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grandhotelabyss · 7 months

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Any thoughts on nick land / mark fisher?

I've encountered both of them essentially as bloggers—I don't think I've ever read a word of either on paper—so I can't say I've studied them formally or mastered their thinking.

Land's concept of capital as autonomous alien intelligence assembling itself through retroaction on human agents—do I have this right?—is fun science fiction. I accept that as a theory of cultural temporality in general but not necessarily as a theory of technology or capitalism in particular. As for his more (shall we say) "ethnic" idea about "exit" and the Anglo character—maybe there's something to that. Modern history as the struggle between decentralized commercial sea empires (UK, US) and despotic communist land empires (Germany, Russia, China). And his new thing about Anglo-Zionism—I believe he's read Milton deeply—is right on time. All his Compact pieces on the English canon are paywalled, so I haven't read them, but it seems like he's approaching the idea that the God of the Bible is the force he previously identified as capital. (I think this is similar to what Mitchell Heisman outlined in his Suicide Note, but I only read some of that, and only once, on one sleepless night over 10 years ago, and doubt I'll revisit it. Does Heisman cite Land? I don't recall.) Hyperstition is real, as any manifestation girl on here or on TikTok or on YouTube will tell you.

Now Fisher was a sad case. I think all that anti-humanist theory did him no favors, personally. I'm not sure he could stand in that desolate place, the way Land could. I don't believe I ever directly interacted with him online when we both were bloggers in the same milieu circa 2005 or so. Maybe once or twice. He had a positive Marxist take on Batman Begins, and I had a negative one, and I think somebody sent him mine when he had comments open. (He had a whole thing, which anticipated the "vampire's castle" image, about "gray vampires" who stalk the comments section and suck the life out of your imaginative assertions with their point-missing nitpickery. He wasn't wrong!) I'm sure he thought I was hideously naive if he ever thought about me at all, and I was naive, I was essentially a Stalinist, an obvious example of humanist theory gone wrong, but there are limits, too, to that gothic style he picked up from Land and the CCRU.

I think he said Kafka was his first major author. There's a case to be made that you should read Kafka only after Dickens. (I don't mean literally but metonymically. Nor do I mean the 19th century vs. the 20th or even realism vs. modernism. Replace Kafka with Baudelaire and Dickens with Joyce and it'll mean the same.) And I'm not talking about politics here or even ethics. No panacea for politics and ethics can be found in books. Kafka, for that matter, was probably a nicer guy qua guy than Dickens was. But, just as someone who has to live in the world in your skin, it can't hurt to read a non-anti-humanist book from time to time if you're a bookish person. To not always try to conceptually outflank as a ruse of power every obvious humane sentiment. And to try not to need your humane sentiments to be conveyed only by the most alienating stimulus, to need them to come in the form of their opposite. I never got over his review of The Passion of the Christ:

What, from one perspective, is the utter humiliation and degradation of Jesus's body is on the other a coldly ruthless vision of the body liberated from the 'wisdom and limits of the organism'.

Masochristianity.

Christ's Example is simply this: it is better to die than to pass on abuse virus or to in any way vindicate the idiot vacuity and stupidity of the World of authority.

Power depends upon the weakness of the organism. When authority is seriously challenged, when its tolerance is tested to the limit, it has the ultimate recourse of torture. The slow, graphic scenes of mindless physical degradation in The Passion of the Christ are necessary for revealing the horrors to which Jesus' organism was subject. It is made clear that he could have escaped the excruciating agony simply by renouncing his Truth and by assenting to the Authority of the World. Christ's Example insists: better to let the organism be tortured to death ('If thine own eye offend thee, pluck it out') than to bow, bent-headed, to Authority.

This is what is perhaps most astonishing about Gibson's film. Far from being a statement of Catholic bigotry, it can only be read as an anti-authoritarian AND THEREFORE anti-Catholic film. For the Pharisees of two millennia ago, puffed up in their absurd finery, substitute the child-abuser apologists of today's gilt-laden, guilt-ridden Vatican. Against all the odds, against two thousand years of cover-ups and dissimulation, The Passion of the Christ recovers the original Christ, the anti-Wordly but not otherwordly Christ of Liberation Theology: the Gnostic herald of Apocalypse Now.

This is why I found him frustrating when I read him as a daily blogger almost 20 years ago. Plus the over-solemnity about pop-culture ephemera. I found him a bit naive, too, in the end, though he was almost 15 years my senior. I also sometimes just didn't and don't know what he was talking about, because I sort of hated and hate theory.

In his purely political commentary, he was right, however, to focus on bureaucratization as an effect of neoliberalism—the way capitalism and communism converge in the present for the worst of both worlds, everything is at once a competition and frozen in a statist hierarchy. I'm not sure I'm persuaded by the "hauntology" thesis. I've thought through that issue in a different way and am not convinced the end of the myth of the revolution or the myth of the avant-garde has to mean that we have no future. In fact it might mean the opposite. But good for him for putting into public consciousness an interesting and melancholically beautiful idea that would otherwise have remained confined to smug Derrida-readers.

He is fun to read. That's the highest compliment I can pay. I'm sure the big K-Punk book is a wonderful thing to own and to browse through: to watch a movie or read a book or listen to an album and then see what he had to say about it. He was one model of the blogger as true essayist.

#nick land #mark fisher

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nickjunesource · 3 years

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Full article below.

Max Minghella is sitting in his backyard in the LA sunshine, his t-shirt an homage to the French filmmaker Mia Hansen-Løve, his adopted shepherd mix, Rhye, excited by the approach of a package courier.

“You okay, sweetheart?” he asks — the dog, not me — tenderly.

Minghella, who at 35 has dozens of screen credits to his name, is best known as The Handmaid’s Tale’s cunning chauffeur Nick Blaine, a character who it’s difficult to imagine saying sweetheart. In airless Gilead, of course, a cautious hand graze with Elisabeth Moss’ June can pass for a big romantic gesture. In a Season 1 episode featuring child separation and hospital infant abduction, Nick’s major contribution is to trade stolen glances with a sex slave while “Don’t You (Forget About Me)” pumps discordantly along. I ask Minghella about playing the series’ closest approximation to a dreamy male lead against the show’s dark narrative of female subjugation.

“I know this is not the answer you want to hear,” Minghella says with none of Nick’s hesitation. “But I like that stuff, right? In the pilot, I think Nick only had a handful of lines. It wasn't clear that this is what the character would turn into. And it's quite fortunate for me personally, because I'm not a massively sort of intellectual person in my real life. I love Fifty Shades of Grey. That's like my Star Wars. It suits me to play a character like him.”

Minghella surmises that this enduring romanticism is an outcome of nurture. His father, the late British director Anthony Minghella, made grand romantic dramas like Cold Mountain and The English Patient. And there was the young, cinema-mad Max sitting on the living room sofa, absorbing everything. “It’s taken me a long time to understand this,” he says of his prolonged childhood exposure to love stories. “My dad made The English Patient when I was 10. So it was two years of watching the dailies to that movie and then watching 50 cuts of it. And then [The Talented Mr.] Ripley he made when I was 13, and it was the same thing.” These were an adolescent Max Minghella’s alternative to reruns. “I think they did shape my perspective on the world in a lot of ways, specifically The English Patient. That was a complicated love story, and I wonder sometimes how much it's affected my psychology.”

Some sons rebel; others resemble. Minghella’s co-star O-T Fagbenle, who plays June’s other lover from before the time of Gilead, got his first job acting in Anthony Minghella’s romantic crime film Breaking and Entering. “Anthony is one the kindest, most beautiful men that I've ever had the privilege of working with before,” Fagbenle says. “And Max has his gorgeous, sensitive, open-minded soul.”

Though Minghella spent his childhood on the set of The Talented Mr. Ripley, playing an uncredited Confederate soldier role in Cold Mountain, and tooling around with a Super-8 camera Matt Damon gave him, he insists his upbringing was normal. He grew up in South Hill Park overlooking Hampstead Heath in London with his father and mother, the choreographer Carolyn Choa. (Minghella also has a half-sister, Hannah Minghella, who is now a film executive.) Yes, technically, it was London, but that’s not how it seemed. “I feel like I grew up in a very small town. Every school I went to was in Hampstead. I was born in Hampstead,” Minghella says of the small map dot of his life before university. “When I went to New York, I felt I was going to the big city.”

Despite his illustrious surname, movie-watching was far from restricted to the classics. “Beverly Hills Cop is definitely the movie I remember having an unhealthy obsession with. I think I saw it when I was 5 for the first time, and I'd watch it just two or three times a day for years. I'm just obsessed with it.”

Plenty of actors can trace their love of movies back to a love of stories, but for Minghella the relationship seems to flow in reverse. When he left for Columbia University, Minghella opted to study history for its connection, through storytelling, to film. It was during the summers between his years of college that he started taking acting more seriously. Before his graduation, he’d already appeared in Syriana, starring Damon and George Clooney. Soon, he’d make a splash as Divya Narendra in The Social Network in 2010 and be cast in Clooney’s Ides of March. As all young actors eventually must, Minghella moved to Los Angeles.

It’s been over a decade since he last lived on the Heath, but, perhaps unusually for a person who’s chosen his profession, Minghella is adamantly not a “shapeshifter,” in his words. Home for Christmas this year, he started sifting through old journals stored at his mother’s house, “just like scraps of writing from when I was extremely young up through my teenage years,” before coming to America. “It was hilarious to me,” Minghella says of staring at his childhood reflection. “My review of a movie at 7 years old is pretty much what my review of a movie at 35 will be. My taste hasn't changed much. And when I sort of love something, I do tend to continue to love it.”

Which brings us back to his enduring love of romance, born of his bloodline, which is all over Minghella’s own 2018 directorial debut. Teen Spirit is a hazily lit film about a teenage girl from the Isle of Wight — the remote British island where Max’s father Anthony was born — who enters a local X-Factor-style singing competition. (It stars Minghella’s rumored girlfriend of several years, Elle Fanning.) The story is small, but its crescendos are epic.

Minghella calls the movie — an ode to the power of the pop anthem — “embarrassingly Max.” Max loves a good music-driven movie trailer — he’s watched the one for Top Gun: Maverick “many” times. And Max loves the rhythmic beats of sports movies like Friday Night Lights. Max loves movies with excesses of female energy, like Spring Breakers. He likens Teen Spirit to an experiment, his answer to the question, “Can I take all these things that I love and find a structure that can hold them?” The result is a touching “hodgepodge” of Minghella’s fascinations, inspired by the songs from another thing he loves: Robyn’s 2010 album Body Talk (itself a dance-pop meditation on love).

Minghella hasn’t directed any films since, but he sees now how making movies fits his personality — organized, impatient — more organically than starring in them does. Directing also helped him to appreciate that acting is “much harder than I was giving it credit for,” which, in turn, has made him like it more. Besides The Handmaid’s Tale currently airing on Hulu, Minghella appears in Spiral, the ninth installment in the Saw horror franchise and, from where I’m sitting, at least, a departure.

“I do like horror movies, but the thing that was really kind of magical is that I was feeling so nostalgic, right? We talked about Beverly Hills Cop earlier. I was just missing a certain kind of movie,” Minghella explains of his new role as Chris Rock’s detective partner. He was yearning for simple story-telling, like in the buddy cop movies of his youth, especially 48 Hours. It almost goes without saying that a buddy cop movie is another kind of love story. “And then I read the script and it was very much in that vein.” He clarifies: “I mean, it's also extremely Saw. It's very much a horror movie.”

His renewed excitement for acting translated onto The Handmaid’s Tale set, too. Veteran Hollywood producer Warren Littlefield describes casting Minghella in the role of Nick as an effortless choice: “Sometimes you agonize over things. [Casting Minghella] was instantly clear to me, and everyone agreed.” Now in its fourth season, the tone of the Hulu hit is graver than ever. Gilead is more desperate to maintain its rule, and so more audacious in its violence. Perhaps it’s fitting that the show’s romantic gestures finally match that scale.

In one particularly soaring moment, Elisabeth Moss’ June and Minghella’s Nick meet at the center of a bridge and crush into a long kiss. It’s been two seasons since they held their newborn daughter together, and it’s hard to see how this isn’t their last goodbye. Littlefield, like Minghella, is here for the romance among the rubble. “It's spectacular when they come together. In the middle of all of the trauma is this epic love story,” he says. “Max is just magnificent in the role.”

For Minghella, the satisfaction is more personal. He works with good people, he likes his scenes, and he thinks Nick is a complex character. Minghella read The Handmaid’s Tale for the first time in college in 2005. Like all the things Minghella has ever liked, he still likes it. He’s as proud of this most recent season as he is the show’s first. And he watched Nick and June race recklessly back to each other across the expanse of the screen exactly how you might expect. “I watched it like a fan girl.”

#max minghella #the handmaids tale #the handmaid's tale #nick blaine #nick x june #june x nick #osblaine #*

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crazybutgood · 3 years

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International Tea Day!

(Drarry tea blend by Ela Spearlot)

International Tea Day is celebrated on 15th Dec in many tea-producing countries since 2005. Apparently, the UN changed the date to 21 May this year and I didn’t know until recently :( Oh well, I’m still going to celebrate it today, and I thought I’d use this opportunity to do something using two of my absolute favourite things: tea and Drarry. Here are some lovely fics involving tea that will warm you up like a good, steaming cuppa <3 (special thanks to @curlyy-hair-dont-care for her great feedback and for helping me put this together, and to @sitp-recs for your helpful tips and kind words)

Bite-sized:

Tea at three by @dorthyanndrarry (T, ~8.9k)

Draco Malfoy is the head potion brewer for the Ministry's onsite supply. Every day at three he goes to the nearest break room which coincidentally happens to be the auror break room, where he always seems to run into Harry Potter, who might also be waiting just for him. It's most certainly not the highlight of his day and he certainly doesn't hold anything other than friendly feelings towards Potter. It's just tea. Nothing more than tea at three.

A sweet fic where these two dorks finally get together with some help from their friends. Warnings for blood and injury in one scene.

A special blend of you and me by germankitty (T, 4.5k)

Draco finds a bunch of letters in Professor Snape's effects that were written by Lily Evans to her best friend at school, Marlene McKinnon. He passes them on to Harry, who consequently starts his own correspondence with Draco. (inspired by Tea and Lost Letters: Lily to Marlene by Kikimay)

A charming epistolary fic, featuring a great selection of teas, snarky and amusing letters that become progressively less formal and more intimate, and a delightful surprise by Draco at the end.

Portkey for Tea by @lettersbyelise (T, ~1.8k)

Draco is doing a two months residency at a Wizarding hospital in San Diego. Harry misses him too much to wait for him to come back to England.

How far would you travel for a special someone a cup of tea? Lovely established relationship fic with the two missing each other and Harry doing something about it.

Red Roses and Rousing Rumours by @dracogotgame (T, ~1.4k)

Draco's taste for rose water tea puts him in hot water.

A super cute one-shot where a misunderstanding on Harry’s part leads to Draco snagging a date with him (after being asked out in the sweetest way!)

Prompts: I love you - Over a Cup of Tea by @cibeewastaken (G, 362)

(this was my ask lol) Short one-shot of soft moments and tea flowers.

Prompts: I love you - On a sunny Tuesday afternoon, the late sunlight glowing in your hair by @cibeewastaken (G, 745)

Another lovely one-shot with sun tea and little Teddy trying to cheer Draco up. Featuring Teddy’s sweet innocence, shy boys in love and a confession that will warm your heart.

Why Is Our Teapot Wearing a Hat? by @ladderofyears (G, microfic, 50)

Adorable microfic based on the prompt ‘cosy’.

Rotten work by @prolix- (T, 792)

You start to cry after the war.

You tell Ron and Hermione that it's nothing, that it'll pass. You're just exhausted. It’s more than that, of course it is, but they don't question it. And you learn to hide the fact that you can still be found hunched over your kitchen sink after a party, fat tears rolling down your face, years after the war has passed.

He knows better.

Heart-achingly beautiful fic with lovely tea metaphors. Featuring sad yet tender moments between the boys, healing and hope. Warnings for implied/referenced PTSD, angst, crying and hurt/comfort)

Curl up with a cuppa to enjoy these longer fics:

Where There is Tea by @bafflinghaze (T, ~12.6k)

Somewhere in London, overlooking a garden, sits a little tea room. There, Harry finds tea, distraction, books, conversation, inspiration, himself, and Draco Malfoy.

Featuring Tea Master!Draco and Writer!Harry, this is a heartwarming story of supportive friends, coming out, self-discovery and a lovely buildup of friendship between Harry and Draco that blossoms into something more. Lots of amazing and familiar teas to look out for that you wish you were tasting along with the patrons at Draco’s tea shop.

Tea and No Sympathy by who_la_hoop (E, ~70k)

It's Potter's fault, of course, that Draco finds himself trapped in the same twenty-four-hour period, repeating itself over and over again. It's been nearly a year since the unpleasant business at Hogwarts, and Draco's getting on with his life quite nicely, thank you, until Harry sodding Potter steps in and ruins it all, just like always. At first, though, the time loop seems liberating. For the first time in his life, he can do anything, say anything, be anything, without consequence. But the more Draco repeats the day, the more he realises the uncomfortable truth: he's falling head over heels for the speccy git. And suddenly, the time loop feels like a trap. For how can he ever get Harry to love him back when time is, quite literally, against him?

Draco’s stuck in a time loop until he figures out what he has to do to get out of it — learning, growing and becoming a better person with much help from his mother, Hagrid, and Harry, and conversations over tea.

Headlights in the Snow by Saras_Girl (M, ~71.6k)

What’s big and purple and smells like tea? Harry is about to find out.

Advent fic 2016.

Harry has bizarre adventures with Knight Bus conductor Draco and the lovely passengers. A cosy Christmas advent getting-together fic featuring fun bus rides and on-board tea.

Special mention of fics that I associate with tea also kind of in order to remember them:

For the greater good by @jadepresley (E, ~62k)

When Harry and Draco discover they’ve been bonded to one another, neither one of them is prepared for the secrets they slowly begin to uncover.

Together, they learn that they can’t escape their past, or the things that have been left hidden there, and that sometimes the only way to move forward is to look back.

An accidental bonding fic that I absolutely adore

Malfoy rolls his eyes. “I’m not a monster, Potter, you arsehole. Though I do think you’re delusional if you think the whole wizarding world doesn’t love you.”

Harry shakes his head. “No. They love the idea of me. They love the stories. But they don’t… they don’t know how I take my tea in the morning, do they?”

“Excuse me?”

Harry flushes. He hadn’t meant to say that. Bloody Firewhisky. “It’s just this thing I believe. And Emmet — my ex — never knew. It’s… nevermind, you’ll think it's stupid.”

“That’s definitely possible,” Malfoy agrees seriously. “But you should tell me anyway.”

“You’re a prat, you know,” Harry tells him. Malfoy just smirks, making Harry sigh. “Fine,” he concedes. “It’s just... The way you take your tea is one of those small details about yourself that no one else would really know unless they asked. But... someone who really gives a shit about you would know — they’d ask or they’d notice — because they’d care enough to want to know. And Emmet... well, he just never cared enough about me to learn how I take my tea.”

I love that this fic uses this idea, partly also because this is something I’ve thought of too, not just for romantic relationships but relationships in general, and I was so happy to see it used in this fic.

All Our Secrets Laid Bare by @firethesound (E, ~149.5k)

Over the six years Draco Malfoy has been an Auror, four of his partners have turned up dead. Harry Potter is assigned as his newest partner to investigate just what is going on.

Discovering this fic was one of the best things ever. It’s an emotional roller coaster. Harry and Draco eventually go from polite coworkers, to tentative friends, to lovers — of course with a lot of drama and angst in between. These two bicker about so many things. One of them is how Harry never makes the tea hot enough, and it’s used throughout the fic in many important and special moments of their relationship.

Happy reading!

#international tea day #fic rec #drarry rec list #mine #tea #drarry #cbg fic rec

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silentfcknhill · 4 years

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FAVORITE SHOWS IN POSTERS

Well, we’re back for another installment of this tagged meme, this time for TV shows! I also stole this from/was indirectly tagged by @jcmorrigan. My taste in shows also differs a bit from my taste in movies, as I tend to like a lot of comedy shows with not as many horror ones. I’m not into shows as much as movies overall, but there are some that I am very passionate about so I picked twenty again. So, here we go for part 2, in order:

1. Avatar: The Last Airbender/The Legend Of Korra (2005-2014)

I'm including these as one show since they take place in the same universe and tell a continuation of the same overall plot. Altogether this is probably the best piece of media to ever exist, including movies. It has so many great characters and villains especially and some of the most epic sequences, charming humor and heartwarming moments ever. I've never met a person who didn't like these shows, even people who normally don't like cartoons. My dad, who is biased against animation? He loved it. My mother? She loved it, watched it with her multiple times. My grandmother? Loved it. My ex-boyfriend? Loved it. My best friend? Loved it. I dare anyone not to, and I'm so glad it's making a resurgence since it's on Netflix for a new generation to enjoy.

2. Black Butler (2008-2014)

I never was big into anime growing up and only really started watching anime when I was like 16 and above, but this is one of the exceptions because holy shit is it ever dark and epic. I'm not sure I'd really recommend it for kids, it's more of a teens and young adults kind of anime and that's probably why it's so good, because it isn't afraid to explore dark and mature topics and do it with all of the intensity and gravitas required to do said topics justice. It has lots of great characters, and the story of demons who make deals with children who have a dark side is fun to watch play out.

3. Seinfeld (1989-1998)

My dad was a huge fan of this show so I watched it growing up since I was a toddler and it became a classic for me. I've watched thw hole show through at least 8 times, and I'll never stop because it never gets old or boring. It's also my only comfort show when I'm having a panic attack because of one time a few years ago when I was having a drug-induced psychosis episode and watching it calmed me down, so now it's like the opposite of a trigger and whenever I'm having an episode or something I watch it to bring me back to reality. For that reason it's more than a show to me, it's a medical treatment and I'm forever grateful to it.

4. The Good Place (2016-2020)

The big four shows made my Michael Schur all made it on this post (The Good Place, Brooklyn Nine-Nine, The Office and Parks And Recreation), either in the main list of the honorable mentions, but this is my personal favorite of the four. It's so funny, quirky, relatable and basically tailor-made to suit my interests. Not only is it an entertaining and wholesome show, but I think watching it helped me come to terms with a lot of things like mortality, ethics, philosophy, religion and my relationships with other people. It gets alot of different viewpoints across and if you're a very analytical and philosophical person like me you'll probably enjoy seeing it all play out. Not to mention, every single character is 'favorite character' material. It's rare you find a show with no filler characters in the main cast, but I genuinely can't choose who is best.

5. Brooklyn Nine-Nine (2013-?)

Another of Michael Schur's shows, this one is just barely under The Good Place and to be honest it was tough to pick my favorite between the two because they're both equally funny. I know it's kind of controversial right now because of the whole law enforcement thing, but I actually think they do a good job of handling social issues in the show and remaining respectful of real-life systemic problems. As for the characters, this is another one of those shows where every single character is gold and I think that tends to be a trend among Schur's shows in general. He produces damn good comedy, and damn good characters. I can't wait to see what they bring next.

6. Rick And Morty (2013-?)

This is unfortunately one of those cases of 'great show, horrible fandom' and for that reason I don't get involved in the fandom even though I love the show. It's a shame because it really is a great show, so funny and, again, such good characters. I think it's a lot more accessible than the fandom likes to claim, so I'm hoping more people will give it a chance and not get put off by the intellectual elitism of the fandom because it does have some of the most entertaining and batshit crazy episodes ever, poking fun of some of the staples of science fiction in media while also poking fun of itself the whole time. Unlike the fandom, the show doesn't take itself seriously and that's enjoyable nowadays.

7. Orange Is The New Black (2013-2019)

While this show is a comedy, it is also a lot of other things and it's probably made me ugly-cry just as many times as it's made me laugh. Well, maybe not as often, but those few scenes (if you've watched the show then you know the ones I'm talking about) made me hysterically sob hard enough to be worth like fifty minor sads. But I didn't even mind because the show is just that good, and it makes you /feel/ something in a real way. Probably because of just how real it gets in terms of telling stories that happen all the time in the real world, sometimes with inevitably tragic endings. But these things do happen every day, and it's important to shine a light on that. It's not just representation for LGBTQ+ but also for POC, the neurodiverse, the poor, and many more. Give it a watch to broaden your perspective!

8. Big Mouth (2017-?)

This is probably the grossest show I've ever seen but by god is it ever funny. Maybe it's because I have an immature sense of humor or something, but I love this show. It definitely won't be everyone's cup of tea and I don't recommend you watch this show with anyone else around because it will get awkward. I think part of its appeal to me is that everyone I talk to who likes it considers it so relatable to their lives growing up but for someone like me who grew up on the autism and asexual spectrum and who was physically an early-bloomer by years, nothing about this show is relatable to me in any way so it makes it all the more crazy and bizarre watching how the people around me must have experienced things. Did y'all really have these experiences with puberty in middle school???

9. Dexter (2006-2013)

I recently heard that this show is coming back for a reboot soon and I'm so excited because this is my absolute favorite drama/thriller show, as evidenced by the fact that it's the highest one on the list so far that isn't a comedy. I love the idea of having a protagonist who is sort of a villain (or at least morally dubious), and the idea of a serial killer who only kills bad people is particularly satisfying for some reason. Maybe because he's the vigilante we all deserve and want in this unjust and evil world of modern times? Idk but the very premise of this show set it up for big things and aside from the ending I think it delivered consistently.

10. Once Upon A Time (2011-2018)

This show took us on some journeys, and you can't deny that. Sure, maybe it didn't always finish what it started and didn't always end in the most satisfying way, but part of its charm is that you didn't care because the experience was just so much fun. They took characters and stories that have been told to death and somehow managed to put a unique and unexpected twist on them, and that alone is admirable. Good twists, good villains, and pretty much every cliffhanger known to man will keep you hooked on binge-watching every episode.

11. RuPaul's Drag Race (2009-?)

A bit different than the other entries on my list in that it's not fiction but a reality competition show, but I couldn't leave Drag Race out because it's just so fucking iconic and perfect. Even when you disagree with the judges or can't stand a certain contestant you'll still be having a good time. It's got the personalities you love to love, the ones you love to hate, and the comedy that's completely meme-able. I mean just how much has this show contributed to pop culture and the internet? More than most of us, henny. I've watched every single season, even the international ones and all of the spinoffs. This show will probably be on for another thirty years when Ru is throwing shade from a hospital bed and I'll still be watching.

12. House (2004-2012)

Some people hate on this show, and I don't get it. I love House. Yes, he's an ass. That's the point. He's supposed to be unlikeable, and that's why I like him. Maybe because I always love the rude, sarcastic, misanthropic jerkass-genius characters for some reason. And I also love procedural shows, so it's a win-win. I also work in the healthcare field so it appeals to me for that reason too, because obviously the whole premise is outlandish which is what makes it funny. Of course it's not realistic for a hospital, so just enjoy the absurdity and don't get too hung up on the details of medical accuracy and professional ethics and you'll be fine.

13. The Office (2005-2013)

The third of Michael Schur's show and the last one that made the main list (sorry Parks And Rec, I love you too but there was just so many good shows to choose from and I saw you last so the nostalgia isn't as strong!) I don't think I need to hype this show up any, it's already a classic and you can't even turn around online without getting hit in the face by a dozen Office memes. You'll have to pry this show and it's relatable characters (especially Michael Scott) from my cold, dead hands.

14. All Hail King Julien/The Penguins Of Madagascar (2008-2017)

Like Avatar/Korra, I also consider this as one show for the sake of this list because it also takes place in the same universe (Madagascar, specifically) and I just couldn't choose one over the other because they're both so perfect. They're funny and I love all the characters (it cut out the weaker links of the Madagascar film series and just focuses on expanding the standout side-characters like King Julien and the penguins). It also delved into some lore, particularly the first show, and even though I didn't also agree with the directions it took (you may have seen me get salty about the ending because I cared too much), I can't deny how much I love it.

15. Bones (2005-2017)

One of the other scarce non-comedy shows on this list, it still has it's funny moments. It's also, like House, another procedural show that involves some medical stuff, but this time on a more scientific and forensic level which is even more interesting. It's nice to see a lead female with Asperger's, too. There's a lot of cop/law enforcement shows where they try to solve crimes, but this one is the best, and I'm saying that as a fan of CSI as well. Don't fight me on this, I'm right. Oh yes, it's corny, it's campy, it's cheesy, but I love every minute of it. Don't watch if you have a weak stomach though.

16. The Simpsons (1989-?)

We all grew up with this show, don't lie. It's been around longer than most people on tumblr have even been alive. Should it have ended seasons ago? Hell yes. But that doesn't take away what the first like 20 or so seasons gave us (there's a lot of argument about when the show jumped the shark, for me it wasn't until much later than the popular consensus). The characters are amazing, but the secret to the show's longevity is that they always return to status quo and there's comfort and nostalgia in that. Bart will still be in 4th grade when you're out there pushing 90. This show is persistent. This show is eternal. This show will outlive us all.

17. Ash Vs. Evil Dead (2015-2018)

Sorely underrated. This show is hilarious, gruesome and campy as hell and I love it. I don't think you necessarily have to watch the Evil Dead movies beforehand in order to get the plot of the show, although it would probably help. In my opinion this show ended way too soon and I'm hoping someday we'll get a comeback because Ash is the reluctant, self-absorbed hero we all need and it's 2020 so at this point there really might actually be a demon-zombie apocalypse and who's gonna save us then if not for the impulsive womanizer with a chainsaw for a hand?

18. Malcolm In The Middle (2000-2006)

Another show I grew up with, I don't think it gets as much credit as it deserves. It has some damn funny episodes and great characters, and it did a lot of the popular sitcom tropes before they were 'cool'. Some other great sitcoms, The Middle in particular, took a lot of influence from this show and it helped pave the way for the future of sitcoms at a time when they were about to make a comeback. If you want a good show about the real experiences of growing up, this is a much more accurate representation of the highs and lows of being an awkward tween from a dysfunctional home.

19. A Series Of Unfortunate Events (2017-2019)

Unlike most people I actually liked the movie version from the early 2000's, and I read the books growing up so I was excited when I saw there was a live action television adaptation of it on Netflix because I felt like they cancelled the movie franchise too soon. I was interested to see how new actors would handle the roles, and I was not disappointed. I wouldn't say I liked either portrayal of the characters better or worse, they both added their own twist to it and this show is a great and loyal adaptation to the books, probably because the author was so heavily involved. He knew just when to stick to the books and when to improve upon what he had done with the benefit of hindsight. This show is basically the books, but remastered.

20. Winx Club (2004-?)

Sort of an odd one out on this list, but I really love this show even as an adult and it may surprise you to learn it is still going on and the most recent season came out last year. They take big breaks sometimes in between seasons, but it's still going strong and in multiple countries. The only thing I don't like about watching this show is all the different and inconsistent dubs since the original show is Italian and each dub only goes for a couple seasons so by the time you get used to one set of voices/names for the characters oyu have to abruptly switch to another, but it's still worth it for the beautiful animation and cool characters (especially the villains!)

Honorable Mentions:

13 Reasons Why, America's Next Top Model, American Horror Story, Arrested Development, Bates Motel, Battlestar Galactica, Black Mirror, Care Bears, Chernobyl, Courage The Cowardly Dog, Criminal, CSI, Duck Dodgers, Goosebumps, Kenny Vs. Spenny, Kim Possible, Kingdom Hospital, Lazytown, Lost, Making A Murderer, Mayday, Mindhunter, Modern Family, Monster High, Obsession: Dark Desires, Parks And Recreation, Prison Break, Project Runway, Queer As Folk, Queer Eye, Salem, Schitt's Creek, SCTV, Spongebob Squarepants, The Emperor's New School, The Good Doctor, The Haunting Of Hill House/Bly Manor, The Middle, The Pretender, The Walking Dead, The X-Files, Through The Wormhole, Unbreakable Kimmy Schmidt, Unsolved Mysteries, Yugioh

Tagging: @bullet-farmer and anyone else who wants to!

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i-watch-too-many-movies · 3 years

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5 Favorite First Viewings of July 2021

Quick note: Hi everyone, I'm back, things have honestly been getting better for me, and I'm glad to be on this site full of cinephiles, people that are too horny, and cinephiles that are too horny. I'll be more active on here. But anyway, let's talk about some movies.

Beyond the Valley of the Dolls (1970) (dir. Russ Meyer)

CW: Abortion mention

What a picture. What a gorgeous, sexy, horrifying slice of what Hollywood and star life can do to a bunch of bright-eyed young people looking for success. Also is a critique of how macho nature can ruin friendships and romantic relationships with total ease. I was obsessed with the scene transitions, like Pet pouring pancake mix onto a plate after the abortion scene, or Kelly singing after someone screams before their murder in the opening scene.

Great, campy flick with exceptional music too.

Deep Cover (1992) (dir. Bill Duke)

Laurence Fishburne plays Russell Stevens, a Cincinnati police officer who hopes to do well by the community, to make a difference. He’s traumatized by the death of his substance-abusing father, and wants to make sure that he can help the people of his own town. He goes undercover on assignment as a drug dealer, where his boss orders him to take down the kingpin. Stevens realizes the police’s own failings while on assignment. The racist abuse he takes from Agent Carver, and the realization that the police department is protecting drug kingpins like Gallegos and Barbossa. Giving drugs to Black kids and Latinx kids so there will be less of them. The cops are no different than the drug kingpins looking to make filthy amounts of money.

Fishburne’s performance is excellent, as Stevens feels he has to maintain a stone face so he doesn’t get caught by Jason or Barbossa or any of his cronies, but also he maintains a stone face to try and hide his emotion, his trauma. But when he gets pissed, Fishburne acts it beautifully, as is when he has to deliver a funny quip to counter Jason’s douchebaggery. And the production design, holy fuck, the sets and the lighting.

A perfect neo-noir for the HW Bush years, arguably one of the most timeless commentaries on the era, as well as the police as a whole.

Fast Five (2011) (dir. Justin Lin)

I was torn between including this or Furious 7, but I ultimately went with Fast Five because it felt like an important turning point in the series, it's a great heist film, and it reached the same chaotic highs and genuinely excellent filmmaking that I had been waiting for since 2 Fast and Tokyo Drift.

Fast Five opens where Fast & 4ious left off. Dom is hauled away to prison on a bus. Mia and Brian drive in their high-tech cars and knock the bus over, helping Dom escape. The title drops. Fast Five. It’s such an intense yet short action scene, and dropping the title immediately after it lets the viewer know that this movie is not fucking around. It’s arguably gonna be more intense and insane than the previous one.

And it is. The filmmakers made the decision to use a lot more practical stunt work for the film, and as a result, it leads to, so far, the best action in the entire series, since 2 Fast and Tokyo Drift. It’s not just how it’s shot or edited, it’s the geography of the locations, the rooftop chase echoes the rooftop chase of Jackie Chan’s masterwork Police Story, particularly the way each character bounces from top to top.

And of course, there’s the silliest moment in the movie, the one that matches the intensity and kineticism of a film like 2 Fast, which is driving the Reyes’ bank vault throughout the street, getting chased by corrupt cops.

I know we make fun of Vin Diesel for saying “family” all the time in these films, but there’s a reason we remember him saying all of these impassioned monologues. Because he’s unbelievably sincere, and has so much love in his heart for every single person in the room. Anytime he delivers a speech to any of them, it’s genuinely heartwarming.

This is the film that finally shows La Familia in their best environment, which is working together, in a movie genre that allows them to work together, which is a heist film. And a great one at that.

Last Days (2005) (dir. Gus Van Sant)

CW: Mention of suicide

Several films have been made about legendary rock artist Kurt Cobain, and for good reason. He is one of the most tragic figures in rock and roll. A tortured genius who has written and performed classic song after classic song with his band Nirvana. He was called the voice of a generation, and helped change the face of mainstream alternative rock music as we know it. But with that fame, and all of those expectations came a worsening depression and further drug abuse, and his eventual death. But most of the films about Kurt Cobain ask one question which gets under my skin way too much:

“Who REEEEEEEEEEAAAAAAAAAAAAAAALLY killed Kurt Cobain?”

It was him. He did. And it’s okay, I’m sad too. Thinking that Kurt Cobain was murdered is completely ignoring the depression that he faced. And despite Last Days being more inspired by the death of Cobain rather than actually about it, it feels much more honest than the conspiracy documentaries on his death, wanting to leech off of his dead body.

This is the last installment of Gus Van Sant’s “Death Trilogy”, the previous two installments being Gerry (2001), and Elephant (2003). While I have not seen Gerry, I have seen Elephant though, and love that film for its minimalist, raw nature, and its boldness for not romanticizing the school shooter or the lives they had taken. Last Days falls into that trap once, as I don’t agree with the shot of Blake’s soul climbing up a ladder, that always struck me as cheesy in a film that is anything but.

Last Days is similar to Elephant in terms of the way it is filmed. Its usage of long takes, and still shots of characters doing various things, such as Blake playing his guitar behind a drum set. The way these moments are shot is similar to a Chantal Akerman film, particularly Jeanne Dielman. Where the acts of the mundane are the stars of the film. Blake wanders around an empty house, and the viewer can feel the pain, not just through Michael Pitt’s acting, but from the house itself. Its decay, its paint peeling from the walls, from the soft glow of the lamp that lights his face.

I say this is the most honest film about Kurt Cobain, because, despite the characters technically being fictional (the main character who looks, walks, and acts like Cobain is named Blake), this film focuses on the mental state of a person before they eventually take their own life. They’re still working, still making music, still trying to talk to friends and bandmates, but the depression lingers on. Not once does this film try to make you believe that someone else killed him, because you can see the signs of his own suicide taking place just through the film’s excellent cinematography by Harris Savides, showing his mental state only growing worse through the production design.

And it’s empathetic with him. There’s no judgement for leaving rehab, there’s no finger-wagging at him or the people he was with, there’s just a silent prayer at the end of the film, hoping that he is in a better place than he was.

Sometimes you don’t need to show every event that led you to where you are, all you can show is the moment, which also makes this better than most biopics as well, as it never feels messy or muddled, just showing one moment of Blake/Kurt’s life.

I really loved this film, and I’ll be writing about it in full soon.

The Village (2004) (dir. M. Night Shyamalan)

The Cracked.com/Channel Awesome audience stuck in 2012 will tell you that this was the beginning of the end for Shyamalan. That this was when people stopped taking him seriously, that this was when he became more of a punchline because of his twist endings.

But why?

The Village was released in 2004, deep in the Bush administration, during the early stages of the Iraq War. The leaders of the time were talking about imaginary boogeymen, terrorists that would attack the civilians if they could. Because of 9/11, politicians could get away with these false ideas with the majority of Americans fully believing them. The boogeymen in The Village are “The People We Don’t Speak Of”, monsters attracted by the color red. Yet we find out that they are all costumes made by the Elders of the land, designed to prevent people from going outside the land. They rule by fear disguised as love. They’ve gone through their own traumas through the deaths of their family members, but they’ve decided to completely abandon the lives that they’ve had and have their children living lies.

9/11 impacted American life by teaching citizens to live primarily by fear, to not trust anyone but their own people. And yet, post-9/11, all that increased was not “coming together”, but hate crimes against South Asian people. The rage white Americans had felt led to conservative politicians pushing fear-mongering agendas, and said white Americans blindly accepted. The outside world was progressing, but too many people were fine with living with further conservative politics only regressing American life further and further back, all for the illusion of safety. Meanwhile, the only threats to them were not the brown citizens outside of America they were so afraid of, but the white elders, the white politicians.

The Village explores these fears so eloquently, all while having a terrifying atmosphere, an enchanting score, and brilliant sound design. I enjoyed this movie very much.

Other viewings I enjoyed:

Beavis and Butt-Head Do America (1996) (dir. Mike Judge) (re-watch)

Blow Out (1981) (dir. Brian de Palma) (re-watch)

Clueless (1995) (dir. Amy Heckerling) (re-watch)

Furious 7 (2015) (dir. James Wan)

The Long Goodbye (1973) (dir. Robert Altman)

Lupin III: The First (2019) (dir. Takashi Yamazaki)

Unbreakable (2000) (dir. M. Night Shyamalan) (re-watch)

Velvet Goldmine (1998) (dir. Todd Haynes)

The Visit (2015) (dir. M. Night Shyamalan)

#favorite first watches #these movies are (chef's kiss)#beyond the valley of the dolls #russ meyer #deep cover #bill duke #fast five #justin lin #last days #gus van sant #the village #m night shyamalan

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calzona-ga · 3 years

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Since 2005, Shondaland has produced groundbreaking television. And over the course of 17 seasons, Grey’s Anatomy has made more than its fair share of bold choices. From the killing off of Patrick Dempsey’s beloved McDreamy to the still-controversial ghost-sex story line, the ABC series has seen, and done, it all. But perhaps no episode was riskier than turning the popular medical drama into a musical for “Song Beneath the Song,” the infamous season-7 hour in which a pregnant Callie (Sara Ramirez) gets badly injured in a car accident and, while her fellow doctors work to save her life, sees her hallucinatory self burst into song — with the rest of the characters quickly following suit.

Coming from the mind of series creator Shonda Rhimes, a vocal fan of both Broadway shows and TV musicals like Buffy’s “Once More, With Feeling,” the Grey’s musical episode was a monumental moment for the show and for television. Many viewers praised its audacity and swooned over the vocal chops of stars like Ramirez and Chandra Wilson.

“Song Beneath the Song” made for one of the most memorable hours of television, earning strong ratings and leading the soundtrack, particularly Ramirez’s show-stopping rendition of Brandi Carlile’s “The Story,” to Billboard success. A decade later, its impact is still growing, thanks in part to the countless teenage Grey’s fans who’ve only recently discovered the series via Netflix. Like the show itself, the musical has become an indelible part of TV history — and so, 10 years after its premiere in March 2011, we spoke to the episode’s cast and crew to get the story of how it came to be.

Featuring thoughts from Rhimes; writers, producers, and co-showrunners Tony Phelan and Joan Rater; and actors Wilson, Kevin McKidd, Jessica Capshaw, Kim Raver, and Eric Dane, this is the oral history of “Song Beneath the Song.”

Finding the Inspiration

Inspired by a 2008 benefit concert in which several stars of Grey’s and its spinoff show Private Practice performed songs to support out-of-work Hollywood workers during the 2007-2008 writers’ strike, Rhimes decided to turn her long-held desire to make a Grey’s musical episode into a reality.

Rhimes (series creator and writer): I remember thinking to myself at a certain point, I have this sort of murderers’ row of Broadway people. Like, Chandra had been on Broadway and singing; obviously, Sara Ramirez had won a Tony on Broadway [for Best Featured Actress in a Musical, in 2005], which is how I first met her; and then I knew that Kevin could sing. There were so many people in the show with beautiful voices. ... It felt like it was leaning in that direction in a good way.

Rater (writer, producer, and co-showrunner): The first iteration for, like, two days when we first started batting around the idea was that we would write original music. It was all gonna be original music. And then we quickly realized that a) who’s gonna write that music?, and b) no, it doesn’t feel like the right thing. And then Shonda, I think a day or two later, came in with the idea that we would use these iconic songs.

Wilson (Dr. Miranda Bailey): But the studio wasn’t quite on board with this whole idea.

Convincing a Skeptical Network

After coming up with the episode’s plot and deciding that the characters would sing classic songs from the Grey’s soundtrack, like Snow Patrol’s “Chasing Cars” and the Fray’s “How to Save a Life,” Rhimes pitched the idea to the network — but, in a surprising first, she was told that they were going to pass.

Rhimes: By that point, I wasn’t getting notes on anything; nobody was saying no to me about anything. So it was really bizarre to me that there was all this resistance to doing a musical episode. And I remember somebody at the network saying, “Can’t you just do one of your love-triangle thingies again?” And I thought, my head’s gonna explode, because the show is not a bunch of “love-triangle thingies.” You guys have missed the point entirely. I felt like, no, every year of the show is a completely different show, and this year the show has a musical episode. And that’s the story.

McKidd (Dr. Owen Hunt): Tony, Joan, and Shonda basically said to us, “We are trying to convince Disney to give us actual money to do this musical episode, and we feel like we want to do a show-and-tell to show them what this musical episode could be. Are you guys willing to give your time to help us create this show-and-tell?” And we were like, “Yeah, of course.”

Wilson: So we gave them a concert. Sara, Kevin McKidd, and I, along with musicians, got together, and we performed this script that Shonda and Tony Phelan put together. Shonda did the narrating. And we went through what the entire episode would be, based on those iconic songs.

McKidd: I remember Sandra Oh came to the concert for the execs just to be moral support for us. And she became like our groupie — she would stand and cheer and whoop and holler in between all the songs.

Phelan (writer, producer, director, and co-showrunner): Once [the executives] saw it, and saw it could work, then they gave us the okay to do it.

Rhimes: I still feel like they thought we were crazy. But you couldn’t deny the talent in the room.

Getting the Cast on Board

Once the episode was greenlit, the team began the task of persuading a cast full of non-singers to simultaneously sing, act, and — in some cases — dance on screen.

Wilson: The offer was put out on the table from the beginning from Shonda — anybody that’s not interested in singing, you’re not required; you don’t have to do it.

Rater: I think Sandra from the beginning was like, nope.

Rhimes: She looked at me — it was her very deadpan face — and she was like, “I’m not singing.” And I was like, okay! If that’s not your thing, that is not your thing — that’s completely okay. And it didn’t feel like she was afraid to sing or push past this barrier. It felt like Cristina Yang doesn’t sing. And that made sense to me.

Rater: Ellen [Pompeo] has a great voice. She could’ve done more. ... Ellen was very gracious about, like, “I’ll doo-wop in the back; don’t worry about me. Let’s hear Chandra, let’s hear Sara, this is theirs.”

Capshaw (Dr. Arizona Robbins): In addition to Sara having this powerhouse voice, she was always very generous about others and never made anyone feel smaller because of her giant power. But singing with her was like, “Aw, man [laughs], how about you get this one? You got this leg of the race.”

Wilson: Probably the most frightened person was Kim Raver, bless her heart.

Raver (Dr. Teddy Altman): It was super-exciting and terrifying at the same time. We all love singing, but unless you’re Sara Ramirez or Chandra Wilson.

Dane (Dr. Mark Sloan): I don’t fancy myself a singer, so I said, “Shonda, in this particular episode, I want the least amount of lines.”

Rhimes: Eric Dane surprised me, because his voice had this lovely quality to it that was really nice.

Dane: I set her up for a catastrophe, so she had very low expectations.

Starting Rehearsals

For months leading up to the episode, the cast embarked on a grueling series of rehearsals and voice lessons, adding hours onto their already long daily schedules.

Capshaw: I had just had a baby, and I was really taking my life one day at a time. I knew it was going to be a big episode, but, timeliness-wise, it was a tough time. I think I was still breast-feeding.

Phelan: Usually in the writers’ room, you’ve got maybe six-to-eight weeks from the time you come up with an idea to the time that it’s shot. This we needed almost the entire season to plan for.

Raver: It was like riding a bike but then adding, like, six more wheels to it, and you had to kind of figure it out.

Capshaw: We were all bringing our A games. In normal days, it feels like there’s a familiarity, you can feel a little more casual, a little more off-the-cuff, but there was nothing off-the-cuff about this. It was all very high stakes because it was life or death, literally.

There were some silver linings, though.

Dane: We had these little earbuds in our ears, I guess like how you film musicals, so you can sync what you’re mouthing with the music in your ear. And so I went to the sound operator and said, “I can buy one of these earbuds, right? And I can create a content-receiver pack and connect it to an iPod and pipe music into this too theoretically, yes?” And he said, “Yeah, you could do that if you want to.” So I said, “So when I’m performing surgery in later episodes on this show, and I don’t have very many lines, theoretically I could be listening to music, and nobody would know?” And he said, “Yeah, theoretically, that would work.” So I had one made, and I shot many episodes in the surgical theater, sometimes with lines, listening to music, many times.

Filming the Episode

“Song Beneath the Song” revolved largely around the seriousness of Callie’s condition, but there were also some light moments, including a sexy, dance-filled take on “Running on Sunshine” featuring several of the show’s couples.

Capshaw: When Sara and I are in the car in the clouds — oh my god, I’ve never felt so goofy in my life [laughs].

Raver: Scott Foley [who played Teddy’s love interest Henry] and I had so much fun working together. He’s so funny, and so choreographing that dance singing number was really fun.

Wilson: Debbie Allen sent in Eartha Robinson, one of her choreographers from the Debbie Allen Dance Academy, who I knew from Fame, the television series. So this is who was coming in, teaching us how to twirl. And I was like, oh my god, I’m on Fame!

Early in the episode, McKidd’s Owen sing-shouts at his crew of doctors to “calm down” — a moment that, years later, became a widely shared meme for its over-the-top nature.

McKidd: In the scene, I think it was Kate Walsh — she’s brilliant; she’s a prankster — and Patrick and Eric Dane. And they were all arguing. And I’m sitting there and [the cameras] push in on me and I go, “Calm down.” And they couldn’t keep a straight face. Every time we did a take, they just would fall over laughing. And they were on camera giving me the eye line, and I had to sing this song seriously with those two actors just doubled over, like sidesplitting. It just tickled their funny bones so much. That was one of the hardest acting days of my life [laughs].

Capshaw: For sure, many, many, many shots were taken at Kevin McKidd for his “calm down” [laughs]. ... He really took on the rock-&-roll part of it.

McKidd: My daughter, who’s big on Twitter, she said that “calm down” thing’s like a serious meme thing now, which I guess is an honor. I don’t know.

The biggest moment of the hour came at the end, when Ramirez, a Tony winner for Spamalot, sang “The Story” as Callie fought for her life.

Phelan: When Sara came to Grey’s, she had this idea that she absolutely wanted to be known as an actress not a singer. And so for her first couple seasons on the show, she kind of left that side of her behind. Then, here was Shonda and I coming to her and saying, “No, we want to re-engage that part of you and put it on the show.” And so I think that she got nervous about that ... but to hear that amazing, magical voice come out of her ... that was the moment that was going to be able to sustain the music [of the whole episode].

Rhimes: When she sings “The Story,” I mean — I wrote the episode; I know what’s gonna happen. I’ve seen it a thousand times. It has nothing to do with me. But I always tear up a little bit because of her extraordinary voice and extraordinary performance.

Wilson: What a showcase it was for Sara Ramirez. I’m so glad that she got to share that part of herself with our audiences.

Reading Those Reviews

On March 31, 2011, the episode aired. While it garnered strong ratings, viewers’ reactions to “Song Beneath the Song” were mixed.

McKidd: I think we all went into it with our eyes open, and we knew there was gonna be mixed reviews. Because some people are gonna love it, and some people aren’t. But that shouldn’t stop people from taking a few risks in what we do, you know?

Rater: I remember being shocked that there were people who didn’t like it. I was like, come on!

Capshaw: It didn’t feel like [the reviews] were gonna affect anything either way. It wasn’t gonna be like, “Oh my gosh, that was too silly, and I’m never watching Grey’s again.” It had already found its place in people’s hearts.

Rhimes: I learned very quickly [on Grey’s] that if you’re gonna believe the good things people say about you, you have to believe the bad things people say. So there’s no point in paying attention to any of it. ... Nobody’s gonna like everything that you do.

Phelan: I know there are a lot of people who don’t like it, who felt like it bent the show too much, but it’s season 7 of a show, and if you’re not taking big swings when you’re on season 7 on a show, something’s wrong.

Creating a Legacy

Despite the critical reactions, the episode has developed something of a cult following over the years, thanks to live benefits and TikTok memes. A decade later, its creators all look back fondly on the hour and its impact.

Wilson: [The cast] watched it together, and I remember feeling like, wow, look at what we did!

Capshaw: When we showed up to do that benefit concert, I remember coming out onstage ... and being completely, completely overwhelmed with the people that responded to Arizona in that episode, and to the love story between Callie and Arizona.

Phelan: As a director, it was the biggest challenge of my career to do that, and it’s one of the things that I’m most proud of.

Raver: I’ll be in my car singing along, or at work if we’re in the hair-and-makeup trailer and we’re listening to [the soundtrack], it’s just an immediate flashback. It kind of feels like yesterday.

Wilson: The soundtrack is on my playlist on my phone [laughs]. So I will pop that thing out in a minute, because it’s just absolute happy memories.

Rater: If I’m cooking, that is what I put on. That’s what I tell Alexa to play for me.

Rhimes: I feel like that episode just always reminds me of having so much fun. That was what was really great. We had so much fun. And how much do you get to say that about just being at work?

Dane: As a cast, contrary to what some of the entertainment media might have speculated, we were all very close. We all spent a lot of time together, and a lot of that stuff felt really real to us. It was easy to access because of how we felt about each other off screen.

Raver: I just remember it being such an incredible experience, being able to work with all these incredibly talented actors and creators.

Rhimes: It’s right in my top 10 of episodes we’ve ever done.

Dane: I don’t particularly want to do it again, but I’m glad I did it.

#grey's anatomy #7x18 #jessica capshaw #eric dane #chandra wilson #shonda rhimes #kevin mckidd #kim raver #tony phelan #Joan Rater

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felicia-cat-hardy · 3 years

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Max Minghella On 'The Handmaid's Tale,' His Dad, Romance, & 'Spiral'

“You okay, sweetheart?” he asks — the dog, not me — tenderly.

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365days365movies · 3 years

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January 15, 2021: Casino Royale (2006) (Part 1)

So...we meet again, Bond. What’ve you been doing for the past few years?

...What. Not who, James, WHAT. Jeez.

Whatever. BrosBond had 3 movies after GoldenEye, and they were...not great, from what I’ve heard. Remember, I wasn’t as big of a fan of GoldenEye as many critics and fans were; so, I can’t imagine what I’d think of the latter three. Maybe one day, but not today!

Today, I’m focusing my sights on the revitalization of the brand. See, in 2002, Die Another Day came out, and that movie was apparently crazy. TOO crazy. So crazy, in fact, that audiences and critics accused it of losing the plot, and the production studio in charge (Eon Productions) had a yearning to change direction. And their inspiration came from...a surprising place.

See, Joel Schumacher’s campy, over-the-top Batman films were basically wiped out by Christopher Nolan’s 2005 reinvention of the character in Batman Begins. Which is, in my opinion, a highly underrated classic, Seriously. And in 2005, this film was absolutely a smash-hit. Batman was cool again, which a lot of people never thought would happen in film. Eon saw this, and thought...how can we apply that to Bond?

Out with Brosnan...in with Craig.

The first of the new, darker, reinvented Bond films is planned for release in 2006, starring Daniel Craig as the suave, sophisticated spy. And the director of the film was selected to be...Martin Campbell? From GoldenEye? The guy who kinda sorta started the modern over-the-top Bond? Really? I mean, OK. The writers this time are different...except for one. I didn’t talk about the writers last time because I don’t like putting people on blast if I don’t gotta. This time...maybe. We’ll see.

If this Casino Royale is basically Bond Begins, I’m definitely interested. Maybe this’ll revitalize that Bond-love from the Connery days. Let’s find out! We’re also gonna look at the Bond checklist again!

Gadgets: better have more cool gadgets than GoldenEye, I swear...

Bond Girl: GoldenEye’s Natalya wasn’t bad, to be honest; let’s see who his Inevitable Love Interest is this time.

Villain: Alec Trevelyan had so much potential. I need my dastardly villain, let’s do this. Oh, and let’s throw the henchman in here, too. Xenia Onatopp was...a lot...but she was a memorable henchman, at least.

Music: Of course. GoldenEye’s theme was good, and we’ll see how 2006 does.

OK, movie time. SPOILERS AHEAD!!!

Recap

We start at an office building in Prague, where a man makes his way up to his office. Waiting there for him is, of course, James Bond (Daniel Craig). The man is Dryden, section chief at the British Embassy in Prague, whom M has accused of selling secrets, a big no-no. But Bond...isn’t a double-0 agent. Huh. You got me interested.

Apparently, agents get the two zeroes once they’ve killed two people on file. James hadn’t killed anyone...until recently. Which is when we get this.

OH SHIT

This is an absolutely BRUTAL fight. It’s not choreographed flashily, it’s not pretty...it’s rough. It’s intense. And it’s...oh my God, wow. Made me feel it. And what’s astonishing is that it’s SO short.

On learning this, Dryden tells him not to worry, the second one is...

...YOU GOT ME. I’M IN FOR THE FUCKIN’ RIDE

HOW??? How is it that in 3 minutes of screentime, I’m already more satisfied by Craig’s Bond than I was for the ENTIRETY of GoldenEye? That is masterfully done, right off the bat. WOW. We even get a smooth-as-silk segue into the classic bullet turret sequence, and that takes us right into the song and opening credits. And...wow.

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Here’s the thing about Bond openings, as I mentioned last time: they were all directed by one guy up until GoldenEye, and were basically all silhouetted women with themes and scenes from the movie projected around them. The Brosnan movies followed suit, always having silhouetted women in one way or another. Die Another Day used CGI women and...a really bad Madonna song. It was...it is NOT GOOD, guys. Look it up, it’s the most 2002 thing I’ve ever heard.

But here’s the fin bit about Casino Royale. This is the first Bond movie opening with no women in it. Yeah. It’s the first one. And the song is Chris Cornell’s You Know My Name, and it’s good! Not sure it’s going in my soundtrack, though.

Finally, the opening credits sequence itself: it’s once again Daniel Kleinman doing it, and it’s actually inspired by the first James Bond book Casino Royale, which had already had a TV special and unofficial Bond movie made from it! The cover had a playing card motif, and the opening carries over that motif creatively. I really dig it, if I’m honest! Definitely a welcome break from the 44 years of Bond films preceding it.

Uganda! And we meet the villain of this film: Le Chiffre (Mads Mikkelsen). And GODDAMN if that isn’t a Bond villain! He’s a banker, making a deal with a rebel leader, Steven Obanno (Isaach de Bankole), via their liason Mr. White (Jesper Christiensen). Setting up an attack by supplying Obanno with money, he sells his stocks of a company called Skyfleet, knowing that they’re about to fail.

Meanwhile, a ferret’s fighting an Asian species of cobra. In Madagascar. My zoology senses are EXPLODING, OH my God. So much wrong there. Anyway, there’s a bombmaker in the crowd watching the fight. He’s being tailed by Bond and another agent, Carter, who tips off the guy by being a bad spy. Bond chases him to a construction yard. What now, James?

Awesome. Why is this awesome when I said that the tank was dumb? Because at least it makes sense for a bulldozer to go haywire in a construction yard, just sayin’. Plus, this dude clearly isn’t the best, as he fires on construction workers and cops.

Eventually, this chase sequence brings us to the top of a crane, where this exchange happens.

I, uh...I love this movie already. That’s goddamn great.

The chase scene as a whole is also fantastic, as it continues off the bridge and into an abandoned building, then escalates into the streets, brings in law enforcement, and eventually ends with Bond at an embassy, facing down both the military and the bomb maker. He kills the guy, shoots some gas tanks, grabs the bomb, and then gets the hell out of there.

...Y’know what, that was fucking amazing, but he also almost certainly caused an international incident there. And I should be annoyed about that, but guess what! It makes sense! This is an inexperienced Bond, one who’s JUST been promoted to 00 status as 007, as the prologue explained. So, y’know what? I’m into it!

Cut to a yacht, like you do in a Martin Campbell Bond film. There, we have our villain, Le Chiffre, playing a card game. Also, he weeps blood. Yeah. HE WEEPS BLOOD.

OK, if that isn’t some Bond villain shit, I don’t know WHAT is. He’s also asthmatic, because I love it. I love it so much. He’s a mathematically-brilliant asthmatic that weeps blood. More, please.

He’s also a person aware of what Bond did at the embassy, as it’s already become an international incident! Thank you for showing consequences, movie! Damn! I love it! This has two additional consequences. One, Le Chiffre notes that the code “Ellipsis” used by the bomber may be soon to expire, indicating a connection between the two. And the second consequence? M’s pissed.

M! DAME JUDI DENCH! One of my favorite things about GoldenEye was bringing in Judi Dench as M, and she made it through the reboot! And she’s still as entertaining as she was before, calling Bond out for his stupidity, and explaining that she misses the Cold War.

In her apartment, M does her normal exposition schtick, and her interactions with Bond are fantastic here. She’s understandably angry at him, and gives him what for, but she’s also clearly impressed that he FIGURED OUT WHERE SHE LIVES, as well as her REAL NAME. Shows her opinion of Bond and aspects of Bond’s character in a single, masterful stroke.

Well. Goddamn. Done.

The Bahamas! Bond’s here to find Alex Dimitrios (Simon Abkarian), a Greek businessman who’s believed to have a connection with Le Chiffre himself. And, as James Bond is wont to do, he finds him at a party, playing cards. And here’s where the reinvention of Bond comes full circle.

See, Bond’s doing all the typical Bond things, yeah. But there are some differences present here, as well as some neat nuances. Bond isn’t wearing the suit, first of all. He actually hasn’t worn a suit the whole movie, which makes perfect sense for a spy. Suits aren’t exactly the least conspicuous thing in the world; bound to get you noticed if you don’t want to be.

And then, there’s the girl. This is Solange Dimitrios (Catherina Murino), the wife of Alex who was treated BADLY by him at the party. That gives her a reason to take Bond’s offer for a ride to his place, outside of just his raw animalistic charm that he seems to have in some of these movies. Look at that, already more chemistry than he had with Natalya in GoldenEye.

And yes, this results in her cheating on Alex. Is her cheating justified from a moral standpoint? No, of course it isn’t. And of course, this leads to the typical Bond-handsome-sex-GOOD sequence, but again, some nuance here! First of all, he doesn’t win her over with corny clever lines, like what we saw in GoldenEye multiple ties. Second, this is actually all an attempt to get some infomation from her about her husband. Bond might be enjoying it, but his womanizing here actually has a purpose. And that’s rare!

That’s further punctuated by the fact that he STRAIGHT UP LEAVES BEFORE ANYTHING HAPPENS. Yeah, she tells him that Alex just made his way to Miami, and he leaves! Dick move, yeah, but it makes sense! James isn’t here for pleasure, he’s here for work!

He follows Alex to a Bodies at Work exhibit (you know, the preserved and skinned cadavers put into poses that used to tour around the USA? I saw it in Times Square at the end of its popularity. A little ghoulish, maybe, but I think it’s pretty cool), where the two of them get in a very tense close-up knife fight in public.

Alex is dead, but not before passing off a package to someone else at the exhibition. Bond tails the guy to Miami International Airport, where the largest airplane in the world is set to be unveiled. Using the code sent to the bombers, Bond gets into the back, and goes to intercept the disguised bomber who’s set to blow up the SkyChonk (I mean it, that giant airplane is THICCC).

Time for another cool chase sequence! Some luggage is destroyed, along with a bus, the cops join in on the chase, an airplane is prevented from landing (making someone on that plane probably very upset), and Bond somehow manages to prevent the plane from blowing up. And it’s by the SKIN of his teeth, lemme tell you. Also, he blows up a dude with his own flashlight bomb.

Nice. Somehow, Bond isn’t arrested, and makes his way back to the Bahamas. And it looks like Solange isn’t the Bond girl after all. Because she was thought to be the information leak (which she was, to an extent), she was tortured to death. Whoof.

M’s in the Bahamas now, and the exposition continues. She’s done with Bond’s bullshit, and she plants a tracker under his skin. She explains that with the big boi plane destroyed, somebody stood a lot to gain financially from the stock crash to come. Except that the plane wasn’t destroyed, and that person lost $100 million by “betting the wrong way.”

That person, of course, was Le Chiffre, a manthematical genius and chess prodigy, who plays poker for fun, and plays the stock market with his clients’ money. Bond’s the best poker player in MI6 (a good addition that we already saw foreshadowed earlier! See what I mean?), and she’s sending him to a high stakes poker game that Le Chiffre’s looking to regain his money from.

Bond FINALLY dons his suit, and gets on a train in Montenegro, where he meets...

Vesper Lynd (Eva Green). THERE’S our Bond girl! Although, there’s a reference to Miss Moneypenny in their introduction, which is interesting. But Vesper is an agent for the British Treasury, supplying the money for the buy-in for the tournament. And their conversation on the train...wow. Now THIS is chemistry, seriously.

Vesper’s a great character, and she gives Bond NO quarter. She reads his character, and calls him out very accurately. They also explain why both Bond and Vesper are good at poker: it’s all about reading people. I’m genuinely impressed by how this movie is put together, and how well-thought out Bond is as a character. And this is the dimension I love to see in a Bond girl as well!

GODDAMN, I am in love with this movie. More coming in Part 2!

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aion-rsa · 3 years

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Did The Dark Knight Really Influence the Marvel Cinematic Universe?

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In 2008, there were two seismic events in the superhero movie genre so close together that you’d be forgiven for thinking they signaled the same thing. Over the span of a few months, Marvel Studios launched the Marvel Cinematic Universe (MCU) via Iron Man, and director Christopher Nolan changed the perception of how seriously to take these movies with The Dark Knight. Both are credited as watershed moments for how audiences and (more importantly) the industry approached such stories; and The Dark Knight is specifically singled out as the gold standard by which all other masked crimefighter films are measured.

However, was Nolan’s haunting vision—one in which a lone avenger is the last, best hope for a major American city on the verge of collapse—really that influential on its genre? The Dark Knight certainly had a monumental impact on the culture, then and now. You saw it when Heath Ledger’s searing interpretation of the Joker made him only the second actor to win a posthumous Oscar, as well as when the film’s exclusion from the Best Picture race changed the way the Academy Awards handled its top prize. And just last year, The Dark Knight became only the second superhero movie inducted into the National Film Registry.

Yet when a friend watching last week’s The Falcon and the Winter Soldier premiere told me Marvel was returning to the “realistic” approach of Captain America: The Winter Soldier, and by extension The Dark Knight, I couldn’t help but disagree. The new Disney+ series may have a slightly more grounded aesthetic than the last time we saw these characters (back when they were fighting space aliens over magic stones in Avengers: Endgame), but the medium-blending existence of the series belies the idea that Marvel took anything significant from the insular and self-contained Dark Knight Trilogy.

The Dark Knight vs. Iron Man

It’s interesting to look back at just those 2008 films since at face value they bore minor similarities. They both were focused on fantastically wealthy billionaires using their fortunes to fight wrongdoing on a potentially global scale; each movie was directed by filmmakers with indie cred thanks to Nolan helming Memento (2000) and Jon Favreau writing and starring in Swingers (1996); and each starred unexpected casting choices with Ledger as the Joker and Robert Downey Jr. jumpstarting a career comeback as Tony Stark.

But their goals and approaches were worlds apart. The obvious thing to note, besides The Dark Knight being a sequel to Batman Begins (2005) and Iron Man being an origin movie, is that Iron Man had an slyly hilarious sensibility, and The Dark Knight fancied itself an allegory about post-9/11 America. The former’s success was engineered in large part by Downey’s gift for comedic improvisation and freestyle. Indeed, co-star Jeff Bridges said in 2009 that he, Downey, and Favreau were essentially improvising their scenes from scratch every day during primitive rehearsals. “They had no script, man,” Bridges lightly complained with his Dude diction.

By contrast, The Dark Knight appears at a glance to be an exercise in self-seriousness and lofty ambition. Every scene, written by Nolan and his brother Jonathan Nolan, appears like a chess move, and each character a pawn or knight who’s been positioned to put contemporary audiences in a state of pure anxiety with War on Terror imagery and dialogue. Of course this clocklike presentation is itself another Nolan illusion, as smaller players like Michael Jai White, who portrayed gangster Gambol in the movie, have been quite candid about. As with almost every film, there is still a level of fluidity and workshopping on Nolan’s set.

Ultimately, the bigger difference between the Nolan and eventual Marvel approach is what each is hoping to accomplish with the film they’re currently making. More than just offering a “realistic” vision of Batman, The Dark Knight attempted to tell a sweeping crime drama epic that would stand alone, separate from its status as a Batman Begins sequel. Rather than being “the next chapter,” The Dark Knight was meant to be a cinematic distillation of Batman and Joker’s primal appeals writ large. With this approach, the film also broke away from the superhero movie template Batman Begins followed three years earlier, and which nearly all superhero films still walk through the paces of.

In essence, The Dark Knight showed that superhero movies could be dark and mature, yes, but they can also be subversive, unexpected, and genuinely surprising. Nolan’s previous superhero movie, as good as it is, followed the beats set down by Richard Donner’s Superman: The Movie nearly 30 years earlier. They’re the same beats trod by Iron Man and pretty much every other superhero origin movie, including a large bulk of Marvel Studios’ output. The Dark Knight, by contrast, reached for a cinematic vernacular separate from its specific genre. The movie’s not subtle about it either. The opening scene of Nolan’s epic wears its homages to Michael Mann’s Heat on its sleeves, and the story’s structure has more to do with Jaws than Jor-El.

The approach shook audiences in 2008 after they’d come to expect a certain type of movie from masked do-gooders. In The Dark Knight, superhero conventions could be subverted or obliterated when love interest Rachel Dawes is brutally killed off mid-sentence, or stalwart Batman is forced to claim a pyrrhic victory over the villain by entering into a criminal conspiracy and cover-up with the cops. The thrill of novelty was as breathtaking as the movie’s allegorical elements about a society on edge.

And even with The Dark Knight’s open-ended finale, it stood as a singular cinematic experience, complete with then-groundbreaking emphasis on IMAX photography. Nolan was so adamant about making this as self-contained an experience as possible that he jettisoned his co-story creator David Goyer’s idea of setting up Harvey Dent’s fall from grace for a third movie. Dent’s fate, as that of everyone else’s, would be tied strictly to the events of the movie you’re now watching.

“We Have a Hulk”

In Iron Man, and then more forcefully in Iron Man 2 (2010) and the rest of its “Phase One” era, Marvel Studios demonstrated a wholly different set of priorities. Similar to how Batman Begins paved the way for Nolan to do what he really wanted with that material, Iron Man 2 came to encapsulate Marvel Studios President Kevin Feige’s grander designs for the type of movies he was making. Where The Dark Knight was singular, unconventional, and two steps closer to our world than its comic book origins, Iron Man 2 was episodic, entirely crafted around audience expectations for a sequel, and even more like a comic book world than our own.

In other words, the first Iron Man gently submerged audiences into the fantasy by beginning with contemporary images of Tony Stark in a Middle Eastern desert; Iron Man 2 then made sweeping strides in defining what that MCU fantasy is as quickly as possible: Natasha Romanoff, aka Black Widow (Scarlett Johansson) is introduced solely to establish the superspy who will be vital to The Avengers two years down the road, and the central narrative about Tony Stark fighting an old rival is put on pause to reintroduce the character Nick Fury (Samuel L. Jackson) as a supporting, and superfluous, side character. The post-credit scene even arbitrarily introduces literal magic with a glowing hammer that has absolutely nothing to do with the story you just watched. Still, it’s a hell of a teaser for Thor which was due in theaters a year later.

With the release of Iron Man 2, Marvel Studios’ emphasis became diametrically opposed to the driving concept behind The Dark Knight Trilogy. Rather than each film being an insulated, standalone cinematic experience like the Hollywood epics of old, Marvel’s movies would be interconnected episodes in an ongoing narrative saga that spanned multiple franchises and countless sequels. This isn’t necessarily a bad thing. Unlike Nolan after The Dark Knight, Feige and his stable of writers always know where the next movie (or five) is going, and have a better idea of what the overall vision is than any single director working within this system. Ironically, this returns power to the studio and producer as the seeming authorial voice of each movie. Like in the Golden Age of Hollywood, directors are more often hired hands than influential auteurs.

However, this means the aspects Nolan really valued on The Dark Knight beyond a gritty “realism”—elements like spontaneity, subversion, and a distancing from superhero tropes—became antithetical to the type of movies produced by the MCU. For at least the first decade of its existence, the Marvel Cinematic Universe flourished by creating a formula and house style that is as predictable for audiences as the contents in a Big Mac.

When you go to a Marvel movie, you more or less you’ll get: an ironic, self-deprecating tone, a story that often revolves around a CG MacGuffin that must be taken from the villain, and a narrative in which disparate heroic characters come together after some amusing, disagreeable banter. In fact, more than Iron Man, it was Joss Whedon’s The Avengers (2012) which refined the Marvel formula into what it is today.

There are of course exceptions to this rule. Black Panther became the first Marvel movie since Iron Man to arguably tackle themes significant to the real world, in this case specifically the legacy of African diaspora. It also became the first superhero film nominated for an Oscar for Best Picture as a result; James Gunn’s Guardians of the Galaxy movies might follow the narrative formula of most MCU movies, but they’re embedded with a cheeky and idiosyncratic personality that is distinctly Gunn’s; and in Captain America: The Winter Soldier (2014) and Captain America: Civil War (2016), directors Joe and Anthony Russo, as well as screenwriters Christopher Markus and Stephen McFeely, attempted to inject a little bit of that “realistic” aesthetic from The Dark Knight. But only to a point.

Particularly in the 2014 effort, there was a push by the Russos to rely on in-camera special effects and cultivate what they often described in the press as a “1970s spy thriller” style. Ostensibly, the hope may have been to make The Winter Soldier as much a spy thriller as The Dark Knight was a crime epic. In this vein, there were even attempts to graft onto the story very timely concerns about the overreach of a government surveillance state, which had only grown in the decade since the U.S. PATRIOT Act was passed, despite a change in White House administrations. However, all of these ambitions had an invisible ceiling hovering above them.

Despite having overtones about the danger of reactionary if well-intentioned government leaders, like the kind personified by Robert Redford’s SHIELD director in the movie, Captain America: The Winter Soldier couldn’t become too focused on the espionage elements or too far removed from the Marvel house style. The story still needed to interconnect with other Marvel films, hence Redford’s character turning out to be a secret HYDRA double agent, and it still needed to give audiences what they expected from a Marvel movie. Thus how this “1970s spy thriller” ends in a giant CGI battle with citywide destruction as Captain America inserts MacGuffins into machines that will blow up HYDRA’s latest weapon for world domination.

It’s easy to wonder if the movie was developed a little longer, and didn’t have to play by a certain set of rules and expectations, that instead of backpedaling into comic book motivations, Redford’s character would’ve been a well-intentioned patriot amassing power “to keep us safe,” and in the process destabilized the institutions he claimed to revere.

Movies

What Did Batman Do Between The Dark Knight and The Dark Knight Rises?

By David Crow

WandaVision: The Unanswered Questions From the Marvel Series

By Gavin Jasper

A Universe Without End

The Marvel method breeds a heavy need for familiarity and comfortable predictability, as opposed to disorientation and discomfort. Yet both methods are valid. While Nolan achieved near universal praise for The Dark Knight, his attempt to replicate it with the even more ambitious The Dark Knight Rises—an unabashed David Lean-inspired epic that took more from A Tale of Two Cities and Doctor Zhivago than DC Comics—left fans divided. It also was a narrative dead end for the corporate/fanbase need of an ongoing franchise. Nolan instead reached a final, artistic, and emphatic period for his cinematic interpretation of Batman mythology. By comparison, Marvel Studios has created a new cinematic vernacular that only ever uses dashes, semicolons, and commas. There is always more to tell.

Nolan reflected on these changing circumstances for superhero movies in 2017 when he said, “That’s a privilege and a luxury that filmmakers aren’t afforded anymore. I think it was the last time that anyone was able to say to a studio, ‘I might do another one, but it will be four years.’ There’s too much pressure on release schedules to let people do that now, but creatively it’s a huge advantage.”

This lines up with what Jeff Bridges said about the evolution of the Marvel method way back in ’09 after the first Iron Man: “You would think with a $200 million movie you’d have the shit together, but it was just the opposite. And the reason for that is because they get ahead of themselves. They have a release date before the script [and they think], ‘Oh, we’ll have the script before that time,’ and they don’t have their shit together.”

Bridges’ unhappiness with the new process notwithstanding, Marvel was rewriting the playbook about how these types of movies were made. Nolan’s approach of one at a time and years-long development processes created three distinctly different and relatively standalone Batman movies. But Marvel has shifted the idea of not just what a franchise can be, but also what cinematic storytelling means.

Instead of three movies, their rules and structures have generated dozens of well-received and adored entertainments, that when combined can produce experiences as unique as Avengers: Infinity War (2018) and Avengers: Endgame (2019): two movies that were more like a two-part season finale on TV than individual stories. And the latter became the highest grossing film of all time.

The success of this approach is further underlined when one considers competitors that tried to emulate both Marvel and Nolan’s approaches, relying on a lone auteur to build a shared cinematic universe—while also arguably taking the wrong lessons from the “dark” in The Dark Knight title. In the case of the DC Extended Universe, that approach collapsed on itself after three movies, leaving the interconnected “shared” part of its universe in tatters, and fans and studio hands alike divided on how to proceed with the franchise.The Marvel Cinematic Universe took a narrower road than that of The Dark Knight. But it turned out to be a lot smoother and much, much longer.

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ineffable-bookworm · 5 years

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Good Omens Fic Recs: Pre-TV Classics Masterlist

The Good Omens fandom has been around for 30 years. While it was quite small, many of the fanfics it generated were of remarkably high quality. With all the new fics being written since the show came out, I thought I’d take a moment to write about my favourite pre-tv show fics, because I’ve been waiting for chance to do this, and I think theses fics and their authors deserve some more recognition

Ordinary People by Daegaer

Human AU. Lonely, repressed Ezra hires Tony to repaint his bookshop.

I love this one SO MUCH!!! This fic is always the first one I think of when asked for a favourite (followed by The Walls, the Wainscot and the Mouse).

I read this fic every couple of years, and I relate to Ezra more than I care to admit. His defensive, procrasctinating, and self-sabotaging thought processes, and the fact that he’s already thinking of ways to say no to a shot at happiness because he can’t stand the thought of being rejected, all of this just hit a nerve with me because I’ve done the exact same thing. So many times. Ezra is so like me it’s painful.

Fave quote: “Take a chance, Ezra. It might make you happy” (This line gives me life! I swear, I fall in love with Tony every time I read this bit)

This is a human AU fic, so if you’re not into that, may I recommend that you read ...

Anything but Ordinary (Ordinary People Remix) by Cimorene

This Ordinary People but without the human AU

Written from Crowley’s POV. After the Armageddidn’t, Crowley is spending so much time in Aziraphale’s bookshop, people mistake for being one of the owners. Annoyed, Crowley thinks that if people are going to think this, then the bookshop needs a new paint job to suit his style.

A Better Place and The Walls, Wainscot and the Mouse by @irisbleufic

Domestic fluff fics about Crowley and Aziraphale new life sharing a cottage on the South Downs (I will be eternally grateful to irisbleufic for asking this question and to Neil Gaiman for giving this answer)

Now part of the massive 200,000+ word Crown of Thorns ‘verse, I read these two fics when they were still stand-alone stories and absolutely love the domestic fluff. I read these fics whenever I want to slow down and feel warm and fuzzy. I’ve also read a bit of the CoT verse, which is a bit darker than the two chapters i just recced (I’ll always prefer fluff over angst). However, all of irisbleufic’s other works are beautifully written and extremely thoughtful, so I’m definitely going back for a second attempt!

Other fics by the same author that I highly recommend are Regulars (how other people see Crowley and Az) and Creature Comforts (from the CoT ‘verse, contains my absolute favourite headcanon, beachcomber!crowley)

Be Ye Therefore Merciful by AmberDiceless

Crowley saves Aziraphale from being shot in the Middle East. However, the bullets are laced with Holy Water, so Aziraphale faces down Death himself so keep him from taking Crowley

Written all the way back in 2005, it’s kind of hilarious that it predicted tv!crowley’s tendency to save tv!aziraphale. Can be read as platonic or pre-relationship

I love this fic for Aziraphale’s characterisation. book!Az is as polite as tv!Az, but he is by no means a fool and can be quietly stubborn, and downright rebellious when he needs to be. This fic really shows off this side of his character nicely

A Precise and Accurate History of Monday, 11 years Later by Giddy Geek

A straight-up sequel to the book that mimics Pratchett/Gaiman’s style very well. Az and Crowley move to America to take a break after the Apocalypse, and slowly let themselves fall in love. When they return to Lower Tadfield to visit their godson 11 years later, they learn what free will is all about

I think I have a thing for pining and unresolved romantic tension tropes. Again it’s the last act of the fic that I love the most. The tension between Az and Crowley, as well as Az’s uncertainty about their relationship after certain revelations are made is heartbreaking and beautifully written

Manchester Lost by moczo (aka Aisene on ao3)

This fic is funny! Basically a sequel to the book, with Hell deciding to have another go at the Apocalypse

Gabriel, Michael, Uriel, and Raphael are main characters, with Raphael being Aziraphale’s adoptive father. It’s because of this fic that I’m not that into the Raphael!crowley headcanons that have popped up of late. It’s a great theory and really fun to read the meta about, but Aziraphale and Raphael’s relationship in this fic is so cute that I’m rather attached to it

Bear in mind that this fic was written in 2009, when Glee was huge and Don’t Stop Believing was making a comeback. I’m currently re-reading this fic, and while it’s still funny, the pop-cultural references are a bit out-of-date. Gabriel, Michael and Uriel are also completely different characters to what they are on the show

All in all, it’s a funny, light little fic that doesn’t take itself seriously and is a great antidote to anyone who has decided to read The Sacred and the Profane (trigger warning on TSatP, it is a dark!fic and there is no happy ending. It’s basically Good Omens’ equivalent of Grave of Fireflies)

Falling Rain by aria

Aziraphale and Crowley survive the Great Flood by hiding out on Noah’s Ark. Pre-Arrangement, this fic is written more from Crowley’s POV and explores his confusion as to why this silly little angel hasn’t killed him yet

One of the first fics I ever read, when the Noah’s Ark scene popped up in the the tv show, I yelled out “I’ve read that fic!”

Everything That Rises Must Converge by aja

Cute little fic (it’s only 1389 words) about Az and Crowley trying to sit on fences and meeting in the middle

To be honest, the only reason I’m reccing this fic is for the absolutely inspired joke about the rabbi in the footnotes

Traditions by UseTheForceEm (NSFW)

SMUT WARNING (but boy is it good smut)

Crowley gets drunk after Hell gives him a birthday as reward for the Spanish Inquisition. One thing leads to another and he and Aziraphale have sex. They then decide to make this a yearly birthday tradition.

How is it possible for two characters to have so much sexual tension while actually having sex? Is there such a thing as URT (Unresolved Romantic Tension)? This fic answers those questions.

Why do I love this fic? Because it’s hot 😂 While most of the smut is in the first chapter, it’s the epilogue in the 2nd chapter that I re-read the most. The tension between the two is almost painful, and it’s fascinating to watch them dance around each other.

The Internal Rhyme Series by Quantum_Witch and Vulgarweed, art by Quantum_ Witch (NSFW)

This series follows Az and Crowley throughout history. UST and smut ensues

Amid the Sacred Wreck is set during 794 AD. Crowley is masquerading as a Viking who raids a monastery where Aziraphale is monk (NSFW)

Breathless Mouths May Summon is set during the Crusades. Insanely hot smut happens in the second chapter. Contains the, frankly, amazing line “Ride me as if all the spirits of the Underworld were behind you,” (obviously NSFW)

The Phoenix and the Turtle (A Metaphysical Romance) is set during Elizabethan times. I actually can’t remember what happens in this part but thought I’d add it for the sake of completion

Living Arrangements by Afrai (who also wrote The Sacred and the Profane)

Heaven turns Aziraphale into a human as punishment for preventing Armegeddon. It isn’t until the end that Crowley realises that he was punished as well

This fic is one of Afrai’s lesser known works. Personally, I prefer this one to TSatP. It had me sobbing at the end in a way TSatP never did

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nxjacbbnc-blog · 4 years

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mellz117 · 4 years

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Hello all and welcome to part 4 of my playthrough of KH2 on the PS2. If you haven't seen the previous entries please go do that.

[ _1_ ] [ _2_ ] [ _3_ ]

To recap: The Wonders of Twilight Town are boring as hell. We spoke to Namine again, Roxas finally realizes his life this week is a lie and starts to remember his life in the Organization. DiZ is racist against Nobodies but we already knew that. Roxas and Axel fight, I wanted to cry. Roxas meets Sora in his sleeping pod before disappearing, I wanted to cry.

And the adventure continues

I wanna know how Sora wakes up in the real world when Roxas merges with him in the virtual one. How in CoM does Sora go to sleep in Castle Oblivion, the whole-ass chamber and then some get transferred to Twilight Town, Roxas meets him in a virtual version of the mansion, and Sora wakes up in the real mansion in KH2? Nomura please explain this series. Is Final Fantasy ever this convoluted?

Donald and Goofy call out to Sora and we're once again reminded this is a Disney game. I don’t know why but the fact that Disney owns the original Kingdom Hearts characters bothers me. It means, unless DISNEY gives the OK, Sora will never be in Smash Bros. and that makes me sad.

I don't know much about comas but after a year of total inactivity, wouldn't your muscles atrophy like, A BUNCH? At least is wasn’t 7... OR VENTUS WITH A WHOLE DECADE WTF?

Again WHY COULDN'T JIMINY JUST KEEP EVERYTHING THAT HAPPENED IN CHAIN OF MEMORIES WRITTEN DOWN IN HIS JOURNAL INSTEAD OF A CRYPTIC MEMO TO THANK NAMINE?

The trinity trio wanders out of the mansion, loot some chests, and find their way to the back alleys of town.

Hayner is rude RIGHT outta the gate, wow. Ok I remember that Pence actually met Roxas in Days, and so to me he seems to recognize Sora through his memories of Roxas despite the two sharing like, one visual similarly: blue eyes. But KH3 to my understanding reveals that the virtual versions of characters affect the real version so I dunno!! WHAT IS THIS SERIES?

"Have you finished the summer homework yet?" Olette asks Sora and his two ANIMAL COMPANIONS as if seeing two anthropomorphic animals is fucking normal in a town comprised entirely of humans and exactly one moogle.

Sora doesn't have any homework. For over a year he's been away from home and his mom couldn't make him go to school. I wonder how she's doing? Does she miss her son? Kingdom Hearts and parents don't gel.

I like how.. When Pence describes this cloaked figure who was looking for the trinity trio, as having big, round ears, they have to think about who it could possibly be. They’re not too bright.

Why is “sofa” capitalized? Also they weren't even sitting on it, neither of them were!

HAYNER IS A RUDE BOY! He tells us so ask Seifer about the town, as we are new. Bruh, if you’re this rude to us I’m sure how much worse Seifer and his posse are.

Seifer is immediately confrontational. “You here to pick a fight with us?” and Sora’s all like “No, we’re new here.” and DONALD FUCKING DUCK! INSULTS SEIFER AND NOW EVERYONE’S READY TO THROW DOWN! THANKS TO THIS DUMB FUCK DUCK!

But thank Christ big chungus appears out of nowhere and stops the children and two adult furries from causing a scene.

This dude is WAY too into the Struggle tournament. Seifer has an unwanted faaaaan! Bro, go away, you’re creeping on a teenager.

I wanna fight Seifer.

……………………………………………………………………………………………

I'm not working on this like I should be. I'm going on vacation soon and since we're all in quarantine I can't really do anything fun so this is the opportune time to catch up.

Moving on! We make our way to the train station and oh no, we're ambushed by Dusks! Because of COURSE we are. Who could've seen THAT coming? /s

I- I like how, even after hearing his voice, and seeing his fucking mousey silhouette, the gang STILL might not be sure this is their stupid rat king. One brain cell between the three of them, I swear, and Goofy is the primary carrier, and it only sometimes works.

Why do we need to purchase tickets to travel on a magical train embarking to an ethereal plane of existence? I guess it's the principal of it. ¯\_(ツ)_/¯

I HAVE A MIGHTY NEED TO HUG THIS BOY. LOOK, HE'S CRYING!

……………………………………………………………………………………………

Pence is so cute. I didn't care much for him when I was younger but he's such a cutie.

……………………………………………………………………………………………

I HAVE A MIGHTY NEED TO HUG THIS BOY. LOOK, HE'S SAD!

……………………………………………………………………………………………

It's fat cat Pete. For like ever, I had no idea he was a cat. Wonder what Maleficent saw in him to ally with him.

The trinity trio laughing about killing (or at least taking part in killing) Maleficent. "She's toast!" this sure is early 2000's dialogue...

Heartless everywhere! "You mean the worlds aren't at peace after all" well, no sweetie. It takes time for things to recover from horrible events. *looks at current state of the real world*

So like, I had no idea Yen Sid was a Keyblade warrior??? I had read about that in his Wiki page when I googled if any Keyblade warriors were left handed. (Ven might be, but more likely ambidextrous) But I guess being Mickey's teacher would imply his Keyblade wielder roots but whatever, I didn't pay attention when I was a teenager.

Yen Sid's decor is baffling. What are these bookshelves? What are these BOOKS? They're huge!

Good on Yen Sid for using singular “they” pronouns in 2005.

……………………………………………………………………………………………

On to our change of wardrobe. Without a doubt Sora's best look in the whole series, in my humble opinion. Lookit my handsome boy.

And Sora learns about drive forms, blah, blah, blah, powerful forms, gotta sacrifice something like in Duel Monsters, in this case an ally.

Yen Sid is so boring.

All seriousness and tension is just broken as soon as Goofy’s name is uttered, at least Sora and Donald have normal names wtf.

It’s interesting how like, 15 years later, Union X explains how Maleficent was able to return after her defeat. Something about, as long as someone from your original time remembers you and you have a physical object to represent you you’re able to basically some back from the dead. Right? Am I right on that? I haven’t played it but I’m hanging by a thread on this loop.

Sora’s hard work down the drain...

……………………………………………………………………………………………

Hollow Bastion! And of course there’s trouble. Heartless, Nobodies, and Yuffie, oh my!

A problem sequels have to work around is when the protagonist needs to relearn their abilities. KH does a well and good job with this one. In CoM, it’s a different battle style, in KH2 Sora’s been asleep for a hear prior.

Also, Merlin “leant” Sora some magic spells? How does that work? Like, once you learn it you can’t just... give that knowledge back...?

……………………………………………………………………………………………

How old is Leon? He has no right being this pretty.

Another ambush by Nobodies. Give it a rest, would ya? Battle ensues, Leon deals the final blow against an enemy, and as the camera usually does, zooms in on the victor and we get a nice slow-mo crotch shot of Leon. Thanks, game... Then, Xemnas’s very sexy, very manly voice echoes across town and the organization appears before our protagonists. I’m weak.

Demyx’s laugh, dude. I love it. Sora is ready to throw hands with anyone in his way. Honey, you’re barely out of a magic coma and this dude is like, two whole feet taller than you. Not to mention very fit.

I’m done thirsting over Xemnas...

After a few taunting words, the new villains depart, Donald attempts to give chase somehow? Where you gonna go? They disappeared behind dark corridors. It seems Goofy is still holding onto that shared brain cell.

The Bastard

I like the majority of the Organization. Xigbar is definitely one of my favorites based on this next scene alone. He’s so snarky and full of shit. I love it. He’s great. He was definitely a stoner at some point.

I’m confused though. “He used to give me that same exact look!” the Wiki says Xigbar’s talking about Ven but I always thought he was referring to Roxas? Did Braig and Ven have a history? That’s implied in Days (which released before BbS) IDK dude. I’m surprised I’ve gone this long without spoiling myself too much on BbS. Like, a few story beats here and there but a lot of it isn’t gonna be known until I play it.

……………………………………………………………………………………………

The dialogue for KH2 was so different from the first game. It dates itself so much in comparison.

……………………………………………………………………………………………

Xiggy stands like this for 7 whole seconds parting with a condescending “Be a good boy now!” before disappearing. I love this fucker.

Leon, who’s been sitting on the sidelines this whole time, joins Sora and the others after the real threat is gone. We chitchat for a little bit and say our goodbyes. It’s time to leave this place and move on to one of two available worlds.

……………………………………………………………………………………………

At the Beast's Castle. After fighting a hoard of Shadows, the least intimidating enemy in the series (although the demon tower in kh3 is quite frightening nlg), the Beast himself makes his appearance, takes out the Heartless that suddenly stop multiplying upon his arrival, disgracefully shoves his supposed friends aside, and takes his precious rose to the west wing, which is where it SHOULD HAVE BEEN IN THE FIRST PLACE. ADAM WHAT ARE YOU DOING?!

……………………………………………………………………………………………

No joke one of the funniest actual gags in the whole series is:

*Donald Duck manhandling Cogsworth*

Cut to Sora saying "I'm glad you're OK." to Lumiere

……………………………………………………………………………………………

OK the minigame where you gotta light the magic torches, why do we have to make sure Cogsworth has enough strength to keep the lever down when we have two perfectly capable companions that can hold it down instead? I remember this sequence being a lot more annoying when I was a teen.

Xaldin's voice makes me feel things. Ahhh he sounds so tired lol. He peaces out and we fight the Beast. I remember getting him to calm down being harder.

"Xaldin used my anger to control me!" Says Beast. He angers very easily so this must have been a cinch. Xaldin's been obsessed with him since Days so I would imagine this intel would come in handy.

More fodder to fight and on to the boss. Phase one is just an angrier version of the Darkball Heartless. Phase two is just skinny Ganon. I like its design though.

“Belle, I’m sorry. I wasn’t myself, being all rude and overall kind of a jackass to you and my servants” Except that’s kinda how you’ve always been lmao. Just because you couldn’t choose not to be an ass here doesn’t change that this IS in character. Still gotta work on that a bit.

“You don’t have to apologize” No, no he still does.

They all reconcile and the Trinity Trio departs until Xaldin shows up again to wreak more havoc.

Time to move on to the next world.

#mellz plays kh2 #Kingdom Hearts series #Kingdom Hearts 2 #square enix #disney #PlayStation 2

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mariposalass · 4 years

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Top 3 Favorite and Least Favorite Films

Got tagged by @husband-of-lucoa for this one. I have way too many favorite films and least liked films to list this, but I will list down the 3 that stand up and warms my heart & the 3 that makes me wish that I didn’t waste my time and money in hindsight. Not tagging anybody, but feel free to make this list when you have the time.

3 Favorite Films

The Wizard of Oz (MGM, 1939)

This legendary classic is a masterpiece in itself. The story, while simple, is easy to follow and you can’t help but to root for Dorothy as she tries to return back to Kansas and the journey she & her friends have to go through to have a fulfilling end. The characters are memorable and charming (yes, even the Wicked Witch is memorable for being an effective threatening villain), the move to have all but the Kansas portions in color is a great choice (since this was released at the tail end of the Great Depression and the Dust Bowl was then a fresh memory for many), and the songs are so amazing to hear (Somewhere Under the Rainbow, anyone?). It’s been since I watched it, but it still has a great place in my heart. Heck, my Film and Literature class in college even watched this for class for a film stylistics discussion.

Beauty and the Beast (Disney, 1991)

And here we have an animated Disney classic: Heck, where else did I got Belle as a favorite Disney character & Disney Princess and a f/o? I admired all the hard work from the cast and the crew to make this quite a thought provoking film which still holds up to this day: from the heartwarming take on finding inner beauty and love without hammering it in to the lovable and likeable characters to the stunning animation to the memorable songs to the fact that Howard Ashman was determined to have the film not getting canned and writing songs while dying from AIDs. The last one made me admiring Ashman even more with his work ethics and tenacity. I’m pretty pissed that Disney tried to sully my memories of the film and Belle with the soulless 2017 remake, but that won’t ever top my love for the animated hit as it did to make me hate its wasted existence.

The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe (Disney and Walden Media, 2005)

Whoever thought that a book series that acts as an allegory of Christianity would earn me an underrated classic? As weird as it sounds, I loved the 2005 film (even thought this had to wait until 2006 to be released in my country (the Philippines) because of the Metro Manila Film Festival hogging the Christmas cinema slot as it always do) and it lives up to the spirit of the books (and the first one the most). I enjoy the performances of the actors (including Liam Neeson and Tilda Swinton as Aslan and Jadis the White Witch respectively), the well balanced mix of real-time SFX and CGI effects (which is getting under-appreciated these days), and the good message of good overcoming evil & Edmund’s character arc so much. I did watched Prince Caspian and Dawn Treader, but they didn’t impress me as much as this one. Too bad the film series is in limbo, because I want to see if they can do The Silver Chair, The Magician’s Nephew, The Horse and His Boy, and The Last Battle justice.

3 Least Favorite Films

Cloudy with the Chance of Meatballs 2 (Sony Pictures Animation and Columbia Pictures, 2012)

Oh God, what was I thinking when I first watched this disaster? I unironically like the first film because it is so ridiculously weird it can be enjoyable in some areas, but this film is such a miserable mess. Considering this was from pre-Into the Spider-verse SPA, it is such a travesty in many places that even AniMat gave it the Seal of Garbage in his review of it. The animation, while creativite, can be an eye sore for many, there are too much food puns, the characters are now dumb down into mere stereotypes (thought I love Manny the Crazy-Prepared Guatemalan Cameraman, Chicken Brent, Steve the Monkey, and Berry the Strawberry), and the environment message felt like it was thrown in the last moment. Jesus! Luckily, Phil Lord and Chris Miller would move onto do the LEGO Movie and the 21 Jump Street films, although Sony didn’t get the message for a long time until Spider-verse’s success that stuff like this doesn’t guarantee them long-term success and fans alike.

Looney Tunes: Back in Action (Warner Bros., 2003)

Why is that I put a gif of OOC!Shaggy and Scooby harassing Matt Lillard for the live action films here? This film is a total wreck and that scene in the studio restaurant made Shaggy & Scooby look and act like douchebags more than in their series! I hated the fact that it was made by the guy who made Gremlins, the first Howling film, and Little Soldiers and his attempt to make Space Jam (guilty pleasure of mine) look bad has backfired on him big time. The spy theme parody wasn’t done properly and the story was a mess. I know Warner Bros. can do great films (and they still do) speaking as a fan of their work, but this has to be one of their weaker films in their library. Plus, Joe did Scooby and Shaggy dirty in this scene alone, angering the Scooby Doo fan in me. How ironic that Casey Kasem would retire years later in 2007, only for Matt to take his place years after this shitty scene ruined my memory and love from the Scooby Doo franchise.

Chicken Little (Disney, 2005)

Seriously, what was Disney thinking when they were making this!?! I understand that this is their first animated film in entirely CGI, but man, it is like they’re walking into this with blindfolds on! The animation is passable, but the story was a jumbled up mess and felt like The Nut Job in tone with its mostly mean-spirited tone against the protagonist and most of the characters aren’t that great and memorable (except for Abby because I felt I was her in the dodgeball scene when remembering this again). My 12 year old self must be guilty now for giving into wanting to watch it. Luckily, there is a short they made back in the 1940′s, granted, this was like war propaganda for WWII, but it’s much better than this loose basket and much closer to the original fable they are based on. Go search for it on YouTube. Sorry, but this film isn’t my cup of tea.

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ty-talks-comics · 5 years

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Best of Marvel: Week of September 4th, 2019

Best of this Week: House of X #4 - Jonathan Hickman, Pepe Larraz, Marte Gracia and Clayton Cowles

No More.

Mutants have been made to suffer time after time after time because humans fear change and their inevitable obsolescence. Two of the greatest mutant extinction events have been the result of either human fear or absolute ignorance. In New X-Men (2001) we saw the utter destruction of Genosha by Bolivar Trask’s Sentinels, a massacre that resulted in the deaths of sixteen million mutants over the course of a single day. This left only a little under one million mutants left until House of M (2005) after which Wanda Maximoff decimated the mutant population, leaving only one hundred and ninety-eight left.

Thanks to the work of Moira MacTaggert and Charles Xavier with Krakoa, the mutant population is returning to normal levels and is looking to absolutely eclipse humanity in a short time span. Of course, humanity doesn’t take this too well, causing the Orchis Organization to activate itself, so it’s up to Cyclops and his band of Mutants to cast the enormous Mother Mold (a sentient machine that would create Master Molds to create Sentinels) into the blasted sun.

This issue was nothing short of heartbreaking.

Jonathan Hickman is doing something amazing with this book by showing just how strong the need for preservation is between both sides. In the last issue, one of the security team members for the Orchis station blew himself up in an effort to preserve a future where humans would be the dominant species. He wasn’t thinking about himself or his future with his wife, Dr. Gregor, the head of the station. He only wanted to ensure that The X-Men couldn’t stop the Mother Mold from being activated.

Scott’s team, now only consisting of Marvel Girl, Monet, Wolverine, Nightcrawler and Mystique soldier on after Husk and Archangel are killed in the explosion. Nothing was going to stop them from completing the mission and they absolutely did, but not without each of them being killed in the process. I don’t feel the need to place a spoiler tag here because I have no doubt that either, some of the first issue of House of X takes place in the future and that they will all be reborn or that somehow they will be brought back to life as they will appear in other upcoming X-Series.

Pepe Larraz absolutely killed this issue with his art alongside Marte Gracia and Clayton Cowles. Every single page has the feeling of large scale epicness to them from the vast emptiness of Krakoa’s Observation room to the different locales of the Mother Mold Base. When Mother mold itself floats into the Sun, quoting it’s own version of the Prometheus myth, it looks enormous at first and slowly descends into the much larger and grander sun. Gracia’s colors are absolutely beautiful as almost everything is bathed in the beautiful glow of the sun. Monet’s red skin shines even brighter as the cuts her way through Orchis security, Nightcrawler and Wolverine’s burning bodies create the perfect ash contrasted by the glowing blue eyes of Mother Mold as Wolverine cuts away the last anchor keeping it on the station and Karimas shining silver arms stand above Cyclops, coated in purple nanobot defeat, as the last thing we see from his visor’s reflection is Dr. Gregor aiming her gun in his face.

Gracia’s colors are vibrant and help to make Larraz’s lines even more beautiful. They make excellent use of cool blue tones for the few scenes that take place in Krakoa, establishing the still peaceful nature of that location. The space station, however, is awash in heavy yellows and oranges that only set the tone for the book and its high tension, but also works to show us just how dire everything is for either side. It’s high pressure and high stakes. Gracia did a great job of giving things the proper amount of emotional weight through color where Larraz did through excellent facial expression and action.

Normally the brightness of the sun is supposed to represent a better future, but it’s hard to tell who this brighter future is for. The X-Men, ultimately, do win in this war for survival, but it’s a Pyrrhic victory. Karima, who we’ve seen standing beside Nimrod in the future, and Dr. Gregor stand in victory for this battle. Granted, we now that the future where Nimrod reigns has been nullified after Moira’s 10th death, it’s hard not to be afraid by Mother Mold’s ending proclamation and Gregor’s newfound bitter resolve.

Charles and the rest of Mutantkind can rest easy, but can they also live with the cost of what they’ve done if our predictions just so happen to be false? The purpose of Krakoa was to ensure that there would be no more needless mutant death, but in the wake of human fear, more have died. This isn’t like any other time where mutants have been killed and brought back to life years later. For some reason - it just feels heavier. Charles’ tear at the end, with Cowles amazing placement of a “No more” caption feels like a resolution. Charles Xavier is having no more death, not for any of his people and it is powerful.

---------------------------------------------------

House of X continues to be one of my most anticipated releases as the weeks go by. This story of death and rebirth keeps achieving new heights of amazing storytelling and even better art. Jonathan Hickman was the perfect choice to breathe new life into the X-Franchise as I don’t have any semblance of a clue what will be in store for the future of the X-Men.

What do the end pages of this issue mean? What will be the big fallout from the revelation of Powers of X #3? Will Pepe Larraz continue to be godlike in his presentation? We’ll find out next week in Powers of X #4.

Sometimes you just have to sit back and smell the roses.

Runner Up: Fantastic Four #14 (Legacy #659) - Dan Slott, Paco Medina, Jesus Aburtov and Joe Caramagna

Growing up, I actually thought the Fantastic Four were pretty lame. They weren’t exactly high on my radar because they were a family of explorers, scientists and just general nerds. I got seriously into comics around the time their last book hit the shelves prior to all of the Disney/Fox nonsense and that really awful movie which soured me on them even more. Things changed when I began to read Secret War (2015) and realized that there was so much more that I was missing.

I scoured my stores for back issue and trade paperbacks of everything written by Jonathan Hickman, Mark Millar and Reginald Hudlin before seeking out the older stories by George Perez, John Byrne and Roy Thomas. I learned to love their love of science, adventure and family oriented stories, so when they finally made their Marvel return, I was excited and so far they’ve done nothing but impress. This particular issue is one of the best examples of how even just dialogue, dynamics and expressions can build a great foundation for a simple yet amazing story.

The Fantastic Four have been everywhere. Other dimensions,hellscapes, universes and planets, but there's still one mission that they've never completed: their original flight to the stars. After a new gallery opens showcasing the original shuttle that they traveled on in all of its destroyed glory, Reed reminisces of that time with happiness. Ben listens to one of the original black box recordings as they were first getting hit by Cosmic Rays and he's overwhelmed with negative feelings. Two original Pilots for the space flight thank Johnny and Sue for taking their place, saying that they could have become monsters like Ben and Johnny becomes enraged with Sue having to calm him down.

These moments remind us of who these wonderful characters are and always have been. Reed is a scientific mind that's always looking to achieve more and better himself and his inventions. Ben still lives with the inner scars of his transformation despite being one of the most respected heroes in all of the Marvel Universe. Johnny is a hothead and Sue, his sister, has always been there to calm him down. The First Family have been there for each other forever, they know each other better than anyone else does. They care about each other.

Paco Medina captures each of their emotions in a Fantastic way with excellent facial expressions and body language accentuated by Jesus Aburtov's stellar colors.

Reed stands tall as he marvels at the old shuttle with his kids, his face is full of pride and joy while they look mildly unimpressed. Later while he's working on specs for a new shuttle, we can see how focused he is, how determined. His fantastic beard shows how he's aged from his previous clean shaven self, but he's even more refined.

Ben remembers the original flight with trepidation and trembles as he remember his words when he was first becoming a rock monster. He stomps around in his normal grumpiness, but by the end, knowing that Reed, Sue and Johnny know and care about him so much, he smiles and eagerly helps them on their next journey.

Johnny, being the hothead he is, does in fact show his anger as his eyes begin to turn orange after Ben is insulted, but we get an amazing flashback to when he was just a young adult in the shuttle program and the rigorous training that he was put through by Ben. This showcases just how much Johnny wanted to go to the stars and shows us how long he's been the ultra determined man that we know and love. Medina draws him going through the training with ease, only having space on his mind and the want to prove Ben and the other pilots wrong, becoming the youngest ever back up pilot in that universe.

Sue, being the ever loving sister, is the calm one as she gets Johnny to back off. She's radiant as a character and Medina portrays as her the linchpin of the family. She's the graceful one, drawn as serious as Reed, but with her normal beauty as well. She shows just how in love she is with her husband as he works on the specs and lays her head on his shoulder, smiling like she does in the flashback.

Nothing super action-y happens in this issue, in fact, one of the best moments is Johnny and Reed having a bonding moment working on the second shuttle. Both comment on how neither is using their powers to make the work easier and they share a laugh together. It's just a nice, warm moment between brothers-in-law doing something that they haven't been able to in years. It was at this time where I just fell in love all over again.

The Fantastic Four are more than just space adventures, aliens and Doctor Doom plots. They are a family in comics unlike any other. Where most teams are just friends that might hang out every once in a while, the FF are a family with a rich history and ever growing numbers with Franklin, Valeria and now Alicia Masters marrying Ben. The love is palpable and I wish I'd understood this for so many years prior. I can't wait for where this next adventure takes them, but I'm all for it.

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livefreebutwisely · 4 years

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ABOUT THE PILOT: HOW IT ALL STARTED

In a few months we will say goodbye to one of the most beautiful TV series I've ever seen and the best way to do it’s to remember how it all started (I apologize in advance for any errors in the text since English is not my native language).

The first episode of Supernatural, created and written by Eric Kripke, airs in the US on September 13, 2005 and I’d like to analyze with you what are the reasons that make it in my opinion one of the best pilots broadcast:

1. the title of the pilot episode is "Pilot". Literally. Poetic televsion from the first point.

2. The logo. Those who followed and continue to follow the show already know how particular, special and important it is, but with reference to this first episode only, what I want to point out is how in a context in which, at least until those years, almost every TV series had the so-called "opening theme" or an "intro" - and which were usually inserted after the opening scene -, Kripke decides to adopt an extremely personal approach: there is no theme or intro, only the title of the show, "Supernatural", to which a visual-sound effect is applied that refers to that of thunder / lightning or an electric discharge, whose colors in fact change from blue to white, on a completely background black. In addition, he decides to use it as the opening of the pilot episode. (Poetic televsion also in the second point.)

3. It is a supernatural show about a family who, following the unnatural death of one of its members, dedicated its lives to looking for the killer monster, hunting and killing anything else that’s not human in its path, saving people who no one else could save. It’s a plot, if you think about it, quite simple: we have monster hunters who act in the shadows and kill ghosts, werewolves, vampires and a whole series of creatures whose existence the world ignores. It’s not exactly something that we haven’t already seen, however it detaches itself from the program broadcast until then (and after). It’s not the usual supernatural teen-drama with teenagers who must pining for their immortal and immoral loves, or a high school student who must menage herself between save the world and try not to get rejected in school, but it’s also not a supernatural horror that it should spend about 40 minutes showing blood, terror and death. Already from this first episode Kripke shows how the structure, narration and mythology of Supernatural are completely unique and that the show goes beyond the genre restrictions to which it’s been relegated. In fact: Supernatural follows a police modus operandi, in which the protagonists investigate real cases, strange or inexplicable for the law enforcement, pretending to be agents; it has a natural, surprising and intelligent comedy, which doesn’t detract from the gloomy atmosphere and the seriousness of the topics covered; it has an introspection and depth that embraces every element that composes it (plot, protagonists and supernatural creatures) that the supernatural isn’t only a horror component, but an integral part of the narrative itself. In short, already from the pilot episode we understand that what we are seeing isn’t a simple show about monsters.

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4. The realism with which Kripke decided and managed to make the narrative clear and well done. From the way Sam and Dean are exposed by the police, to the way in which the storyline of Constance and her vindictive and restless spirit unfolds, the supernatural doesn’t take over, but merges with the lives of the characters (and I mean, all characters) as they would if it were real life.

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5. The soundtrack. Starting from the magnificent original tracks of Christopher Lennertz and Jay Gruska, to rock and related music such as those of AC / DC and Seether, there is always a perfect harmonious and melodic balance during the episode that helps to create the basis of a vision full of emotions and at the same time completely in line with the show (and I think I have a fairly objective judgment on this, since I hate this kind of music).

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6. Sam & Dean and Jared & Jensen. The penultimate point, but also the main one, the only real reason why this show has been successful enough to last for 15 years and 15 seasons. I could have made a separate point for the characters and actors, but for those who know the show (and I think probably 99,99% of those who are reading this post) also know that it’s not possible to split the two things: because Sam and Dean even with the same story, the same narrative, the same structure, it wouldn’t have been the Sam and Dean Winchester that we loved and continue to love without Jared Padalecki and Jensen Ackles and their interpretations. What Kripke and Supernatural say quite clearly already from this first episode is that the Winchester brothers are the heart of the entire show, both as individual characters and in their relationship. And let me tell you, since these 44 minutes EVERYTHING in their scenes, both individually and together, have been incredible. Sam and Dean are characterized perfectly and so linearly that by the end of the episode we have already learned about them and grasped enough to have made them true and completely characters for which we have developed empathy. And if much of this result is thanks to Kripke and his staff, much and even more is to be attributed to the chemistry and skill of Jared and Jensen, who from the first moment managed to get in complete harmony with their characters.

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7. The final plot twist. The twists are fundamental in any narrative structure, but depending on the way and when they come and their purpose, they are what can make the flight stand out or make the story drop. In Supernatural, the final plot twist isn’t only what really gives life to the show, but also the first real time that the series explicitly tells us that the direction the authors are taking isn’t always actually what we will see. They are telling us, once again, that Supernatural has as its main purpose to surprise us by proposing something different from anything else we have ever seen. This plot twist, more than a real twist, is a promise. One that Kripke has been able to maintain and bring beyond our expectations. One that, for better or for worse, Singer, Gamble, Carver and Dabb have and are still trying to honor.

#spn #supernatural #tribute #15 years of supernatural #dean winchester #sam winchester #the road so far #pilot #1x01 #season 1 #eric kripke #jared padalecki #jensen ackles

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