#my experience seeing it the first time in a different cinema was better

[sparksflys]

I went to see the eras tour movie at the cinema for a second (and last) time 💙

[wilwheaton]

favorite goncharov character

Goncharov! Holy shit I haven't thought about Goncharov in YEARS!

I remember seeing it at the Vista theatre downtown in ... I want to say 1983? It was either 82 and I was 10, or 83 and I was 11. Now that I think about it, it must have been Spring of 83. I remember that Kimmy Mendini was my babysitter, and she drove my friend Ahmed and me all the way downtown to see Goncharov. She would have been at least 16, but I feel like she was a little older. I remember that she LOVED movies and just never stopped talking about European cinema.

Ha! I can still her her sort of roll "Cinema" out of her mouth. Movies were for the masses to watch, while sophisticated adults experienced Cinema. I'm just realizing now that she absolutely pronounced it with a capital C. She was like "you are so lucky to see a clean print of Goncharov!"

I had no idea what a clean print was, but I understood it was important and impressive.

She had read about this screening in the LA Weekly, which I didn't know at the time was TREMENDOUSLY subversive in our suburban part of Los Angeles County, and we were going to an old theatre in maybe not the greatest part of town, but Kimmy had been watching me since I was in second grade and was like my big sister. I knew we'd be safe with her.

That old theatre (which is now a fucking swap meet) was just so beautiful inside. 100 foot ceilings, box seats, gold paint and murals. It felt like a place you went to experience Cinema, but, like ... it had absolutely seen better days. I remember that I felt kind of bad for the place, a little embarrassed, like when I got a good grade and accidentally made eye contact with a friend who got a D.

Okay. This clearly hit a memory artery, and I appreciate you staying with me this far, when we finally get to the fireworks factory. We're walking up to the box office, and she tells Ahmed and me that we have to wait on the sidewalk, because *technically* it's rated R, and she's not our legal guardian, but what does this guy making two bucks an hour know about art anyway?

So we wait. She buys the tickets, and then we all walk in as casually as we can.

I remember how scared I was that we were going to get caught and they'd call the cops (that's how it worked in my anxiety-ridden brain), but literally nobody cared. The theatre wasn't even half full, and everyone there was a dude at least as old as my parents.

You know the story, so I don't have to recount all of it, but I can at this very moment remember how shocked I was when Bruno was shot. This was the first time, ever, I had felt an emotional connection to a character. I didn't cry when Bambi's mother was shot, I didn't cry when ET died, I didn't cry E V E R.

But when Bruno died? I didn't make a sound. I just silently wept. Tears just poured down my face and I wanted to roll back time, rewrite the movie, and get him out of that room.

I obviously understand now, all these years later why I connected to him and why his story meant and means so much to me, but at the time I had no idea. I just thought the actors were that good.

I can't believe that guy who played him died so young. I think he was like 40? I remember thinking that was old. Now I know different.

When the movie was over, Kimmy asked us how we liked it. Ahmed was obsessed with the photography (he grew up to be an illustrator), and I obviously had my Bruno Moment.

We got Thrifty ice cream on the way home and listened to Donna Summer in her Datsun.

I haven't thought about Goncharov or Cinema or Kimmy in FOREVER. Leave it to Tumblr to boost my nostalgia check to a natural 20.

tl;dr: Bruno. I know he's supposed to be that character we all hate, and there are so many valid reasons for that. But when I was 12 ... well, I was a different person.

Oh! And now that I know what a "clean print" is, having seen so many "dirty prints" in revival houses before they all turned into swap meets or churches (hey, two places where people sell you stuff and take your money!), I retroactively appreciate it in a way that would make Kimmy happy.

Thanks for the trip into the crumbling mall that is my childhood memories. I haven't been here in awhile and it was nice to visit.

[fallecupid]

nsfw alphabet with art donaldson. ( headcanon )

.ᐟ.ᐟ warnings :ㅤ dom!reader.ㅤsab!art.ㅤfem!reader.ㅤnsfw content.ㅤword count: 3,3k.

( author's note : i apologize in advance for errors in this text / vague wording / words that are incorrect in meaning ( if any are present in the content. ) english is not my native language, everything written below has been translated by a translator. )

A — ( aftercare ) Immediately after sex, donaldson most often takes time to catch his breath, and later immediately buries his face in you like a damn koala. this is accompanied by his quiet questions about how much you liked it and whether he caused any discomfort.

B — ( body part ) of course these are hands. art melts in your hands, all these small touches on his hair, cheeks, and ultimately his penis. all this makes it the top of the world and brings incredible pleasure.

C — ( cum ) a man prefers to keep you clean, so he either cums in your mouth or on the fresh sheets.

D — ( dirty secret ) donaldson often jerks off in the bathroom, imagining something like bdsm. he wouldn't mind participating in something if it involves you.

E — ( experience ) can you say you are his one and only for life? however, his first time wasn't too damn terrible and he got better and better each time. after all he is a good boy and a quick learner, right?

F — ( favourite position ) donaldson likes it when you sit on him, it opens up a lot more possibilities. plus, this allows him to see your facial expression and understand whether he is going correctly.

G — ( goofy ) art will often say something inappropriate, almost forcing you to tease him. however, he is far from serious during sex.

H — ( hair ) hair is one of donaldson's main weaknesses, if you want to make it wet, just caress the light locks of his head. during sex, he will often ask you to grab his hair while you whisper sweet nothings in his ear.

I — ( intimacy ) art is a hopeless romantic. he suffers with every fiber of his being trying to please you. whether it's a candlelit dinner or going to the cinema with a bouquet of roses.

J — ( jack off ) sometimes he can afford it, on a tennis tour when you are not around. he locks himself in the hotel bathroom looking at your photos and completely worshiping you. sometimes these are video calls, but that's a completely different story.

K — ( kink ) dominance. well, you can’t hide that to some extent what turns him on is how much control you have over the process. more often than not, making him a boneless man who lets his needs come to the fore.

L — ( location ) there is no need to change traditions, so he fucks you (or you fuck him) in your bedroom, away from everything, only a lush bed and quiet moans.

M — ( motivation ) donaldson just needs to look at you to make his dick jump at a frantic pace. but it’s worth highlighting foreplay. what turns him on is how well you can act it out.

N — ( no ) nothing without your permission. even if he fucking wants you, he won't until you give him the green light.

O — ( oral sex ) he wouldn't perform oral sex on his own accord. if you proposed to him, he would happily agree, wanting to please your sophisticated desires.

P — ( pace ) definitely a slow pace. he wouldn’t rush anywhere, but rather would stretch out each thrust like a damn taste of pie on his tongue, giving you a chance to enjoy it to the fullest.

Q — ( quickie ) definitely not. neither you nor he like speed in this matter.

R — ( risk ) he wouldn’t fuck you in a toilet stall or somewhere on the balcony.

S — ( stamina ) usually your sex doesn’t last too long, an hour or an hour and a half, and you’re both already wet and damn satisfied.

T — ( toys ) unusual, but unfortunately not practiced.

U — ( unfair ) art encourages you rather than teases you. a few kind words and you have already pounced on him like a cat on a piece of meat. this is not to say that there is anything bad about this.

V — ( volume ) more often than not, any noise is muffled by your hips or pillows, so overall art is not a problem in this regard.

W — ( wildcard ) during sex, he is too often embarrassed by your comments about the behavior of his penis, so he sits under the covers while foreplay time passes.

X — ( x-ray ) something like 15 cm?

Y — ( yearning ) on a scale of ten it is something around 7/10. sex is relaxing and enjoyable.

Z — ( Zzz ) a man falls asleep once after you, so it depends on how tired you are and whether you will not have a continuation of previous sex.

[mrs-stans]

Meet Sebastian Stan, the actor who plays Donald Trump in The Apprentice

From Gossip Girl to Marvel Studios, to more independent productions: Sebastian Stan's career has been a roller coaster ride. During his visit to the Deauville American Film Festival, Vogue met the actor, who at 42 years old won a Hollywood Rising-Star Award.

BY LOLITA MANG

On October 9, Sebastian Stan will be Donald Trump in The Apprentice. Some know him for his role as Carter Baizen in Gossip Girl. Others, for that of the Winter Soldier in Marvel productions. But recently, the American actor, of Romanian origin, has ventured into more independent fiction, which sheds a new light on his career. At the Deauville American Film Festival, he came to present A Different Man by Aaron Schimberg, in which he plays Edward, a young disabled actor who decides to change his appearance to, he believes at the time, improve his life. On the contrary, this transformation marks the beginning of his fall. An antagonist role such as he has long played on our screens, and which he continues in The Apprentice, presented in May 2024 at the Cannes Film Festival, and directed by filmmaker Ali Abbasi. So many elements that made us want to talk with the 42-year-old actor during his visit to Normandy, where he was awarded the Hollywood Rising-Star Award. As proof of the new direction taken in his career, today considered by the proponents of European cinema, perhaps, let's confess, more snobbish than their American compatriots.

Vogue. Gossip Girl, The Covenant, The Apprentice or even Captain America: The Winter Soldier … Your filmography is full of antagonists!

Sebastian Stan: A lot of things came to me, other roles, I pursued them. What I am certain of is that I never wanted just one type of role. I wouldn't go so far as to say that I refuse the more traditional hero roles, which I also find very interesting, even difficult in some ways. But it's true, I've always been curious about the idea of playing complex characters, full of flaws. Sometimes, they are the antagonists. Often even! What interests me in human nature is the duality. We can be extremely good to each other, as we can become horribly evil. Life is more complex than that, there are not good guys on one side, and bad guys on the other. Each of us is capable of the best as well as the worst. The antagonists, in my films, offered a great potential for acting that I enjoyed exploring.

Even Edward, your character in A Different Man, seems consumed by envy.

Probably the most complicated character I've ever played! But he's still so realistic in so many ways. I was just talking about this: I hope a lot of people get a chance to see this movie because it's really about acceptance and truth. Someone asked me what I think are the most important human characteristics. I said: values, the relationship we have with ourselves, and how we treat others. When I look at younger generations growing up today, especially with social media, people are almost forced to be followers. Fewer and fewer people are brave enough to express their voices in a unique way to fight against conformity. When you look at a character like Edward, you understand that better. We've all lied to ourselves at some point in our lives. We've all wanted things we couldn't have. We've all envied the person next to us. I wouldn't go so far as to say that this film is a fable, but it has this ability to make us look inside ourselves, and ask ourselves: "What makes me different?" Rather than trying to be things that we are not.

For the first time, with A Different Man, you are putting on the producer's shoes. Why?

I found myself much more invested in the film. It was a very unique experience, which I had not anticipated, I must admit. When I met Aaron Schimberg, the director, at the very beginning of the process, we formed a great connection, and we tried to sell the film together here and there. He welcomed me with open arms in this collaboration, included me in all the conversations about the feasibility of the project. For example, I was the one who suggested that he watch the film Julie (in 12 chapters) because I think Renate Reinsve is incredible in it. I was even able to help with the prosthetics that are used in the film, as well as on the shooting. Let's be honest: it was a complicated shoot, to do in a very short time. Only about twenty days. As an actor, I worked harder, I didn't count my hours. As a producer, I helped Aaron Schimberg make the film as he had in mind. I learned a lot from A Different Man, that's for sure.

Does this mean you're going to try it again?

Oh yes! There are several projects that I have my eye on at the moment… But it’s very difficult to make films, which you probably know here in France. A film like A Different Man, honestly, if A24 studios hadn’t intervened, I’m not sure we would have managed to make it. The United States is not like France or the rest of Europe: there is not the same support allocated to the film industry from institutions. There are no dedicated funds, it’s up to you to manage on your own. When you fight for a film, in addition to playing in it as an actor, it’s both exhausting, but terribly rewarding.

It’s a role for which you were awarded a prize at the Berlinale , and tonight, you’re going to receive a Hollywood Rising-Star Award here in Deauville. At 42! That’s joyful!

I know! I'm a 42-year-old emerging actor, I should say that in my speech... The thing with this industry is that you're constantly growing. It's true, I'm 42, but for the first time, I feel like I'm learning very important things, that I wish I had known much earlier! It was a strange year for me, between the Berlinale, the Cannes Film Festival, Deauville ... For my two films, The Apprentice and A Different Man, I felt real support from the European festivals, very prestigious ones at that. It was very special for me who had never experienced that before. And then I have immense respect for European cinema, which for me is synonymous with real work and authenticity. Here, if people don't like the films, they're not afraid to say so! So that my films have been so well received here, it means a lot.

You are European yourself, you grew up between Austria and Romania…

That’s right. I lived in Romania for the first eight years of my life, and then in Vienna for four years. Coming to the United States in the mid-1990s was a turning point in my life. There, I had opportunities that I would never have had in Romania. That’s why I’m so interested in the idea of the American dream, which is reflected in many of my films. A Different Man and The Apprentice both explore it, in their own way. I think the central question of both of those works is: “When is enough enough? How far can we go to get what we want? Why do we always want to win?” Coming from Europe, where the philosophy is almost the opposite of that, helped me in many ways. I don’t know if I would have approached my roles in the same way.

In A Different Man , you don't speak much, but the physicality of the role is evident. How did you work on it?

Luckily, I was there from the beginning of the shoot. Our makeup artist, Michael Marino , who was working multiple shoots at the same time, would put the prosthetics on me very early in the morning. So I had this time before the shoot where I would walk around the streets of New York with this face that is not mine, and see the reactions of the people around me. It was scary, and enriching in many ways. It helped me understand what it meant to live in the shoes of a man like Adam Pearson, because I wouldn't have been able to realize it otherwise. Adam was very honest with me and talked to me a lot about his experiences, which helped me a lot. And then as an actor, I myself live this strange phenomenon of being recognized on the street every day. I don't have a private life. I sometimes feel like I'm some kind of public property: people can film me and do pretty much whatever they want.

Let’s talk a little bit about the Donald Trump you play on The Apprentice . How does one prepare for such a role?

Playing a real person has its pros and cons. The advantage, with people as famous as him, is the amount of archives available. Videos, articles, documentaries… you have plenty to study the character! But there is a problem: you have to find a place to insert yourself, as an actor. A real challenge, which I like to welcome without really knowing if I will succeed. That is part of the problem that faces me! But that is precisely the reason that makes me want to take on this kind of challenge. Telling myself that I can't do something only redoubles my desire to succeed. When you play a completely fictional character like Edward, it is up to you to build his story. How did he get there? That is what I am constantly looking for.

The Apprentice by Ali Abbasi with Sebastian Stan and Jeremy Strong, from October 9, 2024 in theaters.

A Different Man by Aaron Schimberg with Sebastian Stan, Adam Pearson and Renate Reinsve, coming soon.

[natsgrave]

MIDNIGHT RAIN | elizabeth olsen

she was sunshine, i was midnight rain. she wanted a bride, i was making my own name, chasing that fame. ( another story inspired by @taylorswift song ) play the song midnight rain for better experience, ig i do not give permission for my work to be copied or translated on other sites. plagiarism is a crime! masterlist

ELIZABETH'S POV

The sun dipped below the horizon, casting a warm golden glow over the city streets. I sat on a park bench, lost in the memories of a love that had once consumed my every thought.

I still remember the day I first laid eyes on her. It was a warm summer evening as I sat sipping my coffee in a quaint little café downtown. Her radiant smile and infectious laughter caught my attention from across the room as she chatted animatedly with a group of friends. There was an undeniable aura of confidence and grace that surrounded her, making it impossible for me to look away.

Little did I know then that this chance encounter would mark the beginning of a love story unlike any other.

As fate would have it, we eventually crossed paths again at a mutual friend's housewarming party. I mustered up the courage to approach her and strike up a conversation. We spent the entire evening engrossed in passionate discussions about art, cinema, and life. From that moment, it felt as though the universe had conspired to bring us together.

Her name was Y/N, known for her kind heart and artistic talent, she worked as a freelance photographer to capture the captivating essence of the world around her.

Y/N's talent and beauty captivated me from the moment we met. As we spent more time together, our connection deepened, and I found myself falling head over heels for her. Every moment I spent with Y/N felt like a scene from a movie I never wanted to end.

This marked the beginning of our whirlwind romance, as we spent every waking moment together, exploring and nurturing our deep bond.

We were inseparable, two souls entwined in a fiery passion for life and each other, bound by shared dreams and shared laughter. We shared a deep connection that seemed unbreakable. We believed we could conquer any obstacles together. As our love blossomed, we believed that nothing could tear us apart, but little did I know that destiny had different plans for us.

I'm an aspiring and rising actress with a raw talent and dreams as vast as the night sky. Y/N quickly became enthralled by my creativity, dedication, and unwavering belief in my talent. We began our journey as a couple, sharing in both the triumphs and tribulations that came with my pursuit of stardom.

The early days were filled with excitement and promise. She watched me blossom from one auditions to the next, inhabiting different characters effortlessly, leaving audiences captivated. Seeing me gain recognition for my hard work brought immense joy to both of our hearts. However, as my career started gaining momentum, it became evident that the demands of the industry began to take its toll and would put a strain on our relationship.

Our love was exhilarating, but also fragile.

As our relationship flourished, my acting career started to skyrocket. I landed roles in films, theater productions, and even received a nomination for an esteemed acting award. Y/N admired my dedication and passion for my craft, but I know, she couldn't help but feel a pang of unease as our lives began to move in different directions.

As my star began to ascend, I found myself faced with complicated choices. My career demanded my undivided attention, leaving little room for anything else. The glitz and glamour of my newfound fame consumed me, while she silently supported me from the shadows. Y/N became my biggest fan, attending every premiere and award ceremony, proud to be by my side.

My career as an actress began to grow, landing me on several leading roles in critically acclaimed movies and earning widespread recognition. I became the talk of the town, and my journey to stardom overshadowed everything else in my life, including my relationship with Y/N.

As my dedication to my craft grew, so did the distance between us. Our once intimate moments became fleeting, replaced by late-night auditions and endless rehearsals. Our conversations became brief, filled with surface-level pleasantries. I tried desperately to hold on, but it felt like the more I held, the more she slipped away.

Like clockwork, the late-night auditions and grueling shooting schedules began to consume our time together. It was during one such pivotal moment, as I stood on the precipice of fame, that I made the heartbreaking decision to prioritize my career and put our love on hold.

One evening, while cuddled up on our favorite couch, sipping on mugs of warm tea, I turned to Y/N with a weakened smile.

"Y/N," I started, voice filled with both excitement and uncertainty, "I've been offered a once-in-a-lifetime opportunity."

"What kind of opportunity, Liz?" She asked, her voice quivering with anticipation.

"I've been offered the lead role in a blockbuster film." I confessed, eyes gleaming with a mixture of hope and trepidation.

"I can't believe you got the lead role, baby! I'm so proud of you." Y/N said, my heart filled with both excitement and a hint of sadness.

I looked at her, my eyes shining with a mixture of determination and guilt. I took a deep breath before speaking, "Thank you, love. I've worked so hard for this opportunity, and I can't let it slip away. It's a chance to catapult my career to new heights, but it means committing to months of intense filming overseas. It also means I'll have to dedicate all my time to rehearsals and performances. I won't be able to give you what you deserve." I can feel the lump forming in my throat as my heart tightening.

"Are you saying… you're choosing your career over us?" Y/N asked, her voice barely above a whisper.

Tears welled up in my eyes as I reached out to hold her hand, "No, it's not that. I love you with all my heart, but this dream means everything to me. I need to take this chance, even if it means breaking both our hearts in the process."

Days turned into endless nights as she watched me passionate pursuit of fame. Y/N stood by my side, supporting my dreams while silently breaking inside. Yet, we couldn't bring ourselves to let go.

Love had a way of blinding us to harsh realities.

Months passed, and the distance between us grew. The sparkle in my eyes, once fueled by our love, dimmed with the weight of my commitment to my craft. The late-night conversations turned into quiet embraces, and the laughter that used to echo through our home became mere faint memories.

With each passing film, my commitment to my career just grew even stronger, causing me to face a difficult choice between love and ambition.

Then came the day that shattered our fragile world.

One evening, as the dusk settled over our now-empty apartment, I stood by the door, my eyes flickering with a mixture of excitement and sadness. We could see the desperate struggle within both of us, torn between my aspirations and our love.

I made a decision that shattered both our hearts into a million fragments. I stood before her, tears streaming down our face, and whispered words that still haunt me to this day, "I'm sorry, but I can't keep juggling both my career and our relationship."

I saw her face fell, her heart sinking with the weight of my words. We knew this was the moment she had been dreading. She understood that my dreams were on the line, but Y/N couldn't escape the fear of losing me. and now, it's happening.

"Lizzie, I want nothing more than to see you succeed and chase your dreams," She said softly, holding my hands tightly. "But what about us? What about our relationship?"

My eyes filled with tears as I gently squeezed her hands, "I love you, Y/N, more than words can express," I whispered. "But love alone cannot decide our futures. We both have dreams to pursue, and I hope you understand that I don't want to hold you back."

"Lizzie, please…"

"I needed to pursue my dream, even if it meant sacrificing our love. I can't ask you to wait for me, Y/N," I said softly, my voice quivering. "This journey is something I need to take alone."

She fought against the tears threatening to overflow, but understanding my dreams. Y/N nodded, struggling to find her voice, "I'll always be here for you, Lizzie. No matter what."

Both our heart broke at each others words, but we knew I was right. Love alone could not sustain our relationship if it was suffocated by unfulfilled dreams. As much as it hurt, we had to let eachother go and went to follow our own path.

As she left, I felt hollow, like a ghost existing in a world that had suddenly turned dark. I wandered through the ruins of what was once our love, searching for a purpose, for something to fill the void she left behind.

But, the bright lights of fame and fortune beckoned me, and I made the difficult choice to prioritize my career above all else.

In the aftermath of my departure, I was left in a sea of solitude. Trying to mend my broken heart, I threw myself into work and surrounded myself with friends who could offer solace. It wasn't easy, but life moved on, and I learned to cope with the dull ache that haunted me. The pain of our separation was raw and merciless, leaving me to question if I had made the right choice.

Years went by, and life slowly stitched my broken heart back together. I learned to live without Y/N, but the memories remained etched in my mind like faded photographs.

I heard that Y/N's passion for photography took her to new heights, showcasing her talent on richly colored canvases. Meanwhile, I had become one of Hollywood's most sought-after actresses, reaping the awards for my hard work along with my dedication and acclaim to my name.

But amidst my successes, I had never forgot about her. Our love, though altered, remained forever etched in my heart.

One fateful day, I received an invitation to an interview segment where I would talk about myself. My past love. As nervous as I was, I couldn't resist the opportunity to let go what I was really feeling, even if it stirred up old emotions. The interview took place in a luxurious Hollywood hotel suite, adorned with floral arrangements and twinkling lights, setting the stage for an unforgettable encounter.

As I walked into the hotel suite where the interview was scheduled, I couldn't help but feel a mixture of excitement and apprehension bubbling within me.

I entered the room, clad in a stunning red suit that accentuated my beauty. I exchanged pleasantries with the woman who assigned to interview me.

As the interview progressed, I found myself caught in a whirlwind of emotions, alternating between reclaiming the familiarity we once shared and maintaining professionalism.

"So, Miss Lizzie…" The woman trailed, "Why are you still single?"

"I choose to pursue my dreams." I said with a smile, "I wanted to become popular. Make my own name." I added.

"What happened to you and your past lover?" She asked.

"Everything went downhill the moment I start gaining the spotlight. Time was our number one enemy." I answered honestly, "She was so proud, we were both happy but ofcourse, along all of that is the sacrifices."

"That's where the conflict started?"

I nod simply, "I got so busy. We barely see eachother since I'm always tired and sometimes, staying on the set. We almost broke up the first time but choose to fix things."

"That's good." She happily replied.

"Honestly, I don't think so…" I start to play with the rings on my hand, "As a rising actress, my job demands a lot. I can't focus on two things that time. I was never good at handling things in general."

"When was the time that you realized you need to let it go?"

"Before, we can't last a minute without talking to eachother then that changed. We barely talk as we were both become busy pursuing our dreams." I smiled a little, "That's when I knew… it's over."

"Was it a proper break up?"

"Yes, it was. At first, she said no but I explained it to her. We both have a dream. I don't want to hold her back and same goes to me."

She looked at the paper she's holding before asking, "Any regrets?"

I coyly looked into her eyes and said, "The one thing I regret most in my journey to success is not having her by my side. We had something truly special, and I've often wondered what might have been." My eyes glistened with tears as I added with a heavy heart, "It's been so hard without her. But I needed to follow my dreams, even if it meant losing the love of my life."

The woman reached out and gently held my hand, "I'm sure, it was a difficult decision for both of you. Life took you both down different paths, but it doesn't mean your love wasn't real."

I let out a sigh tinged with sadness, "She were always my biggest supporter. But I couldn't let go of this opportunity, even if it broke my heart."

"What was the last thing you heard about her?"

"She's a successful photographer now and a very famous host in a lot of TV shows."

As the interview concluded, she asked, "One last question, do you still love her?"

I smiled and wiped my tears, "When I left all those years ago, I never stopped loving her. It's gonna be her, always."

"Do you have anything to say for her before we end this?"

I nodded, "Sometimes, we need to make tough choices that shape our destiny. I'm glad you found success, and I hope it brings you all the joy you deserve." I took a deep breath, my eyes filled with the bittersweet realization,"We can't change the past, but we can choose how our story unfolds from here. Maybe it is really time for us to rewrite our narrative. For the last time, I love you."

"Thank you so much for granting our invitation and answering the questions, Miss Lizzie."

"Thank you so much and you're welcome, Y/N."

And in that definitive moment, the world outside the hotel suite faded away, leaving only our souls who had found their way back to each other. As the door closed behind us, our past became but a memory, and the unwritten chapters of our future began to unfold.

The past, the heartbreaks, the missed chances—it all seemed to evaporate into thin air.

Sometimes, the choices we make lead us down paths we never planned, but in the end, it's the love we choose to hold onto that truly defines our lives. And in the depths of our hearts, the memories of shattered spotlights can find solace, reminding us of the beauty and resilience of the human spirit.

Sometimes, the journey of love leads us through unforeseen detours. It teaches us the power of sacrifice, the pain of letting go, and the resilience of the human heart. And in the end, we find solace knowing that even after traversing treacherous paths, we can still stumble upon our own happily ever after.

After all this time, I knew that sometimes, the most painful goodbyes could lead us to the greatest love stories of all.

[roe-sesandthorns]

unfiltered thoughts on deadpool & wolverine

first, lemme just say I enjoyed the movie. it was a first movie-in-cinema experience after a looong while and I saw it in 3D. granted was a bit unwell so mayyybe that influenced my experience idk.

spoilers under the cut

is it an enjoyable movie? YES. absolutely. i liked the comedy, liked the characters, liked the plot (generic but we'll get to it)

there was obviously a lot of love and care in the movie, for ALL the characters - not just the main ones but also the variants of older marvel movies (or non-movies) like Electra, Blade, and Gambit.

the fight scenes were as always amaaaazing

the dynamic between wolvie and dp was beautifully done

basic premise of the movie works wonderfully. especially given the previous movies as well as the in-universe explanation.

they handled the multiverse thing a bit better than the other ones. there is a legit reason for deadpool to go through the multiverses looking for wolvie to fill in the gap Logan left in his.

speaking of, i was confused how deadpool was in the 616 timeline (which, still fucking bitter they decided to use that for the MCU shitshow) for the meeting with Happy and then 6 years later in the 100005-whatever-the-fuck of his universe if both of those happened after the second deadpool

OR the meeting w Happy was before deadpool 2 and then he goes back and creates the alt timeline which leads to 10005 or whatever. the second option makes more sense so that's what i'm going with.

still confused about how deadpool changing the timeline affected the Logan universe or if they merged cause Logan's death cause the destablisation but wouldn't deadpool's timeline be a new one with some other anchor being - possibly deadpool

anyway, they very strongly claimed that deadpool wasnt the anchor being - which, so many misdirects in the movie that deadpool leans into as almost a mouthpiece for the audience and then they pull the bait-and-switch

sidenote: the misdirects were well done, it didn't cheapen the "twist" or surprises. deadpool's (and our logic) was the obvious track before they flipped it. so no gripe there. it was a good use of calling out the thing then adding a twist or surprise.

anyway the anchor being and the timeline TVA stuff was (as usual) a bit annoying and hard to follow at times logically BUT this is also a superhero movie and it DOES obey its own in-universe laws so the problem I have with Marvel's TVA shit is a personal opinion and not a reflection of the movie itself.

also the movie (through deadpool) IS aware of how godawful the multiverse shit in Marvel has been - and honestly, I agree w DP - fucking stop w the multiverse shit Marvel. it's not fun anymore cause you dropped the ball a long time back. (Multiverse of Madness, anyone?)

I had mixed feelings about wolverine's backstory on the initial watch

they hyped it up as him doing this unthinkable thing and him being irredeemable and then they are like oh no, he just didn't answer when they called. and it was like.... okay, and? I kept waiting for there to be more or the story to be different. the real revelation was that he had started killing people. and killing indiscriminately using the xmen uniform. this was given in the middle of a crucial high tension point

i see the appeal in doing it this way - logan was hiding his REAL sin deep within himself. he wouldn't offer it up to someone especially not someone he had just met hours ago. and in hostile territory. that's not him.

secondly, the impact of the revelation I feel was supposed to be more earthshattering than it ended up being. it was meant to be a huge shock. but after seeing him claw through people (and deadpool) repeatedly taking kill shots and after so much DEADPOOL level of Rated R violence, it landed a bit too softly for the moment to make an impact.

it was later as I thought about it that I was like, oh shit yeah like that was a big ass deal and his whole relationship w charles and the guilt he feels etc... that emotional weight didn't land in the middle of the moment. especially cause it was immediately followed by him quipping at Cassandra and trapping her

so was it true? must've been cause she was in his head.

does he feel the guilt the same way? that's what he says.

does that show in the aftermath of the moment? kinda, when he decides to spare her for charles.

but idk, it just didn't hit the way they might've wanted it to hit. Maybe allusions to him being a murderer or something before? set it up? his mistake was catastrophically world ending or at least world impacting. the loss of the x-men was not set up previously or alluded to soooo it rings a bit hollow.

maybe dropping a few hints before the reveal would have helped.

ALSO, sidenote but how tf did humans end up killing ALL of the x-men?? that seems v unlikely given that they are the fucking X-MEN. idk maybe i missed something.

Moving on...

as a deadpool AND wolverine movie, it delivered. there were some really amazing moments - the danceoff obviously, the cameos, the misdirects, the action sequences were amazing

am I a bit tired of seeing the "lose vanessa - save the day and vanessa - get back w vanessa" cycle for the third time? yeah. I mean I get he loves her and all but it's a bit too cyclical to hold impact. like cool, again? really?

again, not a plothole, a personal preference.

would have loved exploring more of wade's dalliances like shiklah or even Death. would;ve been cool.

not that I am mad about a decent mostly healthy relationship and a stable love interest in a Marvel movie (v tony stark-pepper potts coded)

speaking of stability, or lack thereof, I felt like this movie in particular did not delve as deeply into deadpool's unique mental headspace. i was hoping sometime they would bring in the more debilitating aspects of his mental health (the boxes, the hallucinations, the suicidal/self-harm tendencies) but I get that it might be a bit too grimdark for Fox/Disney

would've been nice to have a bit more of that aspect of his character

although who's to know maybe MCU wade's support system helps him be a bit more well adjusted

also why the emphasis on Peter? is it for a joke cuase he's just some guy? is it a cheeky peter parker jab? is it both? it's mildly funny so i don't mind. just meh about - again, personal preference.

ok something that's more objective:

i think there were too many 4th wall breaks. it was fun, the references were amazing. some of them were really good. loved the opening one, the one where he smashes the camera, and some other moments.

but after a while it felt stale or too much. the jokes did hit. it's not like they were unfunny like the rest of marvel's humour

some of the deep cuts were D E E P but it's not even about the content. deep cut references are a staple for the character.

but just the frequency of the meta jokes and the 4th wall breaks was a bit excessive?

but then again, deadpool isn't deapool if he isn't a bit annoying or excessive. my guy's the arachetype for a comedic motormouth

the woke-jokes were funny but not as edgy as he could go. I felt like the jokes were a bit too tongue-in-cheek to make them almost cringe? but whatever. they played it safe and i'm not mad about it.

as a movie, it felt a bit too attention grabby in the wrong way. there was a "aren't i so clever" or smarmy marvel overtone of "look at us being self-referrential and allowing you to laugh at us becuase you've been joking about our products being shit but when we allow ryan reynolds to do it we beocme edgy and cool and don't u wanna buy more now? look we got so much to sell you? did i tell you RDJ is coming back? which, holy fucking shit fuck that shit it sucks "

maybe it's just my anti-marvel agenda idek

still, sometimes just having fox's logo in the back rather than pointing it out is enough ig

for someone who was and is so tired of Marvel, it was a refreshing movie

i enjoyed it, it was a decent movie, a good deadpool movie not as good as the previous two and a GREAT deadpool and wolverine movie. does that make sense?

i never really cared for wolverine much in the past decade but this movie made him cool again, which was awesome

the teamup and dynamic was great

marvel needs to learn to give people who love the characters (not just their own but OTHER characters esp the oft forgotten ones) and want to do them justice more creative control and let them tell the (hopefully self contained) stories rather than focusing on playing join the dots behind the scenes OR try to catch attention through shock value

it doesn't work. it's like jumpscares in horror. you pay attention for a second cuase you're startled but the real impactful horror is the one done through themes and story - not a loud bang.

altho i have a feeling that the lesson marvel is gonna take is about shoving more and more (esp obscure) cameos in a work than actually doing justive to characters and stories

oh, also. it goes to show that the two best received (so far) movies post Endgame have been the multiverse ones with nostalgic characters

MCU's """sacred timeline""" is fucked because of them. people want to feel what they felt like watching the older more self-contained stories like the x-men or the tobey spidey movies

it's not jsut nostalgia, it's about story and characters and HEART.

phase 4 is proof that marvel doesn't have a heart.

parting thoughts: the only interaction i want from deadpool and the main MCU is with spiderman. preferably andrew garfield but i'll take holland in a pinch.

I have hope that as long as ryan has the reigns his deadpool projects + appearances will always have heart.

And I have NOT touched on how GAY (non-derogatory) the movie is and I think I need another long rant for it cause goddamn the movie is queer af and I love it. the euphemistic van scene alone GODDAMN.

it's like ryan and team were NOT here to play - deadpool is queer, get with it or perish. love that energy.

Edit: the set pieces holy shit. it was a gorgeous movie that was shot amazingly and the practical effects and CG were ON POINT. LOTS of attention to detail.

[wen-kexing-apologist]

Last Twilight, Ep. 1 Thoughts

Full disclosure, I am very neutral about JimmySea as a pairing, and literally the only reason I am watching Last Twilight is to see how Aof Handles Disability: Round 2. While I certainly had quibbles with some stuff in Moonlight Chicken, I was generally impressed by the way Aof navigated that storyline both on and off-screen. And seeing characters with disabilities in BL has been extremely rare. 

So, I just want to share my thoughts on the first episode of Last Twilight because there was not enough going on in it for me to personally write an actual analysis. I also want to make it clear that I am not blind, and do not know how accurate an experience any of what is going on may be to blind people. 

BUT! I will say that I was desperately in love with the way they opened the entire show. And I don’t mean like the intro, I mean the “this is a fictional series///raikon dopini” announcement at the beginning because they blurred it at the beginning (and let it become clear over time). Aof and co are getting a lot of mileage with their use of Day’s level of vision, but I personally think it is important to periodically remind the audience of what Day’s working with:

OH ALSO, CONTENT WARNING FOR STROBE EFFECTS FROM TIME 0:18-0:34 IN PART ONE. 

That said, there were a few aspects of Day’s disability storyline that I found interesting. 

I loved watching everybody interview for the caretaker position, it was really fun to see the comedy and ridiculousness of some of the common sentiments (shout out to Mr. “I’m not helping him, he’s helping me”, worst anyone has ever done it, buddy: 12/10) being played for the absurdities they are.

I loved some of the set dressing, even if it feels a little obvious. The painting in Day’s house with like four or five heads being split by one giant eye in the center is a fucking brilliant choice. (and this is not related to the disability aspect, but the little bandaid Rung put on her car absolutely killed me, what an adorably tragic detail). 

3. I already said it, but I loved the way that Aof and co cuts between their normal sharpness and Day’s level of vision. Especially because Aof is using Sea, who I feel like most of the fan base knows, and has seen very much be Not Blind. I think stories that center around disability should actually be spending time showing the audience the difficulties that can stem from disability. It was extremely helpful, to me at least, to know what and how Day sees, you get a much better sense of danger when he walks in to the street, when you know how he is trying to navigate. I loved how impossible it was to differentiate the shuttlecock from the ground during the badminton game. And, I think they got the balance right, and didn’t over use that tactic in the first episode, but I will be interested to see if they continue to use it throughout the show

4. The semi-infantilization of Day by his family. This feels so similar to some aspects of Heart’s family dynamics and so different in others. Both families are very protective of their disabled child in the sense that they (in my mind) overestimate their child’s limitations. But, where Heart’s family was more detached from him: leaving him alone in the house so often, not learning sign language, etc. Day’s mother won’t even let Day stand up and walk like…30 feet in a straight line. Day’s brother, Night, yells at Day for getting out of the car and going up to the Society for the Blind so he can search for music to listen to. It is really fascinating actually, having just wrapped up Unit 2: Race, Class, and Disability from @bengiyo’s queer cinema syllabus, to compare the way Day, a grown adult man, is being treated by his family, compared to say, Leo from The Way He Looks. There are definitely intersections of concern and tighter leashes around these characters than I think either Day or Leo would like. But, because Leo has been blind his entire life, there are aspects of his blindness that are normalized and integrated in his family that are not present in Day’s because…they are new to the whole blindness thing.  __

Something I am iffy about as this progresses is the conversation around eye transplants for Day.  Of course, everyone has the right to choose how to handle their disability, but in a story that from my own interpretation feels like it is partially about accepting new realities, I am waiting to see how that particular story element shapes up. I also think there is/was an opportunity to play with sound in thai show, and I do not know if they are going to do that. But, GMMTV and sound design have never really gone hand in hand.  __

One thing I very much did not like about Day’s disability storyline: 

THE FUCKING CENTER FOR THE BLIND DOES NOT HAVE BRAILLE

ANYWHERE!

I don’t know where they shot this, if it was at an actual center or if it was a set/made to be a center for the blind but…

There is no braille on the elevator 

There is no braille on the books

There is no way to easily know what CDs are on that table. 

And like, I have no clue as of yet if braille is something that Day has learned (and I did look it up there is both Thai and Lao braille). It’s been a year since he started losing his vision, so he would have had time to learn. But this center does not revolve around Day, so either way, WHY THE FUCK IS THERE NO BRAILLE? I have to assume this is a place they just dressed as a center for the blind, and that there were limited changes they could make to the space or something to justify the fact that this society for the blind is not accessible for the blind. 

Also, everybody in the center was staring at Day trying to find the CD that he dropped, and like…y’all are staff at a center for the blind, why are you acting so surprised? 

Curious to see how this show continues. 

[itsdeniini]

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SUNGHOON'S TWIN FLAME - A TAROT READING

┗━━━━━━━━━━━◢◤◆◥◣━━━━━━━━━━┛

🫧‧₊˚⋅ n ¤ t ə ⋆ : : i am a self-taught tarot reader, and the interpretations i provide are personal. if anyone would like to share their own insights, i would be more than happy to hear them! please be kind <3

★2: in this reading, I will be talking about a person from the future and how their relationship will progress at the moment when they are already know each other; that's the twin flame that he's yet to meet. 👾

GENERAL READING ︻╦╤─

The Sun, The Emperor, The Star, Queen of Wands, 8 of Pentacles, The Chariot, The Tower, The High Priestess

There's an unmistakably regal air to this person. Yes, that's the first thing that came to mind, because she's literally exuding the vibes of a royalty. A 𖤓 Leo perhaps? She's carrying herself as a noble with dignity, and it's not only this but also the fact that she's conceited. Leos have a reputation for being conceited, but let's think AGAIN 🤓☝️ Leos do feel important, but it's usually because they want to change the world in some way to make it a better place. In our case, our twin flame is motivated by affection for people and often has big dreams and plans to make people happy. She is hard-working. After all, she is attracted to the good things in life and knows she has to work to get them, something she is doing at the moment. She most surely works in entertainment, just as Sunghoon, but in a different direction. She's quite emotive, so I bet she's an actress or a presenter.

But one thing about her is that she was not always a go-getter typa girl. In those past ~2-3 years she was in a languid mood that put her career under some sort of limitation. She used to sleep in, laze around, and luxuriate for long periods of time. However, this year she seems to have pulled herself together and gotten to work, and she's doing it with new determination and intensity. She's still early in her career, so I can suppose she's 20–23 years old. She tends to blow up and create herself a new image, and the fact that she's versatile enough to do that will help her thrive. Now (before too, I think) she is staring in something thriller-like with a lot of action, and she likes this genre so much. I got reminded of Sunghoon's acting in the UNTOLD Concept Cinema and his gun scene, and with that, I mean that she's having similar roles where she's the mean girl that has bad blood with the antagonist. And she fits in SO GOOD, her acting agenda is 🤌... Investigation drama? Yes. Something post-apocalyptic? Yes. Detective? Mhm! She also has experience playing in romance/teen romance movies/television series, so again, she must be extremely driven to stare in as many movies this year and get that bag in.

The worst thing you can do to her is accuse miss twin flame of bad intentions. Displaying behavior that makes her think you don't appreciate her runs a close second! She might become mighty hurt and pouty when others (especially her lover, so take notes Sunghoon ✍️) don't see her for the noble intentions she has.

And something I wanted to point out! In my Could Sunghoon date a foreigner post, the anon mentioned that they see Sunghoon as a Korean guy with traditional views on life, and as I said, he's not that traditional, at least in comparison to THIS young lady who has fixed views and may also appear conservative. She'll hold on to situations and people for a very long time before giving up completely, while Sunghoon is more of a "Meh, I'm done with A, B, and C... with all of them!"

And just as I thought, she's both idealistic and perfectionist, just like Sunghoon! She has a very noble inner code that she answers to. Although she appears rather confident on the surface, she can also be humble. She is the first to blame herself when something goes wrong. Once again, it's her self-importance at work, and this characteristic works in unexpected ways. Instead of being the conceited, self-absorbed show-offs of reputation, she can be very self-aware, self-conscious, and, yes, even humble.

ᡕᠵ᠊ᡃ࡚ࠢ࠘ ⸝່ࠡࠣ᠊߯᠆ࠣ࠘ᡁࠣ࠘᠊᠊ࠢ࠘𐡏~♡ So that's what we have so far...

Positive traits: She is masterful, brave, and competitive; she likes authority; and she aspires toward an ideal. She likes to give advice. She is honest, frank, loyal, open, and sincere. Possible issues: pride, vanity, arrogance, presumption, and disdain for others.

And from the Sun we go to the Moon... ☾𖤓

The Fool, The Knight of Wands, The Wheel of Fortune, The Page of Swords, 8 of Wands, Temperance, 3 of Cups, 7 of Swords

Sunghoon's ☾ is in Aquarius, and since they're quite similar, I can presume that it's the same thing for her, but I'm more inclined towards her being a Sagittarius ☾. ☾ Sagittarians, just like ☾ Aquarians, need personal freedom and space. She is extraordinarily happy and easygoing, as long as she doesn't feel caged in or cooped up. Also, Sagittarians have a simultaneous need for activity. Meeting new people, going out in the world, or traveling are all important to their well-being. She loves open spaces and, in her house, a roomy and bright environment. Eh, this girlie 😭 She easily forgets appointments or veers from her schedules, a bit irresponsible, hehe~ However, it is hard to stay angry at her for that! She is just too cheerful and upbeat while working with the crew, and her optimism is catchy. So outdoorsy! At the very least, she has a great love for friendly competition. When she gets tough, she gets moving. She doesn't like to be caught up in routine for too long, and she needs frequent escapes. She's such a dreamer as well <3 There's a blind faith that is admirable; she believes that everything will ultimately work out. She is not much for making detailed plans; she prefers to wing it and deal with whatever comes her way when it comes. She's very adaptable and generally on the go.

ᡕᠵ᠊ᡃ࡚ࠢ࠘ ⸝່ࠡࠣ᠊߯᠆ࠣ࠘ᡁࠣ࠘᠊᠊ࠢ࠘𐡏~♡ So what do we have now...

Positive traits: May like to throw herself into the unknown and into adventure; she is agile, tough, and enthusiastic. Attracted to long trips or discovering the unknown, she has a need for escape or flight and room for spontaneity. Possible issues: May take great risks by throwing herself into the unknown. Audacious, bold, and rebellious. Unable to stay in one place, she was always ready to risk everything to achieve her goal.

PERSONAL STYLE ! >.<

1. Vibrant maxi dress with bold patterns, statement earrings, comfortable sandals.

2. Tailored bright-colored blazer, casual tee, distressed jeans, standout necklace.

3. Jumpsuit, bangles, stylish yet comfortable shoes.

[ 𖹭 approximative representation ↗ and face card ⁀➴ˎˊ˗ ]

[absolutebl]

best bls with external conflict (conflict outside the relationship)?

Hum, this one kind of answers this but it's not been updated in a while:

BLs With The Best External Conflict  

Until We Meet Again (Thailand) - will probably always top this list. It’s a perfectly executed story, fantastic well seeded plot twists, and the only BL I would love to see adapted by other countries or read professionally translated. There is a lot of internal strife but the conflict is the result of the sins of the past, so I think it counts.

Color Rush (Korea) - I lost my mind over the allegory and the perfection of the story to the point of forgiving it certain other sins in stiffness and low heat. The world-building is too simple for it to play well to a SF/F genre only audience but it’s absolutely groundbreaking for BL. (Color Rush 2 continues the story and while I don’t like it as a BL, and the plot is somewhat typical, it’s still better than most.) 

He’s Coming to Me (Thailand) - such a clever take on both paranormal romance and the cohabitation trope, what I love about this is how closely the story and the supernatural conceits are married to each other. Basically boy and ghost move in together, fall in love while they investigate murder. 

HIStory 3: Trapped (Taiwan) - Taiwan often struggles with story structure but Trapped is different. It has a baby murder investigation that promotes conflict between the leads, so the romantic tension is between plot and character, it’s so clever.

Long Time No See (Korea) - Catfishing assassins on either side of a turf war who fall in love not knowing they are on opposite sides. Or do they? Good fight sequences, mature characters, high heat, very suspenseful, AND an HEA. If you like KinnPorsche you will LOVE this one.

Bad Buddy (Thailand) - This was GMMTV’s flagship BL and it started 2022 on a BANG (okay no actual banging but you know what I mean), starring heavy hitters Ohm & Nanon in a pitch perfect university Romeo & Romeo masterpiece that will give you domesticity meets pain whiplash throughout and jet lag at the end. The conflict is all family and friend pressure, some of which is overworked, but it has great production values, killer acting, and some conscious effort to correct for half a decade of Thai BL’s anti-queer mistakes. Full review.

Nobleman Ryu’s Wedding (Korea) - this has a 12th Night meets Cinderfella feel to it, plus some great story tricks like a plot that requires a historical setting (I love it when narrative elements are codependent).

Triage (Thailand) - a “correct the past” Groundhog Day story, that has narrative baggage I normally do not like but is so clever about time loops, I have to forgive it my own hang-ups. About a doctor who must save a boy to fix reality, but not in the usual way. 

Not Me (Thailand) - GMMTV gave us a dark disestablishment narrative (in a time of civil unrest) with established queer award-winning director Anucha and starring the biggest guns of BL, OffGun and IT WAS AN AMAZING THING to get to experience at the time - nerve racking but remarkable. But was it ACTUALLY BL? It certainly has a lot of BL elements, but in the end romance was not what this show was about, or even what it was genuinely trying to be as a performance piece. Still a special moment in Thai cinema, certainly worth your time. Don’t worry, it all ends happily. Full review.

The Eclipse (Thailand) - GMMTV does gay Blacklist with a good boy/bad boy pairing. Starred First & Khaotung plus the side dish pair from FUTS NeoLouis. This is a good show but the cast was excellent and the leads were absolutely flawless elivating it beyond good. They gave us a nuanced and multifaceted burgeoning relationship: philosophical (and socio-political) conflict contrasted to moments of empathy; flirtation contrasted to moments of genuine affection. This narrative is less about love than it is about courage and tenderness. However, near the end the pacing was off and the plot frustrating. Still, this is an enjoyable watch, with an finale that features verbal consent and a funny blooper reel.

Others to try

You Make Me Dance

Manner of Death

Tinted With You

3 Will Be Free

Great Men Academy

[brainbuffering]

Disability Discrimination in Anime Dubbing

Disabled Characters are becoming more and more common in manga in recent years, with releases such as “A Sign of Affection”, “Ranking of Kings”, and “Josee, and the Tiger and the Fish”, all getting Anime Adaptations! However, only one of these series features a Disabled actor in the lead role. That being Emily Fajardo in Ranking of Kings (directed by Caitlin Glass) as Bojji. Emily has (understandably) undisclosed disabilities, and has said how ecstatic and proud they were to get to play a disabled role - a sense of triumph and emotion I do not wish to take away from them. However their disabilities do not match those of the character they play. Bojji is non verbal and deaf, Emily is not. 

Yet this is a vast improvement upon the continuing apparent refusal to find disabled actors. There is a solidarity found amongst disabled people, and whilst our experiences in this world are different, we have a shared history. A shared understanding of what it is like to live in a world that rejects you. Be that the epileptic teen who can't go to the cinema with their friends, or the wheelchair-using adult unable to find a job because nobody sees their value. 

The only time I can think of where a Disabled Anime Character has been voiced by someone with a matching Disability was Lexi Marman Cowden in “A Silent Voice” as Shoko. Lexi’s performance was absolutely incredible, heartfelt, and true in every sense. Comparing her performance to that of her able bodied Japanese counterpart (Saori Hayami) you can tell that Lexi has real life experience to draw on, her emotions feel real. It's obvious that Lexi has been through what Shoko has. It's why, despite its flaws as a story, I still consider “A Silent Voice” to be one of the best ever English Dubs. They bought something new to the series that the Japanese team didn't. Stephanie Sheh and her colleagues at NYAV Post understood the need to have stories told by the people they're meant to represent - a sentiment that has bled through into their other work such as casting Trans Actress Shakina Nayfack as Hana in “Tokyo Godfathers”. 

And whilst this wonderful dedication to accurate casting in terms of gender, racial, and sexual minorities is being reflected throughout the industry – for example the Majority POC Dub of “Horimiya” and the Majority Queer Dub of “Given” – it is simply not being reflected with regards to Disabled People who are once again left out in the cold. It also feels incredibly hypocritical and hurtful to see people criticise non-accurate casting within some minorities, and completely ignore it when disabled people are involved. 

An example of this would be “Josee, the Tiger, and the Fish”. Whilst it is to be celebrated that there was a Majority POC cast in the film, director Jerry Jewell still chose to cast an able bodied actress in the titular role of Josee, a wheelchair user. Suzie Yeung’s performance very much felt like that of an Able-bodied person mimicking a disabled person. Whereas Lexi had real life experience to draw upon, Suzie was making it up as she went along. This was especially clear to me when Josee was forced to self-hoist for the first time. 

Suzie played it as a tragic moment of upset frustration and proof that Josee needed help but was too stubborn to ask. Meanwhile, my own experience as a person with Myasthenia Gravis was that the first time I collapsed and couldn't stand up on my own, being able to clamber from the floor to the sofa was a moment of personal triumph. This is an emotion I have heard other disabled people talk about. It's not proof of helplessness, it's evidence that you do have strength, power, and independence. Yes, part of this was probably just the way the film was made, but I still felt that a disabled actor with mobility issues would have understood the nuances far better, and would have made for a better film. 

At the time, I said I would only forgive Director Jerry Jewell for casting an Ablebodied Actress in a Disabled Role, if he hired a Disabled Actress for an Able-bodied role… which he did later the following year when he cast the wonderful Risa Mei (who has dwarfism) as the protagonist in “My Senpai is Annoying”. Whilst this his was not Risa’s first role at Funimation (now Crunchyroll) having played Shirley/Rum in “Shadow’s House” and Nadila in “Kakushigoto”, it was her first lead role. The anime itself didn't have the best reception, however Risa has continued to be cast in more and more roles across the Anime and Gaming World including more Popular Series like “My Dress Up Darling”, “Sing a Bit of Harmony”, and the upcoming “Sand Land” Video Game by Dragon Ball Creator Akira Toriyama. 

I had hoped that perhaps this would lead to more disabled actors breaking through into the industry! That Lexi had proven, without a shadow of a doubt, that Deaf people could do Dubbing and do it better than Hearing People! That Risa had proved that there are thousands of talented disabled actors out there if you were just willing to look! Yet with the announcement of Lara Woodhull as Yuki in “A Sign of Affection” it is clear to me that Voice Over still has a long way to go with regards to hiring disabled people. Which is a real shame, since you would think that the success of remote recording during the ongoing pandemic would allow for more disabled (and especially immunocompromised) actors getting cast. 

Many would argue that I am perhaps being hypocritical here. If I am saying that disabled voice actors can play able-bodied roles, then why can’t able-bodied people play disabled roles? This is perhaps a fair question, but from my perspective, disabled people are fully aware of what it is like to be able-bodied. Many of us are already forced to act as if we are, or have had to experience going from being able-bodied to being disabled. So where as disabled people absolutely have the life experience needed to play non-disabled roles, able-bodied people do not. 

This isn't to say that there has never been any examples of non-disabled people playing disabled characters well! Eun-bin Park as Woo Young-Woo in the Korean Courtroom Drama “Extraordinary Attorney Woo” springs to mind. Her performance as the Autistic Woo was incredibly well researched and prepared for. She took great care to talk to real-life autistic people to play the role as authentically as possible. However, this is an exception, not a rule. The majority of able-bodied actors are not willing to put in the same level of time and effort that Eun-bin has.  Equally, Disabled people should still be able to speak for themselves, and not have able-bodied people control the entire narrative. 

An argument is often made that Disabled People do not have enough experience to play lead roles. However, how are actors meant to get this experience if they are not even being cast to play themselves? And surely Lexi once again stands as an example of how someone with no experience in Voice Acting or Dubbing can give award worthy performances?

It is perhaps especially sad that no Hard of Hearing actors have been cast in “A Sign of Affection”, since it would have been the perfect dub to start out on. Due to trauma related to how her voice sounds to others, Yuki has an entirely internalised monologue. This means that the actor playing her doesn't need to match any mouth flaps. This makes things much easier for those new to dubbing, as it allows them to focus on just their acting rather than the more technical side of things. 

Where as some might argue that Yuki’s internal monologue means that it would be ridiculous to cast a person with a Deaf Accent. Ignoring the obvious fact that Yuki may very well have a Deaf Accent in her internal monologue, and that it's down to Hearing People to learn to understand those accents, many d/Deaf people do not even have that accent! Not all d/Deaf folks are born without hearing, many lose it later in life and so maintain their original accents. Equally, not all d/Deaf people are completely without hearing, hence the term “Hard of Hearing”. They might still have full hearing in one ear, or have cochlear implants to improve their overall hearing before it gets to the point of complete loss. Not to mention the increasing effectiveness of regular hearing aids. Whilst naturally a person who has partial hearing is going to have a different lived experience to someone who was born without hearing like Yuki, they would still have far more in common with the character than an Able-bodied actor would. 

It would simply appear that Dub Directors like Jason Lord are simply not willing to put the effort in to find Disabled Talent. But we are out there! We’re working hard and making moves. We’re doing everything that able bodied actors are doing, backwards and with wheels. There are over 350,000 d/Deaf people living in Texas, I am certain at least one of them has a passion and talent for acting. 

So please. Let the Blind Samurai be voiced by a Visually Impaired Person. Let the Robot Armed Star Fighter be played by a person with a prosthetic. Let the sweet deaf girl who is falling in love and discovering the world for the first time through her own hard work and the support of her friends as it becomes accessible to her for the first time, be played by someone who knows exactly what that feels like. 

I do not want to have to write another post like this when the next series with a Disabled Protagonist is announced. I want to be allowed to join in with your celebrations, and not to left looking in through the window as I sit on my scooter in the cold wet rain. Once again refused entry to the party because of the elaborate staircase built by able-bodied people.

[w-ht-w]

The Guardian: I survived the Barbie-Oppenheimer double-bill and I don’t recommend it

Instead of picking just one film, people started latching onto the idea of seeing Barbie and Oppenheimer together, on the same day, as part of a wildly incongruous double bill.

...But is it a good idea to smoosh two violently different films onto a single five-hour marathon? Both Barbie and Oppenheimer came out this week, and I spent an afternoon doing exactly that. The question is, will Barbenheimer save all of cinema as we know it?

In a word: no. In slightly more words: Jesus Christ no, absolutely not, what a terrible, terrible idea this is. Reader, do not attempt Barbenheimer. Or at least, if you do decide to do Barbenheimer, please don’t do it in the order I went to see it. If you take anything from this, it’s that you should really go and see Barbie first. Because otherwise, and I’m talking from very recent first-hand experience, the effect is a little like having your mother’s funeral invaded by a flashmob of parking circus clowns.

Because here’s what I just learned. Oppenheimer is a three-hour onslaught in which – and this has been reported in the press, but nevertheless might still qualify as a minor spoiler – the film’s director literally hired his own daughter to have the skin flayed off her face as a graphic demonstration of the immediate effects of a nuclear detonation. What I’m trying to say is that it is a lot.

It’s the sort of film that requires processing. After watching it, you’ll want to discuss it with the people you saw it with. Or you’ll want to read up on J Robert Oppenheimer in greater depth, to better understand the man’s motivations. Or – as I did – maybe you just felt taking three or four hours to blankly stare into the middle distance, silently rocking backwards and forwards in a state of numb despair at the destructive idiocy of mankind. In other words, it takes a minute.

But oh no, instead you’ll have just enough time to empty your bladder, turn around and subject yourself to the fluorescent full-beam positivity of Barbie. It’s such a tonal handbrake turn that you’ll end up with whiplash, even when Barbie reveals its slightly darker true intentions after about 20 minutes.

And by the way, don’t expect to encounter a lot of fellow Barbenheimers either. On the basis of my visit, people are still firmly intent on seeing either one or the other. Oppenheimer had an older, silently reverent crowd. Barbie, on the other hand, was populated by dozens of children whose parents didn’t get the memo that the film was a self-aware commentary on the nature of feminism 

So here’s my advice. Go and see Barbie. Go and see Oppenheimer. But for the love of all that is holy, please do the sensible thing and see them on different days. Honestly, your nervous system will thank you. (1)

1. https://www.theguardian.com/film/2023/jul/22/barbie-oppenheimer-double-feature

[planetpixar]

Hi. I'm James. I worked for Pixar. I was not an animator. I am posting a Chapter from my upcoming book called "The Fall"

Have a read if you like.

Chapter 3: A galaxy, far far away

10 years old. San Francisco. A flickering screen pulsates with the now-iconic blue letters: "A long time ago in a galaxy far, far away..."  This wasn't just a movie; it was a portal. Twenty-one Fridays in a row, I found myself transported to that galaxy, mesmerized by the dazzling visuals, the thrilling adventure, and the timeless story.  Star Wars ignited a spark in me – a burning desire to create worlds, weave stories, and make audiences feel the magic of cinema.

Fast forward two decades.  I found myself in a different kind of wonderland – the Palo Alto Apple Store. The year was 2004, and I was a Mac Genius, a frontline soldier in the Apple revolution. Apple Retail was just beginning and the energy was electric, the technology cutting-edge.  Little did I know, my path would take an unexpected turn, one with echoes of that childhood dream ignited by a galaxy far, far away.

Steve Jobs, the visionary co-founder of Apple, was a frequent visitor to our store. Steve, and the head of Apple's Retail division, Ron Johnson, would stop by the store and make their way over to the Genius Bar every couple of weeks. Steve was incredibly intelligent and let me say that again, Steve was incredibly intelligent, and straightforward, and he had this way of looking through you and biting at you. If he asked one of us a question, which he often did, each one of us knew that the answer given had better be correct, concise, and articulate. In retrospect, I now know that Steve already knew the answer to the questions he asked. He wanted to see if we had the requisite knowledge to stand behind that Genius Bar. He wanted people that were not full of shit. We were the public face of Apple's Retail business and his passion for design, innovation, and creating delightful customer experiences was of the utmost importance. It was all that mattered. The slogan at Apple was surprise and delight, which was far beyond just going above and beyond. Steve wanted to return to retail and Mac Geniuses were the primary vehicles he used to achieve that aim.

His passion for the Apple Retail division reminded me of the spirit I witnessed onscreen in Star Wars. 

Working at Apple was an incredible experience, but the pull of that childhood dream remained strong.

Then, in 2006, fate intervened.  One of my customers, Erik Foreman, the Mac OS X team manager at Pixar, noticed my technical expertise and perhaps even a hint of that Star Wars-fueled passion in my eyes.  He saw potential and offered me an interview – not as a filmmaker (yet!), but as a Mac OS X Systems Administrator at Pixar Animation Studios. I accepted, and after three months of interviewing at Pixar, I was chosen.

Pixar, I soon discovered, had its connection to the galaxy far, far away.  Founded by John Lasseter and Ed Catmull, the studio emerged from Lucasfilm, the very birthplace of Star Wars.  It was a full-circle moment, a chance to be part of the creative legacy that had so inspired me as a child.

Walking through the doors of Pixar on my first day of employment, was like stepping onto a movie set, except the sets were real, alive with creativity and a playful spirit.  While I wasn't directly involved in animation, my role was crucial.  Maintaining the Mac OS X desktops, laptops, and servers ensured a smooth workflow for the talented artists, animators, and storytellers who brought these incredible worlds to life. I was still helping to build a galaxy, albeit a digital one.

Every day at Pixar was a reminder of the power of imagination and the pursuit of a dream.  It was also a masterclass in storytelling.  Witnessing the meticulous detail, the collaborative spirit, and the unwavering dedication to excellence that went into each frame was an education in itself.

Being at Pixar wasn't just a job; it was a return to that childhood spark, a chance to be a part of the magic I had witnessed on screen years ago. The next chapter will explore how the lessons learned at Pixar, coupled with the practice of mindfulness, empowered me to take the next step on my creative journey, and eventually my demise.

End of Chapter 3

Wanna read more? Chunk on the link

[jenishaswriting]

FIRST REFORMED, HORROR, AND EMOTION

In Paul Schrader's religious thriller First Reformed, a morose Ethan Hawke muses:

'The desire to pray itself is a type of prayer. How often we ask for genuine experience when all we really want is emotion'.

The movie is about a man trying to find hope despite the environmental crisis. Incidentally, watching First Reformed for the first time feels like a religious experience, but in fact, tastes like arsenic.

It's not clear what the difference between experience and emotion is. For example, what separates happiness from the experience of happiness? Is fear an emotion or an experience? From my view, Shrader is making a distinction between the self and the world. When we ask for a glimpse of the world, what we really want is to see ourselves better.

I've been asking many people, and I mean many people, whether they've recently seen a horror movie or read a book that has filled them with enough fear to elicit real, never-ending emotion. Nobody has given me anything yet. I'm still looking for that illusive unending feeling.

It seems I'm not the only one. The horror film industry is one of the types of movies that still attract patrons to the cinema. The genre continues to produce surprise hits on an annual basis. One recent success has been Parker Finn's Smile. The film was one of 2022's biggest earners, with an international box office of $217 million. Much further down the list is Death of the Nile, Kenneth Branagh's bloated corpse of a Christie adaptation. Death on the Nile featured several well-known actors and a beloved story. Yet it still failed considerably with an international earning of $137 million.

There's two things that make Smile's success remarkable: The first is that the movie is Finn's first, and currently only feature film. The second is that Death on the Nile's production budget was $90 million, while Smile's budget was a modest $17 million. The horror industry thrives on low risk, and high reward, proving that there is a voracious hunger for screams.

One can only throw a dart at why someone would search for terror. My guess is that terror is the one thing that can knock a person out of a stupor. At one point in life, we all tuck ourselves into bed, never to wake up, except for brief emotions. Why else would we come to the theaters during a streaming era for the jolt, the poltergeist trapped in celluloid and digital?

Though First Reformed is not categorically a horror film, it veritably is one for me. The climax of the movie is one of unconquerable despair, true terror. Whichever field it is that hope sprouts in, First Reformed's main character Reverend Toller is shut out from that place. I remember the sweaty palms of watching that ending. I also remember the euphoric feeling of having a real, genuine experience. It felt a lot like the emotion of fear.

[monstermonstre]

31 days of horror 2023 (part 2/?)

Every year in October I challenge myself to watch 31 horror movies, 1 for each day, with varying success. If you’re new here, I love horror and so the challenge is more about the commitment, than pushing myself to do something I wouldn’t enjoy or do otherwise (thankfully).

The first half of October went too well, so it was bound to go south eventually. For this second part, there were a couple of terrible watches (although I can't say I didn't see them coming) and there were several days in which I didn't watch anything because it felt like pulling teeth. Fortunately I managed to get back on track with some great shorts (and Chucky).

12. Werewolf by Night (2022): Against my better instincts, I gave this M*rvel short a try. I thought well, the fact that it's from M*rvel Studios doesn't have to matter. It could be a nice short with some cool werewolfing even if they slap one of their magical stones onto it. Well it wasn't. It was terrible, and it got me mad at the people praising it for being "different" and "artistic". 55 minutes of my life wasted.

13. Chucky S3E2: This is when I started worrying that this new season wasn't working for me, that they had finally made a Chucky story I didn't like (I mean, like a lot of people, I didn't really enjoy Child's Play 3; but at the same time it was OK, I've seen worse).

14. Friday the 13th: A New Beginning (1985): I did watch this one on Friday the 13th so ignore the number next to it. Continuing the franchise, I was surprised to find this one as enjoyable as I did. The kills get pretty repetitive and there aren't as many characters you root for as in 4 but the cast was acting their hearts out and that alone really carried me through the film. Also Reggie was delightful and I was so happy to see Miguel A. Núñez Jr.

15. The Fall of the House of Usher E1&2: I didn't go into this thinking I was going to like it but I did think it was going to be a "fun to hate" experience. I was wrong. Nothing about it was fun. I could barely get through the first episode. I pushed myself to try the second episode, thinking maybe...I don't know what I was thinking. Maybe Flanag*n's worst so far, and that's saying something. Anyone saying it is good is insane and has never seen a horror movie before.

16. Ganja & Hess (1973): Talented, brilliant, incredible, amazing, show stopping, spectacular, ... One of the most gorgeous films I've ever seen and packed with so much to say. Must watch for fans of cinema and vampires.

17. Killer Klowns from Outer Space (1988): Another "didn't expect to enjoy this as much as I did" entry. Incredible commitment to the bit, delightful special effects, some of the worst case of "how do you do, fellow kids" actors in their 40s playing teenagers you'll ever see, and some genuinely funny jokes.

18. Creep (2014): We won't mention that I watched this twice this month.

19. Chucky S3E3: Reminded me why I've loved the show so far. Packed with what I love the most about the franchise and featuring one of its best kills. Maybe the most batshit lines of dialogue on American TV right now.

20. In Search of Darkness (2019): Don't get me wrong, I did watch those 4 and a half hours of talking heads like it was nothing but I was left a little frustrated. It felt like it stayed too at the surface despite its runtime and most of it were arguments we've heard before a thousand times. However when I realised there were 2 more of these documentaries I got excited. Hopefully the other entries will go deeper (but even if they don't, I'll probably still have a good time).

I love horror and watch horror movies year-long. However after two weeks straight of horror every day, I got a bit tired. I took a break for several days and when I felt ready to get back into it, I had 4 days to make up for. So I turned to short movies. And, frankly, I need to stop watching shorter films only when I need to make up for time lost in a challenge because I am missing out on gems like

21. The Tell-Tale Heart (1953): Gorgeous animated short adapting the famous Poe story, with James Mason narrating. I'm gonna link it here because if you have 10 minutes to spare you should watch it. This and the following entry.

22. The Sandman (1991): Incredible stop-motion animated short by Paul Berry, whose style you might recognise from Nightmare Before Christmas. Like the previous entry, if you like horror, just give it a watch.

23. Wild Love (2018): This one was just silly and great fun. Reminded me of Treevenge (2008) in its plot and humour. It's on Youtube too but behind an age-restriction, so if you're not logged in (or don't have a neat little extension that bypasses those) you might not see it there.

24. Pontypool (2008): Pretty original concept for a zombie movie and some solid performances but I could not get into it. At all.

And that's it for part 2! I couldn't complete this challenge last year but it looks like it's going well so far. One last week to go!

[shortroundandeasytotrick]

The bbeg of the Never After is Homogenization.

~beware my ramble~

The erasure and sanitization of stories that then get commodidified and distributed on mass to be the "right version" of the story that then become almost the "only version" of the story. Erasing centuries of culture and influence, beliefs and experiences, real world problems that these stories portray, and replacing them with the most marketable version.

And in a way, the stories themselves end up cannibalizing their different versions to fit in as the "right version" or just the nature of time combining and losing stories over time.

Like all of the worlds and groups are from folklore. Stories that have been told over and over again, that change to fit the world and the message that needs to be conveyed. Folklore isn't supposed to have a "right version". Much like weaving, the basics of cloth weaving are very similar all over the world but what is made with those techniques, the styles and additional learned cultural practices, can be so very different or so weirdly similar you wouldn't believe they came from different places across the globe from one another.

But in our more modern era where all of our stories feel factory made, we know where they come from, they aren't "folk" in so so many ways. The closest we get to folk media these days are MEMES. They are passed around and shared, often the original poster gets lost or is not common knowledge, have real world effect and meaning, and exist mainly in a specific group culture (internet culture, tumblr culture, etc) To quote my old professor "All folklore are memes, but not all memes are folklore" Think Creepy pasta vs horror movie. Internet legends, "send to 10 friends or blank will happen to you". BLORBO is a folk term. Slang in general I believe is counted as folk based. FANFICTION IN MANY CASES IS CONSIDERED FOLKORE BTW and I find that sooo delightful.

And whats kills memes faster than anything? The commodification of it! When companies go "ooo that'll make us some money" and take it and sell it back to us for profit. Often these days it feels choc full of advertisements and versions of propaganda.

In this era of Disney overlords defining the genre of fairytales to the point that they have set the standard for what is cannon for certain stories they tell. Like the first time I found REAL fairytales I was like 9 and cried myself to sleep because they got so dark, and how were we (me and my mom) to know with how we expected the disneyfied version of the story. Ironically it could be said that the Grimm's Brothers are guilty of the exact same thing in their era, commodifying and centralizing their versions of the stories.

I could also get into the demonization of tropes (lookin at you cinema sins) because tropes are the building blocks of story telling. Common themes and elements that we recognize because they MEAN something to us.

But, and I know what site I'm on, fanfiction is a great example of taking those stories and in some ways turning them into folklore. Its not because we believe we can tell the stories better, in most cases at least, but rather that we take the elements, characters, ideas that we connect to that we love and mean something to us, and make play with it because we have our own stories to tell.

The Homogenization and restricting of what counts and what doesn't ignores the importance of the differences in the stories.

Ylfa's "right" version is a lot like how the animals describe being part of Aesop's fables. There's no nuance. There's no room for change and adaptation. And in a world ever changing, even in bad ways, you have to change to make it work. Even Gerard's "Sometimes you have to be scary in a scary world" touches on this. The barebones basic Little Red Ridinghood is unrealistic in its simplicity. And also kinda blocks out how that whole experience would still be heavily traumatic for anyone (being attacked by a wolf and seeing your granny crawl out of the wolf's destroyed body ain't pretty) , even if it is better than the experience in this life. Meanwhile the more they die, the more versions of their stories get cannibalized and lost to time. Much like how folklore and stories die when culture dies.

Also Stepmom literally consumes story elements into non existence.

Nom Nom

[sertimusthechao]

Super Mario Bros. Movie 4DX Thoughts + Review (SPOILERS)

Oh gosh, where do I begin.

Let me just preface this by saying that this was my very first experience with a 4DX film. I'd learned that there's a cinema that opened near me which is a much more affordable drive compared to traveling over 100mi just to catch a single showing. I'd actually long sought after a presentation like this since Promare made its limited release in US theaters back in '19 and '21 and, at that time, the new cinema hadn't even opened yet. So I'm not only glad I got to catch the Super Mario Bros. Movie's theatrical release, I'm also glad I now get to experience 4DX closer to home.

I've watched some demonstrations of the technology in action and it speaks to me especially as a thrill ride enthusiast. It reminds me a lot of those 4D theater-style rides that usually operate in theme parks, so I went in with that expectation in mind but for feature-length films. Well, this experience brought a lot more than I expected, in a good way. I will elaborate more on this shortly.

The one thing I will probably say is that the motion seats will violently heave and rock during certain action scenes to the point where the backrests will slam your back and, in some cases, you will be bouncing off your seat briefly, so if that's not your thing or if you have certain sensory/health issues which may be agitated by the motion seats and/or environmental effects (air/water jets, wind, rain, occasional scents, vibration, lumbar kick, etc.), then 4DX Mario might not be for you, even 4DX presentations in general. The manufacturer of 4DX has a safety guidelines page you can read before considering attending a presentation like this.

Of course, this goes without saying that this post will be full of spoilers. You're probably better off not reading beyond this point if you plan on watching this movie in the near future or even plan on experiencing it in 4DX just like I did.

That said, thoughts! This was actually a pretty fun watch. It prefaces with Bowser anchoring his floating fortress in front of the Penguin King's castle and the Penguin King's army getting a taste of Bowser's fury. From there he claims the Super Star being held there and imprisons all of the Snow Kingdom's inhabitants. The 4DX effects, including motion, were fairly mild but provide a little taste of what's to come further into the movie. There was especially some use of fog and air to provide atmospherics, including forced air that occurs as Bowser uses his fire breath to destroy the Penguin King's castle.

With that, the movie starts out fairly relaxed with a completely normal day in Brooklyn with the Bros. starting out with their plumbing business. Then everything starts to ramp up steadily with their first job and then the manhole leak, which they find the pipe which transports them into the Mushroom Kingdom. During those parts of the movie I felt a little bit of the action from the Mario Bros. including their jumps and parkour-like maneuvers. This is also where the 4DX effects start to slowly build up in intensity and prepare the audience for the more brutal parts of the film.

However, this is also where I felt like the world building could've been improved. There seemed to be some missed opportunities to further develop his character. I especially felt like I only got to see to a glimpse of his family, too. His life in the Mushroom Kingdom was no different either, as a lot of his run-ins with the Kingdom's denizens seemed rushed. I might not have so much of an issue with it especially as a Mario fan/vet but it might be confusing to those completely new to the franchise. Though, there could be a reason for this too, especially with Nintendo's preference to stray from vivid backstories in Mario's universe.

With that said, I'd like to talk about the fun parts of the film, but mostly the action-y stuff; from Princess Peach's training regimen, to Donkey Kong's challenge, to the karting on Rainbow Road, eventually leading up to the showdown with Bowser. But especially Donkey Kong's scene, holy moly. Let me tell you about it. It's a trip—actually no, it's a roller coaster. The 4DX editors for this film really made sure you felt Mario's pain in the form of violent seat motions. They're pretty much a combination of sudden tilts, rolls and heaves every time Mario gets beaten up and thrown around.

It's especially to the point where the seat hit my upper back and even gave me brief airtime. It is peak whiplash. I think there may have been some use of forced air and water jets too, but it feels somewhat insignificant compared to how the seats move during the fight. It's nuts and it's very effective at actually making me feel bad for Mario here. Eventually, Mario does come across the cat power-up and overpowers DK through his enhanced agility and you also feel DK get a beat-down in the process.

I enjoyed the kart scenes especially, where it is a slightly smoother experience. It isn't until the Koopa army starts rolling in on Rainbow Road and defeating the Kongs that the motion starts ramping back up in intensity, though not as much as the aforementioned scene. There is some use of atmospherics in play, including wind, fog, air/water jets and strobes. After the blue shell of the Koopa General destroys part of the road, both Mario and DK fall into an ocean where they are eaten by a Maw-Ray which, if I remember well, is where the rain effect comes into play. There has been very occasional use of 4DX's rain effect throughout the film, though my memory has not been the best since watching through some parts of this film in 4DX were sensory overload for me, heh.

So then Bowser. He attempts to marry Princess Peach but his plans are briefly thwarted when Peach finds an opportunity to freeze Bowser and Mario + DK make their way to the wedding via a turbo jet from DK's kart. Lots and lots of action from there, which then ramps up in intensity when Bowser breaks free from his ice prison and sends a Banzai Bill toward the Mushroom Kingdom in a fit of rage. Mario then knocks it off course and sends it into a warp pipe, averting imminent destruction of the Mushroom Kingdom; but then Bowser's castle gets teleported to Brooklyn where the showdown continues. This is where the seats start to move violently again as Mario receives a beat-down from Bowser, feeling seemingly defeated but was reminded of his very mission—to save not only the Mushroom Kingdom, but Brooklyn too. Mario jumps back into the fight alongside Luigi to help him too, and eventually the two grab the Super Star, become invincible, knock Bowser out, shrink him to the size of a pet rat and trap him in a jar, ending his stranglehold on the Mushroom Kingdom and saving Brooklyn from a similar fate.

So, what do I think of this movie? I think it is very fun with a classic 'Mario saves the Princess (and the world)' plot that leaves a little more to be desired. I think most Mario fans will be able to enjoy it. I think the 3D + 4DX features make this an especially very fun watch and they don't distract a whole lot from the actual movie; the effects feel very relevant to what goes on in the movie and are not too gimmicky. However, I'm a bit on the fence on possibly recommending the Super Mario Bros. Movie as a first-time 4DX movie due to the intensity of certain scenes which may agitate those who deal with certain sensory issues like the sensation of bumping into cushions and strong movements of the seats in general.

This can depend on the feature that is being presented with 4DX, but it's always something to keep in mind going into a 4DX theater. Action movies are probably going to be common with most cinemas that offer such types of showings, so strong movements of the seats is a very common characteristic with them. However, if you're really into roller coasters or thrill rides in general as much as I am and you love to go into movies with a sense of adventure and a craving for immersion, I'm certain you'll have no problem breaking into the 4DX format.

Nonetheless I found the experience to be genuinely fun and unforgettable, especially for my first time watching a movie in this format. It's not something I'll be doing all of the time but I will definitely consider booking my next action movie screening in this format. In fact, I'm considering hitting up Across the Spider-Verse in 4DX in about a couple of months. :>