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gffa · 4 years

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Star Wars: The Clone Wars – Stories of Light and Dark, coming August 25, promises to be a beautiful tribute to the just-completed animated series. The anthology will collect 11 stories by 11 authors — Lou Anders, Preeti Chhibber, Zoraida Córdova, Jason Fry, Rebecca Roanhorse, Greg Van Eekhout, Tom Angleberger, E. Anne Convery, Sarah Beth Durst, Yoon Ha Lee, and Anne Ursu — including 10 retellings of memorable episodes and arcs and one original Nightsisters-based story. So if you loved the tales of Ahsoka, Maul, and clanker-busting clones, Star Wars: The Clone Wars – Stories of Light and Dark will give you the chance to experience them again in a whole new way. Like Captain Rex on a recon mission, StarWars.com reached out to each author to learn why they love The Clone Wars, and which stories they’re telling. Lou Anders (“Dooku Captured” and “The Gungan General,” based on the episodes of the same name): I love The Clone Wars for expanding the story of Anakin’s fall from grace. Skywalker really shines in the series, and we see what he truly was, and what he could have been, and by giving him so many opportunities to excel in the early season, his ultimate fate is that much more tragic. I also love the series for gifting us my all-time favorite Star Wars character, and one of my favorite characters from any universe — Hondo Ohnaka! My chapter is a retelling of the first season story arc that plays out across the episodes “Dooku Captured” and “The Gungan General.” I wanted to explore this storyline because I find Count Dooku a fascinating character. Sometimes pure, mustache-twirling, mwa-ha-ha evil can actually be boring to write, but a villain who feels they are justified, either because of perceived slights or intellectual superiority or the failure of their rivals or birthright are much more interesting, and Dooku is a bit of all of this. For research, I obviously watched tons of Clone Wars. But I also read up on everything about Dooku I could find, and I listened to Christopher Lee and Corey Burton’s interpretation of the character over and over, trying to internalize their speech patterns. Dooku is so gorgeously supercilious. It was just a blast to get in his head and see the world from his perspective. (And the fact that the storyline gave me another chance to write for my beloved Hondo Ohnaka was an added bonus!) Tom Angleberger (“Bane’s Story,” based on the episodes “Deception,” “Friends and Enemies,” “The Box,” and “Crisis on Naboo”): There’s a lot to love in The Clone Wars, but I think it’s Ahsoka’s arc that really stands out the most. Ventress’s arc does, too, and the way that these arcs cross at the just the right moment is really great Star Wars! My chapter is based on the “Crisis on Naboo” story arc. It’s basically a Space Western. The baddest bounty hunter of them all, Cad Bane, is hired to kidnap the Chancellor. What he doesn’t know is that almost everyone is lying to him, especially a fellow bounty hunter who is really Obi-Wan in disguise. In the TV version, we see it all from Obi-Wan’s point of view, so we know that Bane is getting played. In this retelling, we see it all from Bane’s point of view and, boy, is he going to be mad! To prepare I watched both The Clone Wars AND old spaghetti Westerns starring Bane’s inspiration: Lee Van Cleef. Preeti Chhibber (“Hostage Crisis,” based on the episode of the same name): I love the story that the prequels tell, but because of the nature of what they were trying to do — tell a decade and a half worth of story in three films — we’re missing major moments in what the war really means to the galaxy at large, and in the Skywalker saga itself. The Clone Wars tells us that part of the narrative, it gives us the shape of what entire populations of people had to go through because of this war manufactured by the ultimate evil. And within that scope gives us the hope and love and beautiful tragedy we associate with Star Wars on a larger scale. (Also, Ahsoka Tano — The Clone Wars gave us Ahsoka Tano and for that I will be ever grateful.) I’m writing Anakin’s story during “Hostage Crisis” — an episode in the first season of The Clone Wars. I decided to write the story entirely from Anakin’s perspective, which meant being inside his head before the fall, but where we are starting to see more of the warning signs. And then there’s also the romance of this episode! Anakin’s love for Padmé is real and all-consuming and, as we eventually find out, unhealthy. So, this is a romantic episode, but one that shows us Anakin is ruled by his heart. And that that’s a dangerous thing for a Jedi. In order to best wrap my own head around what was going on, I watched the episode itself several times, and read the script, and then I watched the chronological episodes of Anakin’s run-ins with Cad Bane, so I could get a real feel for where he was with his understanding of Bane’s character. E. Anne Convery (“Bug,” based on the episode “Massacre”): I love it because I think it’s a story that manages, while still being a satisfying adventure, to not glorify war. It does this mainly by following through on the arcs of wonderful, terrifying, funny, fallible, and diverse characters. From the personal to the political, The Clone Warsredefines the ways, big and small, that we can be heroes. My chapter is the “original” tale, though it still touches on The Clone Wars Season Four episode “Massacre,” with brief appearances by Mother Talzin and Old Daka. If I had to boil it down, I’d say that it’s a story about mothers and daughters. Honestly, it felt a little like cheating, because writing new characters meant I got to be creative in the Star Wars universe somewhat unencumbered by what’s come before. I did, however, have several long text chats with Sam Witwer because I was interested in Talzin’s motivations. We talked about stuff like her capacity (or lack thereof) for love. I think I came away thinking she was more a creature driven by issues of power, control, and the desire for revenge, whereas Sam was a little kinder to her. I mean, he is her “son,” so you can’t really blame him for wanting to think better of her! I always love a story within a story, and I was interested in the space where the high mythology of Star Wars and the home-spun mythology of fairy tales could intersect. I drew on my own background in mythology, psychology, and the language of fairy tales, plus I did my Star Wars research. Re-watching the Nightsisters episodes was just plain fun. Zoraida Córdova (“The Lost Nightsister,” based on the episode “Bounty”): The Clone Wars deepens the characters we already love. It gives us the opportunity to explore the galaxy over a longer period of time and see the fight between the light and the dark side. Star Wars is about family, love, and hope. It’s also incredibly funny and that’s something that The Clone Wars does spectacularly. We also get to spend more time with characters we only see for a little bit in the movies like Boba Fett, Bossk, Darth Maul! My chapter follows Ventress after she’s experienced a brutal defeat. Spoiler alert: she’s witnessed the death of her sisters. Now she’s on Tatooine and in a rut. She gets mixed up with a bounty hunter crew led by Boba Fett. Ventress’s story is about how she goes from being lost to remembering how badass she is. I watched several episodes with her in it, but I watched “Bounty” about 50 times. Sarah Beth Durst (“Almost a Jedi,” based on the episode “A Necessary Bond”): I spent a large chunk of my childhood pretending I was training to become a Jedi Knight, even though I’d never seen a girl with a lightsaber before. And then The Clone Wars came along and gave me Ahsoka with not one but TWO lightsabers, as well as a role in the story that broadened and deepened the tale of Anakin’s fall and the fall of the Jedi. So I jumped at the chance to write about her for this anthology. In my story, I wrote about Ahsoka Tano from the point of view of Katooni, one of the Jedi younglings who Ahsoka escorts on a quest to assemble their first lightsabers, and it was one of the most fun writing experiences I’ve ever had! I watched the episode, “A Necessary Bond,” over and over, frame by frame, studying the characters and trying to imagine the world, the events, and Ahsoka herself through Katooni’s eyes. The episode shows you the story; I wanted to show you what it feels like to be inside the story. Greg van Eekhout (“Kenobi’s Shadow,” based on the episode “The Lawless”): What I most love about Clone Wars is how we really get to know the characters deeply and see them grow and change. I enjoyed writing a couple of short scenes between Obi-Wan and Anakin that weren’t in the episode. I wanted to highlight their closeness as friends and show that Anakin’s not the only Jedi who struggles with the dark side. There’s a crucial moment in my story when Obi-Wan is close to giving into his anger and has to make a choice: Strike out in violence or rise above it. It’s always fun to push characters to extremes and see how they react. Jason Fry (“Sharing the Same Face,” based on the episode “Ambush”): I love The Clone Wars because it made already beloved characters even richer and deepened the fascinating lore around the Jedi and the Force. I chose Yoda and the clones because the moment where Yoda rejects the idea that they’re all identical was one of the first moments in the show where I sat upright and said to myself, “Something amazing is happening here.” You get the entire tragedy of the Clone Wars right in that one quick exchange — the unwise bargain the Jedi have struck, Yoda’s compassion for the soldiers and insistence that they have worth, the clones’ gratitude for that, and how that gratitude is undercut by their powerlessness to avoid the fate that’s been literally hard-wired into them. Plus, though I’ve written a lot of Star Wars tales, I’d never had the chance to get inside Yoda’s head. That had been on my bucket list! Yoon Ha Lee (“The Shadow of Umbara,” based on the episodes “Darkness on Umbara,” “The General,” “Plan of Dissent,” and “Carnage of Krell”): I remember the first time I watched the “Umbara arc” — I was shocked that a war story this emotionally devastating was aired on a kids’ show. But then, kids deserve heartfelt, emotionally devastating stories, too. It was a pleasure to revisit the episodes and figure out how to retell them from Rex’s viewpoint in a compact way. I have so much respect for the original episodes’ writer, Matt Michnovetz — I felt like a butcher myself taking apart the work like this! Rebecca Roanhorse (“Dark Vengeance,” based on the episode “Brothers”): I always love a backstory and Clone Wars was the backstory that then became a rich and exciting story all its own. The writing and character development is outstanding and really sucks you into the world. I chose to write the two chapters that reintroduce Darth Maul to the world. We find him broken and mentally unstable, not knowing his own name but obsessed with revenge against Obi-Wan and we get to see him rebuild himself into a cruel, calculating, and brilliant villain. It was so much fun to write and I hope readers enjoy it. Anne Ursu (“Pursuit of Peace,” based on the episode “Heroes on Both Sides”): The Clone Wars creates a space for terrific character development. The attention paid to the relationships between Anakin and Obi-Wan, and Anakin and Ahsoka make for really wonderful and resonant stories, and give so much depth to the whole universe. I was at first a little scared to write Padmé, as her character felt pretty two dimensional to me. But the more I watched her episodes in Clone Wars, the more dimension she took on. She’s such an interesting character — she’s both idealistic and realistic, so when corruption runs rampant in the Senate she doesn’t get disillusioned, she just fights harder. She has an ability to deal with nuance in a way that is rare in the Republic — and it means she’s not afraid to bend a few laws to make things right. In this chapter, the Senate is about to deregulate the banks in order to fund more troops, and Padmé decides to take matters into her own hand and sneak into Separatist territory in order to start peace negotiations. Of course, neither Dooku nor the corrupt clans of the Republic are going to allow for this to happen, so the threats to the peace process, the Republic, and Padmé’s life only grow. This arc is the perfect distillation of Padmé’s character, and it made getting into her head for it fairly simple. But I did watch all the Padmé Clone Wars episodes and read E.K. Johnston’s book about her, as well as Thrawn: Alliances, in which she has a major storyline. I really loved writing her. Star Wars: The Clone Wars – Stories of Light and Dark arrives August 25 and is available for pre-order now.

#obi wan kenobi #anakin skywalker #padme amidala #asajj ventress #ahsoka tano #katooni #yoda #captain rex #darth maul #novels #news #long post

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klainydaze · 4 years

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Hi! I'm super fascinated that you came to Glee via American Crime Story - I'm curious if this offers a unique look at the show? Do you mind talking about what led you into Glee fandom - and maybe how your perspective might be different (or not) from those of us who survived living through Glee first, lol. Also - what is it about Glee that made you want to check out fandom? Would love to hear any of your thoughts! :D Also - welcome to the madness! :)

Sorry it has taken me forever to answer this. You gave me a lot to think about!

So yes, I did come to Glee via ACS Versace. I’d loved ACS OJ Simpson, so I’d been anxiously awaiting the Versace series. Among other things, being older than dirt, I clearly remember the actual events, particularly because several of my family members lived on Collins Ave. in North Miami Beach – not all that far from where Cunanan’s hide-out boat was docked. We all paid a lot of attention at the time, though I only had a vague idea back then of Cunanan’s many crimes prior to his killing of Versace.

I was aware, from pre-show publicity, that Darren Criss had been on Glee, but neither he nor the show meant much to me when I started to watch the first Versace episode. But there quickly came a moment when I became VERY aware of one Darren Criss: The early scene in the first episode, when a fully-clothed Andrew walked into the ocean and wailed? I had a visceral reaction to that – so many emotions expressed all at once and with such intensity, it was almost too much, and yet absolutely perfect. I knew in that second that this was not going to be a typical crime show, and that I was not looking at a typical crime show actor.

By the end of ACS Versace, I was a confirmed Darren Criss fan. Still, I resisted starting on Glee, a show I’d dismissed back when it was on TV because it seemed to be targeting a much younger demographic, and because I personally hadn’t been part of any sort of glee club or theater since grade school. (I was all about rock music, singing and playing guitar by the time I reached high school.) So, still no Glee for me – at least, not yet.

And then, early that June, Darren booked a one-off show at Largo, one of my favorite Los Angeles venues. (Yeah, I live in L.A.) And, to quote my own June 11, 2018 Facebook post: “Darren Criss at Largo: Two solid hours of absolute joy & delight!!” Within days, my 2-3 week complete Glee binge had begun!

It’s hard to say how my perspective differs from the original, real-time Glee survivors. For one thing, I simply cannot begin to imagine what it would have been like to have to actually WAIT in between episodes (not to mention seasons). Horror! I’ve also noticed that I seem less inclined to rate or dismiss one season vs. another. For me, it was just one long, extended show, with many wonderful, brilliant moments as well as a whole lot of lame ones, most of which I tended to fast-forward through. In fact, I pretty much fast-forwarded any time neither Darren nor Chris Colfer were on screen.

An aside on the subject of Chris, I should add that although I started to watch Glee solely because of Darren, I quickly came to absolutely adore Chris as well. Good lord, that boy’s voice! There’ve been times I’ve found myself in tears just by hearing him sing certain notes. It kills me that his singing life was already behind him by the time I found him. And yes, when it comes to Glee, I am all Klaine, all the time, though I do quite like several others in the cast as well, just with much less intensity.

Once I’d finished my first complete Glee binge, all I wanted to do at that point was interact with other Glee fans, as I normally do when it comes to things I am passionate about, like my favorite bands, TV shows, and books. (Yes, books. My first fandom experience was with other Anne Rice fans.) It was also then that I started to hunt down Glee fanfiction. (Last time I’d read any kind of fanfiction was back in my aforementioned Anne Rice fandom days in the <gasp> 1990’s!) I started my fandom search on Facebook, and found, well, pretty much nothing. Not sure how I finally landed on Tumblr, the logic of which still confuses me over two years in, but here I am, still figuring out my way through.

Also, of course, I found (and read) TONS of Klaine fanfic, and WOW. I am constantly blown away by the quality of much of what I read. I am beyond grateful to each and every fanfic author for the amazing gifts they have shared with me and the fandom. Absolutely incredible.

OK, going to stop now. (Congrats to anyone still reading this dissertation.) Hope this answers at least some of your questions, @spaceorphan18. If not, feel free to ask more. :-)

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adamwatchesmovies · 5 years

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The Best of 2018

This was a hard list to compile. It was made harder by the fact that I’ve gotten a new perspective on what “The Best Movies of the Year” should be. I’ll tell you ahead of time that Green Book isn't on my list. It isn’t that, in hindsight, I feel as though it’s another example of the white savior story, or that I’m upset about the real-life Shirley family informing us that what’s happening on-screen isn’t accurate to the truth. It’s a great film with solid performances, some of the year's biggest laughs and terrific characters. I WANTED to put it on my list but also wondered if it would be a picture that endures. In 5 years, 10 years, will we look back and say “I remember who I was before Green Book, and who I was after it. The picture changed something for me.” I’m not sure I will. This feeling of change and lasting power is what I kept in mind when listing...

10. Upgrade

The vigilante revenge film is an enduring genre. We saw two others in 2018, (Death Wish and Peppermint), 2019’s already had Cold Pursuit. Upgrade tries many new things. It’s got buddy-comedy elements and winds up being one of the funniest dark movies of recent memory. It’s action sequences are dynamic and creative, the camera work top-notch. The story’s many twists and turns show much intelligence beneath what seems like a simple story. It’s not quite a game-changer but does highlight the problem with bare-bones films such as Venom (which appeared on my “worst of” list). I’ve bought it on Blu-ray and can’t wait to show it to others. I think it’s favorite just waiting to be discovered.

9. Black Panther

Now this is one people are going to remember. Yes, it might’ve featured wobbly special effects in a couple of scenes and the climax is a little generic but wow does it have an identity. From the music to the costumes to the story, everything about it stands out. Many people had been waiting decades to see it. Black Panther is the Star Wars of this year, the film which blew up and changed EVERYTHING. Within are one of the year’s best villains and a spectacular soundtrack. It elevates the superhero genre once again.

8. Crazy Rich Asians

The romantic comedy genre is largely dead. I saw a couple of them in 2018 but these were obscure, back-alley titles only hardcore fans of the genre heard of - if they even went to see them. Comedies as a whole are trying to find their footing right now, largely due to the increasingly light tone of many of Marvel’s superhero films and the high-quality children’s animated features arriving to theatres on a semi-regular rate. People don’t accept couples falling in love within an hour and a half anymore but still want to see romance on-screen, as this film proves. While it might not have been as big as Black Panther, Crazy Rich Asians proves there are groups thirsting to see themselves represented in big-budget productions. Or maybe it was a success simply due to its great cast, lavish production, and laugh-out-loud moments. It’s the best date movie of 2018 by far, an unashamedly romantic 2-hour tale which features a wedding so beautiful it moved me to tears.

7. Spider-Man: Into the Spider-Verse

I'll bet money Spider-Man: Into the Spider-Verse wins this year’s Academy award for best animated film. Sony's take on the character has bold visuals which combine comic book art with graffiti-like graphics and a blend of 2-D and 3-D animation. It improves the material it’s based on significantly, brings us not just one but a half-dozen new, favourite characters and features an emotional story whose depth no one expected. This film uses tricks others have never even thought of and I can’t wait to see what’s next.

6. A Star is Born

Initially a shoe-in for the year’s best picture, many critics have now dismissed it because it doesn’t have a big message or isn’t politically tied to anything. So what? This directorial debut still brings forth powerful emotions and features some of the year’s best tunes. A Star is Born has single moments that once seen, cannot be forgotten. When Bradley Cooper’s Jackson Maine is at his lowest, he’s such a mess you simultaneously hate and pity him. Who would’ve thought Lady Gaga was going to be this good?

5. Mission: Impossible - Fallout

Probably the best instalment in the series - which is saying something - this is the definition of a satisfying blockbuster. It delivers the stunts, special effects, thrills, and action you crave by giving you one dazzling set piece after another. You won’t believe how this film could top itself, but it does over and over. And then, it does the unexpected and delivers great character moments as well. Many action franchses could learn from Fallout, its smart, twisty plot, expert direction and jaw-dropping stunts. It’s one of the greatest action films ever, right alongside Mad Max: Fury Road, how could it NOT be on my list?

4. The Favourite

With stellar performances from its entire cast, gorgeous and moody cinematography, lavish costumes and immersive camera work, it’s easy to get lost in Yorgos Lanthimos’ period-piece drama. Even the choice of fonts and placement of characters in the chapter cards is meticulous. It’s such a good movie to look at its demented tone takes you by surprise. Full of venom and scheming, you’re tense the whole way through, biting your nails hoping Emma Stone’s character will make it out alright, only for her dark side to come up and turn her into an even bigger monster than Rachel Weisz' Duchess of Marlborough. Meanwhile, everyone’s walking on eggshells, carefully trying to influence Queen Anne of Great Britain (Olivia Colman), a cross between a vindictive child and an incompetent ruler. It’s fascinating stuff.

3. Roma

Roma is one of the reasons it took me so long to make this list. I started watching it weeks ago and was immediately enraptured. Unfortunately, I got caught up with other business and didn’t get the chance to finish it, delaying this list once again. It’s a beautiful film both visually - I’m particularly fond of the black-and-white cinematography - and content-wise, with lasting, intimate emotional beats which put you right there in Cleo’s shoes. The instant you understand what the image on the poster means is just - wow.

2. They Shall Not Grow Old

A crowning achievement in documentary filmmaking, They Shall Not Grow Old brings history to life in ways I could’ve never envisioned. I was initially against colorizing black-and-white footage. Seeing the results - in 3D to boot - is breathtaking. The way it humanizes the people and the war is unforgettable. I think it's destined to be shown in classrooms, which might make it sound like homework, but no. This is a living, breathing documentary full of love and respect.

Runner-ups

There were a number of pictures I wish I could’ve put on the list, maybe at the #10 spot, which I reserve for films “just for me”.

A Fantastic Woman and Paddington 2 SHOULD’VE been on my list last year but weren’t for various reasons. Hopefully mentioning them now is penance enough for my mistake back then. The stylish and unique Sorry to Bother You and BlacKkKlansman deserved to be on this list too but I just couldn’t knock anything else off of it. Finally, I was immensely pleased with the new Halloween, A Simple Favour and Colette. They’re a bit more niche but if you think they’ll align with your tastes, I think are highly enjoyable. And now that we’ve stalled enough to get your anticipating peaked, let’s talk about my number 1 film…

1. The Rider

The Rider is too small to get the attention it deserves. It only played in one theater in my city, the smallest one with only a single screen. I knew it never had a shot at an Academy Awards but I don’t care about budgets or box office results. I care about how a movie makes me feel, how long it lasts and how powerful its message is. Blurring the lines between real-life and fiction, director Chloé Zhao uses untrained actors to tell a metaphor-rich story of masculinity. It’s an engrossing drama whose themes blend so well with its characters and story it seems almost effortless.

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wellesleyunderground · 5 years

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WU Reviews: Best of 2018

2018 is finally at an end! For many, this has been a rough year, but the world kept turning and there were still incredible books, movies, TV shows, etc. to indulge in. Below is a compilation of what our Wellesley siblings enjoyed this year - the Best of 2018 that can entertain you as we head into 2019. Happy New Year!

Title: How to Write an Autobiographical Novel by Alexander Chee

Type: Book

Recommended by: E.B. Bartels ‘10

Why? This essay collection is phenomenal. It is a must read for all aspiring writers, but much like Anne Lamott's Bird by Bird, Chee's essays give great advice for writing AND for life. Also, his essay about 9/11 made me cry. It's SO GOOD.

Title: Good and Mad

Type: Book

Recommended by: Wendy Wellesley ‘22

Why? Inspiring account of the power of mobilization towards a cause.

Title: Bob’s Burgers

Type: TV

Recommended by: E.B. Bartels ‘10

Why? Now in its 9th season, I swear Bob's Burgers has only gotten better and funnier. I love watching this show because it just makes me HAPPY, which often during 2018 I sometimes really needed. The characters make me laugh, the puns are incredible, and I always feel better after watching an episode.

Title: The Proposal by Jasmine Guillory

Type: Book

Recommended by: Alexandra Stark ‘10 (and massively seconded by Shloka Ananthanarayanan ‘08!)

Why? Jasmine is a Wellesley alum! But more importantly this book is a lovely, realistic (ish--it's still romance after all) portrayal of an inter-racial relationship with consent and all of that good stuff.

Title: The Friend by Sigrid Nunez

Type: Book

Recommended by: E.B. Bartels ‘10

Why?

I read The Friend this fall on a tip from, well, a friend, and I am obsessed. Nunez writes about loving literature and working as a writer and how to deal with grief/death and what it means to be a good friend, all through a moving and engaging story about a woman who inherits her friend's dog after he dies suddenly. Read it! The National Book Award doesn't lie!

Title: An American Marriage by Tayari Jones

Type: Book

Recommended by: Shelly Anand ‘08

Why? It’s such a critical topic in our society, the mass incarceration of black men , but it discusses this terrible phenomenon from such a personal perspective, the inner workings of a relationship and marriage. Its beautifully written, deeply moving, and you find yourself rooting for multiple characters that are at times in conflict with one another. It’s a must read for 2018!

Title: GLOW

Type: TV

Recommended by: E.B. Bartels ‘10 (and again, seconded by Shloka Ananthanarayanan ‘08!)

Why? Oh my god GLOW IS INCREDIBLE. 80s fashion and glitter and queer love stories and so many strong badass women and an awesome soundtrack. Just watch it. The second season came out in June and made me have so many feelings. I loved it.

Title: Widows

Type: Movie

Recommended by: Cleo ‘09 (and by Shloka Ananthanarayanan ‘08!)

Why? Steve McQueen's 2018 heist drama (based on a 1983 British series) stars an all-star cast including Viola Davis, Michelle Rodriguez, Cynthia Erivo, Liam Neeson, Colin Farrell and Daniel Kaluuya. The story centers on female heroines dealing with the aftermath of their spouses' poor choices while simultaneously trying to survive and adjust to their new solo 'normals.' A key twist toward the end keeps the viewer on their toes without being gimmicky and the ending was highly satisfying. TW for violence.

Title: How To Be a Good Creature by Sy Montgomery

Type: Book

Recommended by: E.B. Bartels ‘10

Why? This is a magical book. If you felt disenchanted with how your fellow humans acted in 2018, do what Sy Montgomery did and turn to animals. She writes about thirteen non-human creatures that changed her life in some way and the life lessons she learned from them. It's so good!!! My 85 year old grandfather also loved it!

Title: How to Invent Everything by Ryan North

Type: Book

Recommended by: Laura Staffaroni ‘10

Why? A great mirror universe survivalist book--instead of teaching you how to survive in a dystopic future, post-civilization collapse, you get to learn how to survive in the distant past, pre-civilization! Hilarious and informative.

Title: Won’t You Be My Neighbor?

Type: Movie

Recommended by: E.B. Bartels ‘10 (and Shloka Ananthanarayanan ‘08, AGAIN)

Why? I wept through this entire Mr. Rogers documentary. It's incredible.

#wu review #book recommendations #movie recommendations #tv recommendations

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aion-rsa · 3 years

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How Lucifer Season 6 Borrows from Harley Quinn

https://ift.tt/eA8V8J

This article contains light spoilers for Lucifer season 6. Avoid only if you want a completely unsullied experience.

Lucifer has been to Hell and back. Quite literally. Based on the DC character introduced in the Sandman comic books, the TV series follows the devilish Lucifer Morningstar (Tom Ellis), who abandons his own fiery realm to open a nightclub in Los Angeles. But, as he began to consult for the LAPD, Lucifer slowly developed feelings towards Detective Chloe Decker (Lauren German) and along the way, inadvertently discovered he was far more human than he ever expected.

The show originally aired on Fox before being canceled after the third season. Netflix swooped in and renewed it, before also giving it the axe after two more seasons. But, thanks to a dedicated and vocal fanbase, the streaming network greenlit a sixth – and final – season of Lucifer, which is available to stream now.

In the meantime, the titular character experienced his own little odyssey. The former fallen angel learned about friends, love and selflessness. In addition, Lucifer most recently assumed the mantle of his heavenly father, God. But a mysterious new angel that will be introduced this year will throw Lucifer’s life into total chaos… in both the best and possible ways.

Lucifer showrunners Ildy Modrovich and Joe Henderson spoke to Den of Geek about Lucifer’s godly responsibilities, the new angel in town, going animated, and closing the series on a high note.

Den of Geek: What kind of story did you want to tell this time, and how did it change from the last series finale crafted for season five?

Ildy Modrovich: When we were first graciously offered a season six, we said “No.” We felt we had a great ending, and we were so worried about staying at the party too long. We had already looked at season five as the end of Lucifer’s journey in terms of his father. He was this angry, rebellious kid who was mad at his father. He had resolved a lot of the issues that he had with God in season five. We thought, “Now what?”

We didn’t want to tread water, but when we started talking to the writers’ room, to Tom, to each other, we realized there really was one more chapter, which was, “What would Lucifer feel like if he was in God’s shoes?” Let’s do that. It’s one thing to experience something yourself, but what is it like to have the child angry at you? How does that feel for Lucifer? That became the nugget we dug into.

Lucifer is poised to take over as God. How ready is he to assume that position and those responsibilities?

Joe Henderson: So much of season six is what happens when the dog catches the car. What happens when Lucifer, who always wanted to have a throne right next to dad, finally gets THE throne itself and why does he seem to be hesitating? What does that mean for him and what does that mean to the world, when there isn’t a God on the throne for an extended period of time? But it’s really about the emotionality of what happens when you have to become your father, or just facing what that future could be.

A new angel arrives on Earth, played by Brianna Hildebrand. How does that presence push Lucifer and Chloe out of their comfort zone?

Henderson: We have this new angel who comes onto the show, who represents everything Lucifer used to be, like this rebellious woman who looks at Lucifer and is like, “Who is this guy? This isn’t the guy I’ve known before.” So much of it is Lucifer having to face someone who reflects a lot of who he used to be… rebellious and cool, in very different ways. So, it’s like what happens when someone comes around, who is the new rebel, and how does Lucifer deal with that?

How did you land on doing a cartoon segment in the third episode, “Yabba Dabba Do Me”?

Henderson: Honestly, it was a mixture of two things. The limitations of Covid, which, so much of our season was the limitations of Covid being to our benefit. From this episode to much more intimate scenes focusing even more on our own main cast because we didn’t want to bring in more people than we actually needed, we realized the less days we were shooting the better off we were. So, why don’t we do an animated sequence?

The fun is to take that problem and to turn it into an opportunity because I have always wanted to write animation. I have always wanted to do something like this. So, the minute we had an excuse, we hit the ground running. We got really lucky because the Harley Quinn animators were available. Jennifer Coyle and her team over there are the ones who did it, which is why it’s so darn awesome.

What a blast that sequence is…

By the way, I was like, “Wacky Races.” That’s the cartoon on in the background. They were like, “Well, it can be anything.” I was like, “It can be anything, but it should be Wacky Races.” I don’t even know how many episodes of that show actually exist, but I watched 200 of them. Whether or not it was the same four over and over again, I could not tell you.

In what way does the theme of secrets manifest and fester this season?

Henderson: In the first half, Lucifer and Chloe are together, but they are both keeping things from each other. Chloe is keeping her addiction from Lucifer and Lucifer is keeping his own secrets on his end. It’s interesting because I don’t know how conscious we were of that as opposed to just finding those moments. One of the things that Ildy has said before is this idea that Lucifer and Chloe are together, but when people are together, that’s when they are the most interesting.

The “will-they-won’t-they,” bringing them together is actually kind of challenging. Just because you are in a relationship, doesn’t mean that everything is hunky-dory and fine. Finding those little secrets, that could balloon into something bigger, was a very important part to us in the first half.

How much fun was it giving Chloe a more physical role this season? She kicks serious ass…

Modrovich: So much fun. Lauren loved it. She loved the scene with Maze (Lesley-Ann Brandt). We were a little worried because we’ve never had her fight. We were like, “Are you cool with it?” Lauren’s like, “Bring it!” She was really into it. She liked not only fighting Lucifer, which you see in the trailer, but others.

Henderson: Part of the fun of any series is discovering something new in the end. Talk about the lowest hanging fruit of an idea, which is Lucifer versus Chloe, and to find a way to earn that and to be able to have them stand toe-to-toe in a fight was really fun.

Somehow, you always manage to incorporate singing and dancing into the show. What was your favorite musical number this year?

Modrovich: “Bridge Over Troubled Water.” That was a surprise. We had asked Brianna at the beginning of the season if she was comfortable singing. She said, “I can carry a tune.” Talk about underplaying it. We were blown away. I remember I was walking to the studio, through the hallways of the music studio where they were recording, and I heard this voice. I thought, “Oh, that must be the temporary track, the vocal coach laid down a track for Brianna to follow.” I walked in and it was her. “That’s the voice of an angel. It’s so clear and clean and unaffected.” It was beautiful.

What discussions did you have about where you wanted all the characters to end up?

Henderson: We wanted everyone to have endings that were beginnings, where the fans feel like these stories are going on. We might not be able to see them, but these characters are living lives and they are excited for them. We wanted happy endings, but happy endings with a dose of reality, a dose of bittersweet, especially with Lucifer and Chloe. That’s the most bittersweet relationship of all.

Lucifer’s redemption has been a hot topic since day one. How important was it to get to that point, for Lucifer to not only achieve redemption, but also for him to find his calling and his humanity?

Henderson: They are all sort of mixed in together. What I love about how you phrased that is you separated three different concepts that, to me, are all sides of this three-sided coin. So much of it is, “What is our purpose in life? What am I supposed to do?” Callings and fate are two different things. A purpose, a sense of what I can do, what I can bring to the world… was a very important differentiation. Lucifer is saying, “I am embracing fate and what I can do to make me happy and better the world.”

Modrovich: What we also found in this final season is, “What is everybody’s unique gift? What is their unique perspective?” You might think you want that cushy office. Maybe that’s not in the clouds, but maybe that’s not what you have to bring to the table. What is your unique perspective? That was what we found with Lucifer and what he could offer to the world.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

All 10 episodes of Lucifer season 6 are available to stream on Netflix now.

The post How Lucifer Season 6 Borrows from Harley Quinn appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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trashartandmovies · 3 years

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Berlinale Film Festival 2021, Industry Event, Day 1

We all knew the 71st Berlinale would be different, but who’d have guessed we’d be given a twofer? At this point, the juries for the Competition, Encounters, Shorts, and Generations sections have all handed out their awards. These juries got to watch the films in their respective categories on the big screen. Meanwhile, the press were given the opportunity to screen these movies at home, as well as the films in the Berlinale Special, Panorama, Forum and Forum Expanded sections, as well as the six films making up the Perspektive Deutsches Kino category and episodes from the six television shows included in Berlinale Series. (The always excellent Retrospective section is only screening during the summer.) Altogether, around 150 at-home screenings were made available to the press. We had five days to watch them. I was able to watch 22 of them. This is Part One.

———

I’m sure everyone covering the festival is hoping that the Summer Special, in mid-June, will go smoothly and we’ll be able to catch at least a fraction of the movies we weren’t able to see. (For geo-blocking streaming reasons, a few films in the lineup weren’t available at all in my geo-region. Including two in the Competition: the FABIAN adaptation and Daniel Daniel Brühl’s directorial debut NEXT DOOR.) Usually, the press is given a week ahead of the festival to check out the Panorama, Forum and Generations titles. One assumes it’s so that audiences may get some recommendations on these lower-profile movies in the inevitable situation when all the high-profile films are sold out. Will this happen in the summer? Unless I missed a press release, the details around the Summer Special are still a bit vague. Rightfully so, since we’re still living in week-by-week uncertainty as far as lockdown measures go.

All we can do now is cross our fingers and hope for a chance to get a look at some of the these titles, because when presented with the challenge of covering a 150-movie lineup over just five days, you have to make some obvious decisions. I suspect many people did what I did — try to watch all the Competition titles and get in a few Encounters, Specials, some shorts and hold out hope for one or two stray Panoramas or Forums. To make matters more heartbreaking, the press screenings went like this: every morning at 7:00 AM, you’d get an impossibly long list of films to watch until 7:00 AM next morning. You’d get a few Competition titles, a few Encounters and Specials, and a deluge of films from the other categories. For many films, all you could do is look at the title, nod, and say to yourself, hopefully we’ll meet again soon, because there’s no way I can fit a sixth movie in today without losing my mind.

(Now there was a wrinkle added to this plan. Over the weekend of March 6 - 7, the press could screen the award winners that got announced on Friday. But it was difficult to try and take this into consideration in any strategic way.)

———

Like most film festivals, Berlinale usually kicks things off with a star-studded opening night movie that’s usually too mainstream for the critics. With no red carpet to be concerned with this year, that wasn’t the case. Instead, on Day One, the closest to a big movie star name was Iain Glen (Game of Thrones). Glen isn’t the lead in Tim Fehlbaum’s TIDES, shown in the Berlinale Special program, but he does play a key role as an astronaut who’s landed back on Earth, generations after human had mostly left the increasingly inhabitable planet. Humans have been living in a space colony called Kepler, but everyone ended up sterile, so missions are being sent back to Earth in the hopes that they can once again live there and get their reproductive groove back.

That’s the underlying story of TIDES, and it’s just one element that will likely feel very familiar to anyone who’s well-versed in post-apocalyptic cinema. The color palette is stark, with muted colors. The landscape is barren, this one with lots of water, rather than the desert locales of Mad Max. In fact, the notorious WATERWORLD came to mind more than once while watching TIDES. There’s even a doll in the film that looks just like Dennis Hopper’s character in that film, eye patch and everything. That little detail may be one of the most interesting things about the film.

The main character of TIDES is another astronaut, played with a committed intensity by Nora Arnezeder. She crash lands on Earth, is held captive by central casting post-apocalyptic scavengers, and eventually tries to track down a McGuffin that will let her contact Kepler and report back that there are people reproducing on Earth. Meanwhile, she also suspects that something might remain of the previous mission that was comprised of her father and Iain Glen.

The main attraction here is Fehlbaum’s use of stunning landscapes and practical locations, like a beached industrial ocean liner that serves as inspiration for one of the primary sets. The art design and costumes are all exceptional, while the acting and photography are all decent enough. But it never does much with the conspiracy it tries to entertain us with. Its attempts at being thrilling look good, but can’t help but feel like pretty standard stuff at this point. It’s worth noting that one of the film’s producers is Roland Emmerich, a man who knows a thing or two about making generic high concept action pictures. Some things, like the art design and the pleasingly diverse and international cast, set TIDES apart. But the story is far less inspired.

Faring better were the Day One Competition titles. I started with MEMORY BOX, a lively picture wherein a daughter gets to better understand her mother when a box of the mom’s old teenage diaries and correspondence ends up on their doorstep. (This mother-daughter connection is essentially the same theme that Céline Sciamma’s PETITE MAMAN covers in a different, more sci-fi, fashion.) As the daughter, living in a nice house in Montreal, digs into her mother’s old journals, scrapbooks and tape recordings, the film travels back to 1980s Beirut through the eyes of her teenage mom. It makes these trips back in time through some pretty cool moments of collage-like animation — putting scrapbook pages into motion and diving into photographs and contact sheets that come alive. Plus, the soundtrack is killer, full of lively 80s post punk like Killing Joke, The Stranglers and Blondie.

There’s romance, the trauma of war, a strong refugee story, and a poignant tale of cross-generational understanding. The kicker is that it’s very autobiographical, with the film mirroring co-director Joana Hadjithomas’s own story of corresponding with her friend in Paris while Beirut was falling down around her. These journals are backed up by old photographs taken in Beirut from the other co-director, Kahil Joreige. Like last year’s fascinating BLOODY NOSE, EMPTY POCKETS, and this year’s A COP MOVIE, Berlinale movies are continuing to find success in blurring the line between documentary and narrative fiction. The movie has a little trouble maintaining momentum all the way through, but I loved the experimentation on display here, and the unique ways it tells its story. It helps that MEMORY BOX really sticks the landing at the end.

Next up was ICH BIN DEIN MENSCH, or I’M YOUR MAN — another film, like many in recent years, interested in the ethics behind artificial intelligence and robots with emotions. Think of it as a romantic comedy version of BLADE RUNNER, or an updated version of the forgotten-by-time Ann Magnuson and John Malkovich vehicle MAKING MR. RIGHT. This one, based on a recent short story by Emma Braslavsky, is directed by Maria Schrader, who recently helmed the popular Netflix series Unorthodox (she’s also a veteran film and TV actress, from Tatort and Deutschland 86 to AIMEE & JAGUAR). Schrader continues to prove that she has a good eye for framing and storytelling. The movie doesn’t always escape the problem that many German movies continue to struggle with, which is that they often feel like a good TV movie rather than a work of cinema, but it manages better than most.

The general idea is that Maren Eggert plays Alma, a researcher who is assigned the task of spending a couple weeks with a new personal companion robot named Tom, played by the dreamy-eyed Dan Stevens. Alma is, of course, a completely rational-minded person who is happy to just get through the two weeks with as little interaction with Tom as possible. In her mind, it’s an impossibility that a piece of technology could fulfill a human being’s needs. Of course, as each day goes by, Tom continues to surprise her and wear down her defenses.

It’s a pretty well-worn story by now. The issues that get raised over the course of the movie are some that Star Trek: The Next Generation was dealing with on a regular basis (Tom is similar to Data, though Stevens doesn’t need any special contact lenses), but there are some interesting wrinkles here. Few movies have looked at this subject from the female perspective. And if there’s one that that this year’s Berlinale truly excelled at, it’s offering a wide variety of movies by female directors and/or with female leads. We’ve covered three movies that fit that criteria already, and many more will come. What’s more, Maren Eggert gives us a character who’s at an age where she’s wrestling with the question of whether or not her child-bearing days are behind her. When’s the last time Hollywood dealt with that subject? So, while Alma starts off as a very emotionally distant, academic type, and the best thing about the movie is uncovering her past and getting to understand why she has put up so many walls. I’m not sure it does much with the subject of AI or robot companions, but it does provide a charming odd-couple story and I don’t have any complaints with Eggert winning the festival’s best actress award.

The nightcap on Day One was INTEURODEOKSYEON, or INTRODUCTION, the newest film by the prolific Korean auteur Hong Sangsoo. At last year’s Berlinale, Sangsoo was also in the Competition with the excellent THE GIRL WHO RAN, and he doesn’t disappoint with INTRODUCTION. Ironically enough, if you’re unfamiliar with Hong Sangsoo and don’t know where to start — understandable given the nearly 30 films he’s directed in the past 25 years — INTRODUCTION ain’t a bad way to start. It’s not his best work, but it’s pretty damn good, and a very accessible entry-point into the man’s style and thematic interests. And it barely cracks the 60-minute mark, so you’re not committing to much.

This one ping-pongs between a young man, Youngho, and a young woman, Juwan, both trying to figure out what to do with their lives. Juwan wants to study fashion in Berlin, Youngho wants to become an actor. Both run into problems with these pursuits — some of which are out of their control. In Youngho’s case, it leads to a hilariously drunken dinner confrontation with Ki Joo-bong, who may or may not be playing a version of himself, since he’s only credited as “Old Actor.” The esteemed Korean actor Joo-bong has appeared in Park Chan-wook films, SAVE THE GREEN PLANET, as well as few of Sangsoo’s other films and some 70 other movies. In INTRODUCTION, his character is revered by every other person he meets. And his advice to Youngho is an eruptive highlight in a movie that’s otherwise pretty subtle.

Subtlety is often Sangsoo’s thing, but the emotions he leaves you with tend to be pretty strong. This is his magic. He writes very realistic, dialog-driven scenes that, on their own, are nuanced and deceptively simple. But these quiet scenes build up to an ending that makes everything come together in a profound way. Even if you’re familiar with Sangsoo’s work, INTRODUCTION may come across as slight, or a minor work in the maestro’s deep catalog, but I found it’s pleasures to be more immediate than usual. To my knowledge, no one is writing screenplays like this. The way he reveals characters, develops them, and draws connections through casual lines of dialog, sometimes nested deep within a conversation, is practically his trademark move, and it’s never not remarkable. It demands your attention and then rewards it at the end. His technique is patient, confident and hugely sophisticated. The only problem I see is that, given his track record of releasing one or two movies a year, his talent is in danger of being taken. Don’t be one of those people.

#Berlinale 2021 #Hong Sangsoo #Introduction #I'm Your Man #Tides #Memory Box

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callmehawkeye · 5 years

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Watched in 2019

Big Little Lies (Season 1): This is such a solid cast and story, albeit predictable. I loved it as a mini-series and do not understand why it needs a second season; but I’ll be watching regardless.

Taylor Swift Reputation Stadium Tour (2018): IIIIIIIIIII don’t think this setting is the best for Taylor. I go back and forth on her as a person often, but dig over half her catalog. The big theatrical show doesn’t quite suit her particular stage presence. She is great when just talking to the crowd with her guitar or piano. Regardless, she was definitely having fun, it was entertaining enough, and it’s cool she put this up on Netflix so I don’t have to amputate a body part to afford a ticket.

If Beale Street Could Talk (2018): Without a doubt, this is perhaps the most genuine and fulfilling depiction of a (hetero) romantic love story put to film I’ve witnessed in recent memory. The actors and their chemistry were breathtaking.

Spider-Man: Into the Spider-Verse (2018): Hands down the best Spider-Man movie to date. Soundtrack was perfection. Story was great. Characters were amazing. I want to protect Miles with my dying breath. Unique animation. Deservedly kicked Disney’s ass this award season.

Bumblebee (2018): Oddly endearing? Easily the best Transformers movie, and the only one I’ll recognize.

A Star is Born (2018): I’m sure I’d like this more if I weren’t a fan of the other 3. Lacked subtlety. Overhyped. It’s fine. The only best part was the rehab scene.

Fyre Fraud (2019): The Hulu documentary about the disastrous Fyre Festival. Superior of the two, in production and scope.

Abducted in Plain Sight (2017): WHAT. THE. FUCK. A must-see for true crime enthusiasts.

Conversations with a Killer: The Ted Bundy Tapes (2019): This is more or less the same thing if you have already spent a little more time on this case than the average person. Good content for first-timers.

Girlfriends Day (2017): A nice, fast watch to pass the time.

Fyre Festival (2019): The other Fyre Festival documentary. To me, the lesser because it is produced from people who were on the inside. Which you’d think, “Oh so then they’d know.” But their bias and attempts to scrub themselves from the narrative are obvious.

The Favourite (2018): This made my little queer heart so happy. Great characters.

Everybody Knows (2019): A little on the nose in the mystery itself (just watch the actors in the background). But the performances were great. Loved the setting. Appropriate ending. Good job.

Isn’t It Romantic (2019): I loved this. I feel like I’ve written something exactly like this before. Very endearing and satisfying to watch.

How to Train Your Dragon: The Hidden World (2019): It felt a little long, unsatisfying at some parts and rushed. But it’s a great bookend to a great series.

They Shall Not Grow Old (2019): Very impressive filmmaking and editing. I loved learning how they accomplished it in the featurette at the end of the screening.

Arctic (2019): Now THIS is how you make a survival movie. 90 minutes. No romance. Brutal reality without becoming melodramatic. Mads Mikkelsen cast in the lead...

Don’t Knock Twice (2016): Pleh. I hated the pacing and editing. Called out the “twist” immediately as a joke because I didn’t expect this movie to be that nuanced (magic done without permission, even with the intent to be good, is bad magic).

Captain Marvel (2019): My god this was so much fun and rejuvenated my interest in the MCU. I’m absolutely dreading Endgame and not for the reasons you think.

Greta (2019): Great performances, absolutely tense, very creepy and fun.

1922 (2017): What a great fucking motif.

Climax (2019): This was quite the sit. A literal 90 minute bad LSD trip from an up-close perspective. God I hated it.

Michael Che Matters (2016): I’ve never seen a standup special start so strong and progressively get weaker like this before...

Us (2019): As I said on Twitter -- it seems to me primarily casual or non-horror fans think Us is the greatest horror film of all time and is going to rejuvenate or “save” the genre. Then primarily veteran fans think it’s weak and vague. I think both viewpoints are shortsighted and formed from either category being stuck in their perspectives. For me, the movie was neither. (I loved it).

The Beach Bum (2019): Another movie I can’t believe I sat all the way through.

Leaving Neverland (2019): I stand with Wade and James.

Queer Eye (Season 3): Who needs antidepressants? Not me!

Homecoming: A Film By Beyoncé (2019): Beychella reigns once again!!

Dancing Queen (Season 1): This was very sweet. I never thought I could sit through anything with insufferable dance moms, but Justin/Alyssa makes it so engaging and watchable. Stupid to end on a cliffhanger, however.

Avengers: Endgame (2019): ..............B+ At least it was a million times better than Infinity War. And I had fun.

Booksmart (2019): This hit so close to home. Sure, the coming of age movie is nothing new. But there was something liberating about the characters in this one that were terribly stereotypical and much more relatable. To me, anyway.

Long Shot (2019): Great music, great relationship, great laughs. This was a fun, solid watch of a romcom.

Hail Satan? (2019): I want to inject this documentary directly into my veins.

Amazing Grace (2019): The live footage of Aretha Franklin recording her Amazing Grace album at the church in Watts.

Meeting Gorbachev (2019): I got to see this documentary at a theater where Wener Herzog himself was hosting a Q&A and introduced this film. Maybe it made me more biased to liking it. But I honestly felt like I learned a lot.

Missing Link (2019): First movie of the year I didn’t complete/walked out of. I let it have an hour. First time I’ve ever been disappointed in Laika. I can’t believe it. It was so dull and I kept waiting for something to happen.

Little (2019): This was sweet. Issa Rae is dipped in gold. BUT it felt like there was an outline, not a script. Lots of dropped threads. And a weirdly out of place, glaring, punching-down trans joke??!

Tolkien (2019): Wow. I really liked this. Great pacing, shifting between time frames. Even better performances and relationships. Made me think of my own fellowship a lot. This is how biopics should be done.

The Biggest Little Farm (2019): WONDERFUL documentary covering the years of building up a sustainable farm from less than scratch.

The Hustle (2019): God, this was a long, humorless sit. At least Anne looked stunning.

The Sun is Also a Star (2019): This isn’t more realistic than romantic comedies, or teen love films. But it’s more enjoyable than most. The leads are great and have electric chemistry. New York is framed beautifully.

John Wick: Chapter 3 – Parabellum (2019): I am blessed by this Keanu Reevessance.

Fleabag (Season 1): This is probably going to be the best thing I watch this year.

Fleabag (Season 2): Yup. Confirmed. Something very special would need to come along from June to December to change this mindset. I highly recommend this. Watch it. Go in blind. Watch it!!

Pavarotti (2019): I enjoy documentaries where I feel I really learn about the subject. Beautiful music, beautiful memories, beautiful life.

Rocketman (2019): I wish more biopics were like this. It was wonderful and such a grand time.

Lorena (2019): A deep dive into the Bobbitt case, including the woman herself. I have such empathy and love for Lorena. You should watch it and learn about the incident yourself.

The Last Man in San Francisco (2019): Go in blind. Don’t look it up. Just go. it’s the most beautiful film I’ve seen so far this year. I wish there were more male protagonists like this.

Toy Story 4 (2019): I was so skeptical. It more than exceeded my expectations. Just go in prepared to have your heart ripped in two.

Godzilla: King of the Monsters (2019): They’re learning. Out of the newer films, this one has the less amount of people. Now make another film like this, only extend the monster fight scenes. Less. People.

Child’s Play (2019): This was fun. Not much more to say. More Aubrey in things!

Men in Black International (2019): Honestly, this was better than the second or third ones. I legitimately enjoyed myself. It was funny. The cast was charming. The otherworldly aliens were interesting. And I’m so proud of Les Twins.

Grace and Frankie (Season 5) :This is always a good time for me. I love watching this show when I want to take a break from more dedicated watches. I love these actresses with all my heart. June Diane Raphael is goals.

Midsommar (2019): This was such a fun aesthetic to watch. I was so uncomfortable throughout.

Toni Morrison: The Pieces I Am (2019): Ugh, my hearrrrrtt.

Maiden (2019): Documentary about the first all-female crew who competed in the 1985-86 Whitbread Round the World Race. The woman next to me in the theater was the same age as the women featured in old footage and modern day talking head interviews -- and she was just sobbing by the end. Solidarity.

Frankenstein’s Monster’s Monster, Frankenstein (2019): 30 minutes well spent. Fucking hilarious.

Stranger Things (Season 3): God, what a fun season. I am still Steve.

Queer Eye (Season 4): I need 54 more seasons, kthx.

Spider-Man: Far From Home (2019): My absolute favorite battle sequence in a Marvel movie. Such a good time.

Hobbs & Shaw (2019): My first and last Fast movie. Goddamn I was so bored.

Bring the Soul: The Movie (2019): Wow, this was brutal. I get it wasn’t all of the footage, but they seemed to mostly focus on members being sick and injured and miserable. I didn’t understand the love for this movie when all it did was highlight how exhausted the boys are. I suppose it was meant to be inspiring, but I only felt bad for them. I just ranted about them needing a break and thank god they finally have one -- apt timing!

Burn the Stage: The Movie (2018): I went back to the earlier film with the hopes of... Higher hopes. And they were fulfilled. Such cute and uplifting footage.

Blinded by the Light (2019): God I love Springsteen. This movie is a great homage to his music. It’s not a straight-up musical, and that’s lovingly the point. Some things never change.

It: Chapter Two (2019): This was a slog compared to the first part. Much like the miniseries. Much like the book.

Parasite (2019): I, a college student with very little free time -- let alone free time to go to the movies -- saw this in theaters twice. I tried to go a third time but then finals happened. Go see it. Go see it blind. I'm not really doing end-year lists anymore but this is without a doubt my favorite film from 2019.

BTS World Tour: Love Yourself (2019): Most fun I've had in a theater in some time. I feel like I curled up into the tiniest ball at some point out of pure joy that couldn't be contained.

Frozen II (2019): This was quite plot-heavy for a sequel. I loved how many songs they were. It's an acceptable sequel. A lot of weak themes and choices, however, if you think about it for more than a few minutes. Overall delightful.

Jojo Rabbit (2019): Speaking of delightful. Taika Waititi continues to be my favorite living writer-director. This is such a solid portrayal of Nazism without glorifying it. Always go the Mel Brooks route and make it a comedy; they can't turn it around and make the imagery propaganda. I have high hopes for Roman Griffin Davis and his future career.

Knives Out (2019): This was quite fun. I love a good mystery with a large ensemble cast like this. It didn't blow my mind of anything -- I saw every turn coming -- but that's just because I credit it to being such a lonely kid who read so many mystery novels.

2018 | 2017 | 2016 | 2015 | 2014

#watch list

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mexcine2 · 7 years

Photo

One-Way Ticket to Hell: Teen-Age Madness!

Although this series of essays concentrates on the analysis of print materials, we’ve bent the rules slightly this time to present a two-fer: a one-sheet poster and a theatre marquee display for One-Way Ticket to Hell (1955).

One-Way Ticket to Hell (better-known today as Teenage Devil Dolls, the video release title) was originally titled One Way Ticket. The film was produced, directed, and written by Bamlett “Bam” Lawrence Price Jr. (who also plays the main villain), a film student at UCLA (and married to actress Anne Francis from 1952-55). Picked up for theatrical release by Eden Distributing, it was sold as an exploitation film, although it is actually rather serious in tone. Like some other notorious future “cult classics” (such as The Creeping Terror), One-Way Ticket to Hell features no “name” actors and has no sync dialogue.

An extensive collection of One-Way Ticket to Hell “paper” can be found here, including a one-sheet (27x41 inches) poster, a 40x60 poster, a lobby card set and a still set. We’ll examine the one-sheet poster, as well as the marquee display for the film’s December 1955 exhibition at the Globe Theatre in New York City.

The one-sheet poster is colourful, lurid and well-crafted. The overall “look”--including the printing--seems a bit old-fashioned for 1955. Posters for mainstream releases in this era tended to be much brighter, even for movies in the exploitation/crime genre.

The text elements--the tagline and two text boxes--are common to both the one-sheet and the 40x60, although the larger poster reduces the number of separate images from 5 to 2. The “reclining woman in green” art appears in the same, lower position in both posters, but the upper sections are very different.

The 40x60 has a single key illustration of a man injecting a woman with drugs as another woman looks on, while the one-sheet gives us 4 different images from the film, as well as two newspaper headline mock-ups. This makes the one-sheet a little “busier” that the 40x60, but it also provides the potential ticket-buyer additional information about the film’s contents.

Interestingly enough, while both posters depict a woman getting a drug injection from a man, the images are different, featuring the same, presumably evil, man but a different woman. This “key art” ties directly to the film’s tagline: “One Touch of the Needle--A Lifetime of Torture!”

[As an aside, the lobby cards may have been produced for a different release, since they carry the “Bamlet L. Price Jr. presents” credit (the posters have no company name). The lobbies do feature a line-drawing version of the “reclining woman” art and the secondary tag-line “The Story of Teen-Age Madness,” however, both of which link them to the poster versions.]

Thanks to the aforementioned website containing the lobby card set and still set for One-Way Ticket to Hell, the photographic “inspiration” for the individual images on the one-sheet poster can be identified. Woman getting injection? Yes. Man picking up unconscious woman? Yes. Woman tries to prevent a sinister-looking guy from choking another woman? Yes. People on motorcycles? Well, this image isn’t on the extant lobbies or stills, but it’s in the movie so the poster artist probably got a photo for reference. In fact, there’s a chance that a fair amount of the artwork was pasted-up from the photographs themselves and then retouched and colourised. No shame in that.

These additional images, as noted above, provide the potential audience member with a broader idea of the film they’re about to see. Yes, it’s about youthful (female) drug users, but you’ll also see…motorcycles! The Wild One was a popular movie released in 1953, and gave motorcycles a sort of counter-culture image (prior to that time, pop culture motorcyclists were often cops, couriers, or speed demon daredevils). There’s also violence! Unconscious women! Languid women! And if you couldn’t figure out from the “One Touch of the Needle” tagline or the artwork of a woman being injected, the newspaper headlines make it clear: One-Way Ticket to Hell is about “Girls Drugged” and “Teen-Agers Held” in “Narcotic Raid.”

The textual elements in the bottom half of the poster don’t provide any additional information--they’re not specific to the film itself, serving chiefly as exploitation ballyhoo. The first text box reads “It’s New! It’s Powerful! It Pulls No Punches!” which is fine, even though the printing doesn’t quite fill the available white space, which looks awkward. These phrases are just empty comments about the recency and alleged visceral impact of the film: “Shocking!” “The Untold Truth About Dope!” and so on would have been better. “The story of TEEN-AGE MADNESS!” is slightly more relevant, exploitative and lurid, and was used on the lobby cards as well. The banner across the bottom of the poster vouches for the verisimilitude of the exposé: “See It On The Screen As It Actually Happens in Real Life!” Not exactly clear what “IT” refers to, but generally satisfactory. Exploitation-film promotion often laid a thin veneer of “informing the public” to “expose this evil” and “prevent it from happening to YOU” (or in YOUR town or to YOUR kids). “It’s TRUE!” (by which I mean, fictional).

The other image included here represents the initial engagement of One-Way Ticket to Hell at the Globe Theatre in New York City in December 1955 (read the review in The New York Times). The Globe was located at Times Square and Broadway in New York City: it opened in 1910 as a “legit” theatre (for stage plays), then converted to a cinema in the 1930s, reverting to its live-show origins in 1958 as the Lunt-Fontanne Theatre (which still exists).

Motion pictures in the pre-Internet days were advertised in various ways: in newspaper & magazine ads, on radio (and later, television), via billboards and window cards (which were displayed in shop windows, often in exchange for free tickets), using “heralds” (small paper documents--showing the title, some art, perhaps a brief synopsis, with the local cinema’s name often over-printed---liberally distributed throughout a particular geographical area), and through various publicity gimmicks (dress up someone like a gorilla, send him out on the street wearing a sign-board reading “Follow me to the Rialto Theatre to see KING KONG”).

Much of the “paper” discussed in my essays--one-sheet posters, lobby cards--was primarily displayed on the premises of the actual theatre, to attract passersby and to alert audiences to movies to be shown in the near future. Thus, these methods are somewhat less useful in selling tickets to the masses, since you had to be in relatively close proximity to the building to see them (there might have been some walk-in traffic, though).

This caveat also applies to the special exterior displays that some cinemas erected for certain “special” films. In addition to the actual marquee (listing the current bill), theatre managers used “standees,” banners, giant-size posters, and other ostentatious and elaborate decorations that drew attention. The Globe Theatre gave One-Way Ticket to Hell the star treatment, with a giant (text-only, too bad) display over the marquee itself, a piece of art (the “injection” scene used on the 40x60 poster) and tag-lines on the marquee, and an inverted-U shaped display under the marquee featuring a flipped version of the “injection” image, a humungous syringe, and lots of text. [It’s possible that the top part of this is a banner, and the two “legs” are separate sign-boards.]

You’d have to be standing across the street (where the photographer who took this photo obviously was) to get the full effect of the giant sign, but it’s pretty impressive seen from this perspective. Again, this is largely “localised” advertising, intended to provoke spur-of-the-moment ticket purchasing by people who see it: such a display probably wouldn’t convince anyone in New Jersey to cross the river and pay to watch One-Way Ticket to Hell, since they’d likely not even see it. Consequently, such displays weren’t used for every film, and would rarely if ever appear in venues where there wasn’t a substantial amount of traffic passing by the cinema every day.

Still, it’s amazing to see this display and realise it was advertising essentially an amateur/student film made for about $14,000. One-Way Ticket to Hell was the only feature film ever directed by “Bam” Price, but it made quite a splash and--more than 50 years later--can still be seen online and on DVD. I’m sure there are numerous “mainstream Hollywood” films released in 1955 about which this cannot be said. Hopefully Mr. Price (who passed away in 1996) lived long enough to appreciate the longevity of his magnum opus (well, his only opus, but regardless...).

#Teenage Devil Dolls #One-Way Ticket to Hell #exploitation movie poster #exploitation movie #Globe Theatre

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letsjamesbrigdenthings-blog · 7 years

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Session 3

Session 3.

This was postponed initial due to Jason’s other work commitments. During the interviewing I discovered two major things one was peoples did not yet trust me and so their disclosures where samey and often dull. Two some of the interviews where too contravortial. Both these led to huge moral panic and questioning. Then I had the idea of The Procrastinarium a series of small interactive sideshows which open up an audiences creativity. I talked the idea through with Bella who had expressed a desire to work with me but not on Queen’s in Search of a Country.

Initially we thought big. After our Month travelling to Croatia, Norwich, Newcastle and Hull we met several artists and took part in various workshops. Two experiences that changed the way I understood my ideas where:

The Baltic exhibition of the artist Roddy Graham. http://www.balticmill.com/whats-on/rodney-graham I believe this interest came in the curation rather than the content. The Spaces in which his work occupied moved between invasive picture spaces to chilled out record listening areas. This and the breathed of his work excited me. There was also something in the way he showcased the everyday in big fascinating cinematic ways.

The other experience that changed things up was the workshop led by Stephen Mottram on The Logic of Movement.

I have been a fan of Mottram's work since he attended the Beveley Puppet Festival in 2008 with The Seed Carriers. His latest show The Parachute is my least favourite of his work but its simplicity and beauty appealed to me greatly when we witnessed it at The Moving Parts Festival. https://www.youtube.com/watch?v=f-i8ReV5EU8

The shift of audience perspective is what we need to procrastinate effectively.

The initial ideas which needed scaling down and working on were:

The Procrastinarium!

Picture blowing up!

Using phones, trace image. Place traced image under tracing projector. Re-trace enlarged image.

Shadow puppetry!

Using paper cut techniques, using floaty materials, using gels.

Mask!

Trans mask and Full mask using the work of Steve Gerrard, Mark Pitman and Le Coq. Masks have simple expressions. Play against the mask. Game of guess the mask by endowments.

Bunraku puppets!

Simple rag puppets/torch puppets. explore the techniques used by Stephen Mottram in Logic of Movement. Weight, tempo, breath, transference.

Black out poetry!

Use junk mail letters creatively. Use old text creatively.

Marionettes!

Weight/tempo.

Primitive portraits!

By Bella to entice.

Scrap instruments.

A sound sculpture using pipes tuned to complimentary keys. Using gamelan techniques.

We told Jason and Ellie about this project they where very excited. Then we told the module leader and we were told it was not possible. Perhaps the ideas where too big. Perhaps the ideas where not heard fully. Regardless we where told by the module leader to work in a black box space. So we decided to do a play. Again it focussed on our over arching theme of home. Dislocation and home.

Here is the script:

Anne to camera.

It was cold. I was lost. I was cheery. My mother put me in a bluey green dress.

It was plain not patterned It brought light into my eyes. She said I must wait. I didn’t know what for.

Perhaps until it was good again.

She said I was beautiful and that I danced across her dreams every night. She said it was wrong. She said she should keep me safe in sleep not the other way round.

I was scared of the dark but it crept in. She tried to keep me away from it the best she could. Her feet where tangled. She stopped being. She was not near. I stopped being before the music started.

George: There’s a load of crap in these bags. Where do... What even is this? Ann: It’s a hat pin George. George: A hat pin? Ann: Yes. A pin for a hat.

George: Well do we sell Hat pins?

Ann: Yes. George: It’s pretty I suppose. Ann: Put it with the earrings. George: How much shall I put it out for? Fifty p? Ann: No. It’s beautiful. You can’t put it out for fifty p. Do it for one fifty. George: One forty nine. It is a charity shop after all. Not a vintage boutique. Ann: You’re funny.

George: What do you mean? Ann: When it comes to pricing. You always knock a penny off. George: Its psychology. You’re more likely to buy... I dunno its some bollocks I read once. Ann: Lalalalaala George: What? Ann: LaALALALA

George: Cut it out. Ann: I won’t listen if you keep swearing. George: Bollocks int swearing Ann: Lalalalala George: Fuck on the other hand. Ann: Laalalalalalaal George: Alright I won’t. Why don’t you like swearing anyway? Ann: Elsie Never swore. Told me it was bad. George: Oh. Yeah my Gran was the same. Still I bet she swore when you weren’t listening. Ann: No. Never. I was always there you see. George: Always? Ann: Yes. George: Even on the loo?

Ann: No... Not often. George: I bet she spoke like an Irishman’s .... when you weren’t there. Ann: No. George: I bet she did. Ann: She wouldn’t. Her dad was a sailor. George: There you go. Or was he whiter than white too? Ann: No. She didn’t like her dad.

George: Same. Look at all this tat. Hey there’s some records here. The Picture of Dorian Gray read by Hurd Hatfield. Bobby and Betty go to the Moon. Olivia Newton John Physical workout shred........ David Whitfield...

Ann: Caramia. George: Yeah. Hell you’ve got good eyesight. Read that right through me. Ann: It was Elsie’s favourite. Put it on. George: No.

Ann: Put it on.

George: We’ve not got a record player.

Ann: On your phone then.

George: I’ve not got any data.

Ann: Use the Cafe s wifi next door. That’s what you use when you go to look at those dirty videos in the loo.

George: I don’t. Ann: You do.

George: I don’t... I am signed in though because I had to send an email to...You’ve not told Mrs Foziard about that have you?

Ann: Don’t be daft. To her I’m a puppet. Remember. She’d have a triple bypass if I started telling her what you get up to in the loos.

George: How do you know?

Ann: Because you always have a wet patch on your shirt where you’ve been trying to clean your... excrement off. Don’t worry its perfectly natural.

George: Well I can’t do it at the hostel. Ann: You’re avoiding the subject George. George: I’m just surprised at your sleuth. Ann: Put Caramia on by David Whitfield. George: Alright. How do you spell Caramia? Is it with a c or a k? Ann: It’s on the record. C.

George: Oh yeah. Here it is.

Caramia Ann: That’s it. I’m back there. George: Where? Ann: With Elsie. I was so happy. George: It’s not th... Ann: Shush. I’m listening. That’s the Manitoni orchestra.

George: I thought that was a soup. Ann: Manitoni. Not Minestrone. George: It was a joke. Ann: Shush. I love that choir. George: Sounds like Disney.

Ann: That’s the point. I was Elsie’s fairytale. Hey what’s happened? Why’s it stopped? George: Buffering. And. And.And we’re back. Eh cheer up. It’s back on. Ann: I miss her so much. George I never wanted her to go. I wanted to go with her. George: Did she make you?

Ann: Yes.

George: Did she make any other puppets? Ann: No. I don’t like that word. Elsie made me because she had to. She... got pregnant.

unmarried to a polish man. He was left over from the war. Her father went mad. Her mother understood. She met him whilst working at the YMCA. She never told me his name. Wouldn’t speak it. He left. Went back to Poland the day after she told him she was having his child. He didn’t believe her accused her of all... he wasn’t very nice. Perhaps he was scared. It didn’t matter Elsie was alone. Her mother persuaded her father to let her stay in the house as long as she gave up the child when it was born.

George: What did she do? Ann: Exactly that. She called the child Clive. George: Why aren’t you a boy?

Ann: She wanted to make me like him but it was too painful. When she was pregnant she thought she was having a girl. She thought if she had a girl then her father would find it harder to send it away.

George: Did she find him? Ann: No. Never looked. I was all she needed. She always said... George: So he’s still out there?

Ann: I don’t know. He never got in touch. She gave him away after a week. I think that was what hurt the most. Her mother was doing her best trying to persuade her dad to let her

keep him but he wasn’t having any of it. She stalled him for a week but that week was a limbo. Like waiting to be sold.

George: Don’t be daft you’ll be bought by a nice kid. You’ll go to a good home.

Ann: I’ll get discarded after a year or two. Elsie never treated me like a toy. I was her child. So a week after his birth a couple from Shropshire, friends of Elsie’s dad came and got him. Never spoke of again until after the father died. When Elsie gave Clive up her and her mum and dad moved up here. Practically straight away.

George: hmmm Ann: Get away from... Anyway about a month after Elsie made me. George: Did She have any other Boyfriends? Ann: No. George: What never? She wasn’t a lesbian was she? Ann: No. just didn’t want the trouble. George: She must have had urges. Ann: No.

George: How do you know?

Ann: She was with me all the time. She would have told me. She lived with her parents her dad died. Her mum carried on for a while after then it was just me and her. until about a year ago when her cousin Karen heard she was ill and then she started hovering round. She never liked Elsie much. I tried to tell her but she wouldn’t have any of it.

George: After her money?

Ann: Why else would she bother appearing. Still her sons moved Elsie’s bed downstairs for her. But Karen kept putting me back upstairs when Elsie wasn’t looking. My house was upstairs but Elsie wanted me to be with her.

George: What happened at the end?

Ann: Nothing really just age. She was ninety two. George: Crikey. Ann: Things just went down hill for her. She was fiercely independent. She was a teacher. George: I hate teachers. Self righteous little....

Ann: Not Elsie. You would have loved Elsie. She taught in a special needs school. She was always their favourite. She used to take me in with her but I was too shy to talk. But in her last year she stopped driving when her car failed it’s MOT and she stopped going out. She

had a couple of falls. It was all very civilised. There was no grand deathbed scene. The doctors told her not to go up stairs anymore and the house wasn’t suitable for a stairlift but she’d sneak up to talk to me every night. Then of course the neighbours who knew of Elise’s problems saw the lights on upstairs and called Karen to come over. Elsie of course denied going up the stairs but.... She could be tricky like that when she wanted to be.

George: I’ve got to....

Ann: Get off?

George: No. I would never wank after you told me that stuff. I mean I will eventually but not straight away. I’ll leave it an hour at least. I might try one in the bus station toilets or on the back seat..... Oh god I see what you mean. Yes I’ve got to get off home now. Well not home but the hostel yes I...

Ann: Can you kiss me? George: What?

Ann: Will you kiss me? George:......................... Where? Ann: Here. George: bue...eee.....errrr. I it might be a bit.... Ann: Fine. George:(Kisses on forehead and bolts out the door) Must... Ann: Get off now? George: Miss me bus....

Ann to camera.

Train rides to the seaside where always fun. Me and Mum in Kiss me Quick hats. Dipping our toes in the freezing cold Irish Sea. The donkey rides.

Sleeping on the way home. Ice cream dripping on me.

Ann: So your mum’s been married four times? Is that right?

George: Yeah. Every one of them a total... Ann: Have any of them died?

George: Not that I know of. They didn’t when they were with her. I thought the stress might have got Barry. He was hubby number two. He was with her when I was six. Right little terror I was. He was sweet really... Posh car. He had a big house an all. On Vicky Dock. He used to drive us round all over. Peugeot something... I’ve never been one for cars me. He had a good job too. Worked for council. Something big in housing. He sorted us a nice flat. We jumped the waiting list. He had a dog too.

Ann: What kind? George: Chow. Ann: Auf Wiedersen. George: No a Chow. Ann: I know, I’m only messing. George: How do you know about dog breeds? Ann: I live in a charity shop. There’s always books on looking after dogs. Never ones on

looking after people but always ones on dogs.

George: Dogs come first see. That’s part of the reason why my mum gave him the elbow. That and... well he wasn’t very bothered about the other.

Ann: What other? George: You know S.E.X.. Ann: Oh.

George: He lived with his mother til he was thirty five. I hope I don’t end up like that. No I’d have killed her by then. I’d make it look like it was an accident. She tripped on a butty and slipped out of the window. When his mother died he thought a dog would make him feel better then he got me mother and lumbered with me. My mother is a very loud and

very active shagger. Barry was well a bit limp and a bit of a lump. A limp lump. She was wasted on him he wanted a domestic godess and he got a nymphomaniac who just wanted a bigger council flat. She couldn’t even make toast on a grill.

Ann: What about your dad?

George: Dunno. I’ve never met him. I’ve heard so many things about him... He was in a band. He shot an old lady for a fiver to get a bag of chips. He was in the circus as a freak act and escaped met my mum in Taveners married her the next day and got captured back into the circus. He worked on pylons. He’s from Cleethorpes.

Ann: Don’t you want to find him?

George: Not if any of that stuff is true. Husband number three was called Cliff! He was a kid really. Started seeing my mum when he was 16. His mam was my mum’s, cousin’s best friend’s sister so it was sort of incest. He used to have his hair spiked up like... he hated me. I was only about seven years younger than him. He used to sit outside the flat for hours in his car. It was bright yellow. He played Agadoo on repeat really loud. I think he must have been on something. Perhaps he was remembering happier times... I felt sorry for him but he was a weirdo.

Ann: What happened to him? George: Well he was up a ladder on a church roof. And he fell. Ann: ouch.

George: He knackered his back. Tried to get compensation but the church accused him of trying to nick their lead. Apparently he didn’t have permission to be up there. He said he was putting it back after he found it dumped by the roadside.

Ann: Did your mum believe him? George: No. None of us did.

Ann: Good. Stealing is bad. I’m glad your mum left him over dishonesty.

George: Oh no she wasn’t bothered about that. His back meant he couldn’t give her the other...

Ann: S.E.X.?

George: Exactly. For four months so she started getting it off Derek. He’s her latest squeeze. He is the most boring bastard I have ever met. He’s an ugly...

Ann: George! Be mice and don’t swear.

George: He’s an ugly git as well. He wears the same vest everyday and sits around in his boxers picking out... I don’t know what, from in between his toes, whiskers and bum crack. He puts a little pile of dead skin and fluff on the arm of his chair.

Ann: Disgusting. George: I know. Apparently he’s magic at the other. Ann: S.E.X.?

George: Yes. I could hear them every night. He gets disability for his sciatica. If the DWP could hear what he does to my mother with his problem I bet they’d deem him fit for work. He kicked me out.

Ann: Why?

George: He says he’s spiritual. Supposed to be a shaman or something, calls himself Four Ferrets. He retrieves people’s souls. He’s got my mum well hooked into it. He believes I’m full of bad spirits. Possessed...

Ann: By what?

George: An owl. Apparently an owl’s energy is not compatible with a ferret’s. So I was kicked out.

Ann: Didn’t your mum stop him? George: No. Men come first. Ann: That’s awful. George: No it’s not. I went to live with my Gran. She was sick. Ann: Oh.

George: Sick cool. Not sick dying. I mean she ended up sick dying. But when I first moved in she was just sick cool.

Ann: Is that why you’re in the hostel?

George: Yeah. She died and all the family wanted to get through all her stuff and sell it and... I mean it was a rented place too so they had to do it quick like. I got a box of it. But she was sweet. Used to smoke in bed. It was like a jungle her bedroom. She thought by having plants all around her bed it would swap the air for oxygen so the smoking wouldn’t be bad for her. It didn’t work.

Ann: I’m sorry.

George: Me too. She was lovely. She always gave me toffees in golden wrappers as a child and I’d suck on them for hours. And she used to put sugar in my lemonade to make it fizz up over the surface. She was the best friend I ever had. I wish I’d moved in sooner. It was awful at the end. She was in a hospice. The relatives had already started sorting out her stuff so I was the only one with her when it happened. Within seconds she was cold and stiff and I was crying. They’re used to it in the hospice. They were very kind. They took me away and gave me a chocolate hob knob or was it a ginger nut? I can’t remember funny what stays

and what doesn’t. I thought I’d remember that biscuit forever. I do remember it had fluff on it though. Come out of the jar. The jar was sticky.

George: Ann? Ann: Yes George. George: I’ve got you something. Ann: Really?

George: A present. Ann: You hid it from me all day? George: Yeah. I couldn’t give you it in front of the customers. Or Mrs Foziard. Ann: You haven't stolen it have you? George: No. It was in a box of my Gran’s things. Do you want it? Ann: Yeah. George: I wrapped it up and everything. The wrapping paper I nicked though. Ann: George.

George: Just kidding. It’s recycled. It was this kids birthday in the hostel and he had some presents. Anyway I got the paper out of the bin. There’s a bit of a stain on it. I think it’s pizza grease. At first I thought it was that stuff they put on condoms... Spermicide. But I’m pretty sure they don’t make tomato flavoured johnnies yet.

Ann: Thanks. I can’t open it...Felt hands you see. George: Oh yeah... Didn’t think of that...crap...er what shall we do then?

Ann: You could open it? George: Oh yeah. Good idea..... See... Ann: It’s beautiful. George: Its a mandolin. An Ann sized mandolin. Ann: An Anndolin. George: It’s a music box too. Listen. I just wind it up. Like I wind you up and.... See. Ann: Its amazing George... You’re sure it’s not stolen? George: Yes. What do you...

Ann: I know. It’s just you...

George: I know. But I’ve changed. It was my gran’s. She used to have it on her sideboard. On a doily. Brought it back from Spain or somewhere. Her first holiday after my Grandad died. She met a waiter called Og. He had jet black hair and a carpet on his chest. I think he gave it to her on their last night. HA I still don’t know how she got the mandolin. Get it? Eh?

Ann: It’s not funny. George: Okay. Anyway I used to dance around for hours with it. I used to love the tune.

Hmm Hmmm hmmm hmm mmmm. Ann: Do you play any instruments? George: Not reall... Well guitar... a bit. Ann: There’s one over there. Play it. George: No.

Ann: Go on. George: I don’t. Ann: You just said you did. George: Well I did. But I don’t play in front of people. Ann: Do puppets count? George:..... I thought you didn’t like that term? Ann: When it suits. Just play it George. George: I just used to play at my gran’s when no one was in. She was practically deaf

anyway. Oh go on then. WHOLE WIDE WORLD Ann: Did you write it yourself? George: I wish... It’s simple enough. Ann: It’s beautifully simple. George: Ha... It’s Wreckless Eric. Ann: Who?

George: Just this singer from the... Seventies? It’s my mum’s favourite. She had it at all four of her weddings. First dance and everything. I thought If I played it to her she’d stop going off with wankers.

Ann: George George: Fooking piss. Ann: George! George: What?

Ann: Don’t swear.... Mustn’t... Shouldn’t swear theres no need. George: Sorry. It’s just... I like it. Ann: Like what? George: Swearing. Course.

Ann: It’s stupid.

George: It makes me feel... Try it.

Ann: No. I don’....

George: Go on. Just F. just once.

Ann: No.

George: You'll like it.

Ann: Well I don’t like it. If you swear again I won’t speak to you. In fact I’ll die... And stay dead.

George: You’re not alive anyway. You're just a puppet...

Ann: George. George: Or a doll. I forget wh.... Ann: George, I am.... I have never been so insulted in.... George: You want to get out more. Ann: Take it back George. You're really horrid when you want to be.

George: Look Ann I can just walk away. Anytime I like. Just cash up and walk out of this dump and never see you again. You couldn’t follow me.

Ann: I could.

George: How?

Ann: I wouldn’t want to after what you said to me. But I could if I wanted.

George: How? How could you follow me? You’ve got no legs. You're a flipping puppet.

Ann: George!... If I wanted to follow you I would persuade your mum to buy me and then I’d come home with you and you’d be stuck with me.

George: Persuade my mum to buy you? She wouldn’t buy you in a million Sundays. What

would she want with a grubby old doll? Ann: Fuck off... Go on... Fuck off. George: Ann! Ann: There we are you pushed me... I swore... Twice I swore. Fuck you George. George: Thrice. Feel good?

Ann: What? George: Feel good to swear? Ann: George I’m not talking to you. You hurtful bastard. George: Haha so that’s a yes then? Ann: I thought you weren't interested in a grubby old doll. George: No. I said my mum wouldn’t be. Not at thirty quid. Ann: Just... Go and... Go and... George: Go on do it.

Ann: Go and.... George: You really want to... Ann: Just go and shit on your mum’s face you twat, fuck, arse, willy. George: Twat, fuck, arse willy! That’s ace. Ann: What? George: I was just winding you up. Trying to get you to swear.

Ann: It worked you poo brain. George: Shithead. You enjoyed it though... Ann: Bastard. George: I love you Ann Ann: I love you too George. George: I wish...

Ann: What?

George: I wish I could buy you... I don’t ha

Ann: I know.

George: Mrs Foziard says that you'll have to be sold soon or they'll throw out your house and put you on the shelf with the bears. You'll be reduced to £7.99.

Ann: But why?

George: Don’t have the space. Capitalist tw...

Ann: George!

George: Twits.

Ann: But its a charity shop.

George: I know. I hoped you'd never get sold. Then we could carry on like this. Until, I could get enough money to buy you.

Ann: I want that too. I think Elise would want me to... Even if you do swear. George: I know. I’m saving up. Being proactive.

Ann: Are you?

George: Yeah. There’s a wishing fountain in town. And I know its unethical but I’ve been taking coins out. Problem is I got caught by this old bloke. He made me put it all back. At the moment I’ve got on pound ninety eight and a soggy sleeve.

Ann: Oh George. George: I could steal you. Ann: From a charity? George: I suppose... It wouldn’t be easy anyway. Stealing oranges is easy. But I’d look

funny charging down New Court Road with your house on my shoulders. Anyway there would be no space in the hostel.

Ann: You’ll be back with your mum soon.

George: Yeah. I don’t think Desmond would approve. Their flats on the sixteenth floor. The lift is broke. It’s always broke but this time its because kids have been shitting in it and its seeped through the gaps and got the cogs clogged up or something.

Ann: It wasn’t you was it? George: No. No I reckon it was Rasher.

Ann: Rasher?

George: Yeah. He was a proper disgusting kid at my school. We used to nick vodka together. Go Swig it by the river. His real name is Kieran Bailey... But everyone calls him rasher. Once when we were thirteen we’d gone to the river... my gran had run out of vodka cause we’d drank it the week before, his mam had drank all their booze so I’d nicked my gran’s Pernod. Trust me its fowl. Anyway when we where pleasantly sloshed Kieran who was as sexually frustrated as the next thirteen year old got an erection and decided to relieve it in the mud. It was low tide. So he’s like this. He’s going like this. Within about fifteen seconds he’s completely submerged. There’s all sorts in that mud. Leeches, prams, bodies...

Ann: Bodies?

George: Yeah Kristine Denby was trying to lose her virginity on the stoney bit near the edge when she saw this bone poking out the water and it turned out to be celtic or something and there was a chariot and stuff next to it. It was in all the papers. Anyway Kieran Bailey was covered and we couldn’t find anywhere to hose him down. We got worried he might catch something...

Ann: A fish?

George: No like hepaticas or syphilis. It was probably the Pernod talking. So we broke into this cemetery and using them things you put flowers in and the tap I got him cleaned. He

was caked in it though. I’m glad no one saw us they’d have thought there was an apocalypse.

Ann: But why was he called Rasher?

George: Oh yeah. Well when I got all the river gunk off him he had this rash that was in the shape of a baby dolphin. the next day at school it was all pussy and green. Like the algae had clung to his face.

Ann: Poor Rasher. George: Yeah. He’s tee-total now. I’d better...

Ann: Don’t go. Cup of tea? George: Ann. Firstly you know I don..

Ann: Drink tea or coffee or anything hot. I know. Just stay a little while longer. It’s cold and dark when you’re gone.

George: It’s nearly six o clock. If I don... Ann: I know you get locked out. ...Why don’t you stay? George: Here?

Ann: Yeah. I do. Every night. What’s wrong with it?

George: But... It’s a shop. I can’t just bed down behind the counter.

Ann: We could stay up and talk all night.

George: Aren’t you fed up of talking to me?

Ann: No... Not at all.

George: Ugeh I don’t know. It would be weird.

Ann: Why?

George: Look I have to stay at the hostel or they’ll get rid of my stuff give my room to someone else.

Ann: So. There’s stuff here. You hate that place.

George: Yeah but I can’t just live in a shop. It won’t always be like this. We will have somewhere of...

Ann: Our own one day. Yeah I know. But I’m so lonely here. I spent my whole life with Elsie everyday every night. We stayed up for hours and hours. These last eight weeks I’ve

had to... I don’t know how to be on my own.

George: That’s the problem. Ann: What? George: Being on my own is all I know how to do. Ann: But you’re lonely. George: Yes. I’m lonely. It could be worse. I’ve learnt how to be lonely. Ann: It couldn’t be worse. I can’t stand it. I’m going mad.

George: Why? Everyone says being lonely is bad but what is so bad about it? Is it the thought of loneliness? What is it?

Ann: Yes it’s the thought. Its more than that It’s a fear that I won’t see you or be able to talk again. You said you loved me.

George: I do. Ann: Well people who love each other shouldn’t be lonely. George: Maybe. But they often are.

Ann: Wh...

George: Circumstance. Look if I don’t go now...

Ann: Fine... I can’t lock you in.

George: Promise I’ll be back first thing.

Ann: Don’t you dare break that promise. George? Promise me things won’t always be like this. Promise it. Promise that we can...

George: I promise I will take you away from here. Ann: When? George: Soon. Ann: What date though?

George: I dunno. Soon. Ann: If you promise a date then you can’t break it. George: Fine... I’ll take you tomorrow.

Ann: How? you’ll never get the money for tomorrow. George: Then I’ll speak to Mrs Foziard. I’ll pay in instalments. Ann: Take me now. George: I thought I wasn’t to steal from charities. Ann: I know but I can’t bare it. Take me. George: I’d never get the house through the door. Plus there’s CCTV. Ann: They never check it.

George: No but they would if you disappeared. Look I promise I’ll speak to Mrs Foziard tomorrow. I love you good night Ann.

Ann: Good Night George.

Ann to Camera Falling is a funny feeling. A feeling that is unavoidable. I avoided falling for so long. Perhaps I’m due a fall again.

George: Ann! Annie? I’ve got it Ann. I sorted the money. I... Ann? Sarah: Hullo. George: Who are you? Sarah: Sarah. I’m new here. Isn’t it terrible?

George: What? Why’s that shelf all messed up I sorted it yesterday?

Sarah: We got robbed. Broken in.

George: Your kidding?

Sarah: They didn’t take much. Amateurs really couldn’t get the till open. Not that cash is kept on these premises. Just took a couple of books and toys. They smashed....

George: Did they take Ann?

Sarah: Ann? Who’s Ann? Do you mean Mrs Foziard? No she wasn't in. She's gone out the back having a flush, before the police arrive. What a day for my induction. I’m only doing it for my Duke of Edinburgh award. Is that why you work here?

George: Ann? Annie? She’s not here.

Sarah: Who?

George: Ann. She’s a frie.... a puppet.

Sarah: You where going to say friend. Weren't you? Ha. I never thought I’d meet someone who was friends with a puppet. That’s hilarious.

George: Look have you seen her? She lived in this house. Sarah: I can see working here will be a hoot.

George: Have you seen her? We where going away together today. Sarah: You're cracked. George: Ann. Sarah: Oh that?

George: Not that. Ann. it’s alright I’m here Where’s your mandolin? Ann speak to me. Sarah: She was squashed under the till. Mrs Foziard had to move her to open it. Mrs

Foziard said not to touch anything. Not until the police got here. You're tampering with evidence.

George: Ann whisper in my ear. Please let me know you're okay.

Sarah: No one locked the door last night. There was no glass. They left the keys in the door. They just opened it up. Where you the last in?

George: Oh god. I had to run for my bus. I must have forgot and now they’ve caved Annes head in I will never forgive myself.

Sarah: It’s just a puppet.

George: You will never understand... Anne I’ve.. I got the money. I learnt a song last night. Please, please speak to me. I’ll never swear again I promise. I’ll always love you. Listen. (Picks up guitar plays Cara mia)

Sarah: You're tampering with more evidence.You’ve lost it. If getting my Duke of Edinburgh wasn't vastly going to improve my life choices no way would I work with you. I’m going to get Mrs Foziard.

This was written after reading The Secret Life of Plays by Steve Waters and was heavily influenced by conversations Mariette and I had and chance meetings with people in ordinary places. The twee elements are developed out of the frustration of not having a location. The endless frustration I felt living in rented accommodation.

We read the play with Jason.

It seemed to be an enormous task.

With Jason’s help we worked out what we wanted to achieve.

Art work about Home. Home is such an important construct.

Both Bella and I have a shared and not shared home history.

Creating our Home was an extremely important task.

It took planning and mistakes.

We are still not satisfied.

Many people have less than us.

We are in a relatively lucky position.

During this meeting I came up with the idea of getting an audience to answer questions on home. I decided that wings attached to the booth would be the best way of executing this. I bashed out its form and structure. I decided chalk and black board would be the best way of creating this. I set Bella the task of making this come to life whilst I came up with questions.

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