzing these films, as well as whether or not they could have been inspiration for s4 or whether they may even be predicting events still yet to happen in s5.

3. Romancing the Stone (1984)

The plot of Romancing the Stone revolves around an American Romance/Adventure novelist, Joan Wilder, who has to travel to Colombia to save her sister. While there, she gets stranded in the jungle, though 'luckily' she runs into an American exotic bird smuggler, Jack T. Colton, who has a lot of experience in said jungle and whose basically her only hope in finding and saving her sister.

What makes this movie probably the most interesting out of the three, is that it's directed by Rob Zemeckis. If you don't know, Zemeckis also directed Back to the Future (1985).

In fact, if you look close, you'll see an interesting parallel that makes my explanation for this analysis a whole lot easier to transition into.

Basically, Zemeckis revealed later in life that the success from his film Romancing the Stone was what allowed him to make Back to the Future in the first place.

And so this just makes this iconic Marty McFly outfit kind of hilarious when you realize it's actually paying homage to another character.

Which means that this....

Could also mean this...

Not only do the costumes check out in terms of us being able to potentially associate Will with this character Jack, but the actual context of the story also makes it hard not to.

Jack is framed as someone who has way more knowledge and experience within this jungle in comparison to the protagonist, Joan, whose only ever explored adventures in her writing, not in reality.

Remind you of anyone?

Basically, I think that the reference to this film could be hinting at Mike and Will in the upside down together.

We know there have been a lot of hints leading up to that potentially in s5, though right now we don't know what it will for sure look like (whose going first? Mike or Will?), it's very likely to happen in some shape or form.

I do think that this film could act as a simple reference just like Sixteen Candles, with the meaning linked to ST being easy to spot and point out, Ie. Jack/Joan represent Will/Mike.

The main thing in this film that I think is an undeniable parallel, is this mention of a treasure map that Joan is planning to use as ransom to get back her sister. This map is labeled in big block letters with 'El Corazon' AKA the heart.

I obviously don't think we're going to be dealing with any lost treasure in ST like we see in this film, just like I don't think all the Lord of the Rings homage means we're going to see Will destroy a ring.

We're talking about both basic and complex parallels here, happening with hundreds of films/series at once, at different levels, and how the Duffers manage to make all of that fit organically to create a unique story on its own.

We all know how the heart plays a big role in s4 and what is likely to follow in s5 (the painting!!!). I do think this homage could be quite simple, but it could also be deeper because, again I am not satisfied with simple, as some of you probably know by now.

I also want to try to come to a close with this little 3 part series, which is easy to do because in regards to Will's character, it does feel like a sort of arc that could definitely play out going into the final season:

Sixteen Candles --> birthdagate

Teen Wolf --> memorygate/twelvegate

Romancing the Stone --> apocalypse-byler

My working theory rn is that Will is going to be in danger right at the start of s5, which we already saw foreshadowed at the very end of s4. There is this unspoken understanding that Will's connection to Vecna could mean bad things to come for Will, maybe even that destroying Vecna once in for all could also affect (kill) Will.

It's likely there is going to be discussion about the option of using Will's connection to find Vecna, and everyone sort of predictably being against it, bc of that unspoken understanding this could end very badly for him. But it's also possible that Will would be willing to do what he has to, even if it means putting himself in danger, especially if it means saving everyone. And simultaneously it would make sense for him to leave out all the details about his connection to Vecna as it starts to get worse, all while conflict between him and El and Mike is coming to a head, where Vecna is showing him things that are bringing him to a really low point, ie. everyone forgot your birthday, your friends/family don't love you, yada yada.

Then I think something is going to happen that is going to cause Will to be separated from everyone again... However, I don't think this going to last for more than one-two episodes. And it's likely we would see what he's up to in that time. This would make it parallel to s1 to an extent, but not to the extreme that we never see Will during that time or that he's separated for the course of the entire season. Just enough that it feels like deja vu basically.

And yes I do think it's possible Will has time powers. Though I don't want to make any crazy claims... I'm going to.

Basically, I think that Vecna would greatly benefit from making Will feel like it was better that he was never found in the first place (I feel like my life started that day we found you in the woods). And so what he's doing by bringing Will to this low point of hopelessness, is whats going to lead Will to essentially reverse him being found after going missing... That could benefit Vecna greatly presumably. Could it possibly even have the capacity to act as a reset for him of sorts? Maybe. And also, couldn't Vecna play this up to Will as him being able to save everyone and let them be happy, without him, bc he's at a point where he's made himself believe that he deserves it (FUCKING CRYING JUST THINKING ABOUT IT)

And so time passes (A TIME JUMP). Maybe it takes us to the 5 year anniversary since Will's disappearance (1+ years of our Will stuck in the upside down)... But something isn't right, something is missing. Something's wrong. And I think that we would see the characters figuring it out fairly quickly after the time jump is presented to us (anniversary affect). I think Mike in particular could figure it out first even (along with Joyce and Jonathan, hence the s5 foreshadowing intended with this promo), making him a quick target of Vecna, also contributing to him joining Will in the upside down fairly early on, post time-jump (also post Mike's boyliker realization, but Will won't know that...).

This is just a theory! But it does have a lot of interesting things surrounding it that make it at least plausible to me.

First of all, it reminds me so much of s2 and the whole Zombie boy arc with Will. He was in the upside down for a week and got dubbed that nickname. And yet now it makes me wonder if that could have been hinting at something more prominent still to come related to Will and his arc (we know he has this tendency to predict things with his art...).

This also ties into the whole controversy surrounding Will using a gun in s5. There's been this talk forever, how it doesn't make sense for Will to ever use a gun bc that's not like his character at all, as he's been shown to be quite scared and so it doesn't make sense for him to suddenly be comfortable with using a gun in a high stress situation.

However, what makes this sort of ironic to me is the literal narrative principle, Chekgov's gun, which states that every element in a story must be necessary, and irrelevant elements should be removed. Alternatively-explained, suppose a writer features a gun in a story; if the writer features it, there must be a reason for it, such as it being fired sometime later in the plot.

Remind you of anyone?

This means that starting the story from the very beginning with Will knowing how to use a gun and trying to protect himself with it, but failing to do so, followed by four seasons of him being scared frozen in situations of confrontation... Means that the gun is bound to go off!

Will using a gun in s5 in this scenario would also be supported by Will going through quite a transformation after being in upside down circumstances for 1+ years...

Quite frankly, I don't think it make sense for Will to be this character that is known for freezing and being powerless the entire series, all the way up until the very end. It makes a lot more sense that this final time around, after seeing that for 4 straight seasons, we are going to see a big change in him, which tends to happen to people that go through traumatic experiences and yet still manage to adapt and survive.

Will after 1+ years in the upside down probably knows how to shoot a gun and probably is more sure of himself and less skitish than s1-4 Will.

Also, this provides a lot of character development that Noah gets to have the affordance of exploring as an actor. Like, let's give Noah some wiggle room here to show off what he's capable of for Will's character, which is so much! We know Noah jokes about wanting Will to suffer immensely because it's fun for him to play and act out, but more than anything it's also challenging in a good way. And this would really test the limits of Noah's abilities, which is why I do think it would be a wise choice narratively to make his characters evolution well rounded for the overall story.

Will going from what we expect him to always be like, to being something thats much the same in the important ways (he's still Will obviously), while also being different (see what i did there) as a result of him facing all of his fears in order to survive.

And it also makes the official battle in the end, of him finally facing Vecna off, alongside El and the party, that much more satisfying and believable as an outcome. Because by that point he will be ready, just like they'll all be ready after having finally come together despite everything.

This theory also reminds me a lot of Verse 3 in Time After Time, which is the only verse left out of the scene in 2x09 at the snowball....

There has been speculation these lyrics could be foreshadowing what's to come, and so it is interesing to think about this, with all these other theories related to Will's upcoming arc:

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It's giving Sixteen Candles meets Teen Wolf meets Romancing the Stone (also Mike running out of time crumbs! go off I guess!!)

Also, I just like to think that this reference specifically to Romancing the Stone confirms not only apocalypse-byler, AND Will Byers with a gun but also ponytail-Mike in s5???..

Oh and maybe even the highly anticipated Murray & byler confrontation, bc why not...

AGAIN this is just a theory. Don't come at me! Make your own crack theories it's fun and we can all go crazy together!

Honestly I hope I'm wrong bc I would love to be surprised (I can't wait to be surprised regardless).

And yet that wont stop me from trying to figure it out with what they're willing to give us in the mean time!

Until next time (ST5 inspo board, here we come)!

[fics-n-stuff]

I just watched Now You See Me the other day and now I can't stop thinking about the pogues as the four horsemen.

John B is J Daniel Atlas (the standard above average street magician), Pope is Merritt McKinney (the mentalist), Kie is Henley Reeves (the escapologist*) and JJ is Jack Wilder (the slight of hand hustler).

The four of them pulling off crazy tricks and Robin Hooding, running from the FBI while being the most dramatic bitches possible. JJ faking his own death in a car crash. Look me in the eyes and tell me that doesn't match up perfectly. The only thing that doesn't match up is the unresolved feelings between Atlas and Henley, but we can just ignore that and replace it with the relationship between Lula and Jack in Now You See Me 2 and it becomes Jiara (using Lula as a swap for Henley but keeping it as Kie in this AU)

And then Now You See Me 2, imagine Arthur Tressler and Walter Mabry as Ward and Rafe. I think that's iconic.

Idk what to do with Sarah and Cleo in this AU (and idk if there are appropriate stand ins for Dylan Rhodes and Thaddeus Bradley) but honestly idc, the og four pogues as the four horsemen is so fun

*I say escapologist based only on her opening scene with the piranha tank because I didn't know what else I could give her as a title other than being 'the girl'

[pcttrailsidereader]

Flee for Your Life? Wildfires transform hiking in California's mountains

This is an excerpt from an article published on August 21, 2022 in the Santa Cruz Sentinel. I wish so many of our posts were not related to wildfires but fires have become a critical issue in trip planning and trip safety. Make sure you read to the recommendations at the end of the piece.

By Ethan Baron

Andrew Schrock woke around midnight smelling smoke on a backpacking trip late last month in California’s far north.

“I heard what I thought was rain but was ashes on the tent,” said Schrock, 43.

Using a satellite-based device from the Klamath National Forest near the Oregon border, he texted family and friends back home to find out what was happening – but “no one was up.”

He’d had cell service a mile back along the iconic Pacific Crest Trail that stretches from Mexico to Canada, so he set out alone in the dark, got online, and discovered that the McKinney Fire – which has since grown to more than 60,000 acres, killed four people and required the rescue of 60 hikers from the California side of the trail – had ignited behind him to the south the previous afternoon.

Ask anyone who hikes in California’s mountains about wildfires and you’ll likely get an earful about canceled trips, detours, lung-burning smoke and, possibly, harrowing escapes. Backcountry travelers are increasingly finding themselves on the dangerous edge of a changing climate that is driving drought, parching forests, spreading tree-killing beetles and altering weather patterns. Add in heavy vegetation buildup from decades of fire suppression, and you have frequent, ferocious forest fires that scramble hikers’ best-laid plans and demand new tactics for staying safe.

Schrock, of Long Beach, flew from Ashland, Oregon, to Fresno and then caught a bus to Yosemite to get back into the Sierra Nevada and finish his vacation covering more ground and enjoying the wilderness on his multi-year quest to complete the Pacific Crest Trail, he recalled while taking a snack break beside Lower Echo Lake near Lake Tahoe.

Dallan Clancy of Belmont, 68, finishing up a day hike 100 miles west of Sacramento at Carson Pass, said he had to cancel an overnight trip last September in the southern Sierra because the U.S. Forest Service shut access to all but one of California’s national forests over fire risks, including what the agency called “fire behavior that is beyond the norm of our experience and models such as large, quick runs in the night.” Clancy said he and four friends are aiming to do the trip this year, “unless it gets really bad.”

“We’ve always made note of escape routes, but on this trip, we actually planned our escape routes. We wanted to know the routes we could take to get out to a road,” said Jack Daro, a Southern California musician taking a break at Carson Pass during a backpacking trek to Yosemite National Park.

Hikers in years past “just went and did whatever you wanted to do wherever you wanted to go,” Wilkinson said. But 2020 marked a transformation, with the million-acre August Complex Fire, the Creek Fire northeast of Fresno that led to helicopter evacuations of hundreds of people including hikers on the John Muir Trail, and other massive blazes launching California into the age of mega-fires, Wilkinson said.

Nine of California’s 20 biggest fires since 1932 have occurred in the past three years, torching 4.1 million acres, according to Cal Fire. This year’s five biggest blazes have burned 116,000 acres, and “we’re just now getting into peak wildfire season,” Wilkinson said.

U.S. Forest Service spokeswoman Adrienne Freeman noted that fire can move much faster in today’s baked-crisp forests. “The window between OK and not OK,” Freeman said, “is becoming shorter and shorter.”

Backcountry journeyers who think seeing smoke but no flames means they’re fine may be mistaken, Wilkinson said. “Fire can move like a freight train, much faster than a person can run.”

Some hikers have dramatically changed the way they travel. Loetitia Saint-Jacques, 50, a Tahoe City veterinary technician, was on an overnight trip this month near South Lake Tahoe. Before the mega-fires, she and her companions would take long trips into deep wilderness. “We don’t go as remote now,” Saint-Jacques said. “Now it’s shorter trips. We do overnights, instead of five to eight days.”

Long-distance speed-hiker Ella Raff had multiple run-ins with wildfire and its fallout after embarking on the Pacific Crest Trail in June to walk from Mexico to Canada. Last month, the Washburn Fire in Yosemite shrouded her in smoke for two days. “I was just breathing heavy smoke 24/7. It’s not very fun,” said Raff, 29, of Portland. Farther north in California, traversing 85 miles of trail charred from last year’s nearly million-acre Dixie Fire left Raff covered in ash and dismayed by a “surreal” landscape with little animal life.

Soon after, she smelled smoke from the McKinney Fire. As she was nearing the Oregon border, authorities shut the trail ahead. More than 100 miles of the route remain closed, with the fire, which started July 29, now almost contained. Raff made her way to Portland, then to Washington to hike the trail southward from Canada.

Changing jumping-off points, routes, destinations, or timing to cope with uncertainty about fires is now routine for hikers in California. The Caldor Fire, which ravaged 220,000 acres southwest of Lake Tahoe last year from August to October, forced Truckee artist Danae Anderson, 63, to cancel three backpacking trips. “Everything was too smoky up here,” said Anderson, hiking beside Lower Echo Lake. She went to Yosemite instead.

Reckless target shooting by a father and son allegedly caused the Caldor Fire. The inferno’s scar stretches nearly 50 miles southwest of Echo Lakes in a swath up to 15 miles wide, much of it a blackened wasteland of lifeless trees, some downed, some standing without greenery, granite on many boulders shattered in places by the intense heat. More than 80 miles of the Pacific Crest Trail were closed from the fire’s start last August until early this year. Hikers passing through such areas may find water scarce, and standing dead trees can pose a deadly toppling hazard, said Matt Rump, a trail stewardship staffer for the Pacific Crest Trail Association.

Crews take down the most dangerous trees, but because there are so many dead, and they provide important wildlife habitat, officials accept some risk to hikers, under the calculus that “if you get whacked, it’s your time,” said Cheryl Bailey, 73, a volunteer for the Tahoe Rim Trail Association, as she walked along the 2 1/2 miles of the rim trail that run through the Caldor scar and that she’s been helping rebuild.

Some hikers console themselves with fire’s importance to forest health, but many of today’s blazes burn so hot they kill trees accustomed to lower-intensity fires.

In the Echo Chalet store where Schrock, who fled the McKinney Fire, bought snacks, cashier Georgia Sprague, 22, chatted with the trekkers whose ebbs and flows depend on fires and smoke. Many expressed urgency over climate change.

“They feel a lot of a push to get out,” she said, “and see the world before it burns up.”

Wildfire safety tips for hikers

Recommendations for staying safe while hiking in the age of mega-fires:

Check websites such as InciWeb for fire information and PurpleAir for air-quality information before, and if possible during, backcountry trips.

2. Give friends and family your itinerary, always know your location and pay close attention to your surroundings in case you need to retreat.

3. Know whether fires are prohibited where you’re going.

4. Carry paper maps in addition to any digital maps or apps.

5. Use cell phones and satellite-based devices to monitor weather, fires, wind, air quality and alerts such as Red Flag wildfire warnings, and to stay in close contact with people not in the wilderness who may have better access to weather and fire information. Many satellite-based messaging devices such as the popular Garmin inReach also act as rescue beacons; trekkers wishing to stay less connected may prefer personal locator beacons that are only for emergency rescue.

6. Pay attention to signs at trailheads and trail junctions.

7. Gather crowd-sourced fire and trail information from reliable websites and forums.

8. Carry an N95 mask in case of smoke.

9. Watch the sky for smoke, and use your nose to detect it.

[dudefrommywesterns]

now that it's pretty late and less people are on here:

as we all know (if you've been here a minute), i prefer the 1971 adaptation of charlie and the chocolate factory to the 2005 one.

there are so many reasons for this i could write an essay. today, I'd like to focus on the characters themselves.

starting with charlie bucket, there isn't anything wrong with freddie highmore's portrayal. however, peter ostrum plays a charlie that connects better with the audience. he tends to make the audience want him to find a golden ticket, to win the prize. he comes off as a sweet kid who cares deeply for his family. he just wants something good to happen for himself and his family. i also think he and jack albertson (grandpa joe) do a grandfather-grandson in a very fun and believe way.

willy wonka: roald dahl wanted a brit for wonka. neither adaptation has that. I've never felt it was that big of a deal.

gene wilder's wonka is unnerving. however, he does it in a way that makes you question it, that makes the other characters question it. he seems outwardly to be fairly normal, if a bit eccentric. when he's really weird, it's a bit of a surprise. i will say, he's definitely a bit too sweet at the end perhaps.

depp's wonka is just weird. it's a wonder everyone didn't leave the minute they saw him. he talks like someone you should avoid like the plague. he doesn't lure anyone into a false sense of security at all. he might as well have a sign. also, his voice is uncomfortable to listen to and the dentist dad subplot is both really strange and really absurd. also, i think that there being a debate on whether charlie could take his family with him is equally strange and absurd. he's a kid. hello???

grandpa joe: i feel jack albertson does him better if only because he seems more grandfatherly to me. also, he does well with ostrum's charlie. 2005's grandpa joe is a bit forgettable. also, "I've got a golden ticket" is a lovely song and it has a slightly goofy but enjoyable scene to accompany it.

veruca salt: again, there's nothing wrong with 2005 here, as far as i can remember. however, i appreciate 1971 because while veruca is definitely bratty, she's somewhat good at faking a "sweet little girl" persona, which is highlighted in "i want it now." she loses her cool (because she is a kid) but is pretty quickly able to regain it. it explains why the salts act the way they do with her, in addition to being too spineless to discipline her. fave thing about 2005 though, the way that girl says "squirrel." I'll never forget that.

mr. salt: wh. why is 2005's like that? i don't like him. 1971's salt is at least a bit funny. "what business are you in, salt?" "nuts" is iconic. i only mentioned this parent because this one bugs me.

violet beauregarde: both are perfectly fine. i kinda dig 2005's peak 00s tracksuit. i will say, i think 1971's blueberry is better. it's more of a blueberry and less of a gigantic blue orange like 2005's. also i like practical effects.

augustus gloop: this character is a mess in general. however, i have some bones to pick with 2005 here. firstly, the fake red hair is ghastly. secondly, how come 1971 could get a real fat german kid and you couldn't? thirdly, what in the fuck is that intro scene? where are the gloops living? why does it look rat invested? jesus. i feel like he's more offensive. honestly 2005 is more offensive point blank.

mike teavee: so. this one's up to personal preference. both are good at what was being aimed for.

1971's mike is actually somewhat likable imo. he's not horrible. he's just a bit rambunctious and watches too much tv. he's very much a typical 11 year old boy. he should heed his mother but also, it's completely understandable that he'd see this cool contraption that could send people by television and want to use it. he's 11.

2005's is a very video game loving, destined to live and die in his mother's basement, calls you slurs on xbox live, little cunt. i would punt him into the sun. his vice isn't just that he watches to much tv, he's also a bigot and I'm upset because i had to hear the r slur while relooking these characters up. you know, this is the only 2000s media i ever heard that slur in. congrats burton, you've made a character that deserves the taffy puller.

oompa loompas: these characters are bad from the get go and I'm not the right person to speak on the race portion of it. the book is racist. whether this was better adapted by the 1971 one or 2005 one, if either, i have no right to say. as far as i can tell, 2005 leans more into the white savior narrative than 1971. feel free to weigh in on this portion if you'd like.

however, i think that it was better to have more than one person play the oompa loompas. 2005's one guy copypasted looks incredibly odd and takes away from the quality of the songs. it also takes away from the diversity that the 1971 oompa loompas have in height and body type and facial features. also, having more real people will always look better than editing one guy to be multiple guys.

[use-your-telescope]

It’s only fair that I ask for your top five music albums! Go!

Ahahahaha FACK I should have known that was coming... picking ONLY FIVE is gonna be a struggle. All of these will have songs featured in the Trickster (I haven't even finalized my list and I already know that's true). I'm going to stick to one album per artist to help narrow this ish down. Okay, let's give this a whirl: (These are in no order)

Everything in Transit - Jack's Mannequin This album - holy shit. It's iconic. This was one of the very first albums I ever fell in LOVE with, and the story behind it is fucking incredible. Andrew McMahon wrote the whole damn thing about his (now) wife that he was on a break with, right as he was leaving his band Something Corporate and (unbeknownst to him) about to be diagnosed with cancer (which he ultimately beat!). Rescued is my most played song of all time (between itunes plays and Spotify plays), and that was before I choreographed my senior year of college dance piece to it, nine years ago. The entire album is the personification of TSwift's "yeah, we're happy, free, confused, and lonely at the same time - it's miserable and magical" - brilliant piano pop that you want to scream aloud in a bar next ot strangers and bond over. Honorable mentions to Andrew McMahon in the Wilderness (Andrew McMahon in the Wilderness, aka Self-titled album) and The Glass Passenger (Jack's Mannequin)

Red (Taylor's Version) - Taylor Swift Okay, no secret, I love me some Tay. This was already my top album of Taylor's before she released the re-recorded version, because I think this hits the ultimate sweet spot for Taylor - balancing folk-style songwriting and pop sensibilities, with just enough country to keep it fresh - and it's so fucking relatable. And then when Taylor's version came along? I was even more in love. Nothing New still makes my chest ache (and I love Phoebe Bridgers), and don't get me started on the ten minute version of All Too Well. This is *the* breakup album, which hit at just the right moment of my college years and it STILL fucking SLAPS. (Low-key heartbroken I couldn't get Eras tour tickets, tbh) Honorable mentions (in order) are evermore and folklore (tolerate it. gets a spotlight in the trickster! fun fact. Because fiction is cool and I can retcon history, the creation of both albums are in The Trickster.)

American Candy - The Maine Okay, this was the HARDEST artist to narrow down just ONE album - I have seen the Maine FIFTEEN TIMES since I started listening to them in 2011. Pioneer, Forever Halloween, American Candy, Lovely Little Lonely, You Are Okay, and Love & Anxiety in Real Time all have distinctly special places in my heart for different stages in my life. Lovely Little Lonely has the song that was the first dance at my wedding. Pioneer was when I fell in love with the Maine. Forever Halloween was when I processed recovering from a toxic relationship and struggled with my own happiness. You Are Okay was when the world felt unsteady and COVID hit and I needed that reassurance, and Love & Anxiety in Real Time was grappling with the ability to find happiness while allowing inner demons to co-exist. Fun Fact: my original foray into fanfic was connected to this band (now I wouldn't do RPF for the life of me because I have a different understanding of things, but I was 20 and creating fictional characters based on idealized verisons of celebrity crushes in my mind). But, I chose American Candy because I think it has this balance of fun, upbeat music, heartfelt storytelling, candid moments, and delightful irreverence that is absolutely worth a listen. The last track (Another Night on Mars) was the last song of the night at our wedding and the memory of all my friends in a huddle chanting out "this one goes out to my closest friends, the ones who make me feel less alien, I do not think I would be here if not for them" still makes me warm and fuzzy five years later.

Ever After - Marianas Trench Trying to pick one Marianas Trench album is also a challenge - Josh Ramsay is a fucking lyrical GENIUS (with fucking INSANE vocals) and he really embraces creating albums; the most recent album (Phantoms) takes heavy influence from the work of Edgar Allen Poe, the album before that (Astoria) drew inspo from 80's movies like the Goonies, but the one that has my heart is Ever After, which has so many delightful references to fairytales and toys and childhood - it's full of absolute pop BANGERS and you CANNOT help but dance to the whole damn thing. Fun fact: Josh Ramsay is Grammy nominated for co-writing Call Me Maybe!

PEP - Lights This was a post-pandemic album that addresses cynicism, feminism, and girl-power in a fucking ICONIC manner. Salt and Vinegar is a fucking MOOD, and Jaws is my new theme song. Easy Money is my low-key Lo & Theo ship song. Beside Myself is so soft and vulnerable, and Okay Okay is an absolute delight. Lights just released 'ded', which is a slowed down/if synth could be called acoustic version of PEP, and the ded versions of Grip and Beside Myself have made me feel my feels. Lights does acoustic versions of every album she has released; I was so close to putting Skin & Earth Acoustic or Midnight Machines (the acoustic version of Little Machines) because they are so emotive and delightful! Other than Taylor Swift, I tried to stick to lesser-known artists; honorable mentions go to Florence + the Machine, PVRIS, the Midnight, Lydia, Hozier, The Wonder Years, Paramore/Hayley Williams, The Civil Wars, Queen, Annika Bennett, Neck Deep, Lorde, and James Taylor...

[seabringers]

Maybe I just finished Lost awhile ago and I’m still thinking about it but my crack theory after Episode 3 is about the moment when Lottie talks about the queen bee killing the rest of her unhatched rivals, and maybe that’s what the no eyed man is doing to the Yellowjackets. He was searching out which Yellowjacket could rival him, maybe why in Episode 1 when Tai was sleep walking she almost went over the cliff. But maybe he doesn’t have a physical body so he can’t do these things himself so he relies on the supernatural. Another moment that interests me is when somebody says “I think we brought whatever was out there back with us” leading yj to soon have their own version of Jack’s iconic “we have to go back” moment. Anyway I think Shauna Lottie and Tai are the biggest contenders for something involving the wilderness in the endgame.

[watching-pictures-move]

Movie Review | Double Indemnity (Wilder, 1944)

This review contains mild spoilers (which are basically revealed at the beginning of the movie).

Everybody talks about the shot in Billy Wilder's The Apartment where we see Jack Lemmon in his office, the rigid symmetry of which provides a certain dehumanizing, soul crushing quality. But I think it's worth bringing up for comparison the way this movie presents its protagonist's office. When we see it during the day, this insurance office is lively, bustling with activity, and the energy of the work is palpable. This is a movie where one of the central characters is a crack insurance claims investigator played by Edward G. Robinson, and as a result is maybe the only movie I can think of that makes the insurance business look cool or makes an insurance man a good guy. But you see this office at night, once at the beginning and once at the end, and the environment is less invigorating in this context. If you look closely at how the tables are lined up, it perhaps even resembles the way the crosses and tombstones might be arranged in a cemetery, and as a result casts a funereal pall over the proceedings sandwiched in between. Which is appropriate as when we first meet our protagonist, an insurance salesman played by Fred MacMurray, he's bleeding to death from a gunshot wound and offering a confession, which can be alternately seen as self-serving and totally unflattering, depending on the scene.

This sense of geometry carries over to other key scenes, like the ones in the supermarket, first where MacMurray plans the murder with iconic femme fatale Barbara Stanwyck, and later where they figure out how to play it cool in the aftermath. The environment at first seems perfectly banal, the relative activity allowing a discreet meeting in plain sight. But then you see how that banality manifests in the geometry, with the aisles squeezed a little too closely, to the point that MacMurray and Stanwyck have to move apart every time someone comes by to pick up a can of baby food. And you grasp the deadening, suffocating quality of the environment, and you understand why Stanwyck might want to kill her husband, as an escape not just from a marriage to an unkind husband, but an entirely unfulfilling existence. And you grasp why it's difficult to keep cool in the aftermath of the murder, as this existence is so deadening and so suffocating that being freed from it takes on a certain urgency. This won't make sense to anyone outside of a select few who used to post on a certain defunct internet forum, but I remember a wildly hyperbolic comparison a poster once made about how awful it was to live in the suburbs, and I have to wonder if they'd ever seen this movie.

Actually, a clear understanding of geometry carries over to the dialogue scenes, of which there are many, as this is a fast talking classic starring some of the best fast talkers in the history of cinema. It's tempting to say this movie would work as a radio play given how good the dialogue is, but that would undersell Wilder's keen visual direction. You can see how precisely the actors are blocked in scenes like the one where a witness to the crime comes to Robinson's office, and how the arrangement of their bodies draws our attention to MacMurray's expression as the witness helps Robinson uncover inconsistencies in what were previously understood to be the events that transpired. Going for a close-up might seem redundant at this point, but it's not without impact, as MacMurray's face makes him uniquely suitable to this role. He has a kind, almost swollen face, which serves him well in jovial roles like The Absent-Minded Professor, which is how I'd known him before seeing this movie. But it also highlights that he's very much not a strong, alpha male type, and in fact might be the type whose moral fiber is weak enough to be persuaded into committing a murder for insurance money. MacMurray's rounded edges are a strong contrast with Stanwyck's sharp edges, and the eerie effect of the sunglasses she puts on, and the daggers of ice one can feel from her eyes when she takes them off. And of course, the absolute king of the fast talkers is Robinson, whose affection and love for MacMurray are a warm counterpoint to the sexual tension and sinister scheming between MacMurray and Stanwyck. When he arrives at the end and sees MacMurray bleeding out, he seems disappointed, almost wounded.

"Know why you couldn't figure this one, Keyes? I'll tell ya. 'Cause the guy you were looking for was too close. Right across the desk from ya."

"Closer than that, Walter."

"I love you, too."

When the king of the fast talkers slows down, it means something.

[theflapperdamefilm]

classic movies I just don't enjoy

The Women 1939: Very talky of a film, I don't like all of the gossipy characters. It's so in your face, and the humor just is not there for me. The brawl is also not funny, it's stupid. The ending is a let down as Norma Shearer's character goes back to her cheating husband. I don't understand this movie as feminist??? Who's classifying it as such, men??? In the eyes of women, it's not feminist.

Sullivan's travels 1942: I do not like Veronica Lake that much, even though I adore Joel McCrea. I just don't care about the story- or the chemistry.

Shane 1953: To me Alan Ladd is not cool. He isn't cool or aloof enough to be Shane. Plus this narrative is not tough, it's fluffy. I like my westerns a little bit gritty, as that is part of the atmosphere. Plus Brandon Dewild is annoying as hell, I know he is supposed to be cute, an innocent little boy, but instead he is annoying.

Giant 1956- While it is an epic, it's just a story I don't care about. A let down as James Dean had his last movie role in this movie. Plus his character flirts with both a mother and daughter throughout the course of the narrative, GROSS.

Irma La douce 1963: Yes a Wilder movie with Jack Lemmon, but I don't buy shirley Maclaine as a call girl. The plot drags and it is just boring. Plus the whole movie is just them hooking up, boring!

The way we were 1973- this movie is annoying. I do not buy the chemistry, as I think Katie does not have a romantic bone in her body; she is more so obsessed with social justice, and neglects her husband. Hubble on the other hand does not have substance, even though he is Robert Redford. While the title track song is iconic, the movie does not live forever, it's just so awful! !

[julierysava]

📚✨ Exploring the Legacy of Jack London at 2024🌍🏔️

Today, let's journey into the captivating world of Jack London, a literary giant whose works continue to inspire readers around the globe. Born on January 12, 1876, in San Francisco, California, Jack London was an adventurous spirit whose life was as intriguing as his novels and short stories.

🌿 From the Wilds of Alaska to the Streets of London: Jack London's life was marked by a series of adventures and travels which greatly influenced his writing. Inspired by his experiences as an adventurer, gold prospector, sailor, and socialist, London's works often explored themes of survival, nature, and the human condition.

📖 A Literary Trailblazer: Jack London is perhaps best known for his classic novels "The Call of the Wild" and "White Fang," both of which are set against the rugged backdrop of the Klondike Gold Rush in the Yukon Territory. These timeless tales of adventure and survival have captured the imaginations of readers for generations.

🌟 Beyond the Wild: While London is renowned for his tales of the wilderness, he also delved into social commentary and science fiction in works such as "The Iron Heel" and "The Star Rover." His versatility as a writer and his ability to weave gripping narratives across different genres cemented his legacy as one of America's most celebrated authors.

🏞️ Legacy and Influence: Jack London's impact extends far beyond his own lifetime. His adventurous spirit, coupled with his keen observations of human nature and the natural world, continues to resonate with readers today. His works have been translated into numerous languages and adapted into films, further solidifying his status as a literary icon.

📚 Exploring London's Works: Whether you're diving into the icy wilderness of the Yukon with Buck and White Fang or exploring the dystopian future envisioned in "The Iron Heel," Jack London's works offer a window into the complexities of the human experience and the power of the natural world.

🌟 Join the Adventure: As we celebrate the life and legacy of Jack London, let's embark on our own literary adventure through his captivating works. Whether you're a longtime fan or discovering his writing for the first time, there's always something new to explore in the world of Jack London.

What's your favorite Jack London novel or short story? Share your thoughts and reflections in the comments below! 📚🌿 #JackLondon #LiteraryLegacy #AdventureAwaits #ClassicLiterature #ExploreWithLondon

[hancockstan]

I posted 379 times in 2022

19 posts created (5%)

360 posts reblogged (95%)

Blogs I reblogged the most:

@letmebegaytodd

@commonwealthbankofmaccready

@jinglyjangly

@fallout-lou-begas

@myfalloutgals

I tagged 41 of my posts in 2022

#fallout - 7 posts

#fo4 - 7 posts

#fnv - 6 posts

#not fallout - 6 posts

#benny - 2 posts

#hysterical wheeze laugh from me - 1 post

#specifically thinking about big boy - 1 post

#but instead of caravan - 1 post

#to be clear everything is the same - 1 post

#he’s playing glads obviously - 1 post

Longest Tag: 102 characters

#i feel like if he was an older/less attractive dude villain fuckers would have still gotten him though

My Top Posts in 2022:

#5

Holy shit I’m really seeing people argue that Joshua Graham is a morally good person. What fucking year is this?? Getting 2012 tumblr vibes tonight folks.

16 notes - Posted June 18, 2022

#4

Fallout fan confession, I love "Jingle, Jangle, Jingle" as much as the next person but growing up around horses and working with them really makes me cringe when I see them. The song slaps but the whole spurs aesthetic is ruined for me. Like, take the time to properly train your horse! You don't need the spurs I swear! Don't want this to cause controversy in the horsing community so none of you better let this post breach fandom containment.

18 notes - Posted June 6, 2022

#3

Look what my friend gave me today

28 notes - Posted May 16, 2022

#2

I see your “don’t mistake my distaste in causing harm for an inability to do so” and raise you “don’t mistake my hard-fought self restraint for a lack of near blinding desire to hurt people who’ve earned it.”

63 notes - Posted January 23, 2022

My #1 post of 2022

Man, I finally watched Goncharov for the first time and it’s crazy how so many spy/thriller/action movies have made obvious references to it that I never picked up before. Like that scene in Atomic Blonde with the umbrellas is just like the end of the second act when Goncharov realizes that Nickolas has betrayed him but still has to keep working with him so that his sister that runs the chop shop won’t back out of the deal with Sterling’s crew. And I only now realize what a clever twist atomic Blonde had on that scene since obviously the average person already knows the beats of Goncharov even if they never saw it, just through pop culture osmosis. So when she ultimately fails to protect Spyglass it comes as a double shock to the audience who has already seen a million parodies and references where this scene goes right for the protagonist. Also the end of the movie where Goncharov and Ivan are driving out to the middle of the wilderness and both of their actors are actually sleep deprived and suffering from carbon monoxide poisoning is more iconic the Jack Nicolson in the Shinning. Sorry not sorry.

129 notes - Posted November 20, 2022

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[wheelscomedyandmore]

Q&A: Jack Lemmon’s Son on Growing Up With a Screen Icon ~ Hollywood Reporter excerpt

Was it a big deal for you living among so many icons?

I remember he took me back to his bachelor pad after he and my mother got divorced and he tucked me into my bed, gave me a kiss goodnight, sung me a lullaby and he goes out and invites some friends over. And the friends are Gregory Peck, Shirley MacLaine, Jimmy Cagney and Jimmy Stewart and on and on. I sneak my little head out and Cagney saw me and runs over and grabs me, ‘Oh, look who we have here!’ and throws me in the room. And my old man’s going, ‘Jimmy, what are you doing?’ Suddenly here I am in the middle of this incredible party with these gods of the silver screen and they’re all giving a concert for me, singing songs for me.

He spoke publicly about his alcoholism and I wonder if you remember the night he gave it up?

He had a final night where it got out of control with broken glass all over the floor. He’d fallen down, hit his head, cut it open, had a bloody dishtowel hanging off the side of his head and finally the maid couldn’t take it. She called me and said, ‘You need to come over and talk to your father.’ When I got there, I didn’t need to say a word. He said, ‘I know.’ That was it. He never had a drink after that.

Although your father won two Oscars, Billy Wilder said he was a ham that needed the fat trimmed away.

Billy Wilder was wonderful and he loved to poke fun at people who loved to poke fun right back. Billy was a very strict director. He did not shoot any excess footage. He only gave very specific takes to editors and had them glue them all together for him. That was him trimming fat off the ham. He wanted as much fat as he could get so he could do that trimming process and get exactly the performance he wanted.

There must be a million fond memories of Walter Matthau.

When they were doing Buddy, Buddy, Walter took a perilous fall and was knocked out. Pop ran over and folded up his coat and gently lifted Walter’s head and placed it underneath. Walter’s eyes fluttered open. He said, ‘Walt are you comfortable?’ Walt looked up at him and said, ‘I make a living.’

Do you remember his last words to you?

His father’s last words to him were, ‘Spread a little sunshine,’ and those were amongst the last words he said to me. He said, ‘You’re an actor. Don’t do anything half way. Give them the laughter and give them the heartache.

But most of all you’re a father. Be there for your children because they need you.

And for those times I wasn’t there for you I’m sorry, but I did the best I could.’

Walter Matthau and Jack Lemmon 🎥 ⭐️ ⭐️

[qu-film-history-to-1968]

Power Dynamics, Tradition as Satire and Looking Forward

By Jack Muscatello

The 1950’s, regarded often as a prime decade for cinematic growth, marked interesting pivots for the industry after the immediate post-war years. On the cusp of technicolor becoming standard over black-and-white photography and brushing up with the grittier aesthetic that would arrive in the late 60’s and 70’s, the 50’s was filled with mixes of traditional Hollywood and a “new” age of creative prowess. Two films represent this clash of stylistic endeavors quite well – Billy Wilder’s comedic takedown of Hollywood elitism, Sunset Boulevard (1950) and Nicholas Ray’s precursor to the “teen rebellion”, Rebel Without a Cause (1955). For Wilder, his use of literal framing and stand-in cameos of real creative figures held up a mirror to the industry in a way that wasn’t too kind. For Ray, his work in creating a new teen-rebel saga utilized stark visualizations of power dynamics to establish a new sub-genre for the “coming-of-age” format.

For Billy Wilder, Hollywood is not the sacred ground that many of his contemporaries at the time viewed it as. In Sunset Boulevard, the goal of slowly peeling back the layers of fame and its destructive power finds its way into Norma Desmond’s miserable life, down on the times of the post-silent world. She was once at the top of the chain, but now abuses the work of her assistant Max to provide herself with a false reality of supporters and fans. To support Gloria Swanson’s more theatrical portrayal of the insane Desmond, Wilder includes a prolonged cameo from Cecille B. DeMille, who plays himself throughout the film. In a pivotal scene, Desmond reclaims a moment of “fame” when she meets the iconic DeMille to review her script. However, as the scene follows DeMille’s phone call with Gordon Cole, another executive, we come to find out that Desmond’s been led to believe she’s there because of her fame, while she’s actually there for Cole’s inquiry into renting her classic car for another film. The irony exists in Desmon being surrounded for a moment by other cast members – to her, it’s a dream finally come true, but for those actually around her, they find interest more in the sight of a by-gone talent then the image of the “talented Norma Desmond”. Wilder holds on a high angle of Desmond during this scene, inter-cut with DeMille’s brief phone call with Cole, to showcase Desmond’s brief moment of rekindled star power. She’s in awe at the moment, but the audience is made aware of the fallacy at the heart of it – Desmond has been forgotten, relegated now to little more than a museum piece for the new generation of talent to study. Wilder’s blatant inclusion of DeMille in this scene points to his larger intentions of utilizing tradition as satire, as, in a way, DeMille is now the on a similar level to Desmond. This adds another layer to viewing the film in 2023, as modern contemporary directors are far removed from the breakthroughs made by DeMille and others in the Golden Age of Cinema – much like how Desmond’s once legendary work immediately grew old with the birth of sound in picture.

In a similar vain to Wilder’s industry critique on power, Nicholas Ray sought to bring that energy to the teen drama escapades in time for the Baby Boomer generation reaching early adolescence. As Wilder explored power dynamics through framing, placing Desmond at the center of her own fantasy, Ray placed his characters within physical space to literally show their power over others. At a crucial moment in Jim Stark’s story, he returns home and begins a multi-directional “battle” with his mother and father. Midway through the scene, Jim’s mother rushes up the stairs, looking down at Jim and his dad. His dad stays at the bottom of the stairs, cowering at his wife and Jim, who finds himself between them. All Jim wants is to have his father interject, stand up for himself and to his wife. But he doesn’t, placing Jim in the middle of his mother’s tirade about moving out of town. Ray’s placement of each character in relation to their power in the scene works to immediately set the stage for the confrontation, and his choice of keeping on wider frames works to keep this dynamic at the forefront for the audience. In line with Wilder’s work, Ray seeks to utilize physical space to his advantage here.

However, Where the two films differ slightly is in overall style. Sunset Boulevard, released in 1950, lies on the border of technicolor becoming the gold standard. Ray’s Rebel Without a Cause, released five years later, fully embraces this standard, embracing its look as a means of moving away from the Golden Age traditions of black-and-white studio filmmaking. Ray’s film could not have been made in the post-war years, or even before that, frankly, as it’s independent streak would not have fit the more blind escapism of the 1930’s. After the war’s immediate effects subsided and the Cold War fears took their place, audiences craved “real” on the big screen. Studios pivoted to younger leading talent, with James Dean at the forefront. Wilder’s picture plays with the border on which it lives, embracing the technical methods of yester-year to tell a story critical of the industry culture that surrounded those earlier techniques. For Wilder, the tradition is the satirical edge, as the dated feel allows the film’s critiques to stand out. For Ray, tradition is largely abandoned, as Rebel’s sights are set on the future. Citizen Kane and Casablanca were no more in the eyes of Ray in 1955, which pushed the industry towards more grittier, “everyday” stories.

In this image from Rebel Without a Cause, Jim stands between his parents, with his mother holding command over the conversation from above on the staircase.

In this image from Sunset Boulevard, Norma Desmond basks in the "spotlight" from above.