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popentertainment-interviews · 1 year

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Olivia Colman, Micheal Ward, Toby Jones, Tanya Moodie and Sam Mendes

Reflecting on Empire of Light

by Jay S. Jacobs

The flickering lights. The moving pictures. The classic stories. The grand surroundings. The stars, the music, the action, and the heartache. The love and the loss. All with a large, buttered popcorn, some candy and a Coke. You could pass the hours, or even the days away.

Growing up in the cinema was a right of passage for generations. While the grand movie houses have sadly mostly faded away – replaced by sterile, smaller but perhaps more comfortable multiplexes and the rise of home theaters. However, there is truly nothing like seeing a film on a truly big screen.

Writer director Sam Mendes’ latest film is a celebration of cinemas and the people who worked there. Taking place in the early 1980s, it shows an eccentric work family who care for one of these old grand movie palaces, a place called The Empire on the seaside of England.

Soon before the premiere of Empire of Light, stars Olivia Colman, Micheal Ward, Tanya Moodie and Toby Jones and writer/director Mendes held a virtual press conference to discuss the film, which we attended. Not surprisingly, they talked about many of their favorite films and cinemas. Here is some of what they had to say.

On favorite old movie theaters from their past that inspired them:

Sam Mendes: My first and favorite cinemas were in Oxford. In fact, Toby probably went to them as well, because we grew up in the same place. There was a place called the Penultimate Picture Palace.

Toby Jones: Well, I do remember those cinemas very well. Are they still there? Well, not one. But I lived in Paris for a couple of years while I was training, and the cinema culture there, where you can see a movie from virtually any era in any genre pretty much any day of the week. I saw more movies in a two-year stretch than I'd ever seen before.

Tanya Moodie: Well, where I grew up, there was this sort of predominance of the multiplexes. But there was one, I would say, an arthouse type of cinema. I can't remember the name of it. But I was in my teens, and it used to be basically populated by teens that would go to see things like the Rocky Horror Picture Show and do all the singing and all the dancing and everything. I think it was the nature of all of these teenagers coming together in the dark and doing their things.

Olivia Colman: I remember, I grew up north of Norwich. We'd travel into Norwich to go and see films. There was the ODEON. And I think the Prince of Wales Cinema.

Tanya Moodie: I just remember passing fags back and forth because you could smoke in cinemas back then.

Olivia Colman: Oh, yeah.

Tanya Moodie: It was always this thing of like, that was the place where you got up to all sorts of kissing, smoking, singing. Chucking things about. You just felt this sense of freedom in the dark. Also seeing these stories on a big screen.

Micheal Ward: I grew up around Romford area. That's where we used to go a lot of time to go watch some movies. I remember that we used to go to the Vue Cinema a lot. Then they opened this new one called the Premier Cinema where the tickets were like four pounds. Obviously when you're in school, "Four-pound cinema. Four-pound cinema." So you always used to go there. That's a place that I just watched a lot of films and a lot of my friends saw. Yeah, that is special for me.

Sam Mendes: There was another one called Not the Moulin Rouge. They were rerun houses and repertory cinemas. Impossibly amazing places that showed the movie once and moved on. They had staff of people who literally spent the entire day carrying in cannisters [laughs] of film, projecting it, and taking it out again. I love those places. They were amazing.

Olivia Colman: Also, there was the Arts Cinema. As I got older, became a teen, I discovered the Arts Cinema, and it was a game changer. I felt very cool that I was going to see some arty films. I discovered a whole new genre of filmmaking that I didn't know existed before. That was a big event. Traveling into the city for an hour to go and see a film. Very exciting.

Toby Jones: They were all uniformly well-organized with great information you could pick up. Also impossibly cool clientele that you could associate yourself with.

Sam Mendes: I do have a lot of regret that the next generation won't have the same degree of nostalgia. Not just for the places, but also for the things that we see in the movie; the projection booths and the concession stand. Having said that, there are some amazing cinemas still alive, and I think we should celebrate those and keep those alive rather than worry about the past too much.

On their favorite, formative films:

Olivia Colman: I watched Breaking the Waves in an art cinema in Bristol when I was a drama student. That was when I went, "Ah, oh, that work." It was so breathtaking. I never want to watch it again. It was too upsetting for Emily Watson to me. Blew my mind. That's when I went, "I want to work like she works."

Sam Mendes: I guess there's sort of two different parts of me. The nine-year-old was Live and Let Die at the ODEON in Camden Town. I remember that vividly. All the black magic and all the voodoo, which retrospectively, perhaps doesn't hold up quite so well. [laughs] But at the time, was thrilling and dangerous and weird and sexy.

Toby Jones: I'm nostalgic about films that I wasn't meant to see at the age I was. That they were aimed at an age slightly older than me. They promised a kind of adult world that I was in a hurry to get into.

Sam Mendes: Then when I was a student, a movie called Paris, Texas. Wim Wenders' movie. That really was the first time I thought, "Maybe I could make movies." It was the first time I sort of was introduced to the notion of to be able to see the contemporary world as a mythic landscape rather than as something domestic and small. So those two things were probably my pivotal experience in cinemas.

Toby Jones: I remember seeing on TV a couple of Joseph Losey films. Particularly The Go-Between, which I found deeply upsetting. But I didn't know why I found it upsetting. I understood everything that was going on, and I understood the plot, but it was something about the atmosphere. To a certain extent, you are the hero. You go with the hero of the story through it. You identify with them. And he is ignorant until the very end.

Olivia Colman: Well, Toby's answer did remind me of sleepovers where we'd all try to get scary films. Still, I am not one for scary film. [laugh] It was my turn for sleepover, about 10 or 11. I said to Mum, "Please, can you get a really scary film?" Because all the other girls have had A Nightmare on Elm Street.

Tanya Moodie: Oh, God. No.

Olivia Colman: I said, "I just wanted to be as cool as them." My mom went into the video shop, and she said, "I've got you A Christmas Carol." What? She said, "Well, it's got ghosts. I thought that would be scary." I was so embarrassed. I pretended that the video shop was closed. That was really, really not cool.

Tanya Moodie: I remember being very emotionally permeable when I was younger and things having a massive impact on me. I don't know if kids nowadays would. Do you know what I mean? Because they have so much access to things that would, for us, would've been quite upsetting when younger. For them, they'd get annulled emotionally. I remember seeing like A Clockwork Orange probably when I was too young as well to see it. And being really, really, like, freaked out by the violence and everything.

Toby Jones: That had a huge impact on me. Even now, I remember going in for one movie and then trying to sneak out and get into [an] X film. Film and cinema seemed to encapsulate that feeling of that somewhere in this building there will be a taboo experience that you can get access to when you're young. In a way, you never lose that sense of them being, the potential of those buildings for that experience.

Tanya Moodie: The Elephant Man as well.

Olivia Colman: Oh, God, yeah.

Tanya Moodie: Feeling desperately sad in the fact by this man who was treated so badly. I think he's given a gift of like a brush. And just like weeping, just being like, "Oh my god, this poor man." And apart from that, Pink Panther films. [laughs]

Olivia Colman: Yeah.

Tanya Moodie: They were always a treat, right?

Sam Mendes: With Peter Sellers. Yeah, totally.

Tanya Moodie: When they came on the telly. It was like…

Sam Mendes: … It was a big deal….

Tanya Moodie: … It was an event at home to watch Pink Panther. We all just absolutely pissing ourselves.

Micheal Ward: For me, a movie that comes to mind is a Jamaican film called Shottas. I feel like the reason why I had a mad connection with this film is because I didn't know what Jamaica was like. I moved to England when I was quite young. So for me, it was like this connection in an intimate way with Jamaica. You can watch music videos and stuff and formulate what it would feel like. But it felt like this movie was like a documentary. It felt very real and authentic. I just used to love it. So yeah, it's something I watched time and time again.

Sam Mendes: What's it called?

Micheal Ward: It's called Shottas. Yeah. It's really good.

Sam Mendes: Shottas.

Micheal Ward: Yes. Shottas. [laugh]

On their comfort films:

Olivia Colman: Oh. Don’t do me first.

Toby Jones: That’s hard, isn’t it?

Olivia Colman: That’s hard.

Sam Mendes: I guess our minds immediately go to the pandemic, weirdly, so the idea of what comforted us during the pandemic is not a movie theater, sadly, because we weren't able to go. But I find that, as a filmmaker, I go back always to the same films to remind me how to make films. [laughs]

Toby Jones: I always feel in debt to all the films I haven't seen. I feel a constant sense of I can't watch that again. I've got to see something new. For some reason, I love films about New York, and I find films about New York very comforting. There's something about the layout of apartments. There's something about watching actors or characters cross streets, wander down streets that I always dreamt that one day I'd have an opportunity to do.

Tanya Moodie: Like Toby, it's about place really. I spent quite a few years living in and out of Sweden. So any Swedish film, I find it brings me comfort, because it brings me back to that time. Anything by Bergman, if I sit down and watch it. Fanny and Alexander, which is probably about 10 hours long, I can sit and watch it. I haven't seen it in ages, because normally if that's the one, if someone says, “Oh, what do you want to watch?” and I go Fanny and Alexander, the room just… [laughs] Everybody goes [groan].

Sam Mendes: They've just rereleased it.

Tanya Moodie: I don't really see it anymore, but it brings me immense comfort to see those films again.

Sam Mendes: Godfather 2 would be the obvious one I must have seen a dozen times and I tend to watch to remind me how to do it. The economy of means, the astonishing performances, the way it shifts back and forth from time, the lighting, everything really. It's just an unbelievable piece. I mean, both Godfather movies were, and I find that comforting. I find being reminded of just sheer excellence comforting.

Micheal Ward: For me, what brings me comfort in film is that watching someone that I really love and really admire, but their earlier work. One that comes to mind for me is Soul Plane, because I really, really love Kevin Hart. That was, I think, his first movie that he was the lead of. And it's just so funny. I find comfort in laughter as well. Just being able to let go and laugh with the characters, for me, that's really, really fun. It's a wild story, but I just love it. You got people like Snoop Dogg in there and stuff like that, who are also people that I love and admire.

Olivia Colman: I like kids’ films. If I'm about for comfort, I could watch Paddington all day, every day.

Tanya Moodie: Mmm, mmm. It’s very good.

Olivia Colman: I need a happy ending. Kid shows, they always break your heart at some point in the film. Toy Story 3, [groan] heartbreaking. But if I was going for comfort, I'm thinking of being at home, not in the cinema. Sorry. [laughs] Duvet, cup of tea, kids’ film.

Toby Jones: Just literally just behavior watching. I find that I’m often not watching the story. I'm literally just watching behavior. I find that absolutely fascinating. I suppose New York is, for a lot of British people, a landscape of dreams anyway. It's what we grow up dreaming that one day we'll have some relationship with. I think that's all tied up with films about New York. So obviously, people like Scorsese and Woody Allen had a profound effect on me.

Micheal Ward: Soul Plane is definitely a comfort. I probably watched that film over 100 times. Where I used to live in London when I was younger, it was just like me, my mom, and my sister in this one room. We had the DVD that we bought, and every time after school, I'd watch it. Like literally every single day, because it was like the only thing we had. I never really had a PlayStation and stuff like that. So I knew all the words and everything. Truly, it's one of my favorite films. [laughs]

Sam Mendes: Actually, I’m going to say one more, which is the one film that gets better every single time I watch it, Withnail and I.

Olivia Colman: Oh, God, actually yes.

Sam Mendes: I can just watch it now quite happily.

Olivia Colman: Yeah.

Micheal Ward: What’s it called?

Olivia Colman: And Some Like it Hot.

Sam Mendes: Withnail.

Olivia Colman: Withnail and I. You’d love that.

Tanya Moodie: I’ve never seen that.

Olivia Colman: That’s amazing.

Tanya Moodie: My gosh.

Olivia Colman: Yeah.

Micheal Ward: Got to see it.

On work families:

Sam Mendes: Growing up I suppose, it was the only real family I knew. I grew up alone with my mom, and a lot of this movie is based around those memories of growing up with somebody as an only child with an only parent who in turn was struggling with mental illness. A lot of what I went through with her is reflected in Hilary's [Colman] journey in the movie.

Olivia Colman: Almost every film or job I do, you have a part-time temporary ad-hoc family. You become very close. You're in each other's pockets, day in, day out. When I was younger, I found it quite hard that that always had to change. But I got better at it. Now the people that you really love, you will stick with. You might not see each other a few years, but you'll come back. I've always loved that. When I first went into acting, [it] felt like I'd found my tribe.

Sam Mendes: If you look at any of the movies I've made, there are no functional families [laughs] in any of them, really. That wasn't deliberate. It was pointed out to me recently that there aren't any normal families. In a way, the healthiest family is the relationship between Stephen [Ward] and Delia [Moody] in this movie. Between Stephen and his mom.

Olivia Colman: People that I understood, got on with, emotionally available people. So that is my experience with an ad-hoc family, I think. Actors and crews.

Sam Mendes: The collection of eccentrics that gathers in the cinema is very much like the collection of eccentrics that gather in the theatres that I worked in. The families I found were all cobbled-together outcasts [laughs] who found somehow a home in those places.

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#Olivia Colman #Micheal Ward #Toby Jones #Tanya Moody #Sam Mendes #Actor Interviews #Actress Interviews #Director Interviews #Empire of Light #Jay S. Jacobs

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thewales · 5 months

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The Telegraph

the Princess of Wales on Friday will host her annual carol concert, Together at Christmas.

The Duke and Duchess of Edinburgh and the Duke and Duchess of Gloucester are expected to assemble at Westminster Abbey for the service. Princesses Beatrice and Eugenie and Mike and Zara Tindall are also thought to be on the guest list.

Prince George, and Princess Charlotte, will almost certainly join their parents, while Prince Louis, could make his debut.

The King and Queen, who attended the event last year, are unable to make the concert due to long-standing commitments elsewhere.

The Together at Christmas service is arranged by the Princess to honour those who have gone above and beyond to help others throughout the year.

This year, it will celebrate “the golden opportunity” of new birth.

The service will be linked to the Princess’s work on the early years, recognising the efforts of those who work with babies and young families.

The congregation will be packed with midwives, health visitors, early years practitioners, nursery teachers and community volunteers.

Readings will be delivered by speakers including the Prince, Micheal Ward, Emma Willis, Roman Kemp and Jim Broadbent. A specially commissioned poem written by Joseph Coelho, the Children’s Laureate, will be read by Leonie Elliott.

The Westminster Abbey choir will perform and there will be performances by guests including Beverley Knight, Adam Lambert, Jacob Collier, Freya Ridings and James Bay.

The service, now in its third year, is broadcast on Christmas Eve on ITV.

#brf #the princess of wales

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maletfwitch · 4 months

Note

If you can transform these actors into a different actor, who will you transform each of them into?

Taron Egerton, Barry Keoghan, Michael cera

Hmmm interesting question

I guess I'll start with Barry Keoghan he’s been pretty close with Jacob Elordi recently so I guess I'll turn Barry into him.

As for Micheal Cera since he played Allan I think it’s fitting to turn him into a Ken so I'm picking Simu Liu.

Don’t really care much for Taron but I do like Kit Conor and apparently, they both played Elton John in a movie a few years ago so I’ll turn him into Kit Conor

This was a weird but fun ask thanks for the question.

#ask #celeb

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j4c0b-j4c0bs · 6 months

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five nights at silly

#digital art #firealpaca #jacob arts :3 #fnaf #fnaf movie #fnaf fanart #josh hutcherson #fnaf mike #mike schmidt #fnaf movie mike #fnaf movie redraw #art #my art #fnaf movie micheal #micheal schmidt

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cherrysfanfics-ily · 1 year

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↬ What and Who I Write for ↫

☆ Grease: The Rise of the Pink Ladies

♡ Jane Facciano

♡ Oliva Valdovinos

♡ Nancy Nakagawa

♡ Cynthia Zdunowski

♡ Richie Valdovinos

♡ Shy Guy

♡ Potato

♡ Gil

♡ Susan

♡ Dot

♡ Rosemary

♡ Wally

♡ Hazel

♡ Buddy Aldridge

♡ Frenchy Facciano

☆ Grease

♡ Frenchy Facciano

♡ Betty Rizzo

♡ Sandy Olsson

♡ Marty Maraschino

♡ Jan

♡ Kenickie Murdoch

♡ Danny Zuko

♡ Sonny

♡ Doody

♡ Roger

♡ Leo Balmudo

☆ Grease 2

♡ Paulette Rebchuck

♡ Frenchy Facciano

♡ Micheal Carrington

♡ Goose McKenzie

♡ Stephanie Zinone

♡ Johnny Nogerelli

♡ Louis DiMucci

♡ Sharon Cooper

♡ Rhonda Ritter

☆ Criminal Minds

♡ Spencer Reid

♡ Aaron Hotchner

♡ Emily Prentiss

♡ Derek Morgan

♡ Jennifer Jareau

♡ Elle Greenway

♡ Penelope Garcia

☆ Twilight

♡ Jasper Hale

♡ Alice Cullen

♡ Rosalie Hale

♡ Emmett Cullen

♡ Edward Cullen

♡ Carlisle Cullen

♡ Esme Cullen

♡ Bella Swan

♡ Sam Uley

♡ Paul Lahote

♡ Leah Clearwater

♡ Seth Clearwater

♡ Jacob Black

♡ Alec Volturi

♡ Cauis Volturi

☆ Miss Peregrines Home for Peculiar Children

♡ Enoch O’ Connnor

♡ Emma Bloom

♡ Jacob Portman

♡ Millard Nullings

♡ Bronwyn

♡ Victor

♡ Horace

♡ Olive

♡ Hugh

♡ Fiona

☆ Glee

♡ Rachel Berry

♡ Finn Hudson

♡ Kurt Hummel

♡ Artie Abrams

♡ Santana Lopez

♡ Tina Cohen-Chang

♡ Mercedes Jones

♡ Brittany S. Pierce

♡ Noah Puckerman

♡ Sam Evans

♡ Blaine Anderson

♡ Mike Chang

♡ Quinn Fabray

♡ Jesse St. James

♡ Sebastian Smythe

☆ Pitch Perfect

♡ Donald Walsh

♡ Jesse Swanson

♡ Beca Mitchell

♡ Aubrey Posen

♡ Chloe Beale

♡ Stacie Conrad

♡ Cynthia Rose Adams

♡ Unicycle

☆ Pitch Perfect 2

♡ Jesse Swanson

♡ Beca Mitchell

♡ Aubrey Posen

♡ Chloe Beale

♡ Stacie Conrad

♡ Cynthia Rose Adams

♡ Emily Junk

♡ Flo

♡ Pietrar

♡ Kommissar

☆ Pitch Perfect 3

♡ Beca Mitchell

♡ Aubrey Posen

♡ Chloe Beale

♡ Stacie Conrad

♡ Cynthia Rose Adams

♡ Emily Junk

♡ Flo

♡ Calamity

♡ Serenity

♡ Charity

♡ Veracity

♡ Chicago

☆ Ride the Cyclone

♡ Mischa

♡ Noel

♡ Ricky

♡ Constance

♡ Jane Doe

♡ Ocean

☆ Mamma Mia

♡ Sophie Sheridan

♡ Sky

♡ Donna Sheridan

♡ Sam Carmicheal

♡ Harry Bright

♡ Bill Austin

♡ Pepper

☆ School Spirits

♡ Maddie Nears

♡ Simon Elroy

♡ Wally Clark

♡ Xavier Baxter

♡ Rhonda

♡ Charley

♡ Dawn

☆ Nerdy Prudes Must Die

♡ Stephanie Lauter

♡ Peter Spankoffski

♡ Richie Lipschitz

♡ Ruth Fleming

♡ Grace Chasity

♡ Max Jagerman

♡ Lords in Black

☆ Movie! Five Nights at Freddy's

♡ Micheal Schmidt

♡ Vanessa Afton

♡ Platonic! Abby Schmidt

☆ Fruits Basket

♡ Tohru Honda

♡ Yuki Sohma

♡ Kyo Sohma

♡ Hatsuharu Sohma

♡ Momiji Sohma

♡ Shigure Sohma

♡ Hatori Sohma

↬Will most likely add more fandoms later↫

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saturnxlust · 7 months

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Masterlist

Characters i will write for....

Lester Sinclair

Bo Sinclair

Vincent Sinclair

Jasper Hale

Jacob Black

Micheal Myers

Jason Vorhees

Thomas Hewitt/Bubba Sawyer

Ghost face(both Billy and Stu)

Billy Loomis

Stu Macher

Geralt Of Rivia

Joel Miller

Ellie Williams

Edward Cullen

Alice Cullen

Rosalie Cullen

Carlisle Cullen

Esme Cullen

Bella swan

Emmet Cullen

Vincent Caffarello

Habit

Evan Myers

Noah Maxwell

Patrick Anderson

Prebrand

Firebrand

Jeff Koval

Tim Wright

Brian Thomas

Alex Kralie

Jay Merrick

Alex koval

Steph/damsel

Nubbins sawyer

Chop top

Daniel larusso

Harley quinn

Peter quill

Captain america

Thor odinson

Sodapop Curtis

Darrel Curtis

Tim Shepard

Curly Shepard

Ponyboy Curtis

Dallas Winston

Steve Randle

Johnny Cade

Keith(two-bit) Mathews

Actors/ people i will write for!!

Pedro Pascal

Bella Ramsey

Chris evans

Chris pratt

Chris hemsworth

Josh hutcherson

Taylor lautner

Ralph macchio

Britney murphy

Johnny guilbert

Jake webber

Give me suggestions on who i should write for please!!

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invisibleicewands · 2 months

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Michael Sheen is tremendous as NHS founder Aneurin Bevan, even if the play’s fear of bio-drama cliches gets a bit much

The British, in case you hadn’t noticed, tend to get a little sentimental about the NHS.

So it’s understandable that playwright Tim Price and director Rufus Norris are wary of dewy-eyed hagiography when approaching ‘Nye’, a new biographical drama about Aneurin Bevan, the firebrand Labour health minister who founded the service. With the title role played by the great Michael Sheen, there is a danger of going OTT in having the nation’s favourite current Welshman star as the nation’s favourite historical Welshman. And so Norris’s production has a determinedly trippy quality intended to counter the cliches.

Billed as an ‘epic Welsh fantasia’, ‘Nye’ is largely presented as the stream-of-consciousness of an older Bevan, who is a patient in one of his own hospitals. There for an ulcer operation, he drifts in and out of the present and into recollections of his past, unaware he is dying of stomach cancer – something his MP wife Jennie Lee (Sharon Small) has determinedly kept from him.

Crowned by a truly uncanny wig, Sheen is a delight as the fiery but unassuming Bevan. He never at any point changes out of his red striped pyjamas, a pleasingly absurdist touch at the heart of Norris’s stylish production, in which the green hospital ward repeatedly dissolves into the past to the sound of wheezing lungs.

It’s otherworldly in places, especially the scene where Tony Jayawardena’s overbearing Churchill collars Bevan in the Commons and groups of teacup-clutching MPs try to eavesdrop, moving like insectoid predators under Stephen Hoggett and Jess WIlliams’s unsettling choreography.

Really, though, once you get past all the cool stuff, you’re left with a fairly conventional drama, jumbled up. Bevan’s memories of the past come at us in roughly chronological order. There’s a definite artistic licence at work as we see schoolboy Nye - still played by Sheen - overcome a bullying teacher and absorb his local library, hungry to find synonyms for words that trigger his stammer, setting himself on the path to becoming a great orator. But the meat of ‘Nye’ does lie with relatively factual accounts of incidents from Bevan’s life - his scenes in Parliament are particularly riveting, as he is doggedly determined to criticise Churchill’s wartime government, to the chagrin of his boss Clement Atlee (Stephanie Jacob).

I understand the logic in, say, not having Sheen simply parrot Bevan’s big speeches to rabble-rousing effect. But all the hopping around leaves ‘Nye’ somewhat lacking in connective material. It’s never especially clear, for instance, why Bevan is so much more radical and uncompromising than his Labour colleagues. It sometimes feels like we’re seeing his life on shuffle, when a straight playthrough might have said all the same things, but more clearly.

Don’t get me wrong, if it had been a balls-trippingly weird avant-garde odyssey I’d have doubtless been all over it. There’s a big mid-show song and dance number that hints at a much weirder production. Unfortunately, this production never emerges. It feels like ‘Nye’ desperately wants to avoid looking like an Inspirational Drama About The Founder Of Our NHS, but doesn’t have a clear formal plan beyond that.

However, if the whole isn’t quite there, most of the individual scenes are scintillating. And there’s no sense of embarrassment from Sheen, who is magnetic as Bevan - a decent, even slightly bewildered man, who nonetheless feels pathologically drawn to doing the right thing, no matter the odds.

#Michael Sheen #Nye #theatre #National Theatre #NHS #Aneurin Bevan #review

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fadedlovemp3 · 3 months

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ive made this post before but sooo many people coming into the museum today have the marc jacobs ‘the tote’ bag and I DO NOT GET ITTT they’re so nothing they’re absolutely the micheal kors bags of the 2020s like literally you paid 200-500 $ for that……why…

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lonesomedotmp3 · 2 months

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it's soooooo crazy the way micheal jacobs should kill himself but all of the cast are like "his methods are unorthodox but he gets results!" the results were fucking boy meets world. you're victims!

#YOU'RE VICTIMSSSSS

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bondedbybloodofficial123 · 11 months

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Bonded by blood

edward cullen x morbius

TWs: blood, cheating, gay, running away, eventual smut, homophobia

Get ready for the ride of your life everyone!😼

if you could maybe support a queer love story for pride month it would be awesome !!!!!

chapter 1 / ?

Renesmee POV

“You’re literal dogwater! You’re trash! Get good! I hate you, trash teammate! KYS (Kill yourself)!” Renesmee spoke into the microphone, gently and quietly, as not to let her parents find out her darkest secret that not even the ones she loved could ever hear about.

She indulged in video games— Fortnite, to be exact. It was the only thing that could heal her numb emotions, and fill the hole in her heart Jacob left when her father so cruelly cast him away. With a restraining order, of course. But, there was yet another secret she was keeping. Every night, she departed from her sleeping quarters, and waited for her beloved to visit her in the darkest hours of the night. It seemed he was approaching, and she would soon see her forbidden lover. She could hear him, now, he was outside the window, and he howled with passion. Every howl screamed her name, “Renesmee, Renesmee, Renesmee…” she imagined him saying, away from the watchful eye of Edward.

The window slid open, to reveal a muscular man with luscious, long locks of silky, black hair. His brown eyes looked only at Renesmee, and his heart beat only for her. “Jacob,” she said, returning his intense gaze. “Renesmee,” he replied, inviting himself into her room, careful not to make a sound. Renesmee had an idea, a rebellious, scandalous, idea. She longed to run away from her parents, and spend the rest of eternal life with the wolf-man of her dreams. So, she needed to make a choice, her parents or her love? There was only one true answer. The answer her parents had chosen to create this family- love. “Jacob, I have an idea… but it’s risky and requires full cooperation.” she spoke concisely and with determination, her eyes piercing through his lovestruck soul. Jacob did not hesitate for a moment. “Anything for you, loca.” and so, she proposed her idea, with only Jacob in her mind and heart. “Will you… run away w-w-w-w-with me?” Jacob listened to her words carefully. The answer was obvious. “Always, Renesmee.”

And so, they were off together, into the harsh night, the only shield they had being the love for one another.

Dr. Micheal Morbius POV

Micheal’s eyes fluttered open, laying on the cold lab table. He couldn’t remember a thing. All his thoughts were blurry, and his body ached everywhere- hunger, pain, sadness, it all consumed him. He wasn’t sure why. He turned to his side, the debris-like bats fluttering around in circles in their large test tube like enclosure. They called to him, almost as if they were one of his kind. One of the living vampires. His lab was located in a desolate forest, not far from the Swan-Cullen residences. He felt the uncontrollable vampire rage inside of him, and he knew he could not do anything to prevent the monster about to break free. Near the door of his lab, he could hear rapid footsteps, approaching it. He wanted to cry out, “No! Run while you still can!” but all he could do was growl, scream, wretch— out in pain. He tried to tie himself down, but he knew the monster inside would not be subdued, it was much too late for that.

The smell of blood was enticing, it was exciting, it was all he could think about. It was so strong, he could smell it wafting through the lab door, which was slowly opening. The air, though, was odd, something was running through it, and something extremely fast. Micheal felt fear, but yet, all he could think about was the incoming meal. That meal being Jacob and Renesmee. Micheal tried with all his might to stop himself, but he could not, and a loud roar echoed throughout the lab. Before he knew it, he was latched onto the ceiling, hanging from the top of it, awaiting his prey. It was, in fact, morbin time.

“Renesmee, stay close to me…” Jacob said, trying to navigate through the bat-filled lab. In her defiance, Renesmee crept in front of the half-wolf half-man, but she never would've guessed what she would see. The room was silent for a moment, the only noise being the creeping from the ceiling, and the rapidly fluttering wings of the bats. “Renesmee, get back here…” said Jacob, anticipating the horror in front of the two of them. Then, he heard it, a claw cutting through metal, and pain-filled gasps and groans. Renesmee, horrified, looked up to meet the cold, dead eyes of the monster awaiting them, it's disgusting, mangled mouth hung open. Then, it uttered a few words that left Renesmee’s blood cold. “I do not control the morb. The morb controls me.”

Micheal leapt from the ceiling, and his claws met Renesmee’s side. She let out a blood-curdling scream, as Micheal immediately dashed to her bloody side. Jacob was not going to let anyone, not even this monster, hurt her. And soon, the man shifted into a wolf with fur black as night. He howled, although Micheal was unphased, his red eyes did not even break contact with Renesmee’s gash. Seeing Micheal drain the blood from her body, Jacob was reminded of his long-time enemy, the Swan-Cullens. Jacob pounced on Micheal… no, Morbius… and before he could even try to kill the monster, Morbius struck him too, leaving his voluptuous tail on the ground, severed.

But they weren’t alone in this fight. Two familiar faces had heard their screams. “Get away from my daughter!” yelled Edward. “Y—yeah. Just, um… stay–stay away? I… I don’t know, stop— hurting her,” Bella agreed, displaying her sharp vampiric teeth. Morbius cried out, but they couldn’t tell what he was saying. He seemed to be trying to stop himself from hurting Renesmee and Jacob, but he couldn’t. Edward’s heart ached with empathy, he would know more than anyone what being unable to control the monster inside of you was like. Finally, Morbius pulled himself away from Renesmee, and while Edward felt anger at him for injuring his daughter, he also felt bad for Morbius. “Run… while you still… can…” Morbius muttered, trying to hold himself back. What Edward said in reply made his heart skip a beat.

“I would never abandon another vampire.”

“What?”

“I would know more than anyone what your pain feels like.”

“Run…” Morbius said in a final, desperate attempt to save Edward.

“I won’t let you kill anyone. And I won’t let you suffer alone, either.”

Edward held Morbius’ hands behind his back, but didn’t make any attempts to harm him. Morbius, or now, as he felt his humanity returning, Micheal, had never felt such warmness in his life. Edward didn’t need to say a thing. Michael didn’t need to say anything, either. Then, they heard a voice.

“What are you doing, queers?!” yelled Bella in a cold, uncaring voice Edward had never seen before.

And hearing her like this, and having Morbius ever so close, he knew… who he really loved.

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