#this scene has judy colors

[wosoproblems]

So, get away      Another way to feel what you didn’t want yourself to know And let yourself go      You know you didn’t lose your self-control (x)

[hotvintagepoll]

Propaganda

Lena Horne (Cabin in the Sky, Stormy Weather)— Incredibly talented biracial actress, singer, dancer, and activist (she did so much work towards integrating audiences). Because of the racism of the era, she rarely got to be the lead actress but filmmakers loved her so much that they would often create stand alone segments within a film to highlight her beautiful singing, knowing that these segments would ultimately be cut from the film by censors in areas that forbid films with Black performers. Also, she's just so wonderful in Cabin in the Sky as a gold-digger villain who is not the least bit subtle about her intentions. I would highly recommend checking out her work.

Ginger Rogers (Swing Time, Top Hat)—Look I’ll level with you, I’ve never seen her in a musical and I know that she’s an amazing dancer and she’ll be even hotter when I finally watch Top Hat but I’m not submitting her as a dancer I’m submitting her as an ACTRESS. Her comic timing is impeccable!!!!! She’s full to bursting with life and in every role she seems to be having FUN, you can practically feel the twinkle in her eye. With her natural warmth it’s like she’s letting you in on the joke, y’all get to have this fun together! Making me laugh is hot!!! [If you'd like to see Ginger dance, videos below the cut]

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Lena Horne:

64.media.tumblr.com

Black American powerhouse singer and actor who faced all the usual bullshit that any BIPOC faced in vintage Hollywood and achieved legendary status anyway. Also a Civil Rights movement icon.

She was a gem

She was so beautiful and those dimples are amazing! Truly depressing how badly Hollywood treated her because she was black. I would love to have seen what she really could have been if they didn’t cast her in so many yikes roles. She’s got gorgeous eyes and that body! Her joyful smile makes happiness sexy!

Civil rights actress, singer, dancer, actress, she's got the whole package

Lena Horne was a wonderful singer and actress who largely starred in black cast musicals. While she had a lot of main stream success, she ultimately lost the lead role in showboat (a role she had played on the stage) to a white actress due to hollywood's prejudices. She was also blacklisted during the HUAC hearings, but she still managed to be hot be hot as fuck and have a career spanning decades, working with more well-known stars like Judy Garland in musicals, and working on stage and releasing albums when her hollywood career began to suffer.

Miss Horne became famous during a period of time when Hollywood had very few meaningful roles for people of color. Although she is more so known as a performer, she starred in two successful all black productions (Cabin in the Sky & Stormy Weather). If that wasn't enough, she also guest starred on the Muppets (Season 1, Episode 11)

Ginger Rogers propaganda:

She needs no introduction! An undeniable powerhouse on the dancefloor, and no less talented an actress. I once watched a compilation of cinema's greatest dance scenes and one of her and Fred Astaire's dances was featured, and one of the talking heads said he pitied her for 'having to keep up with him' - or something to that effect. Bullshit, I cry. Ginger Rogers was his absolute equal, and underplaying her incredible skill is downright criminal. I want the 'Cheek to Cheek' sequence from Top Hat to be permanently burned into my memory.

"Backwards in high heels", as the saying goes (though the pedant in me must point out that she in fact spent her fair share of time leading or dancing side-by-side). One of the earliest twinkle-toed ladies of the silver screen, and in terms of acting/persona, her balance of wide-eyed cuteness and movie-star glamour has never quite been replicated.

we all know her beloved string of musicals with fred but ginger also has an extensive and varied non-fred filmography that she's great in! a few ginger moments that are important 2 me personally ginger singing “we’re in the money” in gold diggers of 1933, complete with a verse in pig latin bc this whole movie is kinda mocking the concept of anyone actually being in the money in 1933; ginger and una merkel singing a verse of “shuffle off to buffalo” in 42nd street, providing some statler & waldorf-esque commentary on newlyweds from the upper berth of a railway car (interesting that belly was apparently a risque word in 1933 - maybe its bc the lyric is innuendo-ing about out of wedlock pregnancies - and that panties was a term for men’s underthings!); a favorite fred & ginger number

Ginger Rogers could do everything! She could sing, dance and act. She was hilarious in comedies, moving in dramatic roles (she won an Oscar for Kitty Foyle in 1940) and absolutely gorgeous!

Listen, no shade to Fred Astaire at all, but she both kept up with him step for step and then later went on to WIN AN OSCAR FOR ACTING. (which he did not.) truly a double threat!!!

One of the best dancers in Hollywood! Her work with Fred Astaire is just incredible.

ONE LINE: "Everything Fred did, Ginger did backwards and in heels" AND THEYRE RIGHT! Rogers was a total dance badass, and a lot of movie buffs know the story, but the Never Gonna Dance number from Swing Time took almost 50 takes, and allegedly by the end of filming it her white shoes had been stained pink because her feet were bleeding. As a note, she looks crazy gorgeous in this number. Watching these two dance is insane. They match up to each other in a way my mom describes as "divine" and she's right. DANCE NUMBERS!

Let's Call The Whole Thing Off (Shall We Dance, 1937, dancing starts at 3:14, they're in ROLLERSKATES)

(Ginger Rogers is the hottest woman ever to live in this number. seeing this as a teenager altered my brain chemistry)

(also watch her feet and how she moves opposite Astaire in this one. We all know our boy Freddie had that precision demon but jesus christ Miss Rogers, let a girl live!)

Pick Yourself Up, Swing Time 1936 (Everyone's seen this one but by god you are going to see it AGAIN!)

Shall We Dance, 1937 (duet begins at 2:34)

Smoke Gets In Your Eyes, Roberta 1935 (There's just something about Ginger Rogers in a slick black dress man)

The Continental, The Gay Divorcee 1934

God she's MAGIC in this one.

Gay Divorcee's Ending Montage 1934

The infamous table and chairs spin happens at about 0:49. Pay CLOSE attention to her in this bc it looks like witchcraft and I feel lightheaded whenever I watch this movie bc shes THAT awesome.

She is a miracle to watch. Sorry for the sheer amount of clips. My entire family is like madly in love with Ginger Rogers.

[chaosqueery]

okay, so I still don’t like the cheating aspect at all. Really wish they would have just had Eddie break up with Marisol when he kicked her out. But how they are going about Eddie processing his stuff with Shannon, well, I’m intrigued. And I didn’t think I would feel that way bringing her up again. And all because Tim’s bringing up Vertigo now.

That movie is straight up bonkers.

The entire plot of Vertigo under the cut so don’t read if you don’t want to be spoiled. Also, content warnings for themes involving suicide and murder.

To those who don’t know about Vertigo: It’s one of Hitchcock’s more famous films about a man, Scottie, a retired detective who is convinced into doing one last job for an old college friend, Gavin. He has to follow Gavin’s wife who claims she’s been possessed (by her great-grandmother who was the mistress of a wealthy man and has his child, only for him to take the child away from her, after which she killed herself) and trying to harm herself. After following her around for a while, Scottie winds up saving the Gavin’s wife, Madeline, from trying to drown herself in San Francisco Bay. She goes to thank him the next day and the more time he winds up spending with her, the more obsessed with her he gets, thinking he’s in love.

After she has nightmares that suggest she might actually be possessed my her great-grandmother, Scottie takes Madeline to Mission San Juan Bautista, the ghosts childhood home. Despite just declaring their love for each other, Madeline runs up to the top of the bell tower and falls to her death. Scottie tried to run up the stairs to stop her but blacked out due to his vertigo and extreme fear of heights (the reason he retired in the first place).

After being ruled a suicide, the coroner lays the guilt on Scottie for not doing more to stop her from jumping. He’s so depressed he’s near catatonic and starts imagining seeing Madeline all the places she typically went when he was originally following her. Until one day he actually does see someone who looks almost exactly like her, just different clothes, hair, and her name was Judy.

it’s then that it’s revealed to the audience that Judy was an actress hired to stage the suicide of Gavin’s wife. Scottie was never following the real Madeline, but Judy making it look like she was “possessed”, and when she ran up the bell tower, Gavin pushed his dead wife out the window instead. Gavin knew that Scottie would black out and not make it to the top of the stairs to see the switch.

Having already been in love with him, Judy doesn’t reveal her involvement with the murder. She keeps seeing him and he just becomes more obsessed with turning her into Madeline. He makes her wear her clothes, get her to dye her hair the same color, and she does it all because she wants him to love her, even if it isn’t really her. The Madeline he knew never even existed, she was just a romantic idealization of what he thought he wanted.

Eventually, Scottie pieces together who Judy was and takes her to the mission to get her to confess and confront his madness. He was trying to recreate the scene to shock himself out of it. He takes her up the stairs, conquering his fear heights, and acting like he’s gonna kill her. Once they make it to the top, she admits to everything and begs for forgiveness. They embrace, but then a nun comes in suddenly and startles Judy, causing her to fall to her death. But hey, Scottie’s cured of his fear of heights.

so yeah, that’s the general plot of Vertigo. Ummmmm…

I know they aren’t bringing some murder plot into this. And I don’t think this Kim lady is an actress made up to look like Shannon. Aside from being drawn to someone he imagines as a lost love, I don’t really expect them to follow much of the plot at all. Mostly it will be a reflection of the themes in the story and the goal of shocking Eddie out of his habit of trying to make every person he dates into Shannon and his need to mentally relive what happened to her.

There is also a part for Buck in all this. In Vertigo, Scottie has a long-time friend and ex-fiancé named, Midge. He spends a lot of time with her and she’s always trying to help him get to the root of his acrophobia and vertigo. It’s comfortable and they act like they’re married. She represents who he should be looking at, a love based in reality rather than a fantasy created for him. Something he is too lost in his obsession to see.

Spark notes did a lot better of discussing the themes than I would have, so I am just copying and pasting some shit, then adding my own notes to how they relate to Eddie’s storyline. This is the page I’m taking these notes from (x)

We all know that Eddie has worn a mask the entire time he’s been on the show, only allowing a few peaks underneath here and there. He tries to act like he has it all together while simultaneously harboring all kinds of inner turmoil. We’ve seen the more he pushes it down, the bigger his explosion winds up being. Despite the emotional work he’s done, he still hasn’t broken the habit of trying to replace Shannon or come close to moving on from her death.

Buck, like Midge is to Scottie, is Eddie’s constant. While Midge is aware that she still has feelings for Scottie, Buck remains oblivious. His mask is that of a platonic friend and companion, much more comfortable being there for his friend than really looking at who they are to each other. Instead he’ll be more intent on getting Eddie to see the truth about the Shannon/Kim fantasy, all the while loving him unconditionally because he’s the only one who can really see under Eddie’s mask.

Shanon had her own mask when she was alive, trying to be the wife and mother everyone wanted her to be. Even her memory was painted over with this idealized version of her, and it put so much pressure on her she lost focus of the person she wanted to be. She eventually realized she had to let go of this “perfect wife” so she could work on what was more important to her. To be a good mom to Chris. But Eddie never got the chance to let go of the “perfect wife” because she died before he could.

Kim’s mask is pretty obvious.

I’ll say it again that I think there is something else going on in Eddie’s head to make him suddenly start seeing Kim as Shannon. In Vertigo, they used the same actress for Judy and “Madeline” because she was the same person. Shannon is dead. I do not believe they are throwing a fake death trope at us. But why didn’t they just cast someone who looked a lot like her? It would have been more believable. But i think he is actually seeing her like that, but she might look totally different. Maybe there is something in his brain making him confused, thinking he’s back to when him and Shannon were last together, but it only happens when he actually sees Kim (like maybe he actually thought he was going out with Marisol too, until Kim showed up). Of course this is probably just me desperately trying to figure out how carelessly Eddie’s cheating on Marisol. Seriously, no guilt? Eddie?

No matter why these visions of Shannon are happening, it’s pretty clear that it’s about shocking Eddie’s system out of this endless cycle he’s found himself in. Reliving her death over and over again, keeping him in the fantasy of who she was instead of confronting what was wrong between them, and not allowing himself to look at what’s actually good for him. Or who.

Buck is the love that’s actually real. When all of this is over and Eddie has gotten the chance to really say goodbye to Shannon, he’ll finally be able to see this relationship he’s been building for years. The person he loves inside and out, to the core, without needing to project any idealistic persona on him.

Marisol’s purpose? To startle Kim out of a bell tower (in the finale “All Fall Down”)? Seriously, though, I think she mainly just there to highlight how lost Eddie is in this. To do something like cheat would take A LOT and it keeps the seriousness of the situation in perspective.

[cressida-jayoungr]

One Dress a Day Challenge

September: Bond Films

Casino Royale / Dame Judi Dench as M (Olivia Mansfield?*)

Discussion of the clothing in this scene usually (and understandably) centers around Daniel Craig's famous midnight blue polo shirt; but I really like what M is wearing here too. I haven't been able to find out whether it was the work of any particular designer, but it looks comfortable, businesslike, and appropriate for warm weather.

The jacket has some heft and structure to it, with the "rope" texture of the weave, and it provides a little color variation from the signature grey that M otherwise wears throughout the movie. Underneath, she wears a dark grey blouse and slightly lighter skirt. When the jacket falls open, a buckle can be seen cinching the folds of the blouse just above the right hip. With this, she wears silver jewelry and black, low-heeled slingback pumps.

*(M is never named onscreen, but the name Olivia Mansfield appears on a prop in Skyfall.)

[forgiveness-in-the-misery]

I really love the way that shows like Our Flag Means Death and Good Omens and The Righteous Gemstones interact with queerness.

I love how it is just part of these shows, that characters can be queer and just exist as they are and we never need a PSA about it.

Good Omens had two lesbians, a nonbinary demon, two male presenting entities who are madly in love with each other, a shop owner with a partner who presents femme.

Righteous Gemstones essentially had a whole arc of BJ who is straight and cis becoming comfortable with his femininity and wearing pink and other colors and clothing styles his family made him feel like a freak for but Judy and her family makes him feel safe to be his true self. Kelvin and Keefe had whatever they had going on and nobody in the family questioned it or judged just judged Keefe for being a weird goth dude. Kelvin and Keefe kissing wasn’t a big deal for the others, they just now accept he’s part of their family.

Our Flag Means Death has had tons of poly relationships, we have Ed and Stede together, Pete and Lucius are engaged, we have whatever Izzy is doing with Fang and Frenchie, we had Jim and Olu and now Jim and Archie and maybe Olu, we have Jim a nonbinary person. We have so many queer characters and romances.

It is all so casual and there. There is no speech, there are no scenes and episodes explaining why somebody is gay or trans, they just are and it is so comforting snd beautiful.

[artist-issues]

Once More For the People in the Back:

- Lilo & Stitch is NOT about the evils of colonization.

It’s about a literal alien monster with no home coming to a planet and town where he doesn’t belong and being adopted as one of their own. Even after he destroys everything they love and build. Spin that into a metaphor for how terrible colonization is, if you can.

- Lilo & Stitch is NOT about the hardships people with dark skin inherently face.

It is about the hardships of people who lose family members and have to adjust to loving someone new. Nani is struggling to keep Lilo because she’s an 18 year-old orphan trying to play mom to a little sister who just needs someone to be her friend. She’s losing job opportunities because Lilo is trying to accept a destructive monster into their family with destructive results, not because she has dark skin.

- Lilo & Stitch is NOT about the evils of racism.

Lilo & Stitch is about an alien learning the meaning of family. Lilo explicitly demonstrates a hatred of tourists (not white people, just tourists, because Cobra Bubbles is implied to be a tourist in the same scene.) in one scene and that scene was deleted because it took the focus away from other scenes which made the point of the film more clearly. If a bad light is put on tourism, it’s to emphasize that Lilo has a problem with people leaving—”I remember everyone that leaves; I need someone who won’t run away; You came back; nobody gets left behind.”

And finally, drumroll please: 

-Lilo and Stitch is NOT about celebrating diversity.

Celebrating diversity is a fine message. It’s just not the one Lilo & Stitch is delivering. You’re thinking of Ice Age 4, where all kinds of animals make up a family; or Zootopia, where all all kinds of people can perform different jobs in society.

No. Lilo & Stitch is about what family means, and that is: unconditional love. Loving you at your worst and helping you to be better.

 The fact that the social worker is black, or male, has nothing to do with that main point. The fact that the Grand Councilwoman is female has nothing to do with the main point. The fact that one alien is skinny and one is fat has nothing to do with the main point. The fact that Nani and Lilo have dark skin has nothing to do with the main point—just like the fact that Stitch is blue has nothing to do with the main point.

Those factors might help in a peripheral way—(blue is the color the human brain associates with supernatural creatures; dark skin = Hawaiian = believably being brought up on the philosophy of ‘Ohana) —but you could still change any one of those things and it would remain Lilo & Stitch. 

By contrast, with a film that is actually about celebrating diversity like Ice Age 4, if you change the hedgehog into another mammoth you lose the point of the story. Or in Zootopia, if you make Judy and Nick both bunnies you lose the point of the story. Diversity is a fine point. Whatever. But it’s not the point of Lilo & Stitch. 

FORGET what you are hearing on Twitter in relation to the Live Action Movie. You can say what you want about how much you wish a certain shade of skin were representing the characters you love.

But if, to make your point, you try to argue that the original had ANYTHING to do with specific shades of color, demonstrating colonization and racism evils, or representing the hardships of POCs trying to get a job, you are being disingenuous. Or worse, you’re just tossing the real point of the movie carelessly over one shoulder so you can wedge a cause that it was never championing in where it doesn’t fit.

Try and make your point about how skin color and representation matters all you want, but you can’t honestly do it using the example the original movie set. The point of the original movie is just bigger and better than “skin colors should be given more attention.”

[meropegaaunt]

SOMETHING BEAUTIFUL

Chapter 00 / Broadway Baby

Love Astor was born in 1951 and raised in New York, New York. The daughter of Robert 'Robbie' Astor, the business mogul, and June Koch, the film star. As a child, Love made a name for herself on Broadway, but as a teenager, she delved into the world of rock 'n' roll.

LILIAN WILLIAMS (former acting coach, the Williams School of Musical Theatre): Oh, yeah, I remember Love Astor.

We met for the first time in ‘55, probably. ‘56 at the latest. Into the school came her mother, June (Koch), dressed to the nines. Think Jackie Kennedy. There’s no way that woman wasn’t going for the First Lady look. Honestly, you might have mistaken her for a politician’s wife rather than an actress. At her side was this beautiful little girl. “This is my daughter, Love,” June said, nodding to her look alike. Love, like her mother, had this long, thick black hair that fell all the way down her back. Her eyes were this stunning sea green color. To this day, they still remind me of the beach. And her cheekbones were sharp, so sharp the rich pay to have theirs come even remotely close.

“What can I do for you, June?” I asked, expecting her to request more lessons for herself, but no. Imagine my surprise when she said, “Love here has the potential to be a great singer, but she needs to be trained. You could help refine her voice, could help turn her potential into skill.”

It came as a surprise, because Love was so young at that point, no older than four. Most children start theatre training between six and eight, but June wanted her children to be like her and Robbie: extraordinary. Usually, I’d refuse to train a child that young, but then June had Love sing one of Judy Garland’s songs. “Over the Rainbow,” if memory serves, and her delivery was smooth, polished. I thought, This kid is going to be somebody when she’s older, and I . . . I want to play a part in making her somebody.

So we started training, and by the mid ‘60s, she was getting casted on Broadway. Playing a part in Camelot, Fiddler on the Roof, Dames at Sea, and Cabaret. A few of the parts were written for older women, but the ‘60s were a different time. No one batted an eye at a teenage girl being cast as a woman. And Love, she put everything she had into each and every part, earning her the love and attention of many. Hell, not even critics had anything bad to say about her . . . until her brother died.

─── ✧･ﾟ: *✧･ﾟ:* ───

On December 1, 1969, the U.S. Selective Service System conducted a lottery to determine the draft order for 1970. Stephen Astro, born March 14, 1949, was assigned lottery number 12.

LOVE ASTOR (singer, Daisy Jones & The Six): For the first eighteen years of my life, I lived at the whims of my mother. “Sing, Love. Eat better. Try harder at school,” she commanded, and I would without hesitation or reserve, because I had been made into a sponge, made to take in whatever orders she wanted. Then, my brother, my dearest friend in the whole world, got drafted, and it changed things. Stephen promised that he would return from Vietnam, that he’d be back before we even realized he was gone, but that was a lie. For eight months, there was radio silence, then word came that he died in Laos.

There was no body, so we buried an empty casket. And that . . . that broke me. I couldn’t bear the thought of him forever being lost, so I looked for something to quiet my mind, to numb the pain. That led me not only to the rock scene but to everything that came with it — drugs, alcohol, sex, and everything in between.

DALE WRIGHT (former bouncer, The Blue Room): I worked at The Blue Room from 1969 to 1974. It was a real sketchy club, bringing in folks from the seediest pockets of the boroughs, but goddamn was there good music. It (the music) drew in tons of better-off folks whose names I don’t remember, but I remember Love Astor. The first time I saw her, I was kicking out a junkie and in walks this bright-eyed, super skinny girl. She had the longest hair I’ve ever seen, and it was tied into some odd braid about her head. Her smile too . . . her smile was something else. It made you feel like you were the only person in the world. She was with some guy who was probably three times her age. He looked at her like she’d hung the moon, but she shed him by the end of the night and left on the arm of a roadie.

After that first time, she started coming in more and more. Four or five times a week, and each time, she’s make it a habit to talk to me and the rest of the club staff, to get to know us. Love was a real people person, you see. She was always happy, and wanted those around her to be happy, too. There was an innocence to her, a naïveté, which was why I made sure to keep an eye out for her. God knows no one else there was.

─── ✧･ﾟ: *✧･ﾟ:* ───

Word Count: 893 words

© Meropegaaunt 2023

[slaapkat]

IT IS TIME... FOR THE FOURTH ANNUAL COMIX OF THE YEAR!

admittedly, this year i've been SLACKIN', but finally getting the job of my dreams will do that to a person. I've still managed to read a fair bit! this year was huge regardless, from a fantastic trip to MEMPHIS where amidst the glitz and glamor of all things Elvis and roll&roll I finally managed to find the much-coveted Green Arrow (1988) #90 (well, much coveted to me), to an INCREDIBLE trip to LONDON to meet with my best pal @ufonaut for the SECOND time this year and bought so many comic books I genuinely struggled to pack it back with me and was this close to having to check a bag. seriously, so many comic books.

that being said, still an amazing year for comics! so let's hit it!

Justice Society of America (2022)

-Part of the reason I think this year went by so fast is because most of it was spent eagerly awaiting the next issue of the long anticipated JSA revival, headed once again by Geoff Johns. One of the few series that so far has been hit after hit, culminating this year with issue #8 with the official introduction of Ruby Sokov and a peak at the slow unraveling of Alan Scott's past. Perhaps the best part of the series so far are the nods to actual Golden Age history, one of which inspired another placement on this list after its discovery. While retcons are continuous point for many fans, including myself, I feel Geoff manages to weave together old and new canon together with such passion it can't help but feel natural.

2. Stargirl: The Lost Children (2022)

-I'll admit, this one was a surprise hit. Ordinarily, I hate it when a writer breaks into the scene with a ton of random OC's in the effort to make his mark, and I even mentioned last year that the characters introduced at the end of The New Golden Age (2022) #1 had me apprehensive at first. However, seeing them all in action instantly changed my mind. Stargirl and Red Arrow made for a surprisingly organic team, and all of the newly introduced sidekicks alongside the actual forgotten Golden Age ones once again help the whole thing feel natural, breathing new life into the once stagnant mini-universe of the Justice Society. My only disappointment, maybe, was that robo-Hourman wasn't actually evil. Oh well!

3. Universal Monsters: Dracula (2023)

-Sleeper hit of the century. I had no idea James Tynion IV was coming out with a Dracula adaption until I came across the cover of #1 by accident while ambling through my comic book store and was instantly so struck that I bought it without even reading it first. It might have helped that I was in the middle of listening to the podcast adaption of Dracula Daily (Re: Dracula) and so I had the good ol count on the brain. The comic itself is a relatively loose adaptation, but Tynion's writing combined with the phenomenal art ends up depicting the story with a fantastic dramatical and dreamlike (and as a consequence, inevitably nightmarish) quality. As I reach the end of listening to Re: Dracula myself, I'm excited to see what Tynion does with it.

4. Jay Garrick: The Flash (2023)

-Jeremy Adams wasn't winning any favors with me at first, what with the way it felt the quality of his Green Lantern run had taken a steep nosedive in recent issues, but I'm a firm believer in reading anything at least once so that if I'm gonna be a hater, I'm at least going to have a reason why. Color me surprised when his Flash story ended up so far ahead the other two Golden Age minis that it simply no longer compares. Judy was a fast (no pun intended) favorite from the moment I saw her Who's Who entry in The New Golden Age, and further still in The Lost Children. The story weaves itself naturally between the past and present and truly make Judy Garrick feel as though she's been here all along. It's also wonderful to be able to see Jay's wife, Joan, back in the spotlight!

5. Green Lantern: Earth One (2018)

-After seeing the hc trade staring me right in the face on the shelves of my comic book store for AGES I was finally goaded into reading it and boy I'm kicking myself for not having read it earlier. Beautiful art, beautiful writing, fantastic characterization. As much as I like alt universes they can be hit or miss, but this one was absolutely a hit. Dared to try something new with the medium while still keeping true to the source material. Also, Hal should have kept that beard.

6. Flashpoint (2011)

-Another story I can't believe I put off for as long as I did, for as much publicity and praise it's had. At the time I was still wary of anything Geoff John's wrote outside of his JSA or GL and also didn't care much for the Flash as a character generally. However, inspired by how much I liked Flashpoint Beyond and curiosity piqued by The Flash movie, I gave it a shot and found myself MUCH more entertained than I thought I'd be. Finally reading this story brought a lot of context to Thomas' character development throughout his arcs in Batman (2016), Infinite Frontier (2021), and Justice League Incarnate (2021), as well as how this arc finally completed in Flashpoint Beyond (2022).

7. Silverblade (1987)

-Somehow, 1987-88 was truly the magic year for comics. I've lost count of how many weirdly incredible and advanced titles came out of that specific year alone. A weird story in and of itself, it's hard to describe what exactly the appeal of it was unless you just Get It yourself. An old, washed-up Hollywood actor with nothing but a starry- eyed manservant for company who suddenly gains the ability to physically transform into any role he's ever played, including a swashbuckling visage of his younger self? Viewed through the right lens, it's captivating.

8. Green Lantern: War of the Green Lanterns (2011)

-Now, I've read all of Geoff's Green Lantern already years ago and I couldn't tell you what compelled me to read any part of it again, but I did and now I'm deeply tempted to give it a go all over again. This entry specifically entails the War of the Green Lanterns arc, itself told intermittently between Green Lantern (2005) and Green Lantern Corps (2006). I don't know, something about it was so much more refreshing to read compared to many recent story arcs of today. Maybe it was the way it was essentially self-contained between these two books, maybe it was the way it felt like it had actual substance, a beginning and middle and end, with real identifiable character arcs for all involved. I might be biased in that case, because it's subsequently one of my favorite pieces of Sinestro characterization, but Hal and even Guy, John, and Kyle have some shining moments in it, too.

9. Diamond Jack in Slam-Bang Comics (1940)

-Who is Diamond Jack, exactly? Well, to the unassuming reader he might have just been a random one-off mention of a name that Geoff dropped in Justice Society of America #2 with no real consequence to the overall plot of the story. Most people might have missed it entirely. Not us! Not only is Diamond Jack real, he's absolutely batshit insane. Hailing from an obscure Fawcett publication and lasting a mere meager six issues, he can best be described as peak Golden Age antics. Absurd but in a truly delightful way, it makes you wonder just how someone like Geoff Johns stumbled upon it. He turns into a vampire! He fights a sky demon! He has a magic ring he got from a guy named Warlock the Wizard! What's not to love! My only hope is that Geoff brings him back in more than name only and we get to see what exactly has him spatting with the Golden Age Zatara.

[hydrasshole]

✨️TELL ME ABOUT YOUR OCS✨️ From @vincentmatthews​

♡Name

Vanessa Ito

♡Nicknames

Van, V

♡Age

Twenty-seven

♡Pronouns

She/Her

♡Sexuality

Bisexual

♡Hair Color and style

Her natural hair is black but she’s constantly changing it. Currently, it’s a teal/green long bob with blunt bangs.

♡Eye Color

Naturally dark brown almost black but like her hair, Van tends to change it up pretty often. For the past year or so they’ve been white cyber eyes with pink rims.

♡Height

a whopping 5′1″/152cm

♡Body Type

Slender

♡Personality

Van is the type of person who loves to be the centre of attention. She has a big personality and is able to make friends with just about anyone, though those relationships are usually fleeting and in the moment. She is bright, bubbly, and loves to laugh, most of which is a defence mechanism to keep people at arm's length.

♡Tattoos

No tattoos

♡Piercings

She has her nose and ears pierced.

♡Any definable features such as: Birthmarks, Scars, Freckles, Beauty Marks, Accent when they talk, Lisp, Natural slurring of words, Walk with a subtle limp, ect.

A brightly coloured prosthetic arm which she lost as a child.

♡Hobbies

Singing, dancing, writing music, partying.

♡Gang/Occupation {Mox, Max Tac, etc}

In her early twenties, Van worked as a dancer on Jig-Jig street in order to support herself while trying to make it big in the rocker scene. Now that she's got a little more street cred, she's stopped working as a dancer and is making music full-time.

♡Do they smoke?

Most definitely. Not like a chimney but she goes through a couple a day.

♡Do they drink? Is so, what's their poison of choice?

Can probably drinks too much. Her poison of choice is whatever she can charm out of someone.

♡What do they usually wear on a normal day?

A normal day is going to be some tight shorts or comfortable pants, a sturdy pair of boots, a fun-coloured crop top and some sort of bomber jacket or vest, also in a bright, fun colour. She almost always shows a lot of skin, gotta show off that fashionware.

♡What do they wear when they "Get dressed up"? And what would be considered a "special occasion" to them {such as an "Oh they're gonna be there so I have to look my best." Or an "It's our anniversary".}

Probably something sleek and all-black with a nice pop of added colour in a coat. She always has to have some sort of colour on her.

♡What do they smell like? {For example: they smell like cinnamon flavored liquor, cigarettes, leather, and motor oil.}

Van is the kind of person who wants to be able to walk by someone and leave them going "whoa, what smells so good?". She changes it up a lot but she usually smells jasmine, orange blossom, and sandalwood mixed together is the usual for her.

♡How do they walk? Do they sway their hips? Do they walk with a sense of determination? Do they bounce as they walk? Etc.

Van sways her hips and definitely has a bounce to her step unless she's got places to be. Then her walk is straightforward and determined.

♡Are they more of an early bird or a night owl?

Night owl, for sure. She's a night life babe.

♡If you had to use one word to define them, what word would you use?

Bubbly

♡What words or catchphrases do they say that's unique to that character?

I'm not sure if she has one

♡Favorite Season

Summer

♡Favorite type of weather {Thunderstorms, sunny, etc}

Sunshine

♡Do they have someone they're with relationship-wise? If so, who?

Kind of. Van and Judy definitenly have something going on, it's just hard to let herself get close to someone again after losing Jackie.

♡Main Ship/Pairings

Judy

♡Side Pairings

A lil Van/River. Van/Takemura

♡How do they show affection to their loved one?

Van is definitely the kind of person who affectionately picks on the people she's closest with. For love languages, she definitely shows hers in acts of service.

♡How do they sit in a chair?

Like a goddamn goblin. Any which way- sideways, cross legged, upside down. She's constantly moving around.

♡How do they sit in a chair {uncomfortable version}

Perfectly still and straight, hands in her lap, feet together.

♡What do they wear to bed?

Most nights Van is falling into bed and passing out so it really just depends. If she's alone she might strip down to her underwear or throw some pajamas on but sometimes she passes out in whatever she was wearing for the day.

♡How do they usually sleep? {Side sleeper, back, fetal position, backwards, nest sleeper, blanket mountain, etc}

Fetal position, curled into a safe little ball.

♡How do they sleep in a place they don't know? {Can't due to anxiety, in small bursts of sleep that are short lived, holding themselves, etc}

Van can sleep basically everywhere. When she's somewhere new, if she isn't absolutely wasted, she's a light sleeper due to paranoia.

♡Do they have to have a form of "white noise" in order to sleep? {The sound of a fan, the sound of rain, the sound of a city, etc}

Growing up in Night City has made her pretty accustomed to the sound of it. Sleeping without the sound of the city is difficult for her.

♡What's a place they go to feel comfortable, that's their "spot" they always go when they're upset?

El Coyote Cojo has been the main spot since meeting Jackie. The Welles' are the closet thing Van's ever had to a family.

♡What do they do when they're nervous? {Fidget with jewelry, pick at nails, bite nails/lips, play with knife/zippo lighter, etc}

When Van is nervous her legs tend to bounce. If she's sitting, one will bounce incessantly and if she's standing, she'll bounce on the balls of her feet.

♡What is their "tell" for lying?

When she's lying, Van will start fidgeting with her jewelry.

♡What is their favorite color?

She loves then all but her favourite is pink and teal.

♡Favorite flower/plant

Cherry Blossoms.

♡Favorite sweet of choice

Pretty much all of them. She's a big sweets person.

♡Do they have any pets? If so, tell me about them

Van isn't a big animal person as she can barely take care of herself but since finding Nibbles, she's decided that she is, in fact, an animal person. Is Judy the one who feeds him most of the time? Yes.

♡If they could visit anywhere in the world, where would they go and why?

Van would love to go to Tokyo one day. About the only thing she knows about her family is that her father was born there and she would like to see where she came from. Maybe even find some relatives along the way.

♡What is their favorite comfort meal?

Van spent the first portion of her life only eating kibble as it was the only thing she could afford. The first time she ever ate anything but she was in her teens and it was noodles from a small shop just off Jig-Jig street. She still goes there all the time.

♡Do they have a food they hate?

K i b b l e

♡What is their favorite {non-alcoholic} drink?

Probably soda. Any flavour, any time.

♡What are their plans for the future {if they have any}?

Get as famous as she can before she ends up dying. Live the best life she can for the next six months. Maybe figure out how to not die.

♡What's a song that "fits" them?

Daisy by Ashnikko

♡Give me 5 facts/random bits of information about them

Van was originally a Cyberpunk Red character I never ended up playing.

During her time as a dancer on Jig-Jig street, she had a cybersnake installed in her throat for extra protection.

Losing Jackie was the first time Van allowed herself to grieve since her parents died. If soulmates exist, she's convinced that he'd be hers, whether that was simply platonic or something more, she'll never know now.

She used to really look up to Johnny Silverhand but now that he's like a disease in her head, she's over it.

Van's never been away from the pacific coast and she's barely been outside of Night City.

♡Give me their backstory {can be long, or brief.}

Here's the bullet points

Both of Van's parents worked for Arasaka when she was young.

They lived in a nice corpo apartment provided by the company.

Her father was Sota Ito.

Her mother was Yui Ito.

Her brother is Soichi Ito.

She was born Momoko Ito.

When Van was 3 her parents were killed by the very company they worked for, resulting in her life being torn to shreds.

Her brother Soichi, who was only 13 at the time, took it upon himself to take care of them.

He changed their names out of fear Arasaka might come for the two of them, too. Van only has memories of being called Vanessa.

He got odd jobs for cash where he could, mostly running various things for gangs.

As she got older, Van did the same thing. Running the streets of Night City with a small group of other kids like her.

When she was 15 her brother revealed to her that he got a good corpo job.

Shortly after he told her about the job, she found out it was for Arasaka.

The two had an explosive fight which resulted in nasty accusations and hurt feelings. Over the years since they've tried to reconnect but as Soichi continues up the ranks and Arasaka, Van can't find it in herself to forgive him.

After finding out about her brothers job, Van took to music like any brooding teen would.

Johnny Silverhand being her favourite artist as both his music and his attempt to take Arasaka down were inspiring to her.

She worked her butt off to get better, writing songs, learning to play instruments.

To sustain herself but still have the freedom to do shows at whatever seedy bar would take her, Van started dancing at various bars on Jig-Jig street.

♡Free Space! Give me any sort of extra information about them you'd like to share

~

Hope you enjoyed this and feel free to attach any images/aesthetics that represents them💕

[byneddiedingo]

Natalie Wood and James Dean in Rebel Without a Cause (Nicholas Ray, 1955)

Cast: James Dean, Natalie Wood, Sal Mineo, James Backus, Ann Doran, Corey Allen, William Hopper, Rochelle Hudson, Dennis Hopper. Screenplay: Stewart Stern, Irving Shulman, Nicholas Ray. Cinematography: Ernest Haller. Art direction: Malcolm C. Bert. Film editing: William H. Ziegler. Music: Leonard Rosenbaum. 

Rebel Without a Cause seems to me a better movie than either of the other two James Dean made: East of Eden (Elia Kazan, 1955) and Giant (George Stevens, 1956). It's less pretentious than the adaptation of John Steinbeck's attempt to retell the story of Cain and Abel in the Salinas Valley, and less bloated than the blockbuster version of Edna Ferber's novel about Texas. And Ray, a director with many personal hangups of his own, was far more in tune with Dean than either Kazan or Stevens, who were shocked by their star's eccentricities. Granted, Rebel is full of hack psychology and sociology, attributing the problems of Jim Stark (Dean), Judy (Natalie Wood), and John "Plato" Crawford (Sal Mineo) to parental inadequacy: Jim's weak father (Jim Backus) and domineering mother (Ann Doran) and paternal grandmother (Virginia Brissac), Judy's distant father (William Hopper) and mother (Rochelle Hudson), and Plato's absentee parents who have left him in care of the maid (Marietta Canty). In fact, Jim and his friends really are rebels without a cause, there being neither an efficient cause -- one that makes them do stupidly self-destructive things -- nor a final cause -- a clear purpose behind their madness. Fortunately, Ray is not as interested in explaining his characters as he is in bringing them to life. Unlike Kazan or Stevens, Ray gives his actors ample room to explore the parts they're playing. There's a loose, improvisatory quality to the scenes Dean, Wood, and Mineo play together, more suggestive of the French New Wave filmmakers than of Hollywood's tightly controlled directors. It's no surprise that both Jean-Luc Godard and François Truffaut were admirers of Ray's work. At the same time, though, Rebel is very much a Hollywood product, with vivid color cinematography by Ernest Haller, who had won an Oscar for his work on Gone With the Wind (Victor Fleming, 1939), and a fine score by Leonard Rosenman. Most of all, though, it has Dean, Wood, and Mineo, performers with an obvious rapport. At one point, for example, Dean puts a cigarette in his mouth backward -- filter on the outside -- and Wood reaches out and turns it around, a bit establishing their intimacy that feels so real that you wonder if it was improvised or developed in performance. (In fact, I noticed the gesture because I had just seen Billy Wilder's The Lost Weekend, made ten years earlier, in which Jane Wyman performs the same turning-the-cigarette-around action for Ray Milland several times. Cigarettes are nasty things but they make wonderful props.)

[septembersghost]

Not sure if I've seen the Wizard of Oz film completely. But we read his books. I remember a friend had Ozma of Oz book adaptation version maybe- bit. ly/3O24wOe Maybe it was a coloring book we saw- it was of someone changing heads. Lol- kinda got freaked out. bit. ly/450iK88 One of the characters was called Tik-Tok. Traumatizing- but I do have the Judy Garland version- so someday.

oh my goodness, you MUST see the film all the way through some day, it's a classic! this is funny though, because i never saw return to oz due to the fact that i had a childhood friend who was terrified by it. (and one of my cousins was terrified of the wizard of oz - the wicked witch of the west gave him nightmares! actually a rather sad thing, because margaret hamilton loved children and was constantly sorry that her performance caused them to be scared of her. there's also unfortunately endless upsetting behind-the-scenes lore, but i didn't learn any of that until much later in life and have tried to keep it separate from my childhood innocence of loving the film.) i read the baum books as a child too, and have a beautiful illustrated edition, although it's been such a long time that the memory of the text has faded a bit. (my strongest recollection is the fact that, in the book, the emerald city isn't emerald at all, but only looks green due to the wizard making everyone wear green tinted glasses. the movie is more magical and technicolor!)

i had a somewhat similar experience with wicked - my interest in the music stemmed from that formative love of the wizard of oz, i was very passionately invested in it back in the day, and i read the book a bit later and was like 😳 because the themes are FAR darker and more disturbing than the story adapted for the stage. it's always interesting to see transformations like that, and how much a story's interpretation can impact culture and its legacy!

[mygreatadventurehasbegun]

One Dress a Day Challenge- Part Two!

Not a Dress November

Meet Me in St. Louis- Judy Garland and Lucille Bremer as Esther and Rose Smith

Now, I’ve talked about this movie’s costumes a lot...but I never did mention these beautiful dressing gowns that Rose and Esther wear before dinner in an early scene in the movie.  First of all, I love how coordinated they are...wearing basically the same robes, just different colors (and still fitting into their character’s color palettes...Rose living in earth tones and Esther in vibrant blues).  And I do think each robe has different flowers along the bottom halves, which is a nice touch.  And I love the different colored fabric for the linings!

And these two robes show up again on extras in The Harvey Girls!

[lumpyrock]

This is going to be a very long post about Pufnstuf. It has some unpopular opinions. I had no clue where my DVD copy was, so I watched it on Internet archive, some of the notes will by biased because of that. You have been warned.

My notes on H.R. Pufnstuf from August and September of 2022

Ranking of the episodes

The Birthday Party (episode 7)

Jimmy Who? (Episode 17)

The Visiting Witch (episode 14)

The Golden Key (episode 6)

The Magic Path (episode 1)

The Wheely Bird (episode 2)

Tooth For A Tooth (episode 13)

The Almost Election Of Witchiepoo (episode 15)

The Mechanical Boy (episode 4)

You Can't Have Your Cake (episode 9)

The Stand In (episode 5)

Show Biz Witch (episode 3)

Dinner For Two (episode 11)

The Box Kite Kaper (episode 8)

Flute, Book, And Candle (episode 12)

Whadda Mean The Horse Gets The Girl? (Episode 16)

The Horse With The Golden Throat (didn't even watch it, episode 10)

I took statistics, because of course. (This discounts episode 10, because I am kind of scared of it, (and also I am an imperfect human) so take this with a grain of salt)

Number of times "witch" was said (discounting Witchiepoo but includingthe intro): 245

Average per episode: 15.3

Number of times "Flute" was said (including the intro): 86 (why so low?!)

Average per episode: 5.3

Number of times someone got whacked (as in a witch (including Jimmy in that one episode and the lackeys) hitting someone else): 70

Average per episode: 4.3

Number of times someone (Freddy) said "I'm scared" (again, discounting episode 10): 10

Average per episode: 0.6

Number of times it was the full intro: 13

Number of times it wasn't: 3

"I sure hope so": 7

"Keep those cards and letters coming": 8

This is already so long. ☆ means I thought the episode was notable. W is how many times "witch" was said in the episode, F is same for "flute", WH is for whacks. (This means I'm adding context or new notes), 'this means it is not a quote from the show but is supposed to be said by a character', "and this is a quote from the show". Let's get this long post even longer. Will use shortened titles, and the notes are in order of The Magic Path to Jimmy Who?. I have no clue what I was thinking for a lot of these, please forgive me.

Magic Path notes ☆ (full intro)

Why don't ya just get rid of the witch? You're the mayor!

Pufnstuf seems really fed up with Dr. B (Blinky) in one scene.

Dr. B is comedy gold!

This song feels really close to home.

Judy! *starts screaming*

The idea that those skeletons are real.

Even though we never saw him in the real world, it feels like he was actually there. (I think that was in comparison to the movie)

Unlike the coloring book, the order they run out of the castle Jimmy, Judy, Pufnstuf. (Had just done a coloring book video)

Other episodes have more characters, so it's harder to say goodbye, they've been here like a day.

How does the Magic Path work?

It didn't dissappear! It's still there!

Just runs away.

Racist. I love Jimmy's reaction shot right after.

80's freeze frame in 1969.

I sure hope so!

I love this, I love this so much.

W 16, F 10, WH 5

Wheely Bird notes ☆ (full intro)

It's wheely bird, not whirly bird.

Are the other candies alive?

"Nothing, we wanna do nothing."

'I would die for him', that sounds pretty gay.

"I just gotta protect Jimmy", that sounds pretty gay.

Forget about Freddy song.

I think Dr. B is just like that.

"All the good guys (...)", thousands died because of them.

And the trend of using real fire goes on.

Cling and Clang seem like toddlers.

Pufnstuf flirting with Orson joke.

Orson is one of those people.

"It worked too well, he's fallen in love with us!"

"Now, how do we get rid of our boyfriend?" (Not sure if that's an actual joke)

'I'm kidnapped and my first thought is Jimmy', these jokes write themselves.

'I would die for you!' 'I would die for you more!'

Another gay joke.

Are wands guns?

Forget about Freddy song, again!

This episode was gay.

I sure hope so!

W 10, F 12, WH 1

Show Biz Witch notes (full intro)

Judy's in the background doing what I do. (I think I ment stimming, but I'm not sure)

Jimmy's face.

They don't tell you about buttons until episode 3.

Jimmy says MC.

Pufnstuf saying weird things.

Love yourself like a witch.

A pear isn't square. (What?)

Dr. B and LL (Ludicrous Lion) are the only two that don't run off and instead hug each other.

I never realized how gay this show is.

Breaking up the band will come back later.

The idea that Witchiepoo has killed and is willing to kill.

Assault the guards, great morel for a kids' show!

'I cannot live without Jimmy.'

'We just threw someone into boiling water.'

Pufnstuf and Jimmy are kinda jerks in this one.

I sure hope so.

W 11, F 7, WH 4

Mechanical boy notes ☆ (full intro)

Wow, the Jimmy Diaries were based on something. (Old fanfic I wrote when I was 12)

First time (pretty sure only) Jimmy gets misgendered.

"Big dumb-o!"

Again with the real fire.

Cannon, Cling and Clang make bubbling sounds.

"I am sorry, I can not give out that information!" (ICONIC!)

How the hell do you know it's a time spell?

First time Jimmy gets brainwashed.

'Here Dr. B, take Freddy!' *throws Freddy*

Outside of backgrounds, first time we see the clock people.

"I have 24 hours." 'Jimmy, sit down.'

Pufnstuf is cute to the women of the island.

Time dohicky, only works once!

I love the Cuphead music in the background! (???)

I sure hope so.

W 15, F 10, WH 4

Stand in notes (full intro)

Very jarring, all of a sudden in wide screen. (That is on internet archive)

There's a second floor to Pufnstuf's cave.

Hi Shirley, thanks for confusing Pufnstuf lore.

The only Pufnstuf girl I didn't want to date.

It's as if they took all the pink and put it on her, she sticks out like a sore thumb.

"If it wasn't for this man," turns to Puf, "my producer, Toadinof!"

Shirley with her dead arms.

Jimmy's face.

Jimmy always plays the bad guy in Shirley's films.

Make up!

Jimmy and Pufnstuf saying goodbye makes me sad.

"I don't think of you as a woman, I think of you as a witch!"

Sweet karma with setup and payoff!

Again with real fire! At least it has a cute story. (Cute long story.)

Keep those cards and letters coming!

W 17, F 4, WH 7

Golden Key notes ☆ (full intro)

(This is a better magic path, sue me.)

This is hyping up a lot more than magic path, and we aren't even a minute in!

"A secret, genuine, escape map which leads to the golden key which opens the magic golden escape door." (Magic Path never that world building!)

"Quick, let's hide!" Someone found them in two seconds.

"Makes every war sound!"

Use the magic compass key!!!

At the end of the road, halfway through!

Does Witchiepoo use Amazon? (No!)

Jimmy sounded like he was in a horror movie.

They said it! They said it! (What did they say?!)

I sure hope so!

I really like this episode!

W 9, F 8, WH 3

Birthday! Notes ☆ 💔 (full intro)

Jimmy Diaries was based on something.

The camera's shaking like crazy.

Oh Jimmy, be happy! It won't last long.

This makes me feel really happy!

I love this song!

Now I'm mad cause Witchiepoo has to ruin it!

We're getting the band back together!

I'm really sad now.

Why can't this episode just be happy?

"When the witch finds out, *ha ha*, she's gonna kill me!" *laughs then faints*

This got really dark really fast.

At least Judy's in this one.

The witch is willing to kill a flute!

Very relevant.

The freaking puppets wear it (the masks) right.

Witchiepoo seems like such a Karen.

I sure hope so!

This broke my heart. 5 stars.

W 10, F 8, WH 2

Box kite kaper notes (full intro)

How much is a gold button worth? Is it like gold standard? (Fun fact, a normal button is worth $2.50 USD!)

LL is a gambler!

LL would pay off the four winds. (What context would lead to that?)

'Hey dad, can we get a box kite? For going home reasons.'

Jimmy just looked at Puf like he said an F bomb.

I love the Witchiepoo costumes.

There's a top level entrance. (Huh?)

(Drawing of a wand being broken I think?) Does it snap? (What?)

She's drugging them, again!

Like I said, it'll get harder to say goodbye.

Kite pun.

Don't say anything until you're safe!

Bomb an 12 year old!

Almost murder a 12 year old!

Joke from the movie.

I sure hope so!

Not very good, too much filler.

W 4, F 9, WH 2

No cake notes ☆ (full intro)

Judy! Moon walk! Argh!

When measles wasn't almost gone!

Maybe I should memorize it! (Refering to the moon walk, if I need to prove my endurance, I'll do it.)

Clang's hat tip.

"How stupid do they think I am?" "Very." "Very what?" "Very stupid."

"That's what I think, I think."

First full Judy episode since Magic Path!

"He's drunk with power!"

'I'm just gonna jump out and scare some toddlers!'

'Let's defeat them with dancing!'

And Judy is safe!

Keep those cards and letters coming!

I rank it Judy, I love her!

W 4, F 4, WH 10

Dinner for 2 notes (cut intro)

Time dohicky: probably not gonna go right!

Is it bad I can relate? (I think it's a note to loneliest witch but I'm not sure)

Jimmy, you're never going home.

Alright, it is stated he's 12.

"At least I think he's alive."

"Is that your nose, or are you eating a banana?"

Hot milk and cookies: the way to Jimmy's heart!

Find the witch a man! It's for your own sake!

Witchiepoo was a baby at some point!

Keep those cards and letters coming!

Meh, not very notable.

W 16, F 2, WH 1

Flute, Book, & Candle notes (full intro)

Terrible video quality. (This is on all platforms)

Mushrooms, just mushrooms.

Books can have siblings.

His name is just Candle.

Artful Dodger reference.

*kicks them* "Bye now!"

The book has a beard.

It just cut off half the song!

There was no see you next week!

Worst episode so far.

W 9, F 2, WH 3

A Tooth For A Tooth notes ☆ (cut intro)

So a love potion?

The fact that a witch raid is par for the course.

A doctor has to treat a patient.

"Yoo hoo, feathered medicine person!"

7:08 (on internet archive), this scene cracks me up.

The origin of the 'oh, my poor ace friend' meme. (Meme I created. It's not a real meme.)

Witchiepoo's face.

This episode's giving me tooth rot.

This was the closest he ever got to going home.

Keep those cards and letters coming!

I like it but I don't know what to say about it.

W 22, F 0, WH 11

Movie Episode notes ☆ (cut intro)

Slowed down, yay! 🙄 (on internet archive.)

Judy! And others.

Yay! Their gonna kill off horse!

If I get a kiss from Judy, Hell yeah I'll go! (No. Shut up. Don't don't do this to us.)

Stupid bat and horse have the same voice.

That means Judy has to leave... 😥

Another kiss?! Sign me up! (SHUT UP!)

Why do they have to say witch so much?

Buy our Pufnstuf plush!

Judy is the idea frog!

Jimmy does drag!

'How dare you say I'm not pretty.' (I think it was supposed to be an incorrect quote, but I'm not sure.)

*lifts up wand* *recoiled*

*breaks wand*

"I hereby banish you from Living Island, forever!" (Why can only boss witch do that?)

Keep those cards and letters coming!

W 69, F 0, WH 10

Election notes ☆ (full intro)

Slowed down (on internet archive), again!

No one wants to run against Pufnstuf.

"If a lumpy dragon can be mayor, why can't a pooped out pigeon?" (I'm not a dragon, I'm changeling!)

"We women have a right to change our minds!" Take that as you will!

Jimmy writes his own songs.

Judy!

Yeah, but Judy kissed you too! This is why I don't like horse. (No, you hate him because he's a backstabbing hypocrite and because of episode 10.)

"There's only one thing to do... PANIC!"

Jimmy shrugs.

'I'm a shooter and I'm running for president. See? I didn't bring my gun.'

The witch just did a Trump move.

'Uh, uh, he's honest!'

I love Pufnstuf sobbing.

You went down to her level!

Keep those cards and letters coming!

W 10, F 2, WH 2

Western Horse notes (full intro)

Horse has a crush on Shirley. Ugh...

You need to make money to get rid of the witch?

Freddy's a background character nowadays?

I forgot about the witch.

Nothing about Freddy. It's the forget about Freddy song all over again!

This is why I hate horse.

'Jimmy doesn't need to go home, let's make a movie!'

Not even a word about Freddy.

"I ain't Mary Poppins!"

"What happened to Horse and Shirley?" And Freddy.

Suicide joke! You know, for kids!

What happened to Freddy? I want my dude in distress!

"Now, I got the whole gang." What about Freddy?!?!

Keep those cards and letters coming.

😒 0/5

W 10, F 2, WH 1

♡ Jimmy who? Notes ☆ yes! (Full intro)

Jimmy falls and almost cracks his head open.

Horse.

"No, who's Jimmy?"

Yay! Freddy's back!

I love a jump cut.

"I'm an owl, I'm supposed to say who!"

'Jimmy, sit down.'

Birthday flashback.

'I'm getting outta here.' 'Jimmy, sit down.'

Artful Dodger flashback.

'Let's leave the kid who wants to leave alone! He totally won't leave!'

And Freddy's gone. Well, it was fun while it lasted!

The trees go into the castle.

They mentioned him! (Freddy)

Mechanical boy flashback.

Milk and cookies. Our hero, lady's and gents!

"Why did you break in here? Leave this poor lady alone!"

He chooses wrong!

'Witchiepoo who?'

Keep those cards and letters coming!

W 13, F 6, WH 4

And that is all my notes. That was so long. I'm sorry.

[tvrningout-a]

1oo﹕ sender  has  just  died ,  receiver  finds  out . Judy and yu big pain :<

NONVERBAL PROMPTS | @fanaticist chose violence :(((

he thought he had more time.

he didn't think it would do any harm to be away for a week -- just one, just long enough for yubari to sort through his feelings. he only needed a little time to consider what he was doing, if it was really fair to keep what he is from her. he needed a little time to consider how to handle johan if he was always going to be a constant in judy's life. yubari just needed a little time. just a little.

he shouldn't have taken his time. he shouldn't have convinced himself that distance would do his judgement some good because it didn't. he still felt the same way, still wanted to be with judy, still wanted to punch johan in the face. all that came of it was the decision to tell judy what he is, and wouldn't he have settled on that anyway?

damn it -- damn him. he should have spent that time with judy.

" sir? " red-rimmed, green eyes set in a kind, elderly face look at yubari with sympathy, but he barely registers it. he barely hears her. it's like there's just... nothing. no sound, no color, no shapes. there's nothing. there is only a hollowness, a numbness, a choking sensation. that's the only reason yubari knows he still exists, knows his soul is still tethered to his body. he can feel the tightness of his throat.

the rain startles yubari out of his stupor, or rather, the old woman does as she grips his shirt and tugs him along behind her. he follows her without question into what he assumes is her home, still feeling a little like he isn't really himself, like a ghost watching a scene unfold. the downpour is relentless, and the cold bites at his skin ( only because he allows it, trying to ground himself ). he wonders if he caused the sudden storm. the weather had been nice, fair until...

" here, " the old woman addresses him, holding up a handkerchief. yubari shakes his head ( is his voice gone, too? is he fading away? this has never happened before ), but she pushes it into his hand anyway and holds it there ( her hands are warm and worn ). " don't try to be polite or pretend to be strong. i'm too old to remember whether a man cried in front of me or not. "

her hands slip from his, and while yubari gazes down at the blue square of fabric, he realizes he is crying. as each tear plops against the handkerchief, a feeling swells in yubari's chest that he isn't wholly unfamiliar with. he's mourned humans before; he's cried for them before. but this is different. this isn't some person he only knew from a distance, or a person he merely felt responsible for. this is judy. this is someone he-- he loved.

something in him snaps. this is heartbreak. yubari never knew it could hurt like this, that sorrow and regret could swirl together so painfully. heartbreak always sounds so trivial, small. it's never irreversible, always remedied by an honest conversation with one's lover, but yubari can't speak to judy. he can't tell her everything he wanted, can't show her the life he hid from her. he can't tell her just how deeply his feelings run, that she made him want things -- she made him wish. he can't tell her anything ever again. and somehow it feels like it's all his fault ( why did he leave? why couldn't he have just told her? ).

he presses the handkerchief against his eyes -- probably with a little too much pressure, but his eyes burn anyway. they burn, he feels like he's suffocating and having a heart attack all at once, and--- and the old woman is holding him, rubbing soothing circles into his back, and yubari, for once in his life, doesn't give a shit about looking composed. he crumbles in her arms, cries against her shoulder, chokes out muffled sobs.

oh, what a fool he is. what damned fool.

[judybasha]

Assignment 4 Judy Basha

reflection:

Composition is crucial to photography as it has the potential to alter the way an object appears in the frame. Composition is the camera angle, the object’s placement, changing the size of an object in the frame, making the object dominant or less empowered. Composition is how things within the frame are kept in balance. Composition covers elements like the camera angle, where an object is placed, how big it is in the frame, and whether it is more or less prominent. Composition is the method used to achieve harmony and balance inside the frame. Whether an object catches your eye immediately or something that catches your interest later as you look further into the frame, the composition also comprises dominant contrast and subsidiary. I personally think that this assignment really provided us with insight into how to position objects within a variety of guidelines, including how we should just not place objects in the middle of the frame as per the rule of thirds, how light direction works, and how we started taking it into consideration, how we stage objects in the frame to create some sort of lateral frame, as well as the texture and color, and also how you frame people in full shot, medium shot, and close-ups framing objects. I think the mise-en-scene in photography has several meanings, including composition. All artists agree and use composition as a powerful technique in the majority of their work to achieve professionally staged artworks. Photographers may produce aesthetically beautiful pictures and visually captivating images by adopting the fundamentals of composition and employing them effectively. This will prevent the viewer from becoming disengaged.

[adamwatchesmovies]

The Wizard of Oz (1939)

Movies don’t get much more magical than The Wizard of Oz. It’s been referenced and parodied endlessly. You’ve probably seen it dozens of times playing on TV. You know its iconic scenes by heart, but that doesn’t matter. Even decades later, the wonder has not diminished one bit.

Running away from her home after her cruel neighbor threatens her dog Toto, young Dorothy Gale (Judy Garland) is whisked away by a tornado to the magical land of Oz. Meeting up with a Scarecrow (Ray Bolger), a Tin Man (Jack Haley), and a Cowardly Lion (Bert Lahr), the newfound friends set off for the Emerald City, where the Wizard of Oz will grant them their fondest desires.

There’s a lot you could say about The Wizard of Oz on a technical level. The beautiful matte paintings, the costumes, the makeup, the dance choreography, the brilliant use of color contrasting the sepia-tone photography, the sheer imagination present... but dissecting the film, separating each element that works just feels wrong. When you watch this film, it’s as a whole. Every element, on-camera and off, work in such perfect unison that no single element is "the best". You can’t separate the heartfelt and sweet performance of Over the Rainbow from Judy Garland anymore than you can think about the Scarecrow without his introductory song. You may have a favorite scene, or a favorite character, but if your favorite is the Wicked Witch of the West (Margaret Hamilton), I say you’re forgetting about the Cowardly Lion. Can't you just immediately picture the makeup effects that bring the character to life? Didn't his iconic speech pattern just pop into your head? Don’t you want to imitate it out loud? “Currage! Hrammph!” It’s a film that’s easy to surrender to. You fall in love with everything about it.

This is a sweet story with universal appeal and endless rewatch value. As a kid, you’re drawn in by Dorothy; so sweet and innocent with her little dog. As an adult, it’s a trip down memory lane to simpler times. You marvel at the technical prowess of the filmmakers and learn to truly appreciate the quality of the songs found throughout. Be careful or you’ll find yourself singing, or even dancing along with the colorful citizens of this strange world. That’s when you’re not laughing or holding back tears. There’s a certain quality about great children’s films that make them cut deeper than the deepest dramas and bring forth the biggest laughs. Dorothy may have come from Kansas, she may have grown up in a place that seems so very far away by today’s standards, but that distance is nonexistent when you’re watching.

I’d wager that a lot of people will tell you that this was the very first film they saw. It's a thought that fills me with joy. This is one of those musicals even people who don't like musicals will make an exception for. It’s a torrent of smiles flowing from the screen. The Wizard of Oz is movie magic. (On Blu-ray, September 30, 2017)