#this is one of the greatest scenes ever put on film

[thecarnivorousmuffinmeta]

i know you said a while back that youthink an animated series would be the best medium for a twilight adaptation. well, they're now making an animated series. how do you think it's going to go?

I did say something about that.

The thing is, I'm a deeply cynical person, and I don't want to rain unduly on people's parade. Hey, it might be great, and I'm always hyped for some serious 2D animation because we get it so rarely and it's never taken as seriously as it should be.

We're also getting Midnight Sun, which if there's any sticking to the source material, will be fucking weird.

I would be very happy with a 2D animated American Psycho starring teenage vampires who all sit around the table discussing "okay, but seriously, are we voting to kill a teenage girl for no reason? Please discuss"

That said, personally, @therealvinelle put my thoughts pretty well in this.

At the end of the day, any production's goal is to make money. Especially when huge IP are involved, Netflix has to make good on the investment they made to purchase the rights (no cheap feat there) as well as to make the profit they expect with a well-known IP like this, and the best way to do that is to appeal to as wide an audience as possible.

To appeal to as wide an audience as possible, and this is true of any media, you have to go MCU. You have to have just enough quippy lines that people walk away thinking they liked it without remembering a single line (or if one is remembered it's a bit of a "huh, I guess that was... memorable"), good characters who are appealingly good, bad characters who are just bad enough we don't think about them too hard, and flashy CGI fight scenes that go on forever because that's the only substance to the movie.

And people love MCU because of it. They're rarely ever bad movies (some exceptions) but they're not good movies either. They broadly appeal to a very large audience, no one hates them, some people even love them and think they're the greatest films ever made, and so they will always have a pretty wide audience base.

So, I expect something similar to Twilight.

I expect the art style will be chosen explicitly to be not jarring, the vampires are not going to look weird or even too beautiful either. Every single character, but especially Edward and Bella, will be toned down to be made more palatable while still performing enough of their canon actions to not stray from the book, thus making their actions inexplicable, weird, and jarring but better that than "No, Edward really did mean her blood is his heroin" and "No, I really did fantasize about crushing Mike Newton's head like a melon".

Which is more or less what happened in the movies, actually, so look to them for an example of what I think would likely happen.

Now, I could be wrong, in which case I imagine the poor producers will be breathing in a paper bag wondering what the fuck happened.

But, you asked me what I expect.

[bestanimatedmovie]

Choose your favorite!

Vote in the other polls!

What fans say:

The Lorax:

Spider-Man: Into the Spider-Verse:

It had a very big impact on meme culture. And a really catchy soundtrack. Plus it has the silly sexy green man. What more could you want from a film.*

The Once-ler and the let it die song. This movie is glorious.

It is legit the mother of all great animated movies nowadays. From Mitchells vs the machines to the new mutant mayhem movie! The plot is so good and you can really see character development from almost all of the characters, plus the designs are BANGER.

THE MUSIC?? TOP FUCKING TIER. THE CASUAL DIVERSITY? IT ALSO HAS LITERALLY THE BEST SHOT IN CINEMATIC HISTORY (Miles rising after taking his leap of faith)

BRO THE ANIMATION IS SO SICK. The amount of sheer effort put into this movie is insane. The character growth was so amazing to watch and such a great movie to analyze. Best scenes are obviously the leap of faith. Actually gorgeous. And also the scene where aunt May sees Peter b after her Peter died. Her “you look tired, Peter” is just so heartfelt

Where the hell do I even start. The visuals are incredible and the plot is engaging. Every scene is perfect.

This film has EVERYTHING. Humor, action, inspirational scenes, kickass music, absolutely killer animation, an art style that is an homage to comic books, loveable characters, a talking pig, DR OLIVIA OCTAVIUS, I could go on

This is the best superhero movie ever made, the leap of faith is one of the best movie scenes of ever

The animation style is better than all the others, and makes the movie funnier too! The representation is also good, and the romantic storyline isn't too prevalent in the movie. Probably the best animation Marvel has made. My favorite scene is when the villains show up to Aunt May's house -- its my favorite fight scene!

I’m sure this movie’s been submitted already because it’s arguably the greatest animated film of all time. I have a personal connection to it because I saw it in theaters on opening night with my late father, and we both loved it and I still do. The animation is revolutionary and it’s one of the only 3 movies that make me cry.

gsksvbsvsbsvs I love everything about it, I love the animations, the story, the soundtrack also the style of animation AAAAAA its so beautiful its art it belongs in a museum i get goosebumps everytime I rewatch it

It’s just so good. All the characters are amazing and I love Miles dad. It’s hilarious and sparked my love for spider-man. It’s such a sweet movie about finding yourslef and has such a powerful message. I totally recommend it so I’m not adding spoilers, but like. Ohhhh, it’s so good.

Interesting villains, well-developed character arcs, a fresh take on Spider-Man, unique use of animation, funny, good use of multiverse that adds to the nature of the story being told, complicated character dynamics

It's the best animated movie because A: it takes one of the most well known comic characters of all time, kills him off in the first few minutes, and then shows you every cooler version of him. B: Has a large amount of representation in its main cast, considering that they're all versions of Spiderman, and that requires a white guy by default. C: everything in it is so well done I can't pick a favorite scene, but the most iconic is the jump off the skyscraper window.

The animation is incredible, the movie has so much story and heart, and there’s a perfect balance between humor and seriousness. And the soundtrack slaps

This is probably the best animated film I've ever seen. The animation is definitely the highlight, the way they blend comic book art styles and 3D animation is an absolute joy to look at and is so overwhelmingly creative, every frame of this movie is gorgeous. The impact this had on the industry is undeniable, as we start to see more and more movies getting more creative with their animation styles. It's not just the animation though. All of the characters are entertaining, all of the jokes land and the story is really well done. It leaves me blown away every time I watch it.

This movie kind of changed the western animation industry from the ground up. Apart from being expertly written, funny, and heartfelt, it is also stellarly animated, with a unique visual style that takes direct inspiration from the comic books it adapts and mixes 2d- and 3d-animation in a way and to a degree that hadn't really been seen before in western mainstream. Its critical and monetary success paved the way for mainstream 3d animation to open up to new and excitingly stylised movies that were like a breath of fresh air between the generic Pixar-style animation that had been the largely unchanged norm in the industry since Toy Story circa twenty years earlier**. ITSV divides the screen like panels on a comic page, it uses dots and lines for shading and gradients, doesn't shy away from lowering framerates for stylisation, and makes liberal use of onomatopoeia, both to comedic and dramatic impact. Impact frames and SFX are often hand-drawn and stunningly colourful, and even the simple dialogue scenes astonish with an expressiveness and realism in their depiction of emotions that makes me rewatch a two-second scene of Miles laughing fifteen times in a row. My favourite scene has to be the What's Up Danger scene, the emotional climax of the movie. Set to an absolute banger of a song, it is the moment the entire film has been building up to. I won't spoil anything plot-wise in case you somehow haven't seen this movie, but both from an emotional and a visual standpoint it is Fucking Dope. Conclusion: Spider-Man: Into the Spiderverse is my favourite movie of all time and I could talk about it for hours. If you haven't seen it, go watch it. Thank you.

Have you SEEN the Whats Up Danger/rising and falling scene? it's a work of art that makes me fall in love with storytelling all over again whenever I see it. Also the impact that it's had on animated film is absolutely being felt at current, if incrementally. Incredible film.

It has an amazing art style based on comics and mixed up due to genre differences. It's really fun and the characters are great, even the side ones. The story line is great and I love Miles and his family.

*Mod note: errr, quite a lot more than memes and music actually

**Mod note: amen

[espumado]

Guys, you don't know what just happened to me!! I love soundtracks so I stopped to listen to The Bear's, i found the official FX playlist on Spotify and was listening to it when suddenly a podcast starts and I was like???? So i looked and it was about a horror film??? I, tring to understanding, went to the FX site to see the playlist and the episodes and saw that it was the song from the beginning of the ep5- Children (the lullaby) with our beloved Natalie💖...So what happened was that the music is from a horror film and instead of putting the soundtrack they put on this podcast!!! And I don't know if it was on purpose or just a mistake!!! (And all this reminded me of the people here who started a tag, I don't know who, about The Bear being a haunted/ghost story💀)

It's this scene, with this song:

And the Playlist has this podcast:

But i was like Nat why you have a horror movie song playing in your head??? And cause I'm curious, I went to find out more about the film, cause I didn't know the movie (horror isn't really my thing) and I discovered that: 

The Night of the Hunter is a 1955 American film noir thriller directed by Charles Laughton. Despite receiving negative reviews upon its original release, it has been positively re-evaluated in later decades and is now considered one of the greatest films ever made. “The movie is best known for Robert Mitchum's extraordinary performance as serial-killer-posing-as-priest Harry Powell, a menacing religious misogynist who marries widows for their money and kills them off in the name of the Lord. Having been jailed for stealing a car, he shares a cell with father-of-two Ben Harper, soon to be hanged for murder and the theft of $10,000. Before his arrest Harper hides the money in a rag doll belonging to his little daughter Pearl, making her and his 10-year-old son John swear never to tell where the money is hidden. The plot hinges on Powell's pursuit of the money and John's determination to protect his sister and escape from a psychopath whom others assume is virtuous. Hiding his past, Powell woos, then marries Harper's widow Willa (Shelley Winters). When she discovers his motives he murders her, and the children escape on a boat down the river. A tense chase ensues. The film exists in that cinematic no-man's-land of fairy tales for adults, is a children's fairytale – strange and idiosyncratic – but also a noir thriller, laced with the darkest elements of both genres: death, guilt, greed, poverty, cruelty, biblical references and a terrifying pursuit by the scariest of bogeymen. Laughton described it as "a nightmarish sort of Mother Goose tale". John, played superbly by the steely eyed Billy Chapin, is pivotal as the boy who is alone in perceiving Powell's true motives. In a tale of innocence and experience, he must quickly grow up in the most sinister of circumstances; he must resist adult hypocrisy and stupidity, and a new "father" who pretends to be loving, but is secretly abusive. Gripping in its narrative, the film is also frequently and darkly humorous.”

“Thinking of The Night of the Hunter in terms of its visual impact on other filmmakers, there’s a striking echo to be observed between its unseen presence in films by Scorsese, Spielberg, the Coens, even Ari Aster, and the influence of silent cinema on Laughton’s own filmmaking choices.”

“We can notice the importance of one particular scene: the escape of the children in a boat (they are running away from the killer). This scene, being so important, is also one of the most memorable of the entire film. The components that make it so memorable are: setting, lighting, framing, blocking and music. In the river sequence, the usual realistic environment of the film disappears, giving place to such an artificial setting that it seems that we are watching a whole new film.[...] Again, we feel that the children are safe again in the boat, as they run away from their hunter.

“The river symbolise safety – it is what separates (even temporarily) John and Pearl from Powell. In a way, it is a metaphor for the transformation of a past full of terror into a brighter future¹ with Rachel.”

About the music: “Composer Walter Schumann called the heavy four brass chords that often accompany Preacher a “‘pagan motif, consisting of clashing fifths in the lower register,’” which cede to the lullaby “Dream, Little One, Dream” with a shot of Gish. This celestial lullaby foreshadows her adoption of the children after they escape downriver. In the opening and river sequences especially, audio-visions juxtapose fantasy and reality, and good and evil, to propel the children to safety.[...] In these sequences, Laughton’s visual constructions and Schumann’s score establish abstract contours that take root in spectatorial memory. When the overture transitions from Preacher’s pagan motif to a tranquil lullaby, celestial sounds and Gish’s presence seem to safeguard the children from Preacher’s tyranny.[...] Schumann’s pagan motif, Miz Cooper’s lullaby, and the sounds of the children’s river journey mix realistic tropes and emotional flourishes in the manner of 1950s melodrama films, which especially employed music to articulate these opposing poles. For Peter Brooks, music punctuates the wordless gestures of the melodramatic “text of muteness”: its sweeping rhythmic motions render space and time tangible to imbue characters—especially muted victims—with emotional depth².[...] Analyzed through a motivic model that binds characters to themes, Hunter’s river lullabies foreshadow the children’s eventual safety with Miz Cooper even though maternal figures are not visible.”

So there is this important and well-known scene in the film when the song plays. When the kids are finaly safe in a boat on the river (the part of the song they use in the series starts at around 3:55):

So basically: there's a father who hid some money in the kid's toy (which reminded me of the money in the cans of tomatoes- KBL); an orphaned brother and sister; children looking for shelter; during the escape they are they feel safe in a boat on a river (when the lullaby plays) and in the end they are adopted and everything is fine.

I wanted to understand what this means for Nat, what it has to do with her. When the scene starts the song says "fear is just a dream…" then she thinks about her fears: her brother, mother and a mom's funeral (Marcus), then the song continues "so dream, little one, dream", like, it's not real, no need to fear it!

So…this is ep5 called Children, where: 1-Syd and Marcus take his mother's stuff out of the house and talk about their family 2-we find out that Ever is going to close (a funeral will happen) 3-Marcus and Nat talk about his mother and to start a new project to honor her while Nat is resting from pregnancy discomfort 4- it's the ep The Computer appears and Nat defends Marcus 5- there are the Faks, including John Cena, talking about their family and the hauntings 6- Syd and Uncle Jimmy talk and he says he wishes he had done more for the kids (she reminds him that he is there for them) and finally 7- Carmy goes to the basement and finds a box with photos of the family (Donna and Mike and himself too and a baby that could be Nat?!!!) then some riffs of the song Mixed Emotions by Rolling Stones start and it cuts to the credits with the lyrics right in the part: You're not the only one, You're not the only ship, Adrift on this ocean. And that's it! Just these lyrics and then just instrumentals. They cut the song to fit the scene and without any other part of the lyrics!!!

Carmy my man, Nat needs you! And she was the one who reminded him in the first season: "did you know i recently had a brother die too?" She's trying. She wants help, she already told him, "the thing that pisses me of is that you never ask her how i am doing!!!" but he can't ask her that "because he feels trapped, because he can't describe how he feels, so asking someone else how they're feeling seems crazy to him" (like, he literally told her that in S1). They need to talk, they need each other, they need family (a new one probably...the restaurant...uncle Jimmy too?? She talked with him about be a parent last season and he is always there for them, saving them). Nat managed to talk to her mother, even asked for help (it’s not a solution for everything, but it was a start)...but Carmy...there's still a long way to go, a next season thing. But I think it may be a thing they need to do together somehow, i dont know...

Nat is afraid of her past, motherhood and knows family is complicated, she is looking for a brighter future¹. She and Carmy (and Mike) are children of a abusive/alcoholic parent and live with the consequences of that (some people here have already talked better about the subject). So they are like the kids from the movie, who are muted victims—with emotional depth², in a complicated family, going throught the river until they reach a safer place with better people.

And also, last seasons they showed the "pyromaniac tendencies" of the Berzatto brothers, there were these references to setting the restaurant on fire as if that was the solution to their problems...and now in season 3 I thought that had been forgotten...instead, the ep1 already starts with (first a train, and then) a lake, which appears other times throughout the season... Copenhagen Carmy living in a boat on a river!!!, and all happy and safe, drawing on a bridge over a river!!!

We also had a scene with water being thrown on the kitchen countertop and "flooding" the space (with a song by Trent Reznor and Atticus for a war doc! that the director describes as profound, haunting, unsettling and deeply moving!!!) in a moment that the crew is cleaning the kitchen and everyone is tired and overwhelmed; there is Donna talking about the fish tank that breaks in a dream that takes place in a place she doesn't know that looks gray except for the tank (surreal, like a noir thriller maybe). These don't seem so safe, but they seem to be about the past, something to be overcome... And there's even a scene of Syd reflecting in front of a lake... Several water references...and I have no idea if that really means anything...or if i am going to deeper into this?😅

...but Nat, dear, are you okay?!...you feel like in a horror movie with your remaining brother seeking safety together somewhere or with someone, running away from a curse, a haunting in your family??? (in S1 Carmy talks about how she blames the restaurant, not her mother or Mike, she says the place sucks up all the work, money and time and all they get back is chaos and resentment) But seriously, someone help her!!!...and Carmy...She must have felt very lonely this season with Carmy like that...But I guess this all means that everything will be fine in the end, like in the movie!

Seriously, I couldn't come to a better conclusion about this but it left me curious and confused... And of course, it might mean nothing and just be an interesting song from an amazing movie that director Chris Storer likes because he likes great movies and that's all 🙃 But with all the movie references, great directors and hauntings...maybe I'm not so crazy😅 <<<I tell myself to feel better🫠

[colleybri]

One of the greatest hugs in any film

Interview question: “Do you think Cassian and Jyn would have managed to connect even more due to their shared life experiences if they had even more time?”

Diego Luna: “Obviously! What a good question. I think that hug represents everything that could have been but was not and everything that was too, because that hug meant they were part of something together and I believe that union lasts forever”.

One of the single best story decisions that was made in Rogue One was this incredible hug between Jyn Erso and Cassian Andor, as they await death from the blast of the Death Star.

It’s sad enough just in the context of the film. After Season 1 of Andor, it’s even more moving. I think some of us will be emotional wrecks after Season 2. 

One thing I’m starting to realise only now is how Jyn’s story, as revealed in the film (and the novelisation), reflects Cassian’s so much. She was also a child of war, displaced and effectively orphaned, adopted before being forced to embark on a new life. She had it even worse than him, in many ways. But just like him she had an early zeal to fight, which she similarly went on to lose because of the bitter pain that commitment caused. She becomes disillusioned and cynical about the Rebellion. It takes a combination of hard knocks and a resulting realisation of the desperate NEED to fight the Empire - in order to preserve all that they hold dear - to radicalise both of them to the extent that they are willing to sacrifice their lives for the cause.

Cassian is already in that place - he reached it five years before. But in Season 2 I expect we will see further challenges, see the desperately awful things he might have to do and what else he will need to sacrifice ahead of his actual life. Sacrifices that wear down his soul, bit by bit. Luthen’s monologue hangs over everything. “ I burn my life for a sunrise I know I’ll never see.” It’s a bitter irony that Cassian is frequently placed in sun-rising imagery, culminating in the ‘sun’ of the explosion.

Jyn, in Rogue One, seems to be the spiritual shot in the arm that Cassian needs. In the same way that being inspired by his love for Clem, Maarva and Bix helps to spur him on in the Season 1 finale (when the chances of successfully rescuing Bix must seem non-existent)  Jyn seems to me to be the crucial reminder for Cassian of why he is doing all this in the first place. Her love for her father stops him from obeying the order to kill him. He just can’t do it. He can’t put someone he is growing to care about through the same agony he went through himself.

In the end, neither can live with themselves if they don’t fight. But both of them are fighting for the right reason: love.

The hug is platonic and therefore perfect because it’s universal, in a way: we can imagine - in their final seconds - that they can both see and feel the warmth and the arms of every single person in their lives who they ever loved in any form: parents, siblings, lovers, friends. And of course they also die feeling the arms of each other - bound together by their fight and sacrifice but also an embrace with someone they might have gone on to know, and to love, if the universe had been a kinder place. 

It’s one of the most perfect and beautiful death scenes in any film I’ve seen. 

But it’s also heart-crushingly sad. 

‘What could have been’. 

…..

Edit:

I think the earlier elevator scene is where they acknowledge the loss of what they could have had together. Cassian stares at Jyn with unblinking focus but he looks like he’s dying already from his injuries, and Jyn - not yet knowing for sure that she’s about to die too - looks completely devastated. By the time they reach the beach and see the blast approaching both of them look accepting of their fate… and I imagine that they can use their final moments to internally say their spiritual goodbyes to everyone they ever loved in their lives - and to each other. They are content to die together. They are at peace as they “become one with the Force”.

….

The sand is coarse on his fingers as he tightens the embrace and closes his eyes. Her face had been that of the last being he will see, and he is at peace with that. After all, she had already started to mend his broken soul and remind him of why he was doing all this in the first place. 

Love.

She is warm against him, her grip intensifying his physical pain, and intensifying whatever is going on now in his soul. They hug as if in the hope of keeping each other whole, the hope of somehow stopping the inevitable coming-apart. Almost as if to stop time and be forever in this state of in-between.

But there is no time at all. 

So he thinks he will imagine that the light is coming from her, her bright spirit - her hot molten core - soldering and melting them into one being. 

‘I don’t know where you end or where it is that I begin.’

Extract above from  ‘Dawn Chorus’ chapter 5:

Diego Luna interview:

’ I don’t know where you end or where it is that I begin’ - from the song ‘Vision’ by Peter Hammill.

[bowelfly]

what are your favorite "wuxia-adjacent" kung fu movies?

hm okay so i started compiling a list but once it got to almost 50 films i realized that i was doing that thing again where i get too excited about recommending shit and go way overboard, plus i was starting to split hairs as to what counts as wuxia and i hate getting fussy about genre delimitations. so instead i'm going to just recommend three films that feel wuxia-adjacent to me and that i particularly love. in this case i'm thinking of movies that contain gravity-defying martial prowess and larger than life characters and stories, but aren't full-on Ti Lung in a big robe flying around on wires chopping up 500 dudes style wuxia--which obviously i also love but i'm sticking to the question's parameters here.

The 8 Diagram Pole Fighter - this and the next film were both directed and choreographed by Lau Kar-leung, who for my money is probably the greatest martial arts director of all time, or at least in very close competition with Yuen Woo-ping. the fights are great, every single character in this film is at an 11 on the intensity meter the whole time, and the final setpiece in this is one of the most insane things ever put to film.

Dirty Ho - most comedy in martial arts films is tolerable at best and excruciating more often than not. this has probably the best gag hit-rate of any kung fu comedy i've seen, and also has some of the all time greatest scenes of dudes having deadly martial arts duels while pretending to not fight, which is a favorite of mine. also like the last film this stars Gordon Liu who fucking rules.

Crippled Avengers - had to include a Venom Mob film in here. directed by Chang Cheh, the king of old school Shaw Bros gorefests, this one has a perfect mix of absurd bloody violence, superhuman stunts, and roiling homoerotic tension. i could just as easily recommend Five Element Ninjas which is also a classic Cheh/Venom Mob bloodbath but if i had to choose just one i'd have to go with this.

anyone who's into classic martial arts cinema is likely already very familiar with these films but while i considered going for some deeper cuts, these were the ones that really kickstarted my own journey into the glorious world of Shaw Bros martial arts films and are thus very close to my heart.

while i'm at it, i am going to include a bonus recommendation for what assuredly counts as just a straight up wuxia but it's an all-timer: Duel to the Death. at one point in this film there's a giant ninja that explodes into a bunch of regular sized ninjas. another time a guy's head gets cut off, delivers a monologue, and explodes. perfect film. i love movies.

[fairytale-poll]

ROUND 4A, MATCH 1 OUT OF 2!

*Includes the original 1950 animated film, the 2002 sequel Cinderella II: Dreams Come True, and the 2007 sequel Cinderella III: A Twist in Time.

Propaganda Under the Cut:

Disney's Cinderella:

she is very iconic, she is super kind and has a beautiful dress

Submitting specifically because Cinderella III: A Twist in Time has lived rent-free in my head ever since I was a small child.

This Cinderella is most young (western) peoples introduction to this very story. Cinderella is so hopeful and by getting one small magical adventure, her whole life changes for the better. She is skilled and inspires such loyalty with her kindness that it’s hard to dislike her for any reason she gives. I’ve always been jealous of her ball hairdo too.

Walt Disney put all he had into this movie. And his favorite animation was the dress transformation scene. There’s a reason she is often front and center on the Princess group promotions.

she is the original. to me. probably the first exposure to cinderella for a solid chunk of people alive & on tumblr today. she is just a perfect encapsulation of everything that cinderella is, even if she's become warped in the public consciousness. also i'm pretty sure she's the reason why the glass slippers are so predominant in more recent retellings bc she is simply so iconic. 100/10 no notes 💜

She's maybe not the OG OG but she was one of the first animated Disney princesses and strangely enough it doesn't stop her from having an amazing personality. She's literally a slave but keeps being a nice person, forgiving and always doing her best. And the sequels absolutely didn't ruin her character. She's a sweet girl who tries to fit in but who's loyal to the person she is and who tries to change things always in a cute and sweet way to show people it's not that hard. She literally forgave Anastasia and tried to help her after all she did to her (the scene where the step-sisters destroy her dress still is terrifying to me)... she's awesome and deserves more recognition honestly...

(Mod's note: the following submitted specifically for Cinderella III: A Twist in Time, but I condensed the animated movies into one entry.) No she is not the same as the original Cinderella of 1950. This girl’s biggest chance was unfairly snatched away from her. When the Prince was brainwashed she was enough to get him to double take. She was so Right that their connection over powered magic. And she had to be rescued from a ship. And was almost crushed within a pumpkin! And finally had to expose another imposter, who turned out to be just another victim of Lady Trameine. This Cinderella fought harder for her love because she knew what True Love was like and she still was able to forgive those who asked for it.

(Mod's note: the following submitted specifically for Cinderella III: A Twist in Time, but I condensed the animated movies into one entry.) Listen yes it's the same Cinderella from 1950 but she has an arc in this one! It's Disney's greatest film!!

Listen I love them both but the animated Cinderella definitly shine in every single movie she has. And she has 3.

Vote for Cinderella because she deserves it and is still underrated in the Disney Princesses Franchise when she survived so much (ab*se... Lady Tremaine still terrifies me and she doesn't even have magical powers except when she steals the magic wand in Cinderella 3) Also one vote for Cinderella is one jump outside the window Henri is ready to do. Yes it's real.

Disney animated the original fairytale but definitely made it more magical and less creepy (like the birds making the step sisters blind? It gave me nightmares for ages). If I think: which one will I want to rediscover multiple times? Disney's Cinderella. Plus Cinderella 3 is a masterpiece.

Mofurun as "Mofurella"

listen. they do an episode where they're all sucked into Cinderella and they make the trans teddy bear Cinderella. Incredible story writing, 10/10, no notes.

Mofurdella is even plot relevant, that episode is how they get the Rainbow Carriage for their group attack anyway MOFURDELLA FIRST CINDERELLA PRECURE EPISODE TO GET ONE MOFURILLION VOTES

[vanellopes-mun]

Vanellope VS. Turbo: A Mini Analysis!

There are a million reasons why Turbo’s reveal in Disney’s Wreck-it Ralph is such an iconic and memorable scene. A scene that I and many others have replayed ever since 2012 and its impact has never left our minds. It solidified King Candy/Turbo as one of Disney's top villains ever created, surprising and shocking viewers with a plot twist that Disney hasn’t been able to overthrow with their other movies before they abandoned villains until King Magnifico but he sucks so. He WISHES he was as charismatic as King Candy plz-

But this analysis isn’t just about King Candy/Turbo, it’s also about Vanellope Von Schweetz. She’s the most important ingredient to making this scene work and play out the way it does and ultimately why it’s so fucking cathartic. ( More so than Ralph’s fight against Cy-Bug Turbo in my opinion) After watching how it was originally story boarded, the crew behind WiR perfected this scene with a specific detail that they changed. In the early storyboard, Vanellope causes King Candy’s vehicle to crash, causing him to glitch and transform into Turbo in front of the cameras. While I love love love the extended race between Vanellope and King Candy and sort of wished it could have been longer in the actual film, I am content that they didn’t go with the direction. In the movie, King Candy is revealed after trying to beat/kill Vanellope with his horn rod/pole thingy from his kart, she grabs it and glitches due to stress/adrenaline/her emotions, her blue glitch traveling through the cane and making contact with King Candy, finally putting down the facade he had on for 15 years and revealing him as Turbo to the characters in the film and the audience. It’s such a small detail, it only happens in a second, but it’s all it took for the start of his downfall and his eventual demise. 

And this is why it brings me catharsis every time I watch this scene. I could never put it into words before, but it’s beyond satisfying that the end of King Candy’s horrible reign starts with Vanellope and her glitch. The very same glitch that he caused trying to delete her code and remove her place from the game. The glitch that he used as an excuse to turn everyone in Sugar Rush against her. He usurped her throne and tried to ruin her life. Despite this, he still had the audacity to shout “Get off of MY track!” earlier. It brings his Roadblasters incident back up, it was his choice, trying to steal the thunder of another racing game that just got plugged in because he couldn’t stand the idea of anyone taking his place, only for Turbo Time and Roadblasters to be unplugged. All of this circling back and biting him in the ass. Vanellope was the key all along and he knew it, he feared her despite never really having a conversation with her as far as we know (Vanellope asking Turbo “What the-?! Who are you!?” leads me to believe that if they did converse in the past, it was not in his true form and he was most likely already King Candy. Plus it just goes to show how fast he hijacked Sugar Rush), but you can just tell by how desperate he was to keep her from racing, he didn’t want anyone to take his place ever again. 

So the scene continues and his famous line and breakdown goes as this: “I’m Turbo! The greatest racer ever! And I did not reprogram this world to let YOU and that halitosis riddled warthog TAKE IT AWAY FROM ME!” It’s just so ironic, unfair and hypocritical of him it makes my blood boil! And the way he’s raising his voice, jabbing his finger at her and Vanellope’s trying to shrink away from him as he yells at her face before he tries to murder her I just- So cruel, scary, wicked and disturbing! But Vanellope, this brave WARRIOR, is reminded of her glitch after Turbo calls her for what he believes is the last time. “End of the line, Glitch!” She takes a moment, everything slows down around her as she tries to control her glitch to escape Turbo. She glitches away, missing the wall and It ends up saving her life! I just cannot stress enough how beautiful that is! She used her disability, that everyone thought would simply doom her and the game, and embraced it when she needed it most. Her glitch, while it was suddenly given to her by circumstances she couldn’t control or prevent, she took control back. It’s her beautiful superpower and it’s empowering. After this scene, it’s the “end” of Turbo before he gets nom’d by a Cy-Bug. ( I want to note that he later says “I’m the most powerful VIRUS in the arcade”, part of me wants to believe he said that because clearly Vanellope bested him as the greatest racer ever but I doubt that was their intention lol)

They’re the embodiment of Selfishness vs. Selflessness. While Vanellope had everything taken away from her, she didn’t follow the same path as him. Turbo had everything taken from him, but it was his fault and he only ever thought about himself, never about the destruction he left behind. Hell, all she ever wanted was to be one of the racers, no matter how much they bullied her and ostracized her, she never ended up being evil like him even though it would be a perfect recipe to become a villain, this is also what makes her a mirror to Ralph.  (Remember in that one deleted scene where she said she wanted to break the racers’ legs but come on can you blame her!?!?! She was so real for saying that.) VANELLOPE IS MY FAVORITE CHARACTER EVER AAAA. 

Before I ramble any further, I will forever love the choices that the writers made for the climax and it just ends up being an absolutely perfect and brilliant scene and I will continue to rewatch for the millionth time. 

[phoenixwatchesmovies]

Dracula Season Watch Party: The Lost Boys (1987)

After moving to a new town, two brothers discover that the area is a haven for vampires. - Dir. Joel Schumacher

Let's get one thing straight: this movie isn't. Stick a pin in that because we'll get back to that in due time.

In that case, though, WHERE DO I START? This is a fucking great movie and I'll fight anyone who says otherwise. (I didn't say you have to like it. Quality is objective and personal taste is not. Go forth with that nugget of wisdom.)

Starting at the beginning, then, we get one of the best movie themes ever written (as evidenced by the amount of covers that exist), some of my favorite establishing shots ever filmed, and the character entrance that made me say out loud, "OH SHIT 👀"

YOU SEE WHAT I MEAN. As the top comment on the video says, "you know it's awesome when you click just to watch the opening."

The entire movie is like that, TBH. It's almost as quotable as The Princess Bride Thee Greatest Movie Ever Made, and is matched only by The Shining for scenes I'll just watch on their own because I love them that much. Like this one, for instance, that I'm linking because I'm going to bring it up again later:

^^ the music, the camera, the lighting, the transition from the headlights to the lighthouse... It's so good...

Other great music moments include the "People Are Strange" montage of slice-of-life style clips of folks going about their day in Santa Carla intercut with all the posters of missing people hung up around the boardwalk, "I Still Believe" featuring Tim Cappello, Tina Turner's former saxophone player, "Walk This Way" as the boys close in on the surfers on the beach, and ENDLESS uses of "Cry Little Sister."

Brief moment to talk about the Emerson family dynamic. Script, performances, and direction all work together in all the best ways so you never doubt how much they care about each other, or how far they'll go for each other. You can argue for family being one of the core themes of the story, whether it's the one you're born into or the one you're...well, born in a sense, into. Either way, it's about the bonds you make, be it for a lifetime or an eternity.

Grandpa gets his own bullet for being such an icon, and for having the absolute #1 best last line of a movie in history. We waited an hour and a half for the punchline of a joke we didn't even notice we were being told. 🫡

Suppose I'll move onto the Frog brothers. Their antics are where most of the comedy comes from, and if there's one thing I have a problem with in this movie, it's the way the two halves don't quite fit together. Michael and David and Co. work on their own as an edgy, stylish, coming-of-age story. Sam and the Frog brothers are the most obvious giveaway that the original concept was something a bit more similar to The Goonies. And it's probably because I like the vampires a lot more, but the kids just aren't that interesting. They're funny and necessary, but I'm not as invested in what they're doing.

Which brings us back to the Lost Boys themselves. The name is a deliberate reference to Peter Pan, and that's where the tragedy of the whole thing comes in. Screenwriter James Jeremias, after reading Interview With The Vampire and the character Claudia in particular, ran with the idea that the reason Peter and his gang never grow up is because they're vampires (which came first, this movie, or the theory that Peter and Co. are the souls of dead children?). You can see that influence throughout the story, and apparently David and the boys were meant to contrast with Michael in the way they represent adolescence, given they're eternal teenagers.

Buuuuuuuuuuuuuuuuut I don't get that very much. I'm sure it's there, but in terms of x vs y, the vampires and the Frog brothers have always stood out more to me. Compare the two kids trying so hard to appear grown up (Edgar even puts on a deep voice that fools no one) and the four kids who will literally never grow up.

I also called this a tragedy, at least as far as the boys are concerned. What else could it be, being a horror movie, but you watch scenes like the bike ride and it's fun and exciting and you understand what Schumacher is going for. They're alive and living in the moment, free in the way only kids seem to be. As you learn what they are, you realize that, for them, at least, this freedom is forever. Life will always be one big party going from one thrill to the next. The tag line is literally "never grow old, never die." And only one of those is true by the end of the movie. The gut punch about David's death (aside from the fact that he dies at all, what can I say, I'm obsessed with him) is that he doesn't go out like the others do, with blood and melting flesh and explosions. He just...dies, as that child choir kicks in one last time, and you see him for what he always was--a dead kid.

In conversation with tragedy is the theme of monsterhood as a whole. When Michael is faced with the reality of what his new friends are and what he himself is becoming, David has this to say: "You'll never grow old, Michael, and you'll never die. But you must feed." Spoken after the vampires have slaughtered half a dozen beach bums, we have the cost of immortality underlined for us. We've also seen Michael struggle against his new nature when he nearly attacked his own brother earlier in the movie, and it's not like he chose to go after Sam because he's evil. It's instinct. Hunger. A matter of survival. We see him alternatively warning Sam to stay away from him and pleading for help to stop what's happening to him because he doesn't want to become a monster, a killer like David. And that's what makes David and the rest of the boys the antagonists, because their survival depends on killing and feeding on other people, but that's all they're doing, is surviving according to their nature. That's the tragedy of monsterhood.

Along with the realization that someone had to have done that to these kids. Someone chose to make them what they are, and that's the real evil of the story.

And speaking of Max, I appreciate the fake-out approach to revealing him as the real Big Bad. It's very Scream, where you were pretty sure it was Billy the whole time but there was that one scene that threw a temporary wrench in your theory. But Star's line about Max being a secret David was protecting comes out of nowhere in a way that feels like there was a bit more context for it initially, but it never made the final cut.

Which leads me to my other gripe. The pacing and timeline don't seem to be in obvious cooperation. Again, it feels like more was there at one point, but transitional scenes were left out, so it's hard to tell how much time passes between the Emersons moving to Santa Carla and the final showdown. Things could either happen very quickly in which case the escalation is on a level with Romeo and Juliet, or it's more spaced out and the space isn't apparent. And I'm leaning towards the "spaced out" approach.

Now. Allow me a few more indulgent moments, because we gotta talk about David.

Look at him.

LOOK AGAIN.

Istg, he stepped around the bend of that merry-go-round and I said, out loud, with words, "oh shit." I had a crisis for days afterward due to the gender envy. I STILL don't know if I want him or if I want to be him. (I'm too fond of my hair as it is to even think about whether or not I'm brave enough for a bleached mullet, so at least I don't really have to think too hard about the answer.) All this to say, can you really blame Michael? One look at this guy and I didn't know what kind of egg joke I wanted to make, so I'm not surprised our boy Mike was trying so hard to fit into this group.

(Yes, you're correct, I'm circling back to my opening statement.)

You can read this as straight up, pun slightly intended, guys being dudes and Michael just wanting to be accepted by the local cool kids. Makes sense, really. They are cool. He's the new kid in town, and that folds right into the usual coming of age narrative with finding your place in the world along with discovering your own identity, etc etc. But if that's the case, then why all the long, frequent, intense eye contact?

@verified-villain-fxcker gets it. 🥂

Look, I'm sure if you tried hard enough to find a heterosexual explanation for the homoerotic tension I'm seeing, you could. But you're on this site, browsing the tag for this movie, so do you really want to? I've got a whole thesis statement on how Schumacher being a gay man/identity influencing one's art/motorcycle clubs being part of queer culture rattling around somewhere in my head, but to keep mostly on topic, I'm sticking with this: part of the coming of age story is discovering your identity, which includes your sexuality. Therefore, it's hardly a stretch to say this is a movie about gay awakening as much as anything else and that Michael Emerson is a disaster bisexual. Of course I'm not the first person to see it that way, but Pride Month is almost over. What else was I going to end on?

He's queer, your honor. Happy Pride. 🏳️‍🌈

[mamashenanigans]

MHA The Boys AU

Seriously. Who would like to read it?

Yeah, yeah, yeah, I’m still working on the AU that won the poll. Outlining it, but, due to my silly brain, I came up with this AU idea after watching two seasons of The Boys, so I REALLY wanted to share it!

Anyway, this is A LOT of brainstorming, so Read More under the cut

This AU takes place in the modern setting of The Boys, with Supes (those with superpowers) being created with Compound V. Vought, the evil corporation that manufactures Superheroes to market products, films, and etc for money, still experimented with the compound on some people prior to the present of the fic. One of the first(and actually true) superhero was Captain Hero, who has since died awhile before the events in the story. Captain Hero had fought in some wars, but gave that up as he hated having to use his power that way and instead wanted to help children. Vought saw the marketing opportunity and used him as a basis for what they have continued to do. Thus, the Captain Hero comics.

AFO was the first naturally born Supe, his mother having been experimented on and gaining only small spike growths. The twins were born and Garaki, the head scientist with the Compound V trials, decides to experiment on AFO since his power was the greatest supe ability to ever manifest. Although Yoichi is still frail since TTTS happened, Garaki still uses him as a control due to them being identical twins. After the experiments on him, AFO would always be brought back to Yoichi, who was the only person that treated AFO as a person and not just some lab rat. Yoichi was everything to AFO, LITERALLY, but Vought saw how they could use Yoichi to control AFO since his power and lack of parental figures was starting to create a monster. Vought gave up on allowing naturally born supes due to how terrifying AFO is.

The only entertainment they had were the Captain Hero comics, given in the hope that it would make AFO want to be like the hero. As in canon, he liked the Demon Lord more, but Yoichi always loved Captain Hero, so he eventually goes along with Vought’s plan to make him a marketable Supe because he wanted Yoichi to be happy and see him as a hero just like the one he loves in the comics.

At some point, Yoichi met Kudo and the latter realized that Yoichi was a pawn of Vought to control AFO. He tries to convince Yoichi to leave, but Yoichi knew he had to help keep his twin in control and also knew how hard it would be on AFO(and himself honestly) if he left his brother. After getting into a fight, Yoichi accidentally reveals Kudo’s plan and, in his anger, tells his brother that he WANTS to. AFO starts going insane and, when Yoichi tries to leave, he reaches out screaming at him and accidentally blows him up with a new Supe power he took.

Needless to say, AFO’s brain basically cracks at that point. The only thing that remains of Yoichi is his hand, which Garaki was more than willing to embalm for him to continue to try and keep him quelled. Vought also revealed that they have the recording of him killing Yoichi and, if it is released, no one would ever follow AFO again, so he sticks to his role as the face of the All for One #1 hero group, but also because he still wants to make Yoichi happy.

Since AFO is taking the place of Homelander, everyone is absolutely terrified of him and walk on eggshells all the time since he could snap at any moment even though he puts on a calm and heroic facade. Toshinori is a new hero added to the team with the ability to turn into a super powered version of himself(like he is in canon) for a short period of time. He is the Starlight character that joins because he really believes in being a hero before he realizes what is actually going on behind the scenes. I’m still trying to figure out what other heroes or villains take the place of the rest of The Seven from The Boys.

All Might does become a mole for One for All, the equivalent of The Boys team from the show. Kudo is the Billy Butcher, Bruce is the Frenchie, Banjo is Mother’s Milk, but I’m stuck on whether the other users of OFA are all there or if AFO or Vought has killed some of them. I’m thinking of maybe making Nana Queen Maeve’s replacement, but she has been working with One for All and maybe is the one that brings All Might into the fold?

AFO is known as The Suit since he still wears his signature suit and coat as Vought decided to go with the edgier look like Batman.

The story present has Izuku winning a chance to spend a week with the All for One team and will have a part in their new movie. His favorite hero is the new one, All Might, so he’s super excited to finally meet him! Buuuuuuuut, Izuku has eyes just like Yoichi’s and AFO takes notice quite quickly. He starts trying to bogart Izuku’s time and convince him how he’s so much better than All Might. Izuku ends up accidentally finding out about Nana and All Might being in One for All and they decide to bring him to Kudo and the others before he says anything stupid. Kudo notices the eyes too and learns from Izuku how AFO has been acting. He decides to use Izuku to get close to AFO to gain any evidence to prove how much of a monster he is.

This puts Izuku in a very dangerous position, especially because AFO is creeping towards cracking completely. Vought has spread the lie that Yoichi was killed by those in One for All to gain sympathy towards their hero team and to keep AFO’s denial in tact lest he goes mad over actually being responsible for Yoichi’s death. He had already stated that it’s all Kudo’s fault and Vought runs with it.

Unfortunately, Kudo’s vengeance gets the better of him and he forgets the day Yoichi died until it’s too late: Izuku is with AFO and he finally snaps, superimposing Yoichi over Izuku. Now, One for All needs to do whatever it takes to save Izuku from him and also take down Vought and their superhero team by gaining then revealing sensitive information. Kudo’s idea: find the recording of AFO killing Yoichi, his own twin.

I’m also thinking Hawks will take the place of Mallory, the agent working hard to take Vought down and help with witness protection, funding, and passing evidence off to the government.

I’d love any ideas y’all might have for other MHA characters to be involved!

Let me know what y’all think!!!

[riza-hawks-eye]

No but the Balloon scene in Conqueror of Shamballa is actually so sad from Riza's pov.

At the end of the series, Roy and Riza had achieved their goal of removing the Fuhrer from power.

It's a bittersweet moment for Riza because the overall goal may have been achieved, but Riza still failed to protect Roy, and because of that, he is permanently injured.

And yet, for Roy it's all okay, "Nothing's perfect, the world's not perfect," he says "but it's there for us, trying the best it can. That's what makes it so damn beautiful." It seems like Roy has made peace with everything that went down, and that means that Riza can be happy too knowing that Roy won't hold her arriving late to the fight against her.

They end the series closer then we've ever seen them.

And then Roy leaves for the North.

Consider how much time and energy Riza has put into following Roy and protecting him and now all that is just gone. She was meant to help him get to the position of Fuhrer and now she has ultimately failed.

Those two years where he's gone will give her far too much time to replay the events of that night, and to think about all the ways in which she failed.

It gives her time to doubt everything Roy said about the imperfect beautiful world. Because he isn't there with her now, he didn't become Fuhrer, he's depressed and alone and away from his team. And what if it was all her fault for coming in too late?

There's a line in the film where Havoc implies Riza chose not to check up on the Colonel herself. He talks about how she wouldn't want to see Roy in the state he's in. She probably wouldn't have been able to see Roy alone and depressed and not feel responsible for it.

She's emotional seeing Roy coming back to help with the third-act fight partially because it takes away from that guilt. He managed to bounce back, he can put everything on track again, they can reach their original goals together and everything can be like it was.

And it is, for a while.

But when Roy leaves on the Balloon and tells her that there's only room for one it's like a reaffirmation that things have changed for Roy and their relationship for good. That night when she failed to protect him changed everything permanently and now Roy fights alone without her. And why should he even take her with him when she failed him so badly?

To Riza, Roy going up in the balloon alone is a reminder of her greatest failure.

[eisforeidolon]

Question: Are there scenes or a scene that once you did your bit, the acting - wonderful acting, by the way - and you saw it with special effects and music and editing and all of that stuff that struck you really differently than what you remember when you acted on set?

Jensen: All the time. Because obviously we don't have any of that when we're playing on camera, we don't have the score, we don't have the sound effects, we don't have the, you know, any of that post production magic.

Question: But is there one in particular that just really struck you? That was memorable?

Jensen: Uh, yes. [Jared says something inaudible to him] Ugh.

Jared: The aerial fight between Michael and Lucifer?

Jensen: [just shakes his head mutely]

Jared: We were both [finger quotes] struck by it, let's just leave it at that. Uh, you decide how.

Jensen: Traumatized by it. You know, it makes me think of maybe my favorite music cue. And this was something that I remember watching the final, watching the episode on tv, because Jared and I would often - on the nights that it would air, we'd usually be filming so we would race back to our trailer and try to watch it as live as possible. And I remember watching, uh, the bank scene, what was it, night, night, night watch? Nightshifter! Night Court? When all we did was simply walk out of the bank in full tactical gear and walk through the parking lot and get into the Impala and just look at each other and just be like [sigh]. Like that felt very, y'know - it didn't feel like that big of a moment. It was the end of the episode, we were just like [sigh], alright, on to the next quest. But when they put in Renegade by Styx? That then became one of my most favorite moments in the series, just 'cause it's amazing what the right music or right score can do to elevate a moment on camera. So there's - I mean, we got to be, we're beneficiaries of a lot of that because we would see the final product, and you know, there's a lot of times we'd be like oh, wow, okay, that didn't suck. But there were also those moments where we were like wow that was awesome, that was cool. Alright, those post guys know what they're doing.

Jared: They do. I think they really did. Yeah.

Jensen: They're true artists, and they don't get enough credit but they are true artists.

Jared: What's your second favorite music cue?

Jensen: Second favorite music cue? [thinking pause]

Audience member: The fairy!

Jared: Mine is the fairy.

Jensen: Yeah, Bowie? Fight the fairies? That was really great.

Jared: That's my favorite of all time.

Audience member: Eye of the Tiger!

Jensen: This isn't a music cue, but a moment of amazing post production magic was the introduction to Death. Because that's - we're not, you know, Julian wasn't acting in slow motion but when Phil slowed that down, it punctuated that moment and that entrance so beautifully that I think it was just one of the greatest entrances that Supernatural has ever seen.

[wen-kexing-apologist]

Hi....If you don't mind, can I ask, what are your top 10 (or top 7) favorite media (can be books/ manga/ anime/movies/tv series)? Why do you love them? Sorry if you've answered this question before......Thanks....

Thank you for the Ask! Typically I find these questions difficult because I consume a lot of content and I love so many things dearly, and I inevitably forget about things that I cherish and then feel bad about it. So here are 10 of my favorite pieces of media I’ve pulled from my mental list of all the things in the world that have made an impact on me, I’m going to do these in alphabetical order

180 Degrees Longitude Passes Through Us 

I only saw this show recently but it is an absolutely gorgeous piece of media. I have a bit of a theater background and this show definitely reads like a stage play, in the dialogue, in the setting, in the way that Nike carries himself around the space as Inthawut. This is a perfect piece of media in my opinion. The performances are a masterclass in acting, the use of vertical lines that place barriers between the characters or that cage them in, the complicated dynamics between the characters, the throughlines of grief and pain and loneliness that just radiates out of the screen for every character in this story. I have been through some shit, let me tell you, but there was a ten second moment in the final episode of this show that sent me in to the worst emotional distress of my entire life for a totally innocuous, complete reasonable, and minimally tragic scene and for that it does deserve immense praise. 

Big Eden 

I am making up for forgetting to put Pike on my Favorite Characters list by remembering to put  Big Eden on my favorite media list! I saw Big Eden for the first time in my freshman year of college. Back then I was not aware of, or at leas was not acknowledging my own queerness, and to find a film like this one just healed a part of my soul I didn’t know was wounded. When I say I watched this film back to back two or three times when I first saw it, I mean that this is one of if not the only film that I have immediately started from the beginning the second that the credits started rolling. I love this film for what it gave me, an older queer romance, non-existent homophobia, PIKE! Some of the greatest lines of all time, that to this day get reactions out of me, mainly:

“I just want things to be nice for him” 

and

"Well, screw you, Henry Hart. I do know what love is. You are my family. And I'm sorry... I'm sorry if that's not good enough for you."

And

“Why can’t you see how much love there is that people want to pour on top of you? I can’t help thinking that your grandma and I didn’t do right by you somehow. I feel like maybe we taught you something wrong, because you won’t tell me who you are. Did we teach you shame? Did I teach you that? Because it would break my heart if I had,” (watch the scene here)

Don't let the stars go out at night, don't let the moon break your heart, indeed.

I Told Sunset About You and I Promised You The Moon

ITSAY/IPYTM is two parts of one continuous story and therefore counts as a single piece of media. 

I just got done gushing about this show the other night, because for me it is a foundational piece of queer media. It is one of my favorite pieces of media, point blank, period. Queer characters are allowed to complex, three-dimensional, and frustrating. They are allowed to make mistakes, and hurt the people they care about in their quest to better understand themselves. They are human. And the emotional honesty and vulnerability that the script and the actors showed struck deep in to my experiences figuring out my own identity. It has some of the strongest characterization that I have ever seen in media. The actors commit to the craft, the production team clearly put love and care in to every aspect of this show, every frame of it. The director trusted the audience to understand what was happening and trust the actors to play with silence. There is so much silence in this show because the actors portray so much with just the way they move around the space, the way they carry themselves, the way they look at each other. It is a gorgeous, gorgeous piece of media. It took me three watchthroughs of I Told Sunset About You before I was able to form a single analytical thought about it, because the first time I saw this show my brain went fuzzy. This show rewired my brain and changed my DNA. 

And as a side note, anyone that thinks that Billkin is a bad actor or a bad crier can kindly meet me outside the Denny’s parking lot at 3am because I will not stand for Billkin slander in my household. That man is absolutely demolished the role of Teh. The constant fidgeting, the way his whole body just screams out whatever he is feeling without him ever having to say a word. 

Moonlight Chicken 

I have talked numerous times about why this show remains my favorite, and a lot of that has to do with the community that I gained around me because of it. But stepping back to the piece itself, I love how much this show is really dedicated to the importance of community. To showing the different mindsets of three generations of queer people, the way they struggle and don’t. The conversations that happen around poverty, and disability, and grief. The way that Li Ming and Heart are screaming to be understood. The way Jim has been hurt too many times and how that makes him scared to start over with Wen. The way Aof was able to take this BL structure and transform it into the story whose primary focus is on how a queer elder keeps and cultivates a relationship with his queer nephew. Jim and Li Ming’s relationship is the focal point of this show and I am so grateful to have that. The acting is phenomenal, the lighting is incredible, and it is a very technically strong piece. I know that Aof tends to tell us sad gay stories, but by god am I in love with every single Aof show I have seen (GOBK(with Jojo), ATOTS, HCTM, BB, MLC)

Pushing Daisies

What a deeply deeply tragic story wrapped up in the shiniest paper! I will never get over the fact this show got canceled because it is one of the greatest of all time. I love that Lee Pace has acknowledged how queer this show is, and how intentional that was, even though it was not discussed at the time of its release. Like, fundamentally this is a show about a man named Ned and his partner Chuck who can never touch. I’ll talk about this a little later too, but I am just such a sucker for stories where people can’t touch each other. I love the angst in it, the wanting to, the need to be intimate, to comfort, to care for someone and just…not being able to hold them. I loved watching how Ned and Chuck navigated this issue, the kissing through plastic wrap, the dancing in beekeeper suits, them getting excited for winter cause it meant they could wear gloves and hold hands like any other couple. 

This show is hilarious and funny and fast, with a really intriguing concept and an extremely clear vision and it did not deserve the end it got. 

I heard it might be on HBO Max, not sure if that is still true, but if you can find you, and you haven’t seen it, you should absolutely watch it, and if you have seen it, this is your reminder to watch it again. 

Sense8

Before I begin, I just want to say 

FUCK

NETFLIX

Once again, another incredible show, with very interesting themes, and things to say was canceled before it’s time. I will die mad about the fact that Netflix did not give this show the room it deserved to tell the story THAT THEY PITCHED TO NETFLIX AS A FIVE SEASON ARC. This show was so good, it got my homophobic dad to watch the whole thing without even squirming at the gay sex (like he did when he watched Game of Thrones). 

I love love love love love this show. I love the way it connects people from all over the world, I love that these random strangers become a family, I love what it says about every day people being important, having important skills, and how much that can vary from being a good actor, knowing chemistry, driving, and being a skilled martial artist. I love how sex positive this show was. I love the utilization of orgies to demonstrate the way these characters are all connected to each other. I loved the mystery behind it all, they way the function of this psyllium network got progressively more understandable to us as time went on in much the same way that the characters get used to it. I love the humanization of drug users, that it touches on the struggles of trans people, queer people, eldest daughters, poor people, etc etc etc; ON BODY AUTONOMY IN MEDICINE!!! I truly believe there is something for everyone in this show and even though I am mad we really only got a two hour filmed storyboard of general concepts the Wachowski sisters were planning on diving in to over the next three seasons, I do love with my whole heart, for the memes, that Nom’s mother gets over her transphobia as a result of one very good weed brownie. 

Six of Crows and Crooked Kingdom

I got in to these books after seeing the first season of Shadow and Bone on Netflix. Full disclosure, I did not read the Shadow and Bone trilogy, I will not read the Shadow and Bone trilogy, I do not care about the Shadow and Bone trilogy. This is a Crows Only household. Six of Crows and Crooked Kingdom are very incredible heist books first of all. The main plot is compelling in and of itself, before you even add the characters in to it. And what phenomenal characters we have: Kaz, Inej, Jesper, Wylan, Matthias, NINA MY BELOVED. I’m glad they aged them up for the show, but it is very funny to me to think of a bunch of gremlin teenagers running around and taking down criminal empires for the sake of revenge...and coin. Leigh Bardugo is a disabled woman and I love that she gave Kaz her same disability because it means that we get a really authentic portrayal of disability. His cane is seen as important, he is never embarrassed by it, and his chronic pain is always highlighted. (can we also talk about how pissed Kaz was when Genya offered to fix his leg?). I love how contradictory he is, how much he loves Inej and wants to be with her, and wants to touch her, and the way his trauma and touch repulsion just constantly stops him from being physical able to do what he actually wants. Inej, who loves Kaz back, and sees the boy underneath the image of a monster he has crafted for himself, who has her own hang ups around touch and understands Kaz, but values herself enough to not pursue a relationship with him if he will not or cannot work on himself. Who grew claws with the knives she carries with her, who herself is a walking contradiction, deeply religious and also murderous, and so brave, and kind, and patient, and who I love with my whole heart. 

Wylan, whose own father tried to have him killed because he was dyslexic. Jesper who has been hiding who he is because of what his power did to his mother, who is always the comedic relief while harboring pain, our favorite gambling addict, ADHD, gunslinger. Matthais who has to confront a lifetime’s worth of propaganda. Nina who is just an all around badass motherfucker, who is fat and sexy and brilliant. My favorite superspy <3

The Fall (2006) dir. Tarsem Singh 

You really have to go looking for this film if you ever want to watch it, because it has almost entirely been wiped away, which sucks because it is one of my favorite movies. Why? 

Because it is one of, if not the most visually stunning piece of media I have ever seen. The plot for this film is a stuntman (played by Lee Pace) falls, is injured, and hospitalized at the same time as a 5-year-old Romanian immigrant who fell and broke her arm picking oranges. Roy (the stuntman) starts telling Alexandria (the little girl) a story, to manipulate her in to doing things for him, like spying on people and stealing pain meds. The movie cuts between real life, present day, and this grandiose epic tale that he is telling. This was 150% a passion project on Tarsem’s part, he spent 30 million of his own money making this movie, for it to only make 3 million in theaters upon it’s release. It took four years to film and was filmed in 24 different locations. 

I love the overarching story, and how the growing friendship Roy builds with this little girl literally saves his life. The cast of characters is certainly interesting, Charles Darwin is a character in Roy’s story, but by GOD is it just a great watch, hours of stunning cinematography, with incredible costumes. Would highly recommend watching this if you can find it. 

The Magnus Archives

I love this podcast for many reasons. First, because I think it was absolutely brilliant to start this show off as almost an anthology, lulling the audience in to a false sense of security by having each early episode be completely unrelated to one another, until they aren’t. Until names start popping up in multiple tales, until monsters and ghosts and any number of other unexplained creepy things start showing up in other people’s stories. How slowly you start to realize everything is connected and always has been. That set up was just…beautifully handled. Second, I love what this show says about survival and fear. That the more we believe in fear, the more powerful it gets. I love how often the survivors of these tales come out the other side of these experiences by thinking of people that are important to them, people they love. When The Buried tried to get that spelunker trapped in the cave, it was the thought of finding her sister, of getting help for her sister that got her through the other side. When Martin is in The Lonely, it is his thoughts of Jon that get him through the other side. I love that the avatar of Death is kind. I love that the Boneturner just wants to build a garden. I love the experiences and the world that Johnathan Simms builds in every story, and that he is able to create so many different types of fears, a little something for everyone. I love the heart at the center of this show. 

The Princess Bride

Again, another piece of media that is fast paced and full of quips, with a beautiful, ridiculous, hilarious story, and a solid emotional core. I was raised on this film, which is part of why I love it so much. You can see and feel how much fun the cast had making this film. To this day it is beloved, highly quotable, and poignant. Also a great fencing movie, but I’m biased on that end as a fencer myself. I don't have much more to say about this film because I think it is perfect and I have no notes, but I will say I love how much this film helped Mandy Patinkin process his own grief around the loss of his father.

[linkspooky]

WHOOO that was a loaded answer and I loved every word of it OP! I am curious if you've seen the movie hereditary. I know some other post on tumblr talked about how the movie had a massive influence on Gege and it's shown pretty clearly between Megumi and Sukuna, so I was wondering if you had any input on that out of curiosity.

I've seen the movie hereditary. I think you're referring to this post about Hereditary's influence on Jujutsu Kaisen. I wouldn't put it past Jujutsu Kaisen to be inspired by other media, it's also a manga with several horror elements itself from the premise to the existence and designs of the curses.

For those who haven't seen the movie hereditary he's a quick and silly summary:

A woman buries her mother and it's heavily implied that the mother was abusive. Also she was a Satanist who didn't approve of her daughter's non-satan loving lifestyle. The mother Annie has two children Peter, and Charlie. Annie thinks her daughter Charlie is kind of annoying so she tells Charlie to go to a party with her brother and stop bothering her. At the party Charlie eats a weed brownie and has an allergic reaction to it, and so they rush her home in the car. However, Peter is speeding too fast and Charlie's sticking her head out the window so she gets instantly decapitated and dies.

Then - and this is the greatest scene in any movie ever made. Instead of calling the cops, or the hospital, or his parents Peter just drives home, parks the car in the garage, and then leaves his sister's dead body as a fun little surprise for someone to find in the morning.

After that a cult pretending to be a grief support group tricks Annie into using a ouiji board to summon Charlie's ghost back, but instead they summoned the demon Paimon, who takes over her son's body at the end of the movie.

The post I linked above posits the Megumi and Sukuna possession plotline, which has basically been the longest running arc involved with Megumi in themanga was directly inspired by the ending twist to Hereditary where Peter is made to host Paimon. Even if it's not a direct inspiration it's a pretty apt comparison. Hereditary is basically a movie about trauma being passed down through three generations until it culminates on Peter as the last link in this chain of abuse.

It's heavily implied that Grandma Satan worshipper was not a good mother, and at the beginning of the movie before tragedy even strikes Annie is completely checked out on both of her kid's lives. She's not really a mother in this family unit before the family destroying tragedy. You could say Charlie's death happens in the first place because her mother didn't want to put up with her and sent her away instead. Then after the tragedy, Annie's got a clear scapegoat to blame in Peter who caused the car accident yeah, but number one it was a pure accident, and number two he's a teen.

Grandma Mrs. Satan's poor parenting -> Annie not liking her kids -> Neglecting Charlie -> Charlie's death -> Annie scapegoating Peter for Charlie's death -> Peter is possessed by the same cult that Grandma Satan belonged to.

There's a circular quality to this grief because it's implied towards the beginning of the film while Grandma Satan didn't get along with Annie she started to connect with her daughter's children soon after Charlie was born because she saw Charlie as a prospective host for Paimon. So, it leaves the question that this might have been the plan all along, Grandma always planned to take one of the kid bodies and their mother was unable to break the cycle or interrupt grandma's plans because she was too caught up in the circle of grief too.

Ari Aster has gone on record saying the movie is about familiar trauma being passed on through generations:

I knew that I really wanted to make a film about the corrosive effects of trauma on a family unit. I knew that I wanted to make a film that had sort of an ouroboros quality about a family that’s basically eating itself in its grief. [SOURCE]

Megumi, much like Peter is the last link in a chain of trauma. I explore that concept in more depth in this post, but basically Megumi is the last link on the chain that starts with the Zen'in and Toji. Toji is rejected by his clan and basically has no family or support inside of Jujutsu Society. He flees it, finds some stability in Megumi's mother for awhile but after losing her he decides to stop caring about himself or others.

Toji then repeats the cycle. Toji is the famous sorcerer killer but in story we see him victimize several children. He kills Riko Amanai in cold blood for cold cash right in front of Geto and Gojo, the aftermath of which would affect them for years to come. He then absolutely brutalzies both Geto and Gojo who were also teenagers at the time though they were incredibly powerful ones. FInally, he also abandons his own son, sells him to the Zen'in and leaves him without a guardian or adult in his life to take care of.

The trauma that began with the Zen'in -> leads to -> Toji's actions as the sorcerer killer -> leads to -> Toji's abandonment of Megumi and Megumi having no parental figures in his life to take care of him.

Gojo is also a chain link in this cycle. His loss to Toji is something Gojo still remembers to this day, as the first and only time someone ever made him feel fear in a fight. He literally cites Megumi's resemblance to Toji as the reason that he has no problem fighting Sukuna while he's in Megumi's body.

Then, is Gojo trying to overcome this cycle of abuse by intervening in Megumi's case and making sure he wasn't sold to the Zen'in Clan?

Well, Kiiiiiiind of. It's clear is motivation is to try to save Megumi from becoming like Geto. After Geto's defection Gojo comments that being strong isn't enough to save people you have to save people who want to be saved and then goes to find Megumi early, like he's trying to intervene earlier because he regrets not being there in time with Geto.

However, this is where I say Gojo's lost to Toji gave him trauma he has yet to recover from. Ever since Gojo's awakening as "the strongest" he believes that strength is the solution to every problem. Yes, even after he had the revelation that being the strongest isn't enough to save some people. Yes, it's a contradiction. Gojo's brain is a complicated and scary place, us mere humans aren't meant to totally comprehend what goes on inside there.

Since his awakening against Toji, Gojo has always solved his problems by being the strongest, and being the strongest alone. His solution is to raise allies who will be as strong, or even stronger than him. Megumi who has the Zen'in Clan's strongest inherited technique, and one that supposedly killed a six-eyes user with the limitless in the past seems like the natural candidate.

On top of that it's clear Gojo sees a lot of himself in Megumi. They're both child prodigies born to one of the three great clans, with that clan's strongest single technique. Considering Naobito made Megumi the Clan Head in his last will and Testament, if Megumi had been raised by the Zen'in he probably would have been given a similiar childhood to Gojo's (spoiled child prodigy raised as a tool for the clan). However, Megumi is not Gojo and Gojo seems to have trouble ferreting out those differences.

Which is why we see some frustration on Gojo's end that despite the fact they have their respective clan's powerful techniques, at his second year Gojo was already a special class and well on his way to being considered the strongest while Megumi himself has a tendency to coast on his talent instead of applying himself and doesn't think it's even remotely possible for himself to get as strong as Gojo.

Gojo does not understand why Megumi doesn't "swing for the fences" the way that Gojo and Yuji does. Why he comes off as so unomotivated and fails to capitalize on any of his blessings.

However, while Gojo is able to notice the symptoms, he doesn't understand the disease or rather the cause of Megumi's behavior. The first being that Megumi is not Gojo. Gojo may find a lot of things similiar about their situations, but no matter how much Gojo tries to mold Megumi into a successor Megumi is not going to be Gojo.

That's where we get back to the connection to Hereditary. In hereditary basically the cult's grand scheme in the movie is to manipulate events to mould Peter into the next successor to Paimon, and Peter himself is not only a bit of an agenciless victim to all of their schemes as the cult progresses, but because of the failure of their mother they have no parent or adult to protect them from the cult's actions. Peter has a missing parent figure, and another figure trying to actively manipulate him until he's worn down enough to fall victim to Paimon's possession.

Not only is the story a tragedy in the genre sense, hamlet, romeo and juliet, etc. etc. but the victim Peter is agenciless in his actions like most victims in tragedies are. Everything in the world just wears him down, he has no support from adults, and no escape, he has little choice in the things that happen to him until eventually he gets his body taken away from him. HIs agency is literally stolen because he no longer can control even his own body.

Someone on reddit put this better than me:

Hereditary portrays how one might lose conscious control over his or her actions; be overwhelmed by the subconscious: possessed. It's symbolised with decapitation – a separation of mind and body. The body is what keeps the head up top and grounded upright. If they're separated, a person disorientates and loses his/her sense of up and down. Suffering without being able to interpret it is torturous and can make you want to stop trying to interpret all together. If you think of home as a person's frame of interpretation, the treehouse is where the film's themes come together:

Decapitation is a pretty common image used in the movie hereditary. Two characters die from swift decapitation. Is there a clearer symbol for loss of bodily control then having your head chopped off? Losing all five senses? Losing your ability to move your body?

Megumi is also a character who has lost control over his body and actions since Sukuna's possession of him, and the grief over loss of a sister has caused him to stop fighting for control entirely but did Megumi have a lot of control over his own life before that?

There are no adult figures who are trying to protect and care for Megumi. That was his father's job, but Toji abandoned him. Megumi and Tsumiki are essentially left to fend for themselves in the world of adults with little choices.

Megumi is given two choices, go to the Zen'in who are going to raise him to be a sorcerer, or go to Gojo who will raise him to be a sorcerer in a slightly less misogynistic environment. There's no option where Megumi gets to choose not to be a sorcerer because Gojo's "help" comes with the huge asterisk* *If you don't work as a sorcerer for jujutsu high we won't pay for your food.

Megumi was already being molded into being what someone else wanted for him to be - in this case Gojo. He was being raised as one of Gojo's allies and successors with little to no input with what Megumi wanted out of life. In the process Sukuna ends up hijacking Megumi's body and moulding Megumi to be useful for Sukuna's ambitions instead. Which is why this is so similiar to the tragedy in Hereditary it kind of feels like in traditioanl tragedy fashion Megumi has the agency of the main character of a tragedy. No matter what he does he's playing into someone's hands. So many people have plans for Megumi and how they want to use him and Megumi's just some teenage kid caught in the middle of it.

Sukuna sets up his plan for possessing Megumi at the start of the story. Megumi was taken in by Gojo and turned into a sorcerer and his tool against the elders before the start of the story. Annie's grandma always planned on putting Paimon into one of her children, and Annie doesn't figure it out until it's too late and we're already seeing the effects of her grandmother's long game plans.

So yeah, Hereditary and Jujutsu Kaisen are both about this intergenerational cycle of trauma, and how it will always affect the weakest members on the chain (children).

[pb-dot]

Film Friday: Shaun of the Dead

It is somewhat of a shock to me that I haven't gotten around to covering Edgar Wright's Cornetto Trilogy, and so I am aiming to remedy this over the next couple of weeks. First up is Wright's first feature film, the ever-quotable Shaun of the Dead.

First up, I want to talk about the title a bit. There's something so effortlessly correct about the thing, how it references George Romero's genre-defining -Of The Dead film series, while also telling one of the movie's central jokes, in that putting a "normal" character who has also perhaps seen a zombie movie into the highly stylized trappings of a typical zombie movie would quite naturally lead to some laughs.

Shaun, played by the always hilarious Simon Pegg, is in a very familiar twentysomething slump. He's living with his college friends and roomates Pete and Ed, but it's hardly a tenable position as Pete's choleric temperament doesn't exactly jive with Ed's dedicated slacker vibes, and Shaun's girlfriend Liz is getting kind of tired of Ed third-wheeling all the time they spend together. It all comes to a head when Liz dumps Shaun and he, after carousing to forget his sorrows with Ed, decides to sort his life out. As fate would have it, the day after is the day the dead rise from their grave, somewhat complicating matters for everyone involved.

The central gag of Shaun of the Dead is that while what one might call the standard zombie rules are in effect (aim for the head, don't get bitten, don't call them zombies,) people, chiefly Shaun and Ed, are also aware of the genre conventions. This way, the movie pokes gentle fun of the trappings of the genre, among others with the reoccurring "we don't use the Zed-word" bit.

It's not all gags, mind. While there are plenty of scenes that rely on jokes about zombie movie logic, as well as more character-driven fare given wings by a truly magnificent cast, there's also some great zombie violence going on. Shaun and Ed dealing with two zombies in their garden at the start of the breakout is violent and hilarious, and while it is somewhat limited, Shaun discovering the fate of Pete is a surprisingly strong horror moment in an otherwise silly sequence.

I would, of course, be derelict in my duty as a zombie nerd if I didn't talk about the siege of The Winchester and all the glorious zombie violence both given and received therein. The fate of David is a glorious bit of gore, and a fun reference to Day of the Dead if memory serves. Then there's the light gun rifle shooting business which is admittedly a bit sillier than the high drama of the scene perhaps calls for, although it works as a thematic thing as well as being a good further raising of the stakes.

I have, however, gone long enough talking about just the fun bits. One of the greatest strengths of Shaun of the Dead, in my mind, is its beating heart, its sense of empathy and warmth. All this clowning on zombie tropes could easily turn out crass and irony-poisoned, but this movie doesn't. In part, I suspect, because it was made out of genuine love for zombie movies, and in part because Shaun and Ed's bromance truly is one for the books.

Usually I don't love the term bromance because I feel it kinda skirts the line of being an early aughts "haha gay"-joke. In this case, though, and in fact in most cases where Pegg and Ed's actor Nick Frost shares the screen, it's hard to describe it as anything else. The two have such effortless and intertwined chemistry on screen that watching them have a good time is infectious and watching them have a bad time is captivating. While there are many strong emotional moments in Shaun of the Dead, surprisingly many for being a comedy, none hit harder than Shaun having to say goodbye to Ed, who has decided to stay behind to ensure his zombie infection doesn't hurt his friend... or his friend's girlfriend I guess. It's a moment of genuine tender masculinity, or as close to one as you could do in a movie in the early 2000's at any rate. The fact that the scene pivots on a callback fart joke doesn't make it any less of a tear jerker.

The challenging thing about writing about Shaun of the Dead, I feel, is that there's so much to talk about. From the zombie movie angle, this was the best of it's kind made between 1985 and 2007, jokes and all. From the comedy angle, there's so many wonderful bits, one personal favorite is Shaun's ragtag party of zombie survivors encountering a gender-swapped version of themselves led by Shaun's Ex going the other way. Then there's the heart, the Shaun and Ed business is one thing, and the resolution about the subplot about Shaun's disapproving (?) step-dad, played expertly by Bill Nighy is surprisingly powerful stuff. So, to try to close this thing before I write myself into a migraine, I'd say go check Shaun of The Dead out if you haven't already. It's a banger.

[fairytale-poll]

ROUND 2A, MATCH 1 OUT OF 8!

*Includes the original 1950 animated film, the 2002 sequel Cinderella II: Dreams Come True, and the 2007 sequel Cinderella III: A Twist in Time.

**Cinderella Romance, Romeo and Cinderella, and Cendrillon were all songs which were submitted. I condensed all Hatsune Miku songs into one entry.

Propaganda Under the Cut:

Disney Animated:

she is very iconic, she is super kind and has a beautiful dress

Submitting specifically because Cinderella III: A Twist in Time has lived rent-free in my head ever since I was a small child.

This Cinderella is most young (western) peoples introduction to this very story. Cinderella is so hopeful and by getting one small magical adventure, her whole life changes for the better. She is skilled and inspires such loyalty with her kindness that it’s hard to dislike her for any reason she gives. I’ve always been jealous of her ball hairdo too.

Walt Disney put all he had into this movie. And his favorite animation was the dress transformation scene. There’s a reason she is often front and center on the Princess group promotions.

she is the original. to me. probably the first exposure to cinderella for a solid chunk of people alive & on tumblr today. she is just a perfect encapsulation of everything that cinderella is, even if she's become warped in the public consciousness. also i'm pretty sure she's the reason why the glass slippers are so predominant in more recent retellings bc she is simply so iconic. 100/10 no notes 💜

She's maybe not the OG OG but she was one of the first animated Disney princesses and strangely enough it doesn't stop her from having an amazing personality. She's literally a slave but keeps being a nice person, forgiving and always doing her best. And the sequels absolutely didn't ruin her character. She's a sweet girl who tries to fit in but who's loyal to the person she is and who tries to change things always in a cute and sweet way to show people it's not that hard. She literally forgave Anastasia and tried to help her after all she did to her (the scene where the step-sisters destroy her dress still is terrifying to me)... she's awesome and deserves more recognition honestly...

(Mod's note: the following submitted specifically for Cinderella III: A Twist in Time, but I condensed the animated movies into one entry.) No she is not the same as the original Cinderella of 1950. This girl’s biggest chance was unfairly snatched away from her. When the Prince was brainwashed she was enough to get him to double take. She was so Right that their connection over powered magic. And she had to be rescued from a ship. And was almost crushed within a pumpkin! And finally had to expose another imposter, who turned out to be just another victim of Lady Trameine. This Cinderella fought harder for her love because she knew what True Love was like and she still was able to forgive those who asked for it.

(Mod's note: the following submitted specifically for Cinderella III: A Twist in Time, but I condensed the animated movies into one entry.) Listen yes it's the same Cinderella from 1950 but she has an arc in this one! It's Disney's greatest film!!

Listen I love them both but the animated Cinderella definitly shine in every single movie she has. And she has 3.

Hatsune Miku:

(General) NUMBER 1 WORLD PRINCESS!!! Miku miku oo ee oo :) also she is portrayed as Cinderella in a lot of songs.

(Cinderella Romance) [No Propaganda]

(Romeo and Cinderella) is hatsune miku. invented existing. references several other fairy tales.

(Cendrillon) Miku Miku Miku Miku Miku.

[whileiamdying]

How Gena Rowlands Redefined the Art of Movie Acting

Gena Rowlands in “Opening Night.” Photographs courtesy Everett

The actress, who died last week, at the age of ninety-four, changed the history of cinema in her collaborations with the actor and director John Cassavetes.

By Richard Brody August 19, 2024

Gena Rowlands, who died last Wednesday, at the age of ninety-four, is, of all the actresses I’ve ever seen onscreen, the greatest artist. She’s the one whose performances offer the most surprises, the most shocks, the most moment-to-moment inventiveness, and, above all, the most almost-unbearable force of emotional expression, combining extremes of strength and vulnerability, of overt display and inner life. Her mighty talent is also a peculiar one, the strangeness of which is exemplary of the art of movies: it might never have come so fully to light were it not for her marriage to John Cassavetes and for the movies that they made together—especially the personal six that extend from “Faces” (filmed in 1965, released in 1968) to “Love Streams” (1984).

That’s not at all to diminish Rowlands’s art or its basis in her innate talent and hard work, but to locate its essence in the nature of cinema: it’s an art of collaboration, in which more or less every major artistic advance has resulted from two or more people making common cause. It doesn’t have to be romantic, of course, but it should come as no surprise that this couple, married for thirty-four years, until Cassavetes’s death, in 1989, should be responsible for the most profound movies about love that exist. They met in 1951 at the American Academy of Dramatic Arts, where they both studied, and married in 1954, when she was twenty-three and he was twenty-four. To do so, Rowlands broke her own vow not to marry in order to focus on her career.

Rowlands quickly got a career, on live TV dramas, on Broadway, and in Hollywood movies. Cassavetes had a similar acting career, although his Broadway experience was mainly behind the scenes, and he also made a pioneering independent film, “Shadows,” between 1957 and 1959 (she had only a bit part, uncredited). They started a family (eventually having three children, all of whom went on to work in film) and moved to Hollywood, where, in the early sixties, Cassavetes directed studio pictures, an experience he hated. They both continued their acting careers, and then, in 1965, they put their own money into “Faces,” much of which was shot in their own house. It took three years to complete, not least because the first cut ran eight hours; Cassavetes ultimately got it down to just over two. The movie, about the fraying of a marriage, is a drama of romantic frustration, longing, and pursuit—the story of a businessman, Richard, who runs away from his wife to spend a night with Jeannie, a sex worker, at her well-appointed home, while his wife has an affair with someone she meets in a night club. Rowlands, in her first real independent-film role—as the sex worker—achieved hitherto-unimaginable heights in movie performance.

A still from “Faces.”

Contrary to myths about Cassavetes’s films, they’re not improvised. The script for “Faces” was two hundred and fifteen pages long, and Cassavetes wrote the dialogue. What’s not written out is the actors’ physical behavior. They’re free to live out the action uninhibitedly, with Cassavetes’s camera following them in their lurches and dances, their tussles and their embraces. The entire cast, featuring veteran actors (such as John Marley, as the husband) and nonprofessionals (including Lynn Carlin, as the wife), performs with unreserved energy and passion, but it’s Rowlands who, in just a few scenes, expands the boundaries of movie acting. The role is one that has the notion of performance built into it—Jeannie is performing love and desire for her client—but the story involves an emotional reality that bursts through this convention-bound relationship.

The sex worker with a heart of gold is a well-worn type, of course, something that the movie confronts head on, yet there’s nothing hackneyed or even familiar about the way that Cassavetes films this character—or about how Rowlands brings her to life. Jeannie’s tragedy is that she is unable to fit into the conventional contours of her transactional role and instead brings her whole self, all her torrential, impulsive emotionalism, to her work. Her intensity provokes Richard into a wrenching-away of façades and engenders a contact of souls far more galvanic than the contact of bodies—until the transactional and the conditional snap back. Rowlands pours herself completely into Jeannie’s ratcheted-up gaiety and forceful control of tough situations, her rapturous tenderness and devastated disappointment. Cassavetes’s filming matches her beat for beat, throb for throb, leading to a closeup of such melodramatic starkness and catastrophic self-awareness that, to my mind, it’s the closeup of closeups, the one that could stand for the entire historical repertory of cinematic intimacy, of the art of the face.

In Cassavetes’s films, Rowlands was able to give of herself comprehensively, to be herself and to allow the wildest extremes of feeling to overwhelm her on camera. This isn’t solely because of the couple’s personal bond. It’s also because Cassavetes, behind the camera, is giving of himself completely, too, in his responsiveness to the people he’s filming and the situations that they create. She and he seem almost to be meeting at the surface of the image, yielding a sense of shared risk, shared vulnerability, and equality.

Rowlands’s performance in “Faces” set the definitive tone for Cassavetes and his films, as well as for herself. In Cassavetes’s 1963 studio movie “A Child Is Waiting,” Rowlands, who co-stars, is skillful and focussed, with a strong presence but an unexceptional manner. In “Faces,” more than a star is born—she reveals an entire new dimension of acting. She wasn’t in his next film, “Husbands,” from 1970 (in which he co-stars with Peter Falk and Ben Gazzara), but his performance confirms her influence. He was already highly original, but “Faces,” in which he doesn’t appear, produced a watershed in his own performances, and in the acting of his movies in general—a form of acting that the entire future of cinema would be forced to reckon with.

By the time Rowlands and Cassavetes made their next movie together, “Minnie and Moskowitz” (1971), they had turned forty, and, in that post-sixties moment, with its slogan of never trusting anyone over thirty, the suburban world of “Faces” was already old-fashioned. Yet, as if to overcome the facile determinism of a generational dividing line, it was this cinematic couple that was singularly rejuvenating the art of movies, dispelling pretenses of comfort and tranquillity to give full and florid expression to the stifled emotions that it concealed. The couple’s films don’t talk politics, but the way that they defied movie conventions to depict experiences with unprecedented intensity gives them a manifest social and metapolitical power.

Seymour Cassel and Rowlands in “Minnie and Moskowitz.”

In their 1974 drama “A Woman Under the Influence,” Rowlands, playing the wife of a construction foreman (Peter Falk), confronts the raw and repressive power of working-class masculinity, in a performance that, for all its fury and reckless playfulness, has a finely composed dramatic arc and a manifest virtuosity. Despite this sense of more careful composition, its scenes from a marriage and its vision of family life are nearly unbearably painful to watch; they were agonizing for Rowlands to portray. In 1976, Rowlands was in the room when Cassavetes was interviewed about the film by a journalist from Le Monde, who asked her if she’d thought of directing Cassavetes in a movie. She first jokingly pretended to strangle her husband, then earnestly said that she didn’t want to direct, then added, “No, sometimes, after difficult scenes, I’d like to turn the camera on John, especially to get revenge . . . ”

Having taken naturalistic drama to unprecedented extremes, the couple next explored the very nature of performance, in “Opening Night” (1977), surely the most powerful and imaginative movie about actors—and about an actress—that exists. Rowlands plays Myrtle Gordon, an actress cast in the lead role of a play by an elderly playwright (Joan Blondell), the subject of which is the character’s transition from youth to maturity. The role terrifies Myrtle, emotionally and professionally: she feels that it will mark the end of her career as she knows it, and it also forces her to confront her own age (which is unspecified, but Rowlands was in her mid-forties). It’s also the story of Myrtle’s terror and horror at one particular moment of stage business—when a co-starring actor named Maurice (Cassavetes) is supposed to slap her.

What Myrtle does, in the face of her resistance to the play’s text and to its direction, is to explode the play in real time, forcing Maurice and the rest of the cast to improvise along with her, to the horror of the playwright but to the delight of the audience in the theatre where the play is opening. Those improvisations (most of which were indeed written) range from the dangerously passionate to the uproariously capricious—and Myrtle delivers them as if directly addressing the audiences attending the play and breaking the fourth wall, and forces Maurice to do the same. It’s as if the actors are tipping their hands at movie viewers as well, suggesting the vast personal realities that fuel great screen performances. Most actors and most filmmakers, bound by industry norms or crowd-pleasing conventions, don’t even hint at such realities, but Cassavetes and Rowlands broke open the screen to let them flood into the world at large. The essential art of Rowlands, the art that she and Cassavetes shared in public and in private, was the art of life, the art of love. ♦