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lesbianrobin · 3 years ago

Note

What do you think are the good and bad aspects of each season of ST?

ok 1. thank u for this question omg and 2. this answer may or may not be a mess, but either way it’s long (almost 7k words lmao) bc i’m insane, which is why it’s under a cut. it’s still by no means an exhaustive list but these are the things that just kinda came to mind.

also i realize you asked “good and bad” and i wrote this whole post as “strengths and weaknesses” which um. is not Exactly what you asked. but close enough <3 i also ended up including a lot of au ideas ksjdckmn bc like i personally hate when people say a certain plot or whatever was bad without suggesting anything that could have improved it yknow so whenever possible i tried to provide Some idea for fixing the issues i had with the show!!

season 1

strengths (this is probably gonna be the longest section but that’s because a lot of these strengths also apply to s2/s3 by default)

nostalgia and authenticity

this one’s pretty simple, but i think that season one did a good job of blending classic eighties media homages (such as the many many e.t./el parallels) with explicit pop culture references (such as mike’s yoda impression, mentions of the x-men, etc) to create a show that’s essentially dripping in early eighties nostalgia without it feeling too forced. before st, i think the most popular depiction of the eighties in mainstream media was that overly exaggerated neon scrunchie aesthetic from the mid to late eighties, and it was usually done in a comedic sense first and foremost. st took a different approach, instead focusing on the early eighties, a time that’s often ignored in favor of going either Full Seventies or Full Eighties, and i think that this choice likely resonated with adults who lived through the eighties and hadn’t yet seen something that felt quite so accurate to their own adolescence. a lot of young people who watched st were totally unfamiliar with this period of time, unfamiliar with books/movies like “stand by me” that st borrows from heavily, and i think st lent more seriousness to the eighties than most young people had experienced so far, and this was refreshing and interesting!

the use of dnd in the show is also quite genius in a way i’m not sure i can articulate?? it isn’t something Everyone would have played at the time, but it’s something that existed within a different context back in the eighties than it does today, and it really lent a sort of authenticity to the naming of the show’s sci-fi elements. like, of course these kids would name parallel dimensions and monsters and superpowers after these similar things in their favorite game! it just feels so real and it grounds st in our reality moreso than you might expect from the typical sci-fi or horror universe.

utilization of existing tropes

almost every single character in st clearly originates from some popular trope. the plot itself is riddled with classic eighties movie tropes. almost every single element of stranger things can be clearly traced back to some iconic eighties film or just to, like, overused horror/sci-fi/mystery/coming-of-age movie tropes in general. this might sound like a bad thing, but it really works in st’s favor! starting off with familiar tropes gives st the ability to easily create a lot of complexity and make a big impact by selectively deviating from those familiar, comfortable tropes!! while el’s whole plot, hopper’s character, etc, are all examples of this in action, i think the steve/nancy/jonathan plot is the greatest example. even from the start, the fact that good girl barb dies while nancy is off having sex with her asshole boyfriend is an incredibly thorough inversion of the most well-known horror movie trope in the book. how often do girls in horror movies have sex for the first time, walk home alone in the dark of night, and live to tell the tale? nancy and jonathan’s dynamic at first glance is a sort of classic “good girl meets boy from the wrong side of the tracks, discovers he’s actually got a heart of gold” thing, but instead of following this well-trodden path, st diverged. nancy is brash, impulsive, and at times downright insensitive. jonathan is angry, bitter, and actually a bit of a creep at first. while they have the capacity to emotionally connect and support one another, they can also bring out each other’s darker side, which is not what we��ve come to expect from that initial tropey dynamic.

in addition, steve, the popular rich asshole boyfriend, is actually... a human being! unlike the cartoonishly evil jocks that we’ve come to expect (especially from eighties movies), steve has complexity. despite his initial immaturity and selfishness, he’s also kind to barb, he backs off when nancy says no, he’s gentle and sweet when they sleep together, his first big Dick Move of the season is in defense of nancy, he realizes the error of his ways after the fight and does what he can to fix it, he’s worried about nancy when he sees that she’s hurt at jonathan’s house, and to top it all off, he ends up saving both nancy and jonathan’s lives when he could have just walked away, and the three of them all work together to fight the demogorgon. like... steve began as the most stereotypical character of all time, and by the end of the season, he had one of the most compelling and unique arcs among the whole cast!

finally, at the very end of the season, instead of dumping steve for jonathan as expected, nancy ends up getting back together with steve, and they’re both on friendly terms with jonathan. i realize that i just kinda. summarized s1. but my POINT is that i don’t think the dynamics between the monster hunting trio would be nearly as fun and interesting had the characters of nancy, steve, and jonathan not been set up to follow certain paths that we already had charted in our own heads. like, within the first couple episodes of s1, it’s pretty obvious that nancy and steve are gonna break up, nancy will get with jonathan, and steve will either die or go full evil or just never be seen again. like, duh! you’ve seen this story a million times! you know that’s how it’s gonna go! so, when the story DOESN’T go that way, the impact of each character’s arc and the relationship dynamics become stronger due to their unexpected complexity and authenticity.

distinct plotlines separated by age group

this one’s rather obvious, but the way that the adults in s1 were essentially in a conspiracy thriller while the teens were in a horror flick and the kids were in a sci fi power-of-friendship story and all three converged at the end... wow. brilliant showstopping etc. not only was it just really well done and unique, it also gave stranger things near-universal appeal. like, there’s genuinely something for pretty much everyone in season one!

casting

obviously this applies to every season sorta by default, but when i think about what made season one So successful, i always think about the cast, and not just winona ryder. yes, she’s absolutely amazing in the show and it’s very doubtful that st would be as big as it is today without her name being attached to it from the start!! however, i think the greatest determining factor in st’s success is the casting of the kids, particularly millie bobby brown. like... el is just absolutely incredible. she’s amazing. this has all been said many times before so i won’t harp on it, but millie and the other kids are all So talented and charismatic and i think their casting has been instrumental to the show’s success.

strong visuals

the way that multicolored christmas lights which have been around for decades are now kinda like. a Stranger Things thing. jesus christ. those lights are probably the biggest stroke of stylistic genius on the show.

atmosphere and setting

this is probably like. the least important one here for me sdjncdsc because i think s2 and s3 both had like Even Better atmospheres and shit but s1 was good too and it laid the groundwork!! i know a lot of people would have preferred st be set somewhere more Spooky with lots of fog or giant forests or whatnot, and while i do enjoy thinking about alternate st settings and how they might alter the vibe, i think hawkins indiana was a good choice. as the duffers have said, placing stranger things in a fictional town allows them more flexibility than if they’d gone with their original plan of using montauk, new york. besides that, i think the plainness and like... flatness... of small-town indiana just Works. like, the fact that hawkins is never really scary on the surface is a big part of the horror in the lab’s actions and their impact. hawkins isn’t somewhere that people just disappear all the time. it isn’t somewhere known for strange occurrences (prior to s1, that is). it isn’t somewhere shrouded in mist and secrecy. hawkins on its surface seems like the sort of place with no secrets and nothing to fear, and that’s the point! the lab is out in the open! it’s right there! everything is so close to the surface, yet so far out of the public eye, and i think that really works.

the byers family’s whole deal (specifically the joyce/jonathan dynamic)

this is going here bc i miss it so bad in s2 and s3. i’m not one of those people who believe The Byers Are The Whole Point of the show, because st is and always has been an ensemble, and el, hopper, and the wheelers are just as instrumental to the plot as the byers, but ANYWAY, i do think the byers were one of the most interesting aspects of s1. joyce’s difficulties with supporting her sons as a poor and (implied mentally ill) single mother, jonathan’s stress as a result of having to earn money, care for his brother, and keep the house in order when his mother is unable to do so, and the resulting tension between them when will’s disappearance and supposed “death” brings the situation to a tipping point? holy shit! it’s so good! that argument after they see will’s “body” is just incredible and gut-wrenching. their relationship feels so real and messy and i think it’s just... good. also winona ryder REALLY acted her heart out and she carried a lot of s1 which i think people often forget to mention so i’m saying it here.

weaknesses

pacing/timing

ok so pacing is probably going to go in each season’s weaknesses, to be honest, because i think they all had a blend of some good and some bad pacing. good pacing is invisible pacing, though, so i probably won’t be putting it in any of the strengths sections and will only be focusing on it in the weaknesses. i’m also probably not going to talk about weird day/night cycle things, just because i don’t want to get nitpicky on timelines because that would require going back and rewatching things to double check timing which i don’t wanna do at the moment lmao. anyway, when i think of bad pacing in season one, i primarily think of two things: nancy’s little trip into the upside down and subsequent sleepover with jonathan, and the sort of staggered nature of the climax in the final episode. the latter is simple so i’ll explain it first: while i understand that each group’s respective climax is like part of a chain reaction and that’s why each big moment happens separately and at different times, i think that st is strongest when the whole group is together, and i think that makes the stakes feel higher too, so i’m not In Love with the way s1 separated everyone and gave each group their own climax.

okay, now on to the nancy/upside down thing! idk if i’ve ever talked about it before, but i think the worst decision made in s1 by far is the inclusion of nancy’s brief trip into the upside down, wherein she dives headfirst into another dimension with absolutely no backup, watches the demogorgon chow down, freaks out and runs around for a minute, and then leaves. like... what the fuck? even putting aside what an idiotic decision this was (because i do think nancy’s tendency to rush into things headfirst is an intentional and consistent character trait), it just kind of destroys any remaining suspense surrounding the demogorgon and the upside down, and it accomplishes basically nothing besides scaring nancy enough to have jonathan sleep over, which is lame. i will break it down.

like, first of all, nancy just getting to waltz in and out of the upside down and get a good, long look at the demogorgon makes the entire thing far less mysterious, and by extension far less scary. like... before this scene, we the audience haven’t got a good look at the demogorgon. we’ve seen its silhouette briefly and we’ve seen a blurry picture of it, but nothing more, and i think that is far more effective at building fear than this jaunt nancy goes on which gives us a full view of the thing and makes it into less of a horrifying nightmare and into more of a humanoid animal. like, maybe this is just me, but i found the demogorgon far less intimidating after that scene than before. it also lets nancy and jonathan know For Sure that they’re right without providing any crucial information that they need to fight the demogorgon (aka it’s unnecessary to the plot), which removes a very compelling story element (the faith nancy and jonathan need to have in order to keep going against a vague and poorly understood enemy, the doubt they might have about each other and their own sanity, the possibility that they might be wrong, the trust they need to have in each other) a bit earlier in the plot than i believe is ideal. at the end of episode 5, nancy goes into the upside down and jonathan doesn’t know where she is and it’s intense!!! you’re thinking like, oh fuck, not only is nancy missing and fighting for her life now too, jonathan might be implicated in her disappearance!! some people already think he’s the one who killed will and people know that he took creepy pictures of barb and nancy before they both disappeared, maybe this is gonna cause some serious problems for him!! maybe nancy will find will in the upside down and she’ll help him survive!! fuck, maybe she’ll actually die!! this is huge!! and then episode 6 starts and they’re immediately like oh nevermind jonathan found the tree and got nancy out and she’s fine. my point with all of this is that nancy entering the upside down could have done A Lot in the grand scheme of the plot, but all it did was just... get jonathan to sleep over so he and nancy could have some awkward romance moments and steve could see them together and pick a fight. which could have honestly happened at Any point while nancy and jonathan were working together to hunt down the demogorgon, without ruining the demogorgon’s and the upside down’s mystique. so yeah <3

weird behavior and dumbass decisions that make no sense (aka the whole camera thing)

gonna go off about the teen plot again sorry but: why was nancy so unbothered and quick to forgive jonathan for taking those pictures? girl what the fuck are you doing? why wasn’t that a bigger deal? why was jonathan’s motivation for doing it so weak and why did they just kind of forget about the whole thing? why did nancy TRACK HIM DOWN AT THE FUNERAL HOME while he was PICKING OUT HIS BABY BROTHER’S CASKET to be like hey can you tell me what’s in this creepshot you took? it’s insane. it’s so insane. i mean i think the funeral home thing is hilarious and i don’t mind it being in the show necessarily but like my point here is that i think a lot of character decisions in s1 just kind of.. happened because they Needed to happen for the plot. like, they wrote this plot that required jonathan to be secretly taking pictures of the party and required him and nancy to work together after seeing something odd in the pictures, but they didn’t like... really consider what that event would mean for their characterization and relationship. the whole thing was sort of just dropped with minimal discussion and i think it did both nancy and jonathan’s characters a disservice and was really mishandled.

lighting and saturation/color grading

i am literally begging horror/sci-fi shows to let me see shit. i GET IT okay i understand that when you’re doing cgi effects it helps to keep the lights down and i’m not mad at any of the lighting in the demogorgon/upside down scenes!! i’m really not i think the demogorgon scenes in s1 all look sick!! but like... dude. the colors. where are they. why does everyone look like a vampire. i know blah blah this was probably an intentional stylistic choice intended to mimic film at the time blah blah but dude a lot of old movies are very colorful!! please just let people have color in their faces so everyone doesn’t look like a sheet of paper!!! also i’m white and not a professional lighting designer so yknow grain of salt but i think lucas was kinda poorly served by the lighting sometimes in s1. not Hugely so, not to the degree that i’ve seen poc be poorly served by lighting in other shows, but there were some times where it felt kinda like the lighting setup was just not designed with darker skin in mind.

horror

i just personally don’t find s1 very scary like... ever. i don’t think they were really Trying to be extremely scary yknow so i’m not counting this as a big deal, but i do think that each season has improved on the horror aspects. i think s1′s horror lies more in the mystery and the unknown than in what’s seen onscreen, and as i’ve said already, i think s1 kind of fumbled that suspense ball.

season 2

strengths

the possession plot

i’ll warn u rn this whole s2 strengths section is probably gonna be really short bc idk like. how much there is to really say i feel like it’s all so self-explanatory skjncmn. anyway yeah the possession plot!! eerie as fuck, and noah OWNED. so did winona tbh and finn and sean etc but like. noah. wow! i think the possession plot helped the show maintain a good amount of tension and suspense throughout the season, and a lot of scenes with possessed!will are flatout disturbing to watch. in a good way. i think the mindflayer and will’s possession were far more genuinely frightening than s1′s demogorgon, and it provided a new layer of depth and intrigue to the antagonist besides just “bad monster want eat people.”

tone and aesthetics

halloween season... literally halloween season. halloween season. that is all.

actually i will elaborate a bit and just say that i think s2 did a good job of having the sort of foreboding vibe that s1 was often going for, but without the annoying darkness and desaturation. so points for that.

also st2 is like one of the best Autumn pieces of media ever like it just. like steve and dustin on those train tracks with the fallen leaves all around them.... god. god the vibes are unparalleled. all of the halloween stuff also really contributes to the nostalgia st runs on yknow it makes you think about childhood and trick-or-treating and you kind of get transported like damn... i remember going to the rich neighborhoods to score the good candy..... idk i just think the whole thing is incredibly effective.

“babysitter” steve

by sending nancy and jonathan off together, the show created a problem: what to do with steve? this problem pushed them to create the unconventional and unexpected duo of steve and dustin, and the world is so much brighter for it. seriously though we all know steve and dustin are great i don’t need to argue that point. all i’ll add is that i think allowing steve to grow in this way, serving as a mentor figure and becoming genuine friends with someone so unexpected, really took the originality of his character to the next level. no longer content just to defy his archetype, in s2 steve begins branching out in ways that never would have been considered in s1, creating an incredibly complex and interesting person from the sort of character that most shows would have simply written out or killed off for convenience’s sake. and it works and steve and dustin are such a joy to watch and i love them. <3

the lucas/max plot

so first of all max mayfield is the most perfect baby girl on god’s green earth and idk what i would do without her but anyway. i think lumax is the best romantic relationship in the show and not just because they’re the only ones with like an age-appropriate approach to the whole thing. it’s also because their relationship accomplishes more than just putting the two of them in a relationship!! lucas and max spending time together motivates billy to do his evil shit, providing more conflict in the narrative, and it also helps establish max as part of the group in a relatively natural way while giving both her and lucas a great subplot. lucas (and dustin) has a crush on the new girl, they start spending some time together, and lucas ends up needing to decide whether he’ll keep the secret of the upside down and lose her, or risk both of their lives by telling her the truth. that’s a pretty big, character-defining decision that he gets to make!! max has to choose whether to trust this boy she barely knows and endanger herself, or to walk away and stay safe, yet another great character-defining choice that also contributes to the sense we get as an audience of max as somebody who’s incredibly lonely and desperate for love and connection. this post is way too long already and i have a ton more to say so i’ll stop now but yeah i think lumax really Works in the show without ever distracting or detracting from the overall plot and narrative in the way that some other ships (coughjancycough) often do.

balance between the normal and abnormal

s2 i think did a pretty solid job of melding daily life with more fantastical sci-fi horror elements. i enjoyed seeing so much of the kids at school in the first few episodes!! you really get a strong sense of where they’re at in life, what their daily lives are like, and you get a sort of gradual shift into madness that makes everything feel more grounded than i think it would if they had just leapt straight into the horror shit, yknow?

the el and hopper dynamic

go back and rewatch s2 and tell me that’s not one of the most moving portrayals of parenthood and trauma and growing up that you’ve ever seen. you can’t. or well you can but i won’t listen. i really can’t imagine stranger things without el and hopper’s relationship, and it’s my absolute favorite part of s2. their whole dynamic is so beautiful and complex, and gives them each amazing personal arcs in addition! the black hole scene is literally one of the show’s greatest moments of all time. any given scene between the two of them in s2 is just guaranteed to be heartwarming as well as heartbreaking, and i think that makes for an incredible show.

weaknesses

flashbacks

okay this applies to Every season they All have too many flashbacks but in s2 specifically... please stop showing me shit from season one. i watched it. i know what happened. you don’t need to spoon feed everything to me!! flashbacks can be a really helpful way of delivering information to an audience, but st has a bad habit of not only being kinda demeaning in how often they flash back to shit that the audience already knows, but they also have a bad habit of using flashbacks almost as a crutch to avoid having to deliver information subtly and naturally.

you know i gotta say it... the lost sister

this is so sad. the lost sister really is like a great concept for an st episode, and i’m not mad about the idea of st taking a break from the normal action to focus on one story for a full episode, but the execution of it was just dreadful. kali and her crew feel very over-the-top and stereotypical, and its placement in the season totally kills the tension and excitement that was built in “the spy.”

i think the lost sister honestly could have gone over far better, even with the stereotypical fake-feeling gang kali has, if they had just swapped it with “the spy” like... ok, the end of episode five has el setting off to find kali and will collapsing on the ground seizing. right? imagine if, instead of immediately following will to the lab, we’d followed el. we don’t know what’s happening with will, but it’s a very simple cliffhanger that leaves us on edge without making us feel cheated by the show cutting away. we follow el on her little journey, everything happens much the same as canon, and then at the end, el sees hopper in scrubs. she sees mike, screaming, sees that they’re both in danger. holy shit!!! what the fuck!!! what’s happened since we left will seizing on the ground??? we feel el’s fear and confusion. she decides to go home. and then... boom. “the lost sister” is over. now, we rewind, right back to will seizing on the ground, and “the spy” commences. we learn how they got into the danger that el saw in the end of “the lost sister,” and we sit on the edge of our seats all through “the spy” and “the mind flayer,” KNOWING that el is on her way back to save them but not knowing when she’ll arrive!! idk i don’t think that would have necessarily saved lost sister but i think it may have alleviated some of the issues that i and many others have with it, timing-wise.

the nancy/jonathan sidequest

once again, the idea of nancy going off on her own little mission to find justice for barb after s1 is like. amazing. genuinely i love that plot for her and i can’t imagine anything better for her to have focused on in s2. unfortunately though i think her and jonathan’s little trip to see murray was just kind of... lame. the whole thing just felt like an excuse to get the two of them alone together, yknow? which is fine i guess people contrive all sorts of situations to get characters alone together for romance reasons but in this case i think it just really doesn’t work for me because of what it’s juxtaposed with. like, will is POSSESSED, and jonathan is just off on a mini road trip and sleeping with his bestie, and jonathan never seems to communicate to joyce/will that he left town, and joyce never like... thinks to tell him that will is like sick and fucked up and they’re looking at him in the lab??? like it’s so weird i know joyce always forgets about jonathan when shit’s happening with will but jfc you’d think at some point in that like... 72-ish-hour period where jonathan was out of town she would have thought about him. like at least once. maybe i’m forgetting something and she mentioned him sometime and i missed it but even still, i hate the juxtaposition of nancy and jonathan just like cheers-ing at murray’s place and sleeping together and whatnot while everyone else is dealing with possession or trying to hunt down dart yknow? it feels really boring in comparison and i think it could have been done far better. like it was SO insanely easy for them to get into the lab and get an admission of guilt and escape with it!! i think it might have been a lot more engaging if maybe someone from the lab tailed them to murray’s place and they had to like lose the tail and race to get the recording out to as many news outlets as possible before they got caught, or something like that. the tension in their plotline is completely resolved in episode four!! episodes five and six are just them screwing around and addressing envelopes. while there were a lot of strong ideas in this plotline (i really enjoy nancy going out of her way to get justice, and the fact that they have to water down the story to make it believable), i just think the focus on nancy and jonathan getting together hindered it a lot without adding a ton to the plot or their individual characters.

season 3

strengths

starcourt mall as a setting

while i don’t think the mall was utilized quite to its full potential (something i could make a separate post about if anyone’s interested), i do think that starcourt was a genius addition to the series. i’ve said this before, but building a new mall is a literal Perfect in-universe justification for a significant leap forward in fashion and aesthetics, and it provides a great location for characters to just... be characters. idk how else to articulate this i just think that the mall is a great setting to let people interact with each other and to bring people together who may not have been otherwise (i.e. scoops troop). not to mention how sick it was to see the mall get wrecked toward the end kdjncdkm like they were able to do so much more with the mall in terms of like The Finale than they could with just the byers house or the cabin or the school or even the lab. i love all the back tunnels they run through it’s such a fun like acknowledgement of how this glitzy eighties mall is just a real place where employees get shipments and take out the trash and shit idk it’s all about the perfect facade and what’s hidden what’s underneath what’s hiding in plain sight etc etc i’m just saying words now. anyway.

willingness to experiment and go against expectations

gay robin. neon aesthetics. giant fucking meat monster. i know some people hate both the neon and the meat monster but i personally think they were kind of amazing and like. yknow regardless of personal tastes i think it’s impossible to deny that s3 had a lot of incredible visuals, and they’re all visuals that just wouldn’t have been possible if the show were too afraid to stray from its s1 aesthetic. robin being canonically gay (and her resulting friendship with steve) and the season’s striking visuals are two things that most everyone (besides like homophobes skjncdknm) can agree were great, right? and they were both departures from where the show began and what we all expected!! so yeah i think while some of the experimentation in s3 wasn’t ideal it was also that experimentation that allowed for some of the season’s strongest elements to come about.

the hospital sequence (and the season’s action/horror scenes in general)

this one is fairly self-explanatory. while they may have underutilized the “body snatching” element of the season, the hospital sequence with nancy and jonathan fighting off their possessed bosses did an amazing job of building tension and creating a genuine sense of really intense and personal danger.

in general i think that s3 melded action and horror rather well, particularly in the sauna test, the hospital, and when the mindflayer busts through the roof of hop’s cabin. horror can come from many things, and in this case, st elicited horror largely from the feeling of helplessness, and it was really effective for me personally. i think it worked better for me than s1′s brand of horror because it doesn’t rely so much on a lack of knowledge or a sense of suspense that inevitable disappears upon a second viewing.

the body horror we got in s3 was also really fun! that’s it i just think all the blood and guts and slime were fun and i would like more of them. once again, the impacts of body horror are less dependent upon the viewer being in the dark or unsure as to what’s happening, and as such i think it tends to be a little more effective at eliciting reaction in the long term.

timing and mechanics of the battle of starcourt/finale

i think the battle of starcourt is just fucking awesome, and beyond that personal opinion, i think it’s the most high-stakes and intense finale of all three seasons, and this is for two main reasons! 1. el is out of commission, and 2. (almost) everyone is in the same cental location. this means that (almost) everyone is in danger all at once, and they are all working together at the same time to fight the same threat. s1/s2 have their groups more fragmented for the finales, and while i understand why in each case and i wouldn’t call either season’s finale necessarily weak, i do think the centralized nature of the s3 finale just Works on another level. in s1 and s2, large segments of the cast are already perfectly safe by the time el dispatches the primary threat. in s3, however, everybody save for dustin and erica is still in danger up until the last moment, and el is seemingly (you can def debate how much power she still had in her when she peeked into billy’s mind and whether the memory broke the mindflayer’s hold on him or if she was actually controlling him to some degree) completely vulnerable. this increases the tension and raises the stakes, making the finale a real crescendo to fortissimo as opposed to a series of little mezzo forte moments. i hope everyone reading this knows music idk how else to phrase that my brain is stupid.

emphasis on friendship and adolescence (but in a different way than s1/2)

this is definitely a controversial one but i think that s3 really did like... show a side of friendship that had been more or less unexplored thus far in the show. el and max were amazing, and i think it’s really nice that we got an opportunity to see the kids have some growing pains as well as see them support each other through Normal Adolescent Stuff like boyfriends and breakups instead of just like. death and trauma. this is maybe just a personal preference, but i think it can be really enlightening and provide a lot of depth when you get to see how characters respond to normal everyday conflict and not just how they respond to giant world-ending conflict!! letting el use her powers for goofy teenage shit like spying on boys and messing with mean girls at the mall is not only fun for her and the audience, but it also really emphasizes just how much those powers are a part of el, making it that much more devastating when she loses them at the end of the season.

weaknesses

tonal dissonance

so this is like. obvious. but it must still be said! i won’t go on and on about it since we all know this so i’ll try to like talk about it from an angle people don’t usually? anyway. it seems to me like they were maybe a little worried about s3 being too dark. while the choice to really lean into humor was definitely driven by the sorts of eighties teen films from which s3 drew inspiration (like fast times at ridgemont high), i think it was also done in an attempt to alleviate the more troubling implications of some events in the season, particularly the russian bunker plot. like, yeah, st can be incredibly dark, but if they’d played the whole “children being stuck inside of a foreign military base, tied up, tortured, and drugged” thing completely straight without the humorous elements that exist in canon, it had the potential to be like... disturbing on a new level. steve and robin don’t have powers like el yknow their kidnapping/torture doesn’t have any sci-fi elements to sorta soften the blow. they’re just innocent teenagers being brutalized and traumatized by grown men. so anyway yeah i think maybe the writers were concerned about this storyline coming off as too dark and they wanted it to be a little more whimsical but they ended up pushing way too hard in that direction and creating extreme dissonance at times. this goes for joyce/hopper/murray/alexei too, but to a lesser extent. i think the ridiculousness in that group felt a lot more like... realistic. but still.

newspaper plot

once again i feel like i don’t even need to say this skjdncmn we all know it was insane how the show basically ended up delivering the message “while misogyny is a serious problem poverty and classism are not” and i’ve said it on this blog a million times so i don’t need to repeat myself. i’ll focus on another weak point of this plot: the fact that it completely separates nancy and jonathan from everyone else. once again, the show’s preoccupation with j/ancy held them back! like... can you imagine a version of s3 where nancy and jonathan both worked in the mall? i have a lot of ideas about this possible au and like how the plot could play out differently if they worked in the mall but first of all it’s just more realistic, second of all it further utilizes the mall as a central setting, and third of all, it would bring everyone together. as it is in canon, nancy and jonathan were unnecessarily isolated from the rest of the group, and this isolation was detrimental to both of their characters. like, they only ever get to interact with each other! if they’d gotten summer jobs in the mall, they could have had more interactions with the kids/steve/robin, and they absolutely still could have had a similar argument! maybe in this case, nancy notices the rat thing (or something else odd) herself when taking out the trash behind the mall, and she wants jonathan to ditch work with her to check it out bc she thinks it may be related to the lab. jonathan doesn’t want to ditch work because he needs his job, nancy argues that they’re working shitty mall jobs anyway and who cares if they get fired, and we get more or less the same thing as s3 without the cartoonishly over-the-top misogyny. i mean honestly i think the rat shit could have been cut entirely it didn’t rly... accomplish much of anything. in my opinion. like imagine s3 without the rat plot you literally would not be missing anything except it would be more surprising when the dudes melted into goo at the hospital. so yeah i think it would have been better if nancy and jonathan had jobs at the mall, weren’t isolated from everybody else, and were maybe absorbed into the party’s plot or the scoops troop’s plot from very early on, allowing them to interact with more characters and have a less... dumb.... plot. like god splitting up nancy and jonathan between the party/scoops troop would have been So Much better i just. sdkjcnksdmn anyway yeah.

briefness of group reunion/separation of groups

remember in s2 at the beginning of “the gate,” where mike and hopper had a confrontation and max and el met for the first time and el hugged everyone and steve and nancy had their sad little moment together outside... where’s that energy? obviously the s2 reunion wasn’t that long either, but it made space for some significant emotional moments to take place. s3′s reunion had some hopper/el/mike resolution, but besides that... there was nothing, really. i just think that the whole group getting together in s3 was SO exciting and powerful the way they did it (with both the scoops troop and the adults having their own Big Moment reconnecting with team griswold family), but the emotional potential was more or less squandered.

i also think in s3 at times they were really stretching to keep everybody separated even though it made no sense. and like... in s1 the separation worked bc nobody else knew that (x group) was experiencing weird shit too, and beyond that, each group (as i mentioned in the s1 section) was sort of operating within their own genre and bringing something unique to the season. they’ve stopped doing that though! now, the groups aren’t separate bc each plot is tonally/structurally different, the groups are just separate bc... they need to be, because it’s a big ensemble cast and you can’t just have them all be together for a whole season or it would be way too difficult to coordinate things and keep the show dynamic. all this is to say that i’m excited for s4 because the location differences make it so there’s a Reason for each plot to be separate at the beginning, and i think that’ll work better.

general ridiculousness

i dont mean like i think it’s bad that they made jokes this is just me lumping in all the dumb shit like hopper not worrying about el and not wanting to check on the kids, him and joyce bickering long after they both know they and their children are in danger, max seemingly forgetting that billy is a racist abuser, etc etc. i think many of these are just a symptom of the show 1. trying desperately to keep the groups split up a certain way even though it may not make any sense, and 2. trying to fit into a certain genre/trope mold when their actual characters are more complex than the tropes they’re imitating. this is so fucking long already i am not gonna elaborate further rn but i trust u all know what i mean.

soooo... yeah, that’s about all! i mean it’s not all there are definitely many more things i could talk about and i know i focused sorta disproportionately on the teens which is my bad :/ but i’m done for now. thank you for asking, and apologies for the delay in responding!! i’m sure some people reading (if anyone read this far) will disagree with some of what i’ve said and that’s alright like i’m not The Authority on st or anything i’m just trying to talk about like my own thoughts yknow? so yeah luv u all i hope someone enjoyed reading this!!

#asks #em talks #lesbianrobin.canon #stranger things #if u actually read all this i love u and im sorry #these r just my opinions!! and im sure i misremembered some shit my brain is swiss cheese #i did my best tho

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cherry-interlude · 3 years ago

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Lana Del Rey Unreleased Ranking (3)

This is a re-ranking of Lana's unreleased songs, after making a first a few years ago. This is all my opinion, which I don't mind anyone disagreeing with but don't come for me for it - honestly, I like every song, despite any criticism, and this ranking is very vague. It's based on objective and subjective opinion.

This is the third of five posts, with the middle songs.

Dreamgirl

Purely wholesome and dreamy, Lana adds some very fifties “shoo-wops” to play a fifties starlet whispering, her vocals soothing and soft along with the looping piano that guides the song.

Jimmy Gnecco

Breathless over the brisk guitar, Lana gushes over Jimmy – mixing her adoration of her lovers with wannabe-starlet fangirling. It’s one of her best acoustic tracks as she smirks and requests a trip to the park.

Elvis

Lana’s acoustic dedication to her icon Elvis Presley is memorable despite how stripped back it is. It could have been cleaner but Lana’s sorrowful desperation to be close to this man who she is such a fan of works well in being decent output from her.

Boarding School

It’s a difficult listen, considering Lana’s nostalgia is for a “pro-ana nation” and a school where “makig love with your teachers” is revered, but it may just be a satirical look at her time in boarding school when she was younger. I don’t enjoy listening to such worrying topics being handled in an upbeat song but the song itself has well-written lyrics and a great instrumental.

Television Heaven

This song is incredibly sweet, with lovely lyrics, dreamy verses and a distinctive pop feel, but it is definitely a strange mash of instrumentals. It’s not too jarring but it does make the song fall lower in ranking. It feels indecisive as it goes from sugary pop to a slightly darker feel in the choruses, and the lyrics aren’t the most imaginative in Lana’s library of tracks.

Be My Daddy

Lana’s full on sex-kitten in this song that opens with twangy guitars and her hushed “what’s up?” as she greets her potential “daddy”. With dirtier lyrics that she’s “open like a Christmas present” and how she’ll “fuck you”, Lana avoids keeping the sex in just the vibe of the song.

Break My Fall

Another song made for another artist, Lana this time sounds like she’s doing her own track. The pop sound is still ideal for actual music charts but Lana pulls the song off well, playing a strong woman far removed from the tragic women of many of her songs. It’s strong in quality and doesn’t stray into more experimental territory where many of Lana’s unreleased songs reside.

Hit and Run

With three versions to pick from (the poppy original, the Born To Die style slower version and the demo Criminals Run The World that’s a little more overt about Lana’s violent intentions), all three of these songs have something special about them. The pop version is bouncy and chaotic, perfect for a wild spree of gun fights and car chases. The slower version is much more seductive and measured, but a little too reflective compared to the manic power of the upbeat version. Criminals Run The World ranks much lower, not as smooth compared to Hit and Run but still with that insanity that makes Hit and Run a wild ride.

Heavy Hitter

With a jazzy introduction, Lana gives us a glamorous tale of a star having an overdose (somehow she makes it glitzy). However, following the suggestive chorus in which Lana asks her man to open his butterfly doors of his car (to drive her to get help, somehow delivered with seduction rather than horror), the lyrics get lost in Lana’s generic praising of herself and her wicked ways. However, it’s a staple of Lana’s unreleased music, even if I do skip after the (if you think about it) harrowing first verse and chorus.

Behind Closed Doors

The instrumental is a little bit all over the place, but it does work when Lana details her ill-received romance to her lover, then jumps right in the chorus to eagerly tell him how much she enjoys sleeping with him.

Gangsta Boy

Lana is inspired by Betty Boop as she croons and gasps her way through the track. The vibe is great, though the music falls a bit, but Gangsta Boy is playful, light-hearted fun.

You’re Gonna Love Me

Lana may be raw in her vocals and basic in her instrumentals (only a guitar) but Lana takes control, self-assured she will make the listener adore her. Her confessional whisper that she might just want to be loved gives this song a knowing edge despite the pondering questions and realism-on-the-edge-of-pessimism feel tone.

Living Legend

Lana’s Living Legend was intended for Ultraviolence, and whilst the song fits in it is definitely one of her more slumbering songs. Yet her sentiment is strong, her lyrics thoughtful and thoroughly enjoyable. All of the versions bring something a bit different but it is underlined by great song-writing.

Hey You

Lana has fun greeting a potential lover with this track and I have as much fun listening to it. The chorus is sparse and repetitive but Hey You is all about grabbing your attention rather than going to deep.

Is It Wrong?

Claustrophobic and guided by a smart riff and technological glitches, Lana pulls off the perfect unhinged groupie as she questions whether or not she is wrong for wanting the star of her dreams so much. The glitching is great for really seeing how Lana teeters on the edge of sanity for this guy she can’t resist, going from being the starlet to the foaming-at-the-mouth fangirl.

Playground

Lana becomes a rapper apparently in Playground and hits back at anyone who doubts her and her music. With a cloying chorus that compares the music industry to a playground of bitchy comments and school yard, Lana’s verses are smooth and her references overall decent. It can be a little bit clunky in places but it doesn’t take itself too seriously.

Motel 6

A cute little dance track which namedrops Jim and her sister, Chuck, Lana brings the party to her favourite motel, downplaying her glamour to throwback her ‘lore’ and her old life pre-fame. Though it’s very much just describing one night rather than anything complex, it’s harmless fun.

Dynamite

Like the explosive dynamite itself, this song is punchy, restless and powerful. Lana layers this dominating track with innocent references to ice cream and pillow fights whilst also not holding back from the sexual references.

Afraid

Neat and mournful, Lana finally breaks off from her toxic partner. Lana is either sick of being worried for the future or terrified of her partner, and its reflective sadness as she plans to go back home still leaves hope that she will be able to be happy.

Wayamaya

Rolling calmly like a beach wave, Lana takes us straight to Hawaii and paints us an image of handsome surfers and Mercurys. Wayamaya is simply a soothing, short, cute little track that keeps very much surface level.

Hawaiian Tropic

Plinky music paired with non-stressful verses and imagery of Hawaiian shirts, this is the (in my opinion) better version of Every Man Gets His Wish (which shares the same chorus). The subtlety of this track compared to Every Man Gets His Wish helps to convey the hurt feelings a lot better, with the nostalgic feel and mournful longing in the vocals.

Dum Dum

Lana plays the alcoholic star who name drops Scarlett O’Hara and Bugsy Malone as part of her identity. These lyrics are pretty witty and the song snappy but, like some of her unreleased music, is a bit too overproduced and not cohesive. The verses and choruses don’t quite gel which doesn’t make for a song that flows well but with tweaking it could be even better.

Hollywood’s Dead

Lana fits perfectly into the era of fifties with this mid-20th century driven track. It sounds perfectly in place for the decade she frequently romanticises (with a modern twist) and Lana’s crooning, tearful references to her icons drips with glamour.

Fake Diamond

For an anti-romance song, Fake Diamond is quite upbeat. Lana complains of her ‘lover’ who is one way with her, a different way with others, whilst comparing their relationship to all manner of Lana-themed aesthetics (diamonds, movie projectors, etc.). Comparing herself to a child, she practically has a tantrum in the chorus, stamping her feet lovingly as she demands he loves her. I do think this song is joyful, making fun of her inattentive lover whilst keeping one step ahead of his games.

I Must Be Stupid

Lana’s live unreleased track lets Lana enjoy her life despite the hurt that surrounds it, showing strength in the face of heartbreak and other such topics in her music. It was performed post-Lust For Life, an era in which Lana embraced the light side rather than simply the dark.

Live Or Die

The version that is a little bit more lowkey and, in some ways, mature in that it matches a lot of her early albums sound is good but it’s not my favourite. There’s the heady, ultra-pop second version that has plenty more sexy references, a little meow (iconic) and an overall vibe of just having fun on the run. The former version is a bit more serious, but the second is – though less good in terms of production – full of soul.

Velvet Crowbar

Velvet Crowbar is a song that shows the dark side of fame and bad boys, namely the way they self-destruct to the point that their adoring lovers (already addicted to these gangstas of course) are falling with them. This song is a warning to these destructive souls that they aren’t invincible, and an equal warning to the people that love them that they might just fall apart and lose them. Lana puts her emotion across so well, with her stark lyrics, anxious guitars and growling third chorus. Even her more flowery imagery doesn’t cover up the overt fear that runs through this song.

Your Band Is All The Rage

Probably one of Lana’s saddest songs (which could be a great deal many since she knows how to tug heartstrings), Lana lets go of her rock star lover despite still loving him in this acoustic track. She makes soulful promises to be there when he needs him, her love lingering until he wants her back, and utilises the country music theme to her advantage.

1949

The studio version is my favourite but the charm of the original, acoustic demo is unmatched. Despite the controversial inspiration for this track, Lana puts us straight in the world of the 1950s, with American motels and Kmart. It has a note of sadness – perhaps because of the unfortunate tale of Lolita that much of this song seems based on – but it works as one of Lana’s aesthetically pleasing and classic tracks.

Because of You

The spoken intro is a little bit cringe but the song is lovely. Lana plays an immature brat who fell in love with a good man who essentially tamed her (a little bit questionable for some in 2021). It’s got some of her most flowery imagery and it details how her relationship bought out the best of her. The casual comments she throws in throughout the song give this a real bedtime story feel, though this song is anything but sleepy.

Resistance

Frustrated but fun, Lana’s catchy and upbeat Resistance brings to mind surfers and sunny days set in the noughties. Even though she’s furious with the guy who’s causing her so much trouble it still, for a change, stays perky and pleasant. A song that needs more attention, it’s the type of song that gets people singing and dancing along to it.

Dangerous Girl

With a rock-feeling patriotic opening, Lana launches into a track about her prowess as a dangerous girl, like a deranged beauty queen with a gangsta on her arm. It’s simply fun, complete with wolf-whistles and an impression of a siren.

#lana del rey #lana del rey songs #lana del rey unreleased #cherry-interlude

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grigori77 · 4 years ago

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2020 in Movies - My Top 30 Fave Movies (Part 3)

10. WOLFWALKERS – eleven years ago, Irish director Tomm Moore exploded onto the animated cinema scene with The Secret of Kells, a spellbinding feature debut which captivated audiences the world over and even garnered an Oscar nomination. Admittedly I didn’t actually even know about it until I discovered his work through his astonishing follow-up, Song of the Sea (another Academy Award nominee), in 2015, so when I finally caught it I was already a fan of Moore’s work. It’s been a similarly long wait for his third feature, but he’s genuinely pulled off a hat-trick, delivering a third flawless film in a row which OF COURSE means that his latest feature is, beyond a shadow of a doubt, my top animated feature of 2020. I could even be tempted to say it’s his best work to date … this is an ASTONISHING film, a work of such breath-taking, spell-binding beauty that I spent its entire hour and three-quarters glued to the screen, simple mesmerised by the wonder and majesty of this latest iteration of the characteristically stylised “Cartoon Saloon” look. It’s also liberally steeped in Moore’s trademark Celtic vibe and atmosphere, once again delving deep into his homeland’s rich and evocative cultural history and mythology while also bringing us something far more original and personal – this time the titular supernatural beings are magical near-human beings whose own subconscious can assume the form of very real wolves. Set in a particularly dark time in Irish history – namely 1650, when Oliver Cromwell was Lord Protector – the story follows Robyn (Honor Kneafsey, probably best known for the Christmas Prince films), the impetuous and spirited young daughter of English hunter Bill Goodfellowe (Sean Bean), brought in by the Protectorate to rid the city of Kilkenny of the wolves plaguing the area. One day fate intervenes and Robyn meets Mebh Og MacTire (The Girl at the End of the Garden‘s Eve Whittaker), a wild girl living in the woods, whose accidental bite gives her strange dreams in which she becomes a wolf – turns out Mebh is a wolfwalker, and now so is Robyn … every aspect of this film is an utter triumph for Moore and co, who have crafted a work of living, breathing cinematic art that’s easily the equal to (if not even better than) the best that Disney, Dreamworks or any of the other animation studios could create. Then there’s the excellent voice cast – Bean brings fatherly warmth and compassion to the role that belies his character’s intimidating size, while Kneafsey and Whittaker make for a sweet and sassy pair as they bond in spite of powerful cultural differences, and the masterful Simon McBurney (Harry Potter, Mission: Impossible – Rogue Nation, Tinker Tailor Soldier Spy) brings cool, understated menace to the role of Cromwell himself. This is a film with plenty of emotional heft to go with its marvels, and once again displays the welcome dark side which added particular spice to Moore’s previous films, but ultimately this is still a gentle and heartfelt work of wonder that makes for equally suitable viewing for children as for those who are still kids at heart – ultimately, then, this is another triumph for one of the most singularly original filmmakers working in animation today, and if Wolfwalkers doesn’t make it third time lucky come Oscars-time then there’s no justice in the world …

9. WONDER WOMAN 1984 – probably the biggest change for 2020 compared to pretty much all of the past decade is how different the fortunes of superhero cinema turned out to be. A year earlier the Marvel Cinematic Universe had dominated all, but the DC Extended Universe still got a good hit in with big surprise hit Shazam! Fast-forward to now and things are VERY different – DC suddenly came out in the lead, but only because Marvel’s intended heavy-hitters (two MCU movies, the first Venom sequel and potential hot-shit new franchise starter Morbius: the Living Vampire) found themselves continuously pushed back thanks to (back then) unforeseen circumstances which continue to shit all over our theatre-going slate for the immediate future. In the end DC’s only SERIOUS competition turned out to be NETFLIX … never mind, at least we got ONE big established superhero blockbuster into the cinemas before the end of the year that the whole family could enjoy, and who better to headline it than DC’s “newest” big screen megastar, Diana Prince? Back in 2017 Monster’s Ball director Patty Jenkins’ monumental DCEU standalone spectacularly realigned the trajectory of a cinematic franchise that was visibly flagging, redesigning the template for the series’ future which has since led to some (mostly) consistently impressive subsequent offerings. Needless to say it was a damn tough act to follow, but Jenkins and co-writers Geoff Johns (Arrow and The Flash) and David Callaham (The Expendables, Zombieland: Double Tap, future MCU entry Shang-Chi & the Legend of the Ten Rings) have risen to the challenge in fine style, delivering something which pretty much equals that spectacular franchise debut … as has Gal Gadot, who’s now OFFICIALLY made the role her own thanks to yet another showstopping and definitive performance as the unstoppable Amazonian goddess living amongst us. She’s older and wiser than in the first film, but still hasn’t lost that forthright honesty and wonderfully pure heart we’ve come to love ever since her introduction in Zack Snyder’s troublesome but ultimately underrated Batman V Superman: Dawn of Justice (yes, that’s right, I said it!), and Gadot’s clear, overwhelming commitment to the role continues to pay off magnificently as she once again proves that Diana is THE VERY BEST superhero in the DCEU cinematic pantheon. Although it takes place several decades after its predecessor, WW84 is, obviously, still very much a period piece, Jenkins and co this time perfectly capturing the sheer opulent and over-the-top tastelessness of the 1980s in all its big-haired, bad-suited, oversized shoulder-padded glory while telling a story that encapsulates the greedy excessiveness of the Reagan era, perfectly embodied in the film’s nominal villain, Max Lord (The Mandalorian himself, Pedro Pascal), a wishy-washy wannabe oil tycoon conman who chances upon a supercharged wish-rock and unleashes a devastating supernatural “monkey’s paw” upon the world. To say any more would give away a whole raft of spectacular twists and turns that deserve to be enjoyed good and cold, although they did spoil one major surprise in the trailer when they teased the return of Diana’s first love, Steve Trevor (Chris Pine) … needless to say this is another big blockbuster bursting with big characters, big action and BIG IDEAS, just what we’ve come to expect after Wonder Woman’s first triumphant big screen adventure. Interestingly, the film starts out feeling like it’s going to be a bubbly, light, frothy affair – after a particularly stunning all-action opening flashback to Diana’s childhood on Themyscira, the film proper kicks off with a bright and breezy atmosphere that feels a bit like the kind of Saturday morning cartoon action the consistently impressive set-pieces take such unfettered joy in parodying, but as the stakes are raised the tone grows darker and more emotionally potent, the storm clouds gathering for a spectacularly epic climax that, for once, doesn’t feel too overblown or weighed down by its visual effects, while the intelligent script has unfathomable hidden depths to it, making us think far more than these kinds of blockbusters usually do. It’s really great to see Chris Pine return since he was one of the best things about the first movie, and his lovably childlike wide-eyed wonder at this brave new world perfectly echoes Diana’s own last time round; Kristen Wiig, meanwhile, is pretty phenomenal throughout as Dr Barbara Minerva, the initially geeky and timid nerd who discovers an impressive inner strength but ultimately turns into a superpowered apex predator as she becomes one of Wonder Woman’s most infamous foes, the Cheetah; Pascal, of course, is clearly having the time of his life hamming it up to the hilt as Lord, playing gloriously against his effortlessly cool, charismatic action hero image to deliver a compellingly troubling examination of the monstrous corrupting influence of absolute power. Once again, though, the film truly belongs to Gadot – she looks amazing, acts her socks off magnificently, and totally rules the movie. After this, a second sequel is a no-brainer, because Wonder Woman remains the one DC superhero who’s truly capable of bearing the weight of this particular cinematic franchise on her powerful shoulders – needless to say, it’s already been greenlit, and with both Jenkins and Gadot onboard, I’m happy to sign up for more too …

8. LOVE & MONSTERS – with the cinemas continuing their frustrating habit of opening for a little while and then closing while the pandemic ebbed and flowed in the months after the summer season, it was starting to look like there might not have been ANY big budget blockbusters to enjoy before year’s end as heavyweights like Black Widow, No Time To Die and Dune pulled back to potentially more certain release slots into 2021 (with only WW84 remaining stubbornly in place for Christmas). Then Paramount decided to throw us a bone, opting to release this post-apocalyptic horror comedy on-demand in October instead, thus giving me the perfect little present to tie me over during the darkening days of autumn. The end result was a stone-cold gem that came out of nowhere to completely blow critics away, a spectacular sleeper hit that ultimately proved one of the year’s biggest and most brilliant surprises. Director Michael Matthews may only have had South African indie thriller Five Fingers for Marseilles under his belt prior to this, but he proves he’s definitely a solid talent to watch in the future, crafting a fun and effective thrill-ride that, like all the best horror comedies, is consistently as funny as it is scary, sharing much of the same DNA as this particular mash-up genre’s classics like Tremors and Zombieland and standing up impressively well to such comparisons. The story, penned by rising star Brian Duffield (who has TWO other entries on this list, Underwater and Spontaneous) and Matthew Robinson (The Invention of Lying, Dora & the Lost City of Gold), is also pretty ingenious and surprisingly original – a meteorite strike has unleashed weird mutagenic pathogens that warp various creepy crawly critters into gigantic monstrosities that have slaughter most of the world’s human population, leaving only a beleaguered, dwindling few to eke out a precarious living in underground colonies. Living in one such makeshift community is Joel Dawson (The Maze Runner’s Dylan O’Brien), a smart and likeable geek who really isn’t very adventurous, is extremely awkward and uncoordinated, and has a problem with freezing if threatened … which makes it all the more inexplicable when he decides, entirely against the advice of everyone he knows, to venture onto the surface so he can make the incredibly dangerous week-long trek to the neighbouring colony where his girlfriend Aimee (Iron Fist’s Jessica Henwick) has ended up. Joel is, without a doubt, the best role that O’Brien has EVER had, a total dork who’s completely unsuited to this kind of adventure and, in the real world, sure to be eaten alive in the first five minutes, but he’s also such a fantastically believable, fallible everyman that every one of us desperate, pathetic omega-males and females can instantly put ourselves in his place, making it elementarily easy to root for him. He’s also hilariously funny, his winningly self-deprecating sass and pitch perfect talent for physical comedy making it all the more rewarding watching each gloriously anarchic life-and-death encounter mould him into the year’s most unlikely action hero. Henwick, meanwhile, once again impresses in a well-written role where she’s able to make a big impression despite her decidedly short screen time, as do the legendary Michael Rooker and brilliant newcomer Ariana Greenblatt as Clyde and Minnow, the adorably jaded, seen-it-all-before pair of “professional survivors” Joel meets en-route, who teach him to survive on the surface. The action is fast, frenetic and potently visceral, the impressively realistic digital creature effects bringing a motley crew of bloodthirsty beasties to suitably blood-curdling life for the film’s consistently terrifying set-pieces, while the world-building is intricately thought-out and skilfully executed. Altogether, this was an absolute joy from start to finish, and a film I enthusiastically endorsed to everyone I knew was looking for something fun to enjoy during the frustrating lockdown nights-in. One of the cinematic year’s best kept secrets then, and a compelling sign of things to come for its up-and-coming director.

7. PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all. It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering deeply troubling answers. Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s good luck charm, Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two pennies together, until they’re presented with an intriguing opportunity. Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun). Soon the rest of the Kims are getting in on the act, the kids contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically. But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon. This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head to stunning effect. The cast are all thoroughly astounding, Song once again dominating the film with a turn at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon. This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away. Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with, and looks set to go down as one of the true cinematic greats of this new decade. Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

6. THE OLD GUARD – Netflix’ undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular series with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping great ultraviolent action thriller, ushering in a thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered. Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), who’s working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan. The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here. Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’. They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story. Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large. After this, a sequel is not only inevitable, it’s ESSENTIAL …

5. MANK – it’s always nice when David Fincher, one of my TOP FIVE ALL TIME FAVOURITE DIRECTORS, drops a new movie, because it can be GUARANTEED to place good and high in my rundown for that year. The man is a frickin’ GENIUS, a true master of the craft, genuinely one of the auteur’s auteurs. I’ve NEVER seen him deliver a bad film – even a misfiring Fincher (see The Curious Case of Benjamin Button or Alien 3) is still capable of creating GREAT CINEMA. How? Why? It’s because he genuinely LOVES the art form, it’s been his obsession all his life, and he’s spent every day of it becoming the best possible filmmaker he can be. Who better to tell the story of the creation of one of the ULTIMATE cinematic masterpieces, then? Benjamin Ross’ acclaimed biopic RKO 281 covered similar ground, presenting a compelling look into the making Citizen Kane, the timeless masterpiece of Hollywood’s ULTIMATE auteur, Orson Welles, but Fincher’s film is more interested in the original inspiration for the story, how it was written and, most importantly, the man who wrote it – Herman J. Mankiewicz, known to his friends as Mank. One of my favourite actors of all time, Gary Oldman, delivers yet another of his career best performances in the lead role, once a man of vision and incredible storytelling skill whose talents have largely been squandered through professional difficulties and personal vices, a burned out one-time great fallen on hard times whom Welles picks up out of the trash, dusts off and offers a chance to create something truly great again. The only catch? The subject of their film (albeit dressed up in the guise of fictional newspaper magnate Charles Foster Kane) is to be real-life publisher, politico and tycoon William Randolph Hurst (Charles Dance), once Mank’s friend and patron before they had a very public and messy falling out which partly led to his current circumstances. As he toils away in seclusion on what is destined to become his true masterwork, flashbacks reveal to us the fascinating, moving and ultimately tragic tale of his rise and fall from grace in the movie business, set against the backdrop of one of the most tumultuous periods in American history. Shooting a script that his own journalist and screenwriter father, Jack, crafted and then failed to bring to the screen himself before his death in 2003, Fincher has been working for almost a quarter century to make this film, and all that passion and drive is writ large on the screen – this is a glorious film ABOUT film, the art of it, the creation of it, and all the dirty little secrets of what the industry itself has always really been like, especially in that most glamorous and illusory of times. The fact that Fincher shot in black and white and intentionally made it look like it was made in the early 1940s (the “golden age of the Silver Screen”, if you will) may seem like a gimmick, but instead it’s a very shrewd choice that expertly captures the gloss and moodiness of the age, almost looking like a contemporary companion piece to Kane itself, and it’s the perfect way to frame all the sharp-witted observation, subtly subversive character development and murky behind-the-scenes machinations that tell the story. Oldman is in every way the star here, holding the screen with all the consummate skill and flair we’ve come to expect from him, but there’s no denying the uniformly excellent supporting cast are equal to the task here – Dance is at his regal, charismatic best as Hearst, while Amanda Seyfried is icily classy on the surface but mischievous and lovably grounded underneath as Hearst’s mistress, Marion Davies, who formed the basis for Kane’s most controversial character, Arliss Howard (Full Metal Jacket, The Lost World: Jurassic Park, Moneyball) brings nuance and complexity to the role of MGM founder Louis B. Mayer, Tom Pelphrey (Banshee, Ozark) is understated but compelling as Mank’s younger screenwriter brother Joseph, and Lily Collins and Tuppence Middleton exude class and long-suffering stubbornness as the two main women in Mank’s life (his secretary and platonic muse, Rita Alexander, and his wife, Sara), while The Musketeers’ Tom Burke’s periodic but potent appearances as Orson Welles help to drive the story in the “present”. Another Netflix release which I was (thankfully) able to catch on the big screen during one of the brief lulls between British lockdowns, this was a decidedly meta cinematic experience that perfectly encapsulated not only what is truly required for the creation of a screen epic, but also the latest pinnacle in the career of one of the greatest filmmakers working in the business today, powerful, stirring, intriguing and surprising in equal measure. Certainly it’s one of the most important films ABOUT so far film this century, but is it as good as Citizen Kane? Boy, that’s a tough one …

4. ENOLA HOLMES – ultimately, my top film for the autumn/winter movie season was also the film which finally topped my Netflix Original features list, as well as beating all other streaming offerings for the entire year (which is saying something, as you should know by now). Had things been different, this would have been one of Warner Bros’ BIGGEST releases for the year in the cinema, of that I have no doubt, a surprise sleeper hit which would have taken the world by storm – as it is it’s STILL become a sensation, albeit in a much more mid-pandemic, lockdown home-viewing kind of way. Before you start crying oh God no, not another Sherlock Holmes adaptation, this is a very different beast from either the Guy Ritchie take or the modernized BBC show, instead side-lining the great literary sleuth in favour of a delicious new AU version, based on The Case of the Missing Marquess, the first novel in the Enola Holmes Mysteries literary series from American YA author Nancy Springer. Positing that Sherlock Holmes (Henry Cavill) and his elder brother Mycroft (Sam Claflin) had an equally ingenious and precocious baby sister, the film introduces us to Enola (Stranger Things’ Millie Bobby Brown), who’s been raised at home by their strong-willed mother Eudoria (Helena Bonham Carter) to be just as intelligent, well-read and intellectually skilled as her far more advantageously masculine elder siblings. Then, on the morning of her sixteenth birthday, Enola awakens to find her mother has vanished, putting her in a pretty pickle since this leaves her a ward of Mycroft, a self-absorbed social peacock who finds her to be wilfully free-spirited and completely ill equipped to face the world, concluding that the only solution is sending her to boarding school where she’ll learn to become a proper lady. Needless to say she’s horrified by the prospect, deciding to run away and search for her mother instead … this is about as perfect a family adventure film as you could wish for, following a vital, capable and compelling teen detective-in-the-making as she embarks on her very first investigation, as well as winding up tangled in a second to boot involving a young runaway noble, Viscount Tewkesbury, the Marquess of Basilwether (Medici’s Louis Partridge), and the film is a breezy, swift-paced and rewardingly entertaining romp that feels like a welcome breath of fresh air for a literary property which, beloved as it may be, has been adapted to death over the years. Enola Holmes a brilliant young hero who’s perfectly crafted to carry the franchise forward in fresh new directions, and Brown brings her to life with effervescent charm, boisterous energy and mischievous irreverence that are entirely irresistible; Cavill and Claflin, meanwhile, are perfectly cast as the two very different brothers – this Sherlock is much less louche and world-weary than most previous versions, still razor sharp and intellectually restless but with a comfortable ease and a youthful spring in his step that perfectly suits the actor, while Mycroft is as superior and arrogant as ever, a preening arse we derive huge enjoyment watching Enola consistently get the best of; Bonham Carter doesn’t get a lot of screen-time but as we’d expect she does a lot with what she has to make the practical, eccentric and unapologetically modern Eudoria thoroughly memorable, while Partridge is carefree and likeable as the naïve but irresistible Tewkesbury, and there are strong supporting turns from Frances de la Tour as his stately grandmother, the Dowager, Susie Wokoma (Crazyhead, Truth Seekers) as Emily, a feisty suffragette who runs a jujitsu studio, Burn Gorman as dastardly thug-for-hire Linthorn, and Four Lions’ Adeel Akhtar as a particularly scuzzy Inspector Lestrade. Seasoned TV director Harry Bradbeer (Fleabag, Killing Eve) makes his feature debut with an impressive splash, unfolding the action at a brisk pace while keeping the narrative firmly focused on an intricate mystery plot that throws in plenty of ingenious twists and turns before a suitably atmospheric climax and pleasing denouement which nonetheless artfully sets up more to come in the future, while screenwriter Jack Thorne (His Dark Materials, The Scouting Book for Boys, Wonder) delivers strong character work and liberally peppers the dialogue with a veritable cavalcade of witty zingers. Boisterous, compelling, amusing, affecting and exciting in equal measure, this is a spirited and appealing slice of cinematic escapism that flatters its viewers and never talks down to them, a perfect little period adventure for a cosy Sunday afternoon. Obviously there’s plenty of potential for more, and with further books to adapt there’s more than enough material for a pile of sequels – Neflix would be barmy indeed to turn their nose up at this opportunity …

3. 1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed. Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed. The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of film, a mesmerising journey of emotion and imagination in a shockingly real environment that’s impossible to tear your eyes away from. Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league. It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is True History of the Kelly Gang’s George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack). They’re a likeable pair, very human and relatable throughout, brave and true but never so overtly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos. That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DOP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is utterly immersive and simply STUNNING. I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same. Either way, this was the most incredible, exhausting, truly AWESOME experience I had at the cinema all year – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

2. BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number two is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen. It was been the biggest pleasure of my cinematic year getting to see my top DC superheroines brought to life on the big screen, and it was done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than the Wonder Woman movies). It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one talented psychiatrist. Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley TRUE justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to. Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the assumed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about. Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what had to be 2020’s most exciting cast – Helena Bertinelli, the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action hero potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain. Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discover her warrior origins when the DCEU finally gets around to introducing her mum, Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy. My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT. Altogether they’re a fantastic bunch of badass ladies, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz. This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster ever made – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms. It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!). It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists. Altogether, then, this is the VERY BEST the DCEU has to offer to date, and VERY NEARLY my absolute FAVOURITE film of 2020. Give it all the love you can, it sure as hell deserves it.

1. TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly saved our cinematic summer, but I’m still IMMEASURABLY glad that my ultimate top-spot winner FOR THE WHOLE YEAR was one I got to experience on THE BIG SCREEN. You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August and ultimately taking the bite at the box office because of the still shaky atmosphere), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with. I mean, okay, in the end it WASN’T the FIRST new movie I saw after the first reopening, that honour went to Unhinged, but THIS was my first real Saturday night-out big screen EXPERIENCE since March. Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT. Still with us? Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who was ALMOST the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s Himesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine. The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even if that amazing new teaser trailer wasn’t making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic. As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual triumph and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital. The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some absolutely mesmerising visuals. Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he had good reason, since he was working on his dream project at the time, the fast-approaching screen adaptation of Dune), but Ludwig Göransson (best known for his collaborations with Ryan Coogler Fruitvale Station, Creed and Black Panther, as well as career-best work on The Mandalorian) is a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence this film is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven. As a work of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that proved truly unbeatable in 2020 …

#wolfwalkers #wonder woman 1984 #ww84 #love and monsters #parasite #parasite movie #the old guard #mank #enola holmes #1917 #1917 movie #Birds of Prey #birds of prey the fantabulous emancipation of one harley quinn #tenet #tenet movie #2020 in movies

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yandere-slasher-vibes · 4 years ago

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Hey there! I’m Angelo and I’ll be your writer for this blog! Just a note: this is a yandere blog so if your not vibin with that, You won’t vibe with this blog so I suggest ignoring me!

I write Yandere themed blog for horror movies. Though most write for both horror movie villains as well as the characters in them because I don’t see much content about them and I wanna do that prospect justice ;) Though for any character that isn’t classed as the villain or “ final girl “, Please leave the movie with it. I’m bad with names that aren’t ingrained over multiple movies. This blog is also reader focused, Mainly because I find those overall the easiest to write.

Things I write:

Headcannons

Imagines

Match ups ( just give me enough details aka: personality, interests, stuff like that )

Platonic / Familial Yandere imagines!

Pretty much anything that’s not NSFW

For the movies / Franchises I write for, They’ll be under the cut. If one that is on my list but you’d enjoy me writing for, Let me know.

Franchises I write for:

The Texas chainsaw massacre Franchise ( both the new and older movies )

The Friday 13th Franchise

The Halloween Franchise

The Nightmare on Elm Street Franchise

The evil dead Franchise ( Including the show Ash vs the Evil dead )

It ( 1990 and 2017 / 2019 )

The Hellraiser Franchise

The Jeepers Creepers Franchise

Carrie ( 1976 )

The Thing ( 1982 )

The Scream Franchise ( I’m including the show because I enjoyed it, But I’ll be using different hashtags to differ them )

The Boy ( Not including the Boy 2 cause then, Nothing makes sense. )

House of Wax ( 2005 )

The Collector Franchise

The Shining

The Babadook

The Candyman

The Black Christmas Franchise

Martin ( 1977 )

The lost boys

These are the only movies that come to mind at the moment, I will probably add things as I continue to watch more and stuff :) Let me know because it’s always appreciated!

#Yandere tw #tw Yandere #Yandere Imagines #yandere headcanons #yandere matchups #Horror Imagines #Horror headcanons #Horror matchups #Yandere horror #Yandere slashers #Yandere Slasher headcanons #Yandere Slasher Imagines #Yandere slasher Headcannons

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angelicspaceprince · 5 years ago

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Random Beetlejuice HCs.

Random Beetlejuice headcanons (there are some sad ones about how he died at the end of the SFT stuff, soz all). Also there is some stuff that is AFAB but not AMAB, I’ll work on that later. TW: Suicide, depression, self-harm talk.

SFT:

Is a hand holder. He needs to hold your hand whenever people are around to centre himself but also to show the world that you’re his and to just know that he is loved and to make sure you know you are loved

Really bad social skills and a horrid sense of personal space

Is a literal ball of anxiety and is a stimmer

Rocks in a ball when things ever overwhelming and flaps his hands when nervous

You get him a fidget toy that he uses so much it breaks within a month, so you have a steady supply at hand that he keeps in his pocket always

Is meh on the coffee thing, isn’t a massive tea fan, hot chocolate is where it’s at!

Actually a really good cook? He watches a ton of cooking Youtube videos when you’re away at work or at friends and ends up taking it up as a hobby

Legit cries when you give him his first gift ever because he’s never received a gift before

The first time you go to family Christmas and they give him a present he has to excuse himself because he just starts crying because these people don’t even know him and they got him a present? What the fuck?

Much to your surprise, he takes up knitting?

It’s a nice way to cool his brain and keep focused without disassociating (which he does often) and the bonus is he gets cute socks out of it?

In his mind, it’s a win win situation

Also he can knit dicks to throw at people, that’s just extra awesome

Can play guitar, piano and saxophone. Often likes to sing to you but the content matter of the songs aren’t always loving (mostly about how he wants to pound you)

Actually not a massive fan of horror movies, they’re so unrealistic that it bugs him

Will make sure that you can’t leave his grasp if he needs a cuddle session on the couch because he needs that contact time

Is really sensitive but will make a joke out of it, so half the time you don’t know if he isn’t offended or if he is and he’s just hiding it

You come home one day and suddenly there is just….a dog in your house?

“His name is Sandy, he is a black Labrador and he is our son now.”

Absolutely shocking handwriting. Just. Abysmal. You can’t make it out, so now its just become some weird game of Pictionary whenever he leaves a note for you that isn’t the phrase ‘I love you’.

Is super messy (obviously) but if you tell him to clean up, he will

If you do the dishes together (the only way you can get him to help clean up after cooking), he does the drying up because he does not want to shove his hands into hot soapy water, no thank you

When he dances, its not the timid, shy dancing you see when people aren’t dancing in a group. Its full on, full body, the entire house is his stage kinda dancing. And its arguably pretty good

Even when he gets you to dance what clearly isn’t a proper tango, but it’s fun none the less.

Really sensitive about suicide and self-harm, because he’s been there

Think about it, he was Juno’s assistant (movie, not musical, I know) which means he was a public servant which means he committed suicide

Given the way that everyone who has died carries on how they died into the afterlife through their looks from the moment they died, we can reason that Beetlejuice looks exactly like how he did when he died

The moss and hair and mildew and just the general damp look he seems to carry makes me think that he was either drunk, fell over and drowned in a puddle or lake or it was a calculated move and he killed himself to get away from his mother or just general demons

So yeah, if you self-harm or talk about killing yourself, he takes that very personally because you deserve better than that, and he’ll be damned if you kill yourself on his watch

It takes him a while to admit to you what happened and how he died, and it most definitely happens when you’re both drunk, but you remember what he says and whenever he talks about his childhood because its horrible and always ends with you holding him close because he clearly needs that shit

NSFT

Our boy here is such a switch

There are days where he needs to absolutely dominate the shit out of you, controlling every aspect of what happens, including when, where and how you cum

But sometimes he just needs to be taken care of and to obey every order you give him

Has tried every single kink and only a few of them are a hard no in his books

But if he had to limit it to his top 5-10 they’d be: Mommy/Daddy Kink, Puppy Kink, Cum Inflation (or anything to do with cum really), edge play, cock warming, anything that ends with either of you having a tummy bulge due to a toy, cock or just the sheer amount of cum that’s in you, humiliation, public sex, impact play and adduction/consensual non-consensual play

Rarely asks for you to be a sub for 24 hours, but he’s happy to be in puppy space or in sub space for days or even weeks if you so want or if he needs

Can give himself blowjobs

Also enjoys having his clones get in on the fun and to mess with you throughout the day if he knows he can get away with it

So. Many. Dick. Pics.

Just. Constantly sending you photos of his junk because he can

Sex is rarely serious unless you’re in a scene where that is required. If you two are just fooling around, it’s full of puns and laughter

Wearing stripes turns him on, wearing his clothes even more so

Lingerie to him is wearing his oversized hoodies and a pair of striped panties

Really good at shibari

If you’re in public and aren’t paying attention to him, he will slide a hand up towards your crotch and just push his way inside and start fingering you until you cum as quietly as you possibly can before sucking his fingers clean with a grin because ‘you should have been paying attention’

Massive case filled with toys that seem endless, almost like the perverted version of Mary Poppins’ bag

Likes to put toys in you when he’s in dom mode and make you wear them in public all day whilst he’s at home controlling the vibrator settings, just to see how much you can take

He. Will. Eat. You. Out. And is the king of it. And is proud of that fact

Aftercare is a must between the two of you, and due to his abandonment issues you can’t leave during aftercare time. You can during a scene if you tell him where you’re going and why but afterwards, he needs you there without interruption until he’s fully recovered. Both in dom and sub mode

Safe word is bath, for obvious reasons

You managed to get him in the shower once to tell him it’s a kink of yours to fuck in the shower and he was down for that. Didn’t work a second time, but he got the picture. BATHE

Has, on more than one occasion, made his dick stripy to surprise you and it always ends with you going no. Just no.

Produces an extreme amount of cum, it should be illegal and inhuman, which incidentally, he is

Can make his cock grow, swell, shrink, whatever you need on his command and he loves when he’s being cockwarmed to make his cock grow whenever you shift or move as punishment

Sometimes, in sub space, if he’s feeling needy and you need to work, you get him to sit in your chair and you sit on him. If he moves without warning, you make it to leave but he whines and promises to be good. If he says ‘I just need to adjust’ or whatever, then you won’t move if he starts to shift

IS. INTO. PRAISE. KINK

PRAISE THIS BOY

SO MUCH!

If you praise him well enough in sub space, he will cum without being touched and that, at the end of the day, is the goal

Really fucking low refectory period, like we are talking seconds

He’s not a one go type of guy, if you guys be fucken, you guys be fucken for hours

Has done stretches before sex to make you laugh and roll your eyes

Bought glow in the dark condoms once and surprised you with it

Most of the time, he will hold hands with you in some way as you fuck

Falls asleep within seconds of finishing and holds onto you so tight you can’t escape to pee or do whatever you need to do

Favourite positions: Doggy style, you riding his face or him or up a wall/on a counter

Claims you’re his favourite meal and that he has saved the best seat in the house which is his lap or his face

Most DEFINITELY as left you tied up in a room with a vibe pressed firmly on your clit to see how many times you can cum. He’s just outside the door, you both just like it when he acts as if he has left you alone to ‘suffer’

#ama writes #ama's stuff #Beetlejuice the Musical #Beetlejuice #Beetlejuice The Animated Series #Beetlejuice (1988)#Betelgeuse #Beetlejuice headcanons #beetlejuice the musical headcanons #headcanons #betelgeuse headcanons #beetlejuice x reader #beetlejuice/reader #betelgeuse/reader #betelgeuse x reader #beetlejuice x reader headcanons #beetlejuice/reader headcanons

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panharmonium · 4 years ago

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some disjointed thoughts about stranger things 2 under the cut (concealed to hide spoilers from my sister)

so, season 2!

i’ve gone into every season of this show knowing absolutely nothing about it. i’ve had no exposure to the fandom or to reviews or anything that would indicate what it was about or how good the seasons are in relation to each other, which i like, because i know my opinions are my own. season 1 i watched back in the winter, i think, and it was amazing. blew me away.

i just finished season 2 and i’m like...not as into it?

and i’m glad i had no preexposure to anything, because if i had, i’d worry that i was just being influenced by other people’s opinions, but i genuinely don’t know what people think of the various seasons. i’ve been stringently avoiding anything about this show, have it blocked on tumblr, etc, so i could watch it cold.

i’d have to watch it again to really pin down the places where my investment was flagging, and i’ll probably do that eventually, because i know my roommate will want to see it, but my general impression was this: they had me hooked in the beginning, and then they started to lose me.

- i feel like overall it was 9 episodes where very little substance actually happened. plotlines were stretched out over a reallllllly long period of time and became paper-thin. like nancy and jonathan? the only thing they really did over those entire nine episodes was make a tape recording and send it to the paper. that was their whole story, and it could have fit in one episode.

- and what did happen felt like it suffered from a lack of focus. can i explain this in more detail without watching the show again? not really. but i just mean that in S1, i could tell you what each of the main character’s arcs were, and i could lay out how those arcs had clear beginnings, middles, and endings. in S2, i can really only do that for El (and even that i feel like got messy by the last third).

- the horror vibe was different this season. it was LESS scary, to me. S1 was a CREEP factor that had my skin crawling - it wasn’t like...creature horror - it was the unsettlingness. the whole parallel world thing was so - well, the only word for it is unsettling, like. you felt like you could take a step and accidentally wind up somewhere no one should be - the idea that you can be trapped so close to somebody and yet so far away - you just felt like the world was inside out (or upside down, if you will). and so much of the fear in the first one came from how incomprehensible and uncertain the entire situation was - you didn’t know how things worked and nobody believed you when you tried to tell them what was happening. that scene where the christmas lights spell out R-U-N? scariest fucking thing i’ve ever seen. but S2 changed it to be like...it felt like more of a monster flick. like a zombie movie or something - lots of creatures running around that you can just shoot with a gun - that’s just not really the same vibe as the first season, and i didn’t find it quite as interesting.

- i don’t want to be That Person, because i liked maxine as a character in general, on her own terms, but from a writing perspective - what even was the purpose of her introduction? her and her brother both, honestly, the whole family. i feel almost bad for saying that, because i can guarantee that there were people out there complaining about her being introduced because “they just wanted to have another girl; it’s so stupid, blah blah,” cue more sexist stuff, etc, and that’s really not where i’m coming from, but for me, from a general storytelling perspective, i don’t understand why she or her family were introduced. they were superfluous to the story. they didn’t need to be there. and since i don’t even feel like the returning characters got enough development this season (see point #2), i don’t understand why we spent so much time on her/her family/her introduction to the Party. it felt like filler.

- stranger things S2 did that thing teen wolf does where 2/3 of the way through the season it drops a tonally-different expository/flashback episode that does a lot of the legwork tying other shit together while also being completely disconnected from the rest of the plot, which is basically an info dump and is my least favorite way of relaying plot/getting characters to the spot the writer wants them to go. i think kali was the most interesting new character we met this season; i was rapt every time she was onscreen, but i don’t love the “we’re going to shove all of the character development and background info into this one episode and at the end El has had her turnaround and goes back home.” it didn’t feel believable to me. are we ever going to see those people again, or were they just a plot convenience to serve the aforementioned purpose? (idk, i haven’t watched S3 yet, so...we’ll see.)

- some weird...minor tonal changes/dropped plots? in S1 one of the running undercurrents was how mike and nancy’s mom wanted them to talk to her and she really did care about what was going on but they couldn’t connect to her and that bothered her, whereas in S2 it’s like - that theme has been dropped; she’s not involved in their lives really at all, and her and ted’s spousal relationship is just being played for laughs, and there was that REALLY weird scene with her like...lusting after billy?????? that was so fucking bizarre.

and until one line in the very last episode, they dropped the whole thing about hopper’s daughter, too - the way they wove that into the first season was brilliantly done, and just - you don’t see a bit of it in S2, and that felt off, to me.

- killing bob was a bad call. it was gratuitous, AND it was contrived - who the hell is running for their life and then just stops dead in the lobby to smile at their girlfriend? ANY SENSIBLE PERSON WOULD KEEP RUNNING FOR THE DOOR. like - bob died, but the doctor survived???????? the doctor, who was attacked and immobilized and defenseless in a stairwell, somehow wasn’t killed?????? of course not, because he needed to survive, so he could get El her papers later....that entire thing irritated me. it made no sense. that was actually the point where i said to myself “uh-oh. first Bad-with-a-capital-B decision this show’s made.”

- lack of consistency in terms of how, exactly, Stuff Works. in S1 it was like - the Upside Down is everywhere. the demigorgon could come through anywhere, if you were unlucky. that was part of what made it so creepy - there’s this whole other world and it is RIGHT THERE with you, and sometimes the fabric separating the two universes gets scary thin, and bam, you’re somewhere no human has any business being. whereas in S2 it’s like - ok, things are coming through this one portal and spreading through tunnels underground, in our own dimension??? like at first i thought hopper had actually entered the Upside Down in the tunnels, but then it seemed like the tunnels were still on our plane, just gross-looking. so why in S1 could the demigorgon come through the ceiling of will’s house, or through that tree in the woods, or take barbara through the pool? why did the lab people think burning that little gate would help, when the first monster from last season was obviously popping into our dimension from all sorts of other places?

- this is a minor quibble, but it was driving me up the WALL in the last couple of episodes - what in god’s name were they injecting will with??? and HOW. mike just grabs that syringe off the counter like “we need to make will go to sleep” - there is NO reason that anyone in the room would know what was in the syringe or what the correct dosage was or HOW TO GIVE AN INJECTION IN THE FIRST PLACE. joyce gives it??????? by stabbing straight down???????? into will’s arm???????????? what the hell kind of injection technique is that?!?!?! that’s not....how that works. ever. and maxine does it to billy too, in his NECK - just straight in there. there is no....look, people in human medicine can weigh in better than me here; maybe things are different, but just from the veterinary perspective, you can’t just stab a creature any old place you want, and giving something via any route that isn’t intravenous isn’t going to drop an animal immediately, AND you do not have control over how long they’re going to be out. if you give a sedative, you can’t just wake an animal up by wafting ammonia under their nose. AND the animal is likely not going to be actually asleep until you also give an anaesthetic induction agent, and if you do give an anaesthetic induction agent, you’d better have some monitoring equipment and a breathing apparatus hooked up to your patient!

look, it just - the “go to sleep” injection was used to solve too many critical situations for me to just ignore it. it bothered me.

anyhow. overall, i didn’t hate it. but i thought it was way less cohesive than the first season, and therefore way less effective. i’m still curious to see what happens in S3, but my expectations are lower now.

[if you wanna talk to me about this, you have my permission, but ONLY if you’re able to do it without talking about S3 in any capacity, including your own personal evaluation of how good/bad it is in relation to the other seasons. i like to watch without knowing other people’s opinions of things, otherwise i feel like my viewing experience is colored by what i hear. thanks! :) ]

#interdimensional babysitters club

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ghostowned · 4 years ago

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BEATRIX MORTEL ♡ THE EMPATH.

(AMANDA CAMPANA, TWENTY TWO, DEMI WOMAN, SHE / HER ) ⮕ Hey, isn’t that [ BEATRIX MORTEL ]? I heard that they were a part of the crew. According to the wiki it says they’re the [ EMPATH ] of the group. Avid fans say that they’re [ INTUITIVE ], but that they can also be [ HEDONISTIC ]. Maybe that’s because they’re a [ PISCES ]. This gossip forum says they joined the group because of [ HER INTUITION PULLING HER TOWARDS THE GROUP ]. I wonder if that’s true. I also heard they [ DO NOT ] believe in ghosts. I wonder if their time in arcane inc will change that. ( pepper, twenty four, est.)

ABOUT THE MUN. ooh, yuh, get it i guess !

hi, hey, hello everyone my name is pepper and i am very much writing this on three am christmas morning.... oof. but i wanted to pop by and semi quickly introduce my babey before knocking out so!! here we are!! but before we get into her, a bit about me to break the ice! my alias is inspired by the iconic duo salt and pepper and their classic song push it. i am an english major who learned how to spell passivist the other day, yes we exist. i am late to literally everything so me just showing up now,,, can we say on brand?? i am a hoe for pinterest and after i finish this intro i will probably start on bex’s pinterest board! i have never played the sims, rip, i am a hoe for pretty much all reality shows (my faves are bachelor, love island, and the cheesy netflix ones atm) and i am actually a huge scaredy cat! the last horror movie i watched was ready or not which i actually realy enjoyed but i have maybe watched? ten horror movies in my entire twenty four years of life. wild, i know. oh and i use she / her pronouns for anyone wondering! okay, now that that’s out the way,

BIO. being intuitive is just like... i don’t like this and no i will not elaborate

bex is actually a new muse and since she’s new to the group i still want her to have a bit of an air of mystery about her so i will not be elaborating too, too much on her backstory but

actually a twin! i’d like to put in a wanted connection for her twin at some point because i think it’d be fun if they were both involved in the group but yeah, bex is half of a set. if you are interested in the connection hmu < 3

her and her sibling didn’t want for much at all growing up. their parents were pretty well off and so it wasn’t as if they were struggling. the worst thing about their childhood was that they often moved from city to city to support her father’s job. her dad was an author of supernatural and horror books and so he tended to go wherever the inspiration struck. so bex basically grew up in creepy houses and such! whenever her dad solved the mystery of one place nd finished his novel they would move.

around the time that bex was six they lived in a very specific house. and when they moved from it bex found herself with this power. she is able to feel what people are feeling when she touches them or feel what someone else was feeling when she touches something that they’ve touched. think theo crain from hill house basically. it wasn’t something she was born with though, and since bex was already a pretty cheerful child with a pretty active imagination her mother tried to talk her out of the whole thing.

bex’s mother was a child psychologist and it was with her help that bex learned that anything she thought she was feeling or seeing was just in her imagination. she was just really empathetic. and sometimes she found herself with imaginary friends. and maybe sometimes she had strange dreams, but this was all very normal.

bex didn’t really have any choice but to believe her mom as a child. so for years she just ??? went with her powers unchecked, over stimulated and confused and scared. she didn’t deal with it well. and her parents didn’t understand.

her dad found it fascinating though. wrote a whole book about her. it quickly became a best seller, and bex, his inspiration, pretty quickly became a bit of a celebrity in the horror novelist community. even bex, who absolutely loved attention, hated the whole thing. but she was too young for anyone to listen to her.

suffice to say, the moment that bex turned eighteen she dipped. specifically she left to go to university. she studied up and got a bachelors degree in architecture. she is planning to get her masters next because she’s really passionate about her field, but well she stumbled into arcane first.

it was completely by accident honestly. one day she was just living her life as normally as her life tended to get. and the next moment she saw one of their videos. and it was like everything clicked into place at once. she tried to ignore it, she really did, but it wasn’t long until she was seeing them everywhere. until she found herself drawing the arcane inc logo absently in the margins of her notes, or dreaming about the group at night, or mumbling lines of their show to herself when she was meant to be distractedly humming. it was weird, like really weird, and again bex would have brushed it off as nothing, but i imagine that at some point she actually saw them irl. maybe they reached out to her due to one of her father’s novels and bex likely having lived in that house before, or maybe she stumbled upon them completely coincidentally, but bex might not believe in ghosts but she sure believes in the universe. and who is she to say no to what the universe so obviously wants? details tbd sdkjsd

so here she is! having a good time in her gap year between uni and grad school. i’d say she’s been here since?? june of this year and she’s still going strong. she is still a bit skeptical about some things but she’s having a good time anyways.

HEADCANNONS. are my prophetic visions a joke to you

is she a mix of all the characters in hill house,,, maybe so

for someone so smart bex is also dumb. she still thinks that for the most part she’s really empathetic, like yeah she can touch something and tell you how the last person who touched that thing felt but * bex vc * is it really that big of a deal? i mean it’s basically a party trick dkldsklds honestly bex’s mother just really got into her head a child, but she is prety sensitive to things like touch. tends to get cold really easily in places with spiritual energy so catch her wrapped up like nothing else (tends to always have her sweater over her hands in those places). the type to stick to you like glue and touch you like crazy when you’re in a good mood and keep a good distance away from you when you’re in a bad one. she’s pretty good at comforting and cheering people up, but she will not touch you when you are in a bad mood for the most part cause she doesn’t want those vibes?? gets super caught up in other people’s emotions sometimes, and her own and they all tend to blend together. like if you have a crush on someone and you’re in your feels about it and bex touches you she’s like damn do i have a crush on them? do i have a crush on you? are we about to KISS right now? and she will kiss you then tbh she’s big dumb sometimes smh. this is how she gets herself into trouble.

in love with love and falls in love often and deeply. like she feeds off her partners emotions a lot too so bex is an a plus girlfriend tbh. things never work out though as bex’s partners usually think things are too intense or bex like feels the slightest inkling that they might want to break up with her and dumps them before they can get the chance, rip

inspired by this tiktok tbh!

bex is also a diver and has been since she was young, and this is inspired by this tiktok

bisexual!

very fun and easy to get along with honestly. almost always has good vibes. if bex is sad she will simply find someone in a good mood and cling to them for a bit. very hot and cold tbh, like she does not explain why she avoided you a bit for a few days and suddenly wants to hold your hands like rip to the crew sdkjsdk

will respond to any nickname! i put trixie on the app but bex, trixie, bee, beck, trick, bea, and any other nickname will be accepted. bex loves nicknames cause they make her feel closer to people so if your muse wants to give her a nickname,,,, please do 🥺

will do anything to make herself feel good. all feelings are overwhelming for her, especially when she has to take other people’s feelings into account too so she tends to try and enjoy herself at all costs and she is a big fan of the little things. sleeping in, sex, dr*gs, drinking, like blowing bubbles, food, anything that is fun and makes you feel good, bex is into and will do over anything serious any day.

an extrovert.

WANTED CONNECTIONS. i can’t talk right now, i’m doing hot girl shit. * summons a malevolent demon *

an ex on bad terms, her twin, an fwb, an ewb, a close friend in the group, someone she has a crush on maybe or vice versa, someone who’s good vibes bex is constantly seeking out, someone who hates her omg, a smoking buddy, someone she formed an instant bond with, a sibling like relationship, a childhood friend she’s reunited with, a fan of her father’s novels, a confidante, someone who makes her feel safe when things get to be a bit too much for her, someone she regularly cheers up, someone bex hates?

#arcaneintro #god...... finally done #b.m. | intro.#b.m. | bio.

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amplesalty · 4 years ago

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Halloween 2020 - Day 1 - The Stand (1994) - Episode 1 The Plague

Gee, an epic post-apocalyptic story about an out of control pandemic. Never heard that one before.

Much as we like to tie the Halloween season to the Christmas one by opening up with a festive horror movie, why not link back to the TV binging that provided some content to this blog earlier in the year by partaking in this mini series? We’re only covering part one here today as this is like four feature length episodes. In a worst case scenario, the rest will serve as backups that I can plug in if I’m having an off day so to help me from falling behind. But ideally they’ll go up once a week on the same day as a standard movie post. You manage to go back to actually doing 31 entries for the first time in donkeys years and it all goes to your head and you suddenly think you can do 34!

This has actually been on my list for quite a while now, we do love a good (or bad) Stephen King adaptation around here and I have a distinct memory of seeing this on TV when I was a kid. I’m guessing it must have played over a few nights over here at some point or maybe over a bank holiday or something? Not that I really remember much in the way of details, just the cornfields and a creepy face which we’ll get on to.

It’s something that’s stuck with me over all these years, I actually got a copy of the book at one point in what must have been the early to mid 2000’s. Still have it actually, I dug it out for the sake of this entry. Seems it’s a version from 1980 from it’s first run as a paperback in the UK. Seems to have a page or two missing near the start in amongst all the copywright business but otherwise it’s in okay shape.

Even has some writing on the first page that I can only make out in parts, one section seems to read ‘an old man beats a mule’. Or perhaps, more pertinently to this story, a mute...

Cover seems a bit dull and non descript compared to the various other ones that have come out over the years. There’s something interesting to this original version with the two figures fighting, very much a literal take on the good versus evil nature of the story with one figure dressed in light colours and the other dark. The dark figure is wielding a scythe which is obviously closely associated with the Grim Reaper. Seems to have some form of beak sticking out of its hood too and the robes and shoes seem to be almost harlequin or jester type clothes?

I wasn’t really expecting much going into it, especially based on the 1990 mini-series of It. I think because of the nature of It being partly set in the 60’s, as well the contemporary portion which just looks very 80’s, gives it this image in my head of being very dated. Outside of a few actors like Tim Curry, John Ritter and Seth Green, there’s not really any notable stars in it either and even though, Green’s notably arguably came much later on. The Stand though? This thing has some names, even if the bigger ones are just small cameos. Amongst the main cast you’ve got Gary Sinise, Molly Ringwald and Rob Lowe. Obviously Ringwald isn’t a massive star or anything and is only really known for that string of John Hughes movies in the 80’s but around this time was peak Sinise. He’s not long removed from starring in Of Mice and Men (...and men....and men...) and would have roles in Forrest Gump, Apollo 13 and Ransom in the following years. Plus that big stretch in CSI:NY in the 00’s. But then you’ve got people like Ed Harris and Kathy Bates showing up, albeit briefly but these guys have some clout. I mean, Bates had just won the Academy Award a few years prior for her role in Misery so maybe she felt compelled to do more work under the King umbrella. Even the more minor roles seem like a roll call of ‘hey, it’s you!’ with Ken Jenkins (AKA Bob Kelso from Scrubs), Kareem Abdul-Jabbar and the proprietor of Joe Bob’s Drive In, Joe Bob Briggs.

The landscape of TV feels very different today with actors much more willing to work in the field as it’s taken on much more artistic integrity. The greater availability of shows after they’ve aired, be it through DVR, home media or streaming, has enabled people to watch in far greater numbers. There was a time when the big break was deemed to be making it to Hollywood and starring in motion picture epics but it seems more and more that story tellers are moving away from the relatively cramped 2 hour-ish format of the silver screen to having their vision play out over a long form story and the big name actors are following suit. I feel like things would have been very different back in the early 90’s so to have these names attached.

Seems for a long time there were plans to turn this into a movie, it’s even referred to during a ‘making of’ feature on the blu-ray (pretty much the only feature on there I might add) as a ‘motion picture epic’ but this must have been done way into production so either they were confused or trying to mislead viewers for some reason? Apparently in the early 80’s the idea was for the success of Creepshow to finance production of The Stand but took until the early 90’s for everyone to finally settle on the miniseries.

Very much a big budget affair too for a TV Show, $6m per episode. And it’s needed given the scale of the story, taking place in all these different locations, the special effetcs and with so many characters involved with over 125 speaking roles across the series. It’s definitely a jump up from It, even though that had the two different time periods, it only had a budget of $12m across its two parts compared to the $24m here across four parts.

But to finally address the massive elephant in the room, this story centers around an outbreak of a strain of influenza seemingly created in some shadowy government facility. After something goes awry in the lab, a doomed insider pleads with the guy watching the main gate to seal the facility but he instead piss bolts for his nearby house and hurriedly bundles his wife and child into their car as they make their escape. Everyone else is not nearly as fortunate though as the camera pans the facility, lifeless corpses strewn throughout that have seemingly dropped dead in the middle of their everyday activities, there’s even one guy doubled over on a ping pong table. All of this is set to the sounds of BOC’s Don’t Fear the Reaper and culminates with the image of a crow picking at a doll dropped by the child in the rush out of the front gate. The crow features prominently on the front cover of the blu-ray I have, perched atop of a skull. Though, I know they’re going for the whole post-apocalyptic vibe but what about the superflu is causing the road to burn up and crack like that? The bird also shows up a fair bit throughout the episode, I was going to talk about it being a raven and how such birds are linked with ill omen and death but it’s a crow apparently. Who knew? Not me, I’m no ornithologist. It also seems to be very closely linked with a mysterious figure that is alluded to throughout, a ‘dark man’ or monster.

When the original carrier of the disease makes his way into Arnette, Texas, and crashes into the gas station that Sinise’s character Stu Redman is working at, his dying words are of his efforts to escape from a dark man that was chasing him and that no one can out run him. Maybe in that moment you’d think this is just a state of delirium and he’s speaking oddly poetically about trying to outrun Death himself but as the show goes on, more and more people speak of this dark man, almost as if everyone in the grip of this disease comes to share this vision.

And speaking of visions, we can’t forget Mother Abigail and her cornfields. Both Lowe and Sinise’s characters are whisked away in their dreams to the middle of nowhere where a centurion on her porch warns of them of an ominous future. Think Mama Murphy from Fallout 4 only with much less chem addiction. The only thing Mama Abigail needs is her bread. What is it with King and fields anyway? You’ve got In the Tall Grass, plus the corn fields here and in Children of the Corn. There’s probably more I’m forgetting too. It’s either cornfields, writers in distress or killer ‘whatever I can see in front of me whilst I’m pitching this story’ with this guy.

In a way though it’s good that the show takes this supernatural turn because otherwise this would be a little too on the nose to be watching in this current climate. It’s very eerie to see such similar events play out on screen, starting with the widespread rumours and misinformation. It starts out innocently enough with talk of this so called superflu being downplayed, covered up by the government as an anthrax attack or outbreak of swineflu. I remember back to those more innocent times at the start of the year when COVID was naively dismissed as little more than another flavour of the month disease like the swineflu, sars or ebola that would be here today and gone tomorrow. But then you’ve got things like the sense of paranoia suddenly surrounding a simple cough or sneeze, talks of quarantines, social distancing, the implementation of masks (which one reporter describes as not being able to stop a flu germ with a hangover) to the more disturbing scene of lethal force being used against a TV news crew who refuse to surrender footage they’ve shot of army troops disposing of bodies. Granted, we never got anywhere near that level, I think the worst we had was that guy from CNN getting arrested or that Aussie reporter being pushed over.

They even managed to mirror how universal a pandemic like this is, from the common man to the height of celebrity. One of the characters we’re introduced to is a singer who, whilst he seems to be one of the few lucky to have some immunity, still sees his mother succumb to the virus. Just like we saw with the likes of BoJo or Tom Hanks, it really is a great leveller and, as a wise man once said, ‘You might be a King or a little street sweeper but sooner or later you dance with the Reaper!’. I guess we can take solice that we haven’t quite had the societal collapse that this show manages to pull off in less than a week, with Times Square on fire and a guy running around shooting people like he’s in Falling Down. That’s not to say we wont get there, we seem to be hovering more around general civil disobedience right now with the growing frustration of lockdown and PPE spilling out into protests.

It makes for compelling viewing to see how quickly things break down from simply a man having the sniffles to people being rounded up from their homes and ushered into army vehicles. There’s a lot to take in as the show has to establish the events taking place and introducing it’s multitude of characters so there’s not really much room to breathe. Hopefully episode 2 can relax a little now and give the cast some time to grow. There’s still some standout performances though such as Redman’s growing frustration at being cooped up in a test facility, lashing out at the doctors and nurses coming in in their hazmat suits, prodding and poking him. It would have been nice to see more scenes with him and Dr. Dietz. They have one argument where they nearly come to blows before having a big showdown by the end, with the Doc being one of the last staff members left alive, seemingly crazed by their inability to find any answers in Redman’s tests and he threatens to take his frustrations out on Redman by shooting him. He might be immune to the virus but I bet he’s not immune to a bullet. Dietz starts out with this complete lack of empathy, almost to the point of having a rather cheery deposition considering the circumstances, as he finds some fascination in the speed at which the virus causes death. But he becomes more and more short tempered and threatening as the days wear on and it would have been good to see a more gradual descent.

The aforementioned Ed Harris plays General Starkey overseeing the initial bioweapon project and the fallout of it’s outbreak, perhaps overseeing to a fault as it becomes pretty clear from his ever increasing five o’clock shadow, dishevelled clothing and massive bags under his eyes that he’s slept very sparingly since the initial breach in containment. I think for the entire time we see him, his screen never changes from a shot of one of the cooks at the base of the initial outbreak slumped over, face down in the meal he was preparing. It makes a bit of a change to go from the quite verbal exchanges of Redman and Dietz to Starkey’s physical appearance and facial expressions putting across his mood.

#Halloween 2020 #Stephen King #The Stand

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thebrothershardy · 5 years ago

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post-mid thoughts

okay let’s get right into this. LET’S CHAT. i just finished the game and i’m itching to talk about it.

(i’ll try to keep spoilers to a minimum.)

PROS

the vibe this game gives is shockingly nice. much fall. very autumn. it’s very much what i want from a game that focuses on witches in salem during halloween.

frank and joe’s presence (SPOOK SQUAD), which honestly felt like a purposeful strategic move to tie something familiar (same with deirdre tbh) into a game that changed so much from its predecessors.

still, i genuinely loved those convos in which they petition nancy to join their detective agency. WHY nancy was so reluctant, NO ONE WILL EVER KNOW

that moment when ned called at the beginning and it blatantly sounded like he was cheating on nancy. honestly after all those unceremoniously cancelled dates he deserves this

having so many characters! this game made the one-suspect horror of ransom of the seven ships feel like a far-off nightmare.

that bangin’ song that kept playing? midnight city by m83 vibes anybody?

and of course the gem in the crown: motherfucking DEIRDRE (is anybody even remotely surprised to hear me say this). DEIRDRE!!!! deirdre. what a gal. she felt very much like herself. sassy bitchy smart bossy INCREDIBLE. the GOAT. also, the deirdre/nancy was like someone peered into my soul and gave me exactly what i wanted from those two. name a more iconic duo. crime-fighting partners for life, i take no other options.

meanwhile! CONS

this game’s graphics were great! .............back in 2005. who called, and want their cgi back. the worst offense of this is arguably the UNNATURALLY TWITCHY PEOPLE.

(double the trouble for all those times when someone continues moving long after they’re done speaking. WHO APPROVED THIS)

i feel like joe and deirdre were especially bad in this regard. there were times when deirdre looked like a badly handled marionette puppet. and joe looked like he constantly needed to go to the bathroom. so. much. shifting.

(the only exception to these horrific graphics were the nature shots, which were decent. it felt almost like the entire focus was on that. and just that.)

(also, why was everything in the background always so BLURRY. why.)

(has anybody out there played sherlock holmes nemesis? cause the graphics feel pretty much perfectly on par with that game and it came out IN 2007. 2007, PEOPLE)

WHY WAS NED’S SIDE OF THAT PHONE CONVO AT THE END COMPLETELY SILENT

there were moments in this storyline that felt so unbearably soap-opera. the moment [REDACTED’S] criminal record is published in the paper (brenda carlton moved to salem, i guess???), and [REDACTED] starts taking blame for the fire, and [REDACTED] starts yelling at [REDACTED] about starting the fire, and then [REDACTED] starts taking blame for the other fire, everything sort of fell apart for me.

(arson really runs in that family, huh)

although was anything as bad as the ending when nancy confronts the bad guy and it just goes on and on and on? and bad guy even admits to all this in front of a judge of the law (even if said judge’s spirit is well and truly crushed and has been the entire game)? and nancy also takes this opportunity to lecture any adult in sight like she’s some kind of paragon of True Justice?

okay. can’t avoid this one. nancy’s voice. fuck, i couldn’t get past it. it was so emotionless. it was so not nancy. i really went into this with a somewhat open mind but no. (anybody been subjecting themselves to the christmas prince netflix movies? cause nancy sounds exactly like the protag. minus some emotion.)

ALSO, DID THAT TRUTH SERUM EVER PLAY A ROLE. DID I MISS SOMETHING. (it’s also fucking hilarious that nancy won’t believe in ghosts but will put a modicum of trust into a t r u t h s e r u m)

#i'll still tag this as #midnight in salem spoilers #just in case #but i tried y'all #nancy drew #midnight in salem #mid #spoilers

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stargazer-writing · 5 years ago

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Halloween Headcanons for Main 6

Hello all! I still can’t write for shit!

But with the Halloween charms coming out and spooky season almost over, I decided to do something so you don’t all unfollow me for lack of activity.

Asra

Decorates the shop as soon as the calendar reads October 1st

He probably does it to bring in a little more business and ramp up the witch/magician vibe

Faust’s cat ear costume was hand made by him too ^-^

Not so big on the trick-or-treating part, but he would probably host a little Halloween party for you and your friends at the shop

He’d probably likes to have a not-so-scary Halloween movie marathon, like Hocus Pocus, Nightmare Before Christmas, Ghostbusters, etc.

Likes to make Halloween a fun night to be with you and your friends

Julian

Julian is a hardcore Halloween fan y’all

He always goes all out with costumes, decorations, candy, etc.

Every day is Halloween when you’re emo tho

He absolutely still goes trick-or-treating, and probably hits up a few parties along the way

Wants to do couples costumes with you

Uses pick-up lines associated with his costume no matter what it is

“Arrrr you free tomorrow?”, lots of ones about ‘booty’, just really bad lines but somehow they’re effective coming from him

Always has candy on hand to give the neighborhood kids

Nadia

She has a more sophisticated taste when it comes to Halloweeen

Hosts big costume parties with Halloween themed food and games and decorations

Her costumes are the most elaborate and expensive

Also makes sure to have plenty of the best candy for kids too

We’re talking full size candy bars here

She would make sure you had the best costume too, and makes sure everyone at her party knows how wonderful you look

Portia

She’s pretty serious about Halloween too, like Julian

Decorates the cottage as soon as possible, and always makes little costumes for Pepi

Would also be down to go trick-or-treating, and makes her own costumes too

Loves horror movies, has a marathon of classic monster movies with you on Halloween night

If you’re easily frightened by horror movies, she uses it as an excuse to cuddle you but makes sure you don’t watch anything too scary

Has tons of candy, both for trick-or-treaters and for the both of you to eat

Muriel

Muriel doesn’t really ‘get’ Halloween all that much

He’s a big guy that people find intimidating as is, so he wouldn’t understand the appeal of making himself even more frightening

You could probably convince him to go out with you, but you’d have to find him a costume cause his idea of one is a sign with the name of whatever he’s going as

Wouldn’t mind going to Asra’s for a small party, but anything more than that would be a little too much for him

He really just wants to stay at the home with you, maybe eat some Halloween candy and tell some ‘scary’ stories

Lucio

This man is the king of slutty Halloween costumes

Loves Halloween parties, especially ones he can get drunk and dance at

Would probably also do couple costumes with you if you wanted

He likes to throw really wild parties, but mostly just crashes other people’s

Lots of flirting throughout the night, has a lot of pick-up lines based on his costume like Julian does

To him Halloween is an excuse to dress hot and party basically, but secretly he wouldn’t mind staying home with you

#the arcana game #asra alnazar #julian devorak #portia devorak #nadia satrinava #count lucio #the arcana muriel #headcanons #halloween

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destieltropecollection · 6 years ago

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Destiel Trope Collection 2019 Day 19: Holiday Fics

Where Things Grow | @castielslostwings Rating: Teen & Up Word Count: 7730 Main Tags and Warnings: Domestiel, Human Castiel, Established Castiel/Dean Winchester, Gardener!Castiel, Beekeeper!Castiel, Sweet Dean Winchester, Good boyfriend Dean, Holidays, Holiday Fic, Christmas, Christmas activities, TFW 2.0 bonding, Mistletoe, Ice-Skating, Hot Chocolate, Boys Kissing, Christmas presents, Fluff, Tooth-rotting fluff, canon-divergent, allusions to post-canon setting. Summary: Holiday fic! A newly fallen Castiel is having some trouble adjusting, so Dean makes it his mission to find him a hobby. But what happens when winter comes and the only activity he's interested in is buried under ice? Dean to the rescue (again). An ambiguously-set canon-divergent fic circa season 13-14. No big bads, no Michael/Lucifer, established DeanCas.

Christmas Time is About Loving You | @wingsdestiel Rating: General Word Count: 2938 Main Tags and Warnings: Christmas Fluff, Falling Castiel, Men of Letters Bunker, Christmas Presents, Fluff Summary: Castiel wants to fully experience the holiday season, Dean has a realization, and feelings happen.

Winchester Sleeping | @spinnerjen Rating: Teen & Up Word Count: 15343 Main Tags and Warnings: slow build, christmas, coma, awkward romance, smut Summary: Summary: Based strongly on the 1995 movie - 'While you were Sleeping' Meet Castiel - A hopeless romantic Chicago Transit Authority token collector who is mistaken for the fiance of a coma patient.

Mistletoe for Hugs | @noiproksa Rating: General Word Count: 1917 Main Tags and Warnings: Christmas Fluff, Team Free Will, Family Feels Summary: Dean and Sam explain Christmas traditions to a confused Cas. When they substitute kisses under mistletoes for hugs, cuddling ensues. (Intended as gen, but can be read as Destiel pre-slash.)

The Christmas Date | @fangirlingtodeath513 Rating: General Word Count: 10829 Main Tags and Warnings: Platonic Bed Sharing, Mentions of Homophobic Family Summary: Christmas is one of Dean's favorite times of the year. It means spending some quality time with his family and enjoying their company, even though it's only for a few days. So when Cas mentions he's not going home for Christmas, the thought's barely crossed his mind before he's asking Cas to come with him to Kansas. Maybe there was an ulterior motive, like spending more time with the guy he's come to like a little more than just a roommate, but Cas doesn't need to know that. At least, if Dean's kind but meddlesome family can stay out of his business, that is.

A Christmas Day Proposal | @roobear68 Rating: General Word Count: 3231 Main Tags and Warnings: Kid fic, best friends, marriage proposal Summary: As soon as 5 year old Cas discovered that one was “supposed" to marry one's best friend, he did what any boy in his situation would do. He decided to propose.

This Dance | @deans-jiggly-pudding Rating: General Word Count: 2213 Main Tags and Warnings: Christmas fluff, high school dance, Secret Santa Summary: Cas has been wanting to approach Dean for months, and the perfect opportunity presents itself at the school holiday dance. There's only one problem: What if Dean says no? Cas can't bear it and is ready to let the chance pass him by, when he is shocked to learn the identity of his Secret Santa.

New Traditions | @pherryt Rating: General Word Count: 49872 Main Tags and Warnings: Christmas, alone at Christmas, Fluff and Angst, Coming Out, Forced coming out, First Kiss, Christmas traditions, making new traditions, Ice Skating, cheesy Christmas decorations, Hurt/Comfort, bed sharing, not the standard Christmas tree, Happy Ending, Disowning, Pining, Mutual Pining, near years, good news, valentines day, mix tape, Confessions, Cuddling, Kissing, Easter, Easter Eggs, charity work, Fourth of July, Fireworks, Sparklers, Fluff, Trick or Treating, Good Neighbors, pneumonia, Halloween, Thanksgiving, canceled plans, Weather, Surprise Guests, Power Outage, Friendsgiving, Wedding, proposal, Years Later, Summary: Cas's Christmas season is fraught with ups and downs. He's not going home to visit his family - which is great for avoiding drama - but now that means he's going to be celebrating it alone - which isn't so great just in general. And to top it off, none of his roommates seem to be in the holiday spirit. But he's determined to enjoy the holiday, alone or not. Good thing he won't be as alone as he thinks.

Maybe it's the Great Pumpkin | @DesiraeLovesDestiel Rating: Explicit Word Count: 7862 Main Tags and Warnings: Halloween, established Dean/Cas, Case fic, fluff, humor, smut Summary: “Ah,” Cas piped up, as they pulled up to a red light. “You are referencing the Charles M. Schulz comic strip series that features a young boy with an unhealthy attachment to his blanket and a bullied child with an ineptitude for football.” For a moment, Sam and Dean just stared at Castiel, unblinking. “Fucking Metadouche,” Dean finally muttered. Team free Will finds themselves back in New England as they travel to Lyndon, New Hampshire to investigate at the infamous Spooky land. Boasting a haunted mansion, zombie paintball, and a corn maze, the carnival-fun vibe of the Halloween themed park is a playground for teens and horror lovers alike. When some of the patrons start disappearing from the attractions, it is up to the boys to figure out if these people left on their own or if something more supernatural is happening.

A Christmas Wish | @sheinthatfandom Rating: General Word Count: 6606 Main Tags and Warnings: kid fic, christmas, fluff, single parent cas, car accident, christmas eve, santa, strangers to lovers Summary: Castiel is a single father who lives for his daughter and making her happy. Grace is a wonderful kind and loving little girl who just wants to see Santa to make one more wish for Christmas. On their way to the city where the tree lighting is to take place and Santa will put in one last appearance the pair get into a car accident during a blizzard and have to rely on the kindness of a stranger home alone for the holidays. Can Dean Winchester help do Santa's job and give the pair what they need?

They Were Blue | @castielsangel-blade Rating: Teen & Up Word Count: 4240 Main Tags and Warnings: Dean and Cas have feelings, holiday fic, side Sam/Eileen Summary: Dean is flying to Washington to spend the Holidays with his brother and his girlfriend. He'll have to take a plane to get there, which isn't his idea of a good time. But maybe a little bad weather can help.

Matchmaker | @thebloggerbloggerfun Rating: General Word Count: 4242 Main Tags and Warnings: High School AU, Misunderstandings Summary: Every year for Valentine's Day, Castiel's high school offers a matchmaking fundraiser service that tells each person which student they're most compatible with. Heterosexual results only, of course. Enter: Charlie Bradbury with a brilliant idea to switch names on their Matchmaker quiz so that they'll both get the result they want. Nothing could possibly go wrong.

The three times food was a big deal and the one time it wasn’t | @marian-elisa Rating: Teen & Up Word Count: 1426 Main Tags and Warnings: Valentine's Day, Fluff, 3 + 1 things, Canon Universe, friends to lovers Summary: Dean and Cas + saying “I love you” 3 times without meaning it, and one time getting it right.

Kinda Like a Taylor Swift Song | @lemonsorbae Rating: General Word Count: 1736 Main Tags and Warnings: Fluff, Mutual Pining, Alternate Universe, High School AU, Grocery Store AU, Valentine's Day, First Kiss Summary: Everything was fine, and then Castiel walked into his life and now somehow Dean's life ended up kinda like a Taylor Swift song.

amāre et amārī | @thursdays-fallen-angel Rating: Mature Word Count: 15919 Main Tags and Warnings: Cupid!Cas, Baker!Dean Summary: One moment, Castiel is flying. The sky is lit only by the soft light of the crescent moon and the distant stars. Beneath him, the earth is mostly dark. The town, whichever one it may be, is sleeping—not that he pays it much mind. He has a job to complete, and a timeline to do it in. Destinies must be set in motion. And then his peace is shattered. Something dense hits him from above, striking right between his wings. It jolts him, snapping him out of the idle thoughts he tends to settle into while on duty. Thankfully, he only loses a few feet of altitude before he recovers. He twists in the air, trying to catch a glimpse of his assailant, but all he sees is a flash of white feathers before he’s hit again, this time by an arrow skewering through one of his wings. Now, there’s no recovering. One moment, Castiel is flying. The next, he’s falling.

Hocus Pocus | @thursdays-fallen-angel Rating: Teen & Up Word Count: 4622 Main Tags and Warnings: Witch!Cas, Hunter!Dean Summary: Halloween season is always a hassle. It has its charms, of course, and no one can deny that it’s great for Hocus Pocus’ sales, but that doesn’t mean that Castiel has to like it overall. Not everything is about his shop. And currently, he very much does not like it. The fact that his ex then decides to show up unannounced is the icing on top of an already rough day.

McMansion Hell | @mittensmorgul Rating: Teen & Up Word Count: 20877 Main Tags and Warnings: Christmas Fluff, Case Fic, SPN Holiday Mixtape 2018, First Kiss, Love Confessions, Crack Treated Seriously Summary: It's a few weeks before Christmas, and all seems relatively quiet in the bunker. Sam is preoccupied with kitten videos on youtube, and Dean and Cas have been tap dancing around each other with a slightly more holly-jolly theme. As Dean teaches Cas the true meaning of Christmas pie, Sam finds them a case just brimming with holiday cheer-- a ghost with his own highly individual style who doesn't deal well with critics. Let's watch as they all learn their lessons, with fondly exasperated commentary from a slightly frazzled narrator who shares your pine-scented pain.

It Fits | @friedlieb-ferdinand-runge Rating: General Word Count: 1278 Main Tags and Warnings:christmas fluff, proposal fic Summary: A proposal one shot in which Dean is hella awkward.

Castle | @friedlieb-ferdinand-runge Rating: General Word Count: 1269 Main Tags and Warnings:toddler!claire novak, toddler!jack kline, christmas fluff Summary: little Claire and Jack have some Christmas adventures and Cas and Dean are hella tired parents.

Chocolates at 9am | @envydean Rating: Teen & Up Word Count: 1201 Main Tags and Warnings: Boss!Dean, Asssistant!Cas, Valentine's Day, Office Romance, Rule Breaking, Chocolates and Roses, not so secret admirers, Fluff Summary: Dean gets in early to place a rose on his assistant's desk under the guise of a secret admirer. Except that it turns out the admiration is both not so secret and mutual.

Father's Day | @babybluecas Rating: General Word Count: 2143 Main Tags and Warnings: canon divergent, fluff, kidfic Summary: The morning of the Father's Day goes just slightly differently than Dean planned it.

I'm Dreamin' of a Grey Christmas | @almaasi Rating: General Word Count: 4744 Main Tags and Warnings: Fluff, Snowball Fight, Christmas, Team Free Will 2.0, Falling Castiel, Human Castiel, Mutual Pining, First Kiss, Love Confessions, Growing Old Together, Canon Divergent, Fix-It Coda, Alternate Season 14 Summary: Coming in from the snow, Dean notices Cas now has a streak of grey in his hair. Angels don't get older. But Cas has been getting older for years. Is this a loophole that can save him from his deal with the Empty? Or is "adorably middle-aged" just another thing to add to the seven million reasons Dean wants to kiss him?

Barbershop Duet | @almaasi Rating: Explicit Word Count: 22515 Main Tags and Warnings: Alternate Universe - Barbershop, Christmas Eve, Christmas, Fluff, Romance, Smut, Dean thinks he's straight, Dean Has a Sexuality Crisis, Bisexual Dean, Barber Castiel, Demisexual Castiel, Professionals Being Unprofessional, Friends to Lovers, Facial Shaving, Shaving Kink, Marathon Sex, Family Gatherings, Domestic Fluff, New Year, Switch Dean, Switch Castiel Summary: Whenever Dean wants to feel pampered and cared-for, he goes to Castiel's barbershop for a proper shave. Right before the shop closes on Christmas Eve, Dean shows up in dire need of Castiel's magic touch. Although Dean is totally, completely, unquestionably heterosexual – when Castiel confesses he's feeling lonely, and then tries (and fails) to hide a boner, Dean refuses to be the heartless Christmas-ruiner who'd let a friend go home unfulfilled. Except maybe Dean enjoys their intimate experiment a little more than he cares to admit...

The Emporium of Christmas Enchantments | @almaasi Rating: General Word Count: 28062 Main Tags and Warnings: Alternate Universe, Sentient Toys, Christmas, Fluff, Romance, Cute Overload, Warm and Fuzzy Feelings, Magic, Miniature Dean, Toy Soldier Dean, Mute Dean, Smart Dean, Biromantic Dean, Miniature Castiel, Cowboy Castiel, Mute Castiel, Pining, Team Free Will, Holding Hands, Emotional Dean, Deaf Character, Sign Language, First Kiss Summary: Every night when the clock strikes twelve, all the toys in the toymaker’s workshop come to life. Dean is a little wooden soldier, so easily distracted by the pretty dolls. However, in the nights leading up to Christmas, he feels drawn to a very different kind of toy: Castiel, a kindhearted cowboy displayed on the other side of the store. Dean and Castiel spend all their time together, spreading joy and festive cheer throughout their miniature community. But once the Christmas rush comes around, will fate allow them to stay together? (Perhaps... with a little sprinkling of Christmas magic, even the wishes of simple toys can come true.)

Trick Or Oh No, Please Don't Cry | @babybluecas Rating: Teen & Up Word Count: 1360 Main Tags and Warnings: alternate universe, fluff, halloween, kidfic Summary: Dean expected the Halloween night, spent on giving out candy, to be rather uneventful. And it was, at least, until the tiny disaster happened.

Garbage Cookies | @sternchencas Rating: General Word Count: 2389 Main Tags and Warnings: Christmas Eve, fluff, neighbours AU Summary: Both Dean and Castiel aren't very fond of Christmas. They don't even put up Christmas lights, incuring their neighbors disapproval. But when Castiel notices Dean's sadness, he decides to bring a little light in the other man's life.

7 days of hunting | @itsmajel Rating: Teen & Up Word Count: 13018 Main Tags and Warnings: No warnings, christmas, family, case fic, season 12 divergent Summary: When Mary Winchester insists on a traditional family holiday, Dean knows life is going to throw sticks and stones their way the moment a pine tree moves into the bunker. Thus, it's not a surprise when the days leading up to Christmas are indeed filled with monsters and obscurities. What Dean doesn’t expect is that, between fairies and Christmas cookie baking, long-overdue confessions and werewolves and anxious first steps, they might just manage to find their own version of Christmas.

The Perks of Being a Human | @relucant Rating: Explicit Word Count: 12451 Main Tags and Warnings: christmas AU, fluff, friends to lovers Summary: "Down here!" Dean yelled breathlessly, and Sam gripped the knife tighter; anything strong enough to get into the bunker and get Dean at a disadvantage was bound to be a nasty piece of work. But when he got to the kitchen he stopped in the doorway with a start, mouth hanging open. "Uh… Dean?" "What?" Dean snapped, trying to maneuver the massive Douglas fir through the door. "Jesus, I swear this thing didn't look so big on the lot." "You… bought a Christmas tree?"

Me Too | @relucant Rating: Explicit Word Count: 1680 Main Tags and Warnings: valentine's day, anal sex, idiots in love Summary: Cas could handle the sex. Yeah, he was next-door to a virgin, cosmically-speaking, but he'd been watching over humanity for millennia. Cultural and chronological quirks came and went, sure, but the basics were pretty consistent. And he liked to think he was a decently fast learner. The first time he fucked Dean, yeah, Dean had had to walk him through it, biting his lip and telling Cas when to add another finger, when to finally guide his cock inside. But Cas catalogued every one of Dean's reactions to every single thing he did, and adjusted his actions accordingly. Cas watched the way Dean lay breathless and sated and staring at him with soft, satisfied eyes, and Cas was pretty sure that he was a fast learner. But when it came to courtship -- and he shuddered to think what Dean would say if he used the word -- that varied as widely as every human civilization since the dawn of time, and he still floundered trying to figure out what was appropriate for the American Midwest in the twenty-first century.

#destiel #destiel trope collection #destielfanficnet #deancasfanficnet #writersofdestiel #tropes #holiday fics #valentines day #christmas #thanksgiving #fathers day #halloween #new years eve #2019

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stfuisaac · 5 years ago

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hello hello it’s lucky again and,, sadly,, we don’t have the technology that makes the thoughts we have just.... appear onto our screens yet... so this took a hot sec and still isn’t perfect bc i don’t plan on proofreading :\ but! here,, is,, my new,, drummer boy,, parumpumpumpum

‹ avan jogia, he/him, cis man, bisexual. › ISAAC BAROT is the TWENTY-SEVEN year old from SAN JOSE, CALIFORNIA. when a friend asked them what they thought of the manor they said, ❝ I HEARD THIS IS WHERE THEY DECIDED TO MAKE THE TWILIGHT ZONE. ❞ they claim GET OUT is their favorite scary movie, and if they were to die in a horror film they would BE OBLIVIOUS TO THERE EVEN BEING A KILLER UNTIL IT’S TOO LATE. their fears include MANNEQUINS, HITCH-HIKERS and DYING WITH NOTHING TO SHOW, and they don’t know we know, but… HE GOT INTO A (MUTUALLY) NEAR FATAL ALTERCATION WITH A STRANGER HE GAVE A RIDE TO (YES, HE WAS AN UBER DRIVER - HIS GREATEST SHAME). hope they enjoy their stay. ‹ PLATANCHOR requested by JOAKIM from STRESSED OUT penned by, LUCKY, 20, EST. ›

QUICK FACTS:

full name: isaac benjamin barot

date of birth: september 12, 1992

*does not perfectly reflect the below Big Three zodiac chart because that’s so much math

zodiac big three: virgo sun, taurus moon, libra rising

gender & pronouns: cis man & he/him

sexual orientation: bisexual

occupation: session drummer + lyft driver + ex-uber driver

mbti: entp

enneagram: 5w6

the song i listen to on repeat while i write the intro: “deja vu” - roger waters

BACKGROUND INFO:

alright. so.

isaac's backstory is neither tragic nor easy. his father was an immigrant who married his mother solely to get a green card (y’all, to be fair... the citizenship tests are whack). there wasn’t any real romance between the two, but the drop-ins always said otherwise. no, outside of putting on a show for government officials, isaac’s father and mother were friends at the best of times.

the best of times culminated in a son who grew up in an interesting dynamic. his father and mother never even attempted to be anything more than friends (with, as you can see, the occasional benefits). after the check-ins finally stopped, his father and mother even began sleeping in different rooms. his mother would trade in her queen for a double and replace the space his father used to take up with his cradle.

it was nothing like the ‘unhappy marriage’ trope, though... again, because they barely ever pretended to be married. they would take their wedding rings off when they went out with friends. sometimes they would even take off their rings around each other and talk the other up to someone attractive.

so it was unorthodox, but it was much better than his parents pretending to be in love in that way and giving him a skewed version of what romance should look like.

one down-side to it, though, was that isaac never knew who he was supposed to go to for what. usually it’s just a given that “if you need/want x, go to the matriarch, if you need/want y, go to the patriarch” but... what happens... when your parents are basically just your friends?

so thank god for growing up in the age of technology. like,, ya,, a literal baby can’t google things like “how to say ‘mom’” but a 15y/o can google “how to shave”

so... ya... his parents were his friends, the internet was his parent(s?).

one thing the internet couldn’t do? give him drums. it could introduce him to the likes of ringo starr, john bonham, keith moon, and ginger baker, but it couldn’t give him drums... not when he was only, like... 10, at least.

so he put a set on his christmas wishlist and figured they would divide amongst themselves.

so ya, his 10th christmas, he got a shitty little rockwood hohner kit that he would use for the next nine years.

he never received any professional training. again, he didn’t know who to ask and... youtube wouldn’t exist for another three years. he tried to teach himself using a few books and, if nothing else, figured out a few simple beats and how to gain independence.

after learning those simple little beats and not knowing if he wanted to buy the next book, he decided to take a break and, instead of going back to professional books, he’d just listen to some of his favorite tracks... most of which were ginger baker... which made things kind of hard when he only had one bass drum, two tom-toms, and one floor tom. those, plus the really low quality pearl cymbals. still, he did his best to make it work.

just a side-note that, because of videos of ginger, isaac used (and still uses, out of habit) a mix of traditional and matched grip.

he went back and forth between the books and mimicking the patterns of other drummers (mostly ginger) up until he was around 16 and his friend, ribs (y’all), decided to teach him a few more technical skills. what you want to learn for this song are polyrhythms, but those are hard and no, ginger isn’t using a crash there, he’s using a splash and do you want a discount on some better cymbals and drumheads from my parents’s music shop because this is a very functional kit but it kind of sounds whack

he continued using the same whack kit, but replaced the heads with aquarians, as per ribs’s recommendation (but evans and remo are also good) and, after literally examining baker’s kit, replaced the cymbals with various zildjian collections

even though we stan istanbul agop in this house.

he also started listening to more drummers than... pretty much just baker with a hint of john bonham, keith moon, and ringo starr. as his friend suggested, he tried out drummers like buddy rich, art blakey, travis barker, dave grohl, karen carpenter, neil peart, nick mason, simon phillips –– even was told to listen to ac/dc songs just to see how a successful band could be made using essentially the same beat over and over and over.

so now he had some split time. school. work. practice. figure out who the hell was making dinner that night/if there was someone making dinner last night because they might both be talking each other up.

although he applied to various colleges, and although some of these colleges actually accepted him, he ultimately decided not to go. instead, he moved from san jose to los angeles in the hopes that he’d find something bigger than himself... and a new drum set...

he found the latter in a ludwig kit with two bass drums, two tom-toms, and two floor toms. then he just added a bunch of stuff and tried to make it like ginger baker’s. pretty much spent all of his money on it and then some.

when his friends formed a band and found success, he was very very happy for them... but... he found himself stuck... driving ubers.

and lyfts!

he’d seen the twilight zone before. he loved that show. he’d seen the episode ‘the hitch-hiker,’ so he was really driving for the companies against his better judgment.

his worst uber story? the time a guy got into the car, had pinged a location that was still marked as a store on the uber gps but had recently been torn down, and tried to attack him when they got there :\ he 110% fought back, though. was fired because the other guy was the one who made it out injured.

only drove for lyft after that :\

he did take on a few projects, but he... proved to be too much of a roger waters for people who just wanted to chill and have fun. there would be adverts for people who wanted to form a band and he’d be like “hell yeah! finally! a band!” then he’d get pissed that they advertised it so seriously but really... just wanted to jam. did not have any plans to try to do anything with it.

the few projects he did join that involved people who wanted to actually achieve success... if they were slacking, you best bet his inner roger waters came out! which is why he never stuck around in any projects for too long!

but ‘projects’ and ‘jam sessions’ were totally different. you want to do ‘wipeout’ in a project? he’s gonna take that intro that literally everyone on the planet knows SERIOUSLY. you want to do ‘wipeout’ in a jam session? LET’S HAVE SOME FUN WITH IT.

he does some session/studio drumming for other artists to make some extra money while doing something he genuinely enjoys... but... still... it is no project™

in between things right now, he got a call from joakim that, while muffled and staticky, sounded like it said ‘get here, please’ and clearly stated where he was.

of course, voicemail lines were crossed and many many many essential words were left out – words that were basically saying the exact opposite ahfsdkjl. the shadow’s really playin them :\

so here he is, in all his glory.

TL;DR:

i was gonna kms if i didn’t play another drummer, so this is my ginger baker fanboy whose parents were literally just best friends and, as a result, were also both his friend. the internet raised him. started playing drums when he was 10 on a low qual kit with low qual cymbals that his parents got him for christmas, but literally why would you get a beginning a good set? continued playing. eventually moved to los angeles and tried to form many successful projects, but was too much of a roger waters. was summoned up here by the shadow man fucking around joakim. his greatest shame is how many ubers he has driven.

PERSONALITY INFO:

he will always say his proudest moment was when he learned how to play ‘toad’ by ginger baker cream all the way through.

big ginger baker fanboy.

loves the twilight zone and will just spill a random fact out about it every now and again.

a lowkey control freak which completely goes against the way he dresses and the vibe he gives off.

is only a dick about it if you’re part of one of his ‘projects’ but aren’t taking it seriously tho :\

ok i’m too tired 2 write a personality section rn when im already rly bad at them but!! again!! feel free 2 j refer to the zodiac big three + the personality types!!

FEARS:

mannequins: they’re already creepy enough when you really think about it, then you add in that episode of the twilight zone where the characters wake up in an unfamiliar house and go outside and basically everyone is just a mannequin? ya he hates mannequins.

hitch-hikers: so, as we have just seen, he’s had it bad enough with people who were registered to an app, paying, their personal information readily available, etc., etc... so then what would happen if it was just a complete and utter stranger who didn’t have any personal information, any ping, and was the sole focus of a different twilight zone episode? he... is going... to drive past you. he’ll feel bad about it, but...

dying with nothing to show: here’s the money shot! here’s the deep fear! as has been shown throughout, isaac craves success and some form of a legacy. if he dies with nothing to show for his life, then was his life ever worth it in general?

WANTED CONNECTIONS:

ok,,, it might be bc im tired rn,,, but i have the most basic list that will hopefully be updated tomorrow bc it is SO VERY BASIC:

friends

fwb

ons

exes

enemies (much easier to get on his bad side than it is w/ fluke)

BRAINSTORMING AND/OR SOMETHING FROM YOUR WANTED CONNECTIONS AND/OR WHATEVER YOU HAVE AN IDEA FOR!!!!

#manor.talk

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lucky-clover-gazette · 7 years ago

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season 4 first watch impressions

under the cut are my thoughts and my new overall series episode ranking (spoilers)

ep1 - uss callister

- by far my favorite of the season

- a perfect blend of comedy and tragedy

- i would have loved this as a full movie

- honestly nanette is amazing, like she owns her smarts and sexuality and never gives up i love her

- male coder: “it won’t work, i’ve already tried”

nanette: “well i haven’t” HELL YEAH

- i honestly loved all the ‘crew’ characters, even the gym rat boss

- i especially enjoyed the speech from the boss to robert, where he’s like ‘i acknowledge that i was an ass, but dude, YOU PUSHED MY SON OUT AN AIRLOCK’

- also the fuckin casual dialogue between the monster and bad guy and the crew

- OHHH BOY AND THE FACT THAT ROBERT’S GONNA ROT TO DEATH IN HIS APARTMENT BECAUSE HE PUT ‘DO NOT DISTURB’ ON HIS APARTMENT DOOR, HELL YEAH

- ‘oh my fuck’

- 10/10, watch it now

ep2 - arkangel

- preface: the kid playing young owen teague and his family were actually really close with my family when he and my little sister were kids. it was goddamn surreal to see that lil guy talking about porn when i remember him being, like, eight. but nice going nick, keep kicking ass lil dude

- okay so this episode was... conflicting

- the opener made sense, but in some ways i thought it was TOO obvious and indicative of the episode’s message and tone. i can’t help but wonder if it would have been better just starting like five minutes in

- her father looked like counselor healy from orange is the new black, so that was distracting

- okay jesus christ lady, i get that losing your kid is scary, but implanting her with ‘optional’ optic spying and censoring software is such a massive violation of her privacy. like, it’s one thing when she’s tiny, but how the hell are you going to feel okay with yourself as a parent when she’s an adolescent?

- the blocking especially pissed me off. that’s so fucking dangerous. either this woman is just very stupid, or very desperate

- at least the narrative established that it kind of was the latter. when her father gets sick, the mother has to care both for both her father and her child. that’s a lot. but still not an excuse for such mental violation of a quickly-growing human being

- young edgelord and sara are fucking adorable

- sara’s self-harm and rage issues are not, however,, and i’m glad that her mother took her head out of her ass and ditched the tablet

- is it just me or is fifteen-year-old sara kind of an idiot? like i get it she’s grunge and artsy, and i loved her giving a treat to the dog, but she seems to be almost hanging out with owen teague because he deals, and not despite it. like i get that i’m supposed to buy that their romance has kind of a subtext of him ‘teaching’ her about things, but like the underage sex and coke are kinda yikes. i feel like he definitely should have had more restraint, and although what the mother does is royally fucked, he and sara are also both to blame

- all right, so the smoothie motif. what a great narrative tool. the miscarriage pill was the most clever part of the episode. sara’s reaction was very well-acted, and the standoff between her and her mother was intense as hell

- i liked that sara’s rage issues remained into adolescence. i was glad that the tablet got wreckt, but i can’t help but wonder if it would have been more effective to have her rage-smash it prior to her mother coming come, leaving the pieces for her to find. the actual beating up of the mother with the tablet seemed to literal, too much sinking in the message. there were moments in crocodile and hang the dj that were the same way.

- the ending, with sara hitchhiking in some stranger’s truck, was very smart. the ambiguity of a young girl, on her own, hopping in some stranger’s vehicle, is powerful without much explanation. any parent would be horrified by this; that’s what i don’t think we actually needed to see the mother screaming sara’s name and bleeding to understand the horror of losing a child to the unknown

- this one definitely gives me the most complicated feelings of the season; on one hand, it had a lot of great devices going for it. on the other hand, it was over-written and at times trying too hard to be ‘black mirror.’ the grey morality and ambiguous ending reminded me of a literary short story, which i love in my TV.

- 7/10, watch it if you liked most black mirror episodes that weren’t san junipero

ep3 - crocodile

- ah yes, the ‘i watch black mirror to be fuckin ashamed of humanity’ episode

- idk man, i liked it. it was bleak, and fucked up, but i’m all about that downward spiral. i liked that the story kind of began in three different places and then tied together. just as i had with ‘hated in the nation,’ i love police procedural stuff

- also damn, it was freaky as hell to see the straight-laced white blonde soccer-mom type being a despicable murdering sociopath!!! like, gotta go kill an entire family of POC, including a goddamn INFANT, and then see my kid’s show, that’s great. i was so happy when she got what she deserved.

- all right, so i had one MAJOR PROBLEM with this episode: why the fuck did they make the son blind? the guinea pig twist was so GOOD, and mia fuckin killed a BABY, they didn’t need to further modify that!!! this is another example of black mirror doing just a tad more than it needs to make the audience feel horrible.

- okay black mirror, we get it, that song is your thing, but can you maybe slide it in as a less glaring easter egg?

- 8/10, but only if you’re into dark shit and bad endings

ep4 - hang the dj

- not nearly gay enough

- seriously, the entire episode i was unable to focus on the main characters because i kept looking around this Tinder-esque 20′s dating paradise and saw ZERO GAY OR LESBIAN COUPLES. i’m so surprised by this, especially after ‘san junipero.’ at first i was like, maybe this is like society’s way of encouraging procreation because of population decline, but that wasn’t the twist at all. no reason for nearly everyone to be hetero

- THAT BEING SAID, i see you. bi amy. even before the girl partner, i was aware that she used ‘they/them’ pronouns when referring to hypothetical partners. i just wish we could have seen more gay couples in the background (for example, at the choosing ceremony thing, it coulda been two dudes of something)

- uh okay, so everyone loved this episode, and it was okay. some of the banter and jokes were funny and relatable, but honestly, this wasn’t *that* good. the plot wasn’t super original (reminded me a lot of ep1 of hulu’s ‘dimension 404′) and the execution was kind of suuuuuuper basic. like, black suited Enforcers with tasers? a massive matrix wall? the whole thing seemed so predictable and just... basic as hell.

- but shit man, amy was cool. loved that character in a vacuum.

- honestly if someone could explain the reasons for loving this episode, i’d like to hear them. because i just don’t get it, man. maybe it’s because i’m gay, or young, or single, or unexperienced... but i just wasn’t very impressed

- 6/10, not even fuckin close to ‘san junipero’ lmao

ep5 - metalhead

- black and white seemed sort of pretentious, not gonna lie. i think i would have preferred the dirty palette of ‘white bear’ post-apocalypse

- i am all for these female protagonists this season. hell yeah

- soo those corpses in the bed were heavy, but i actually kind of wish we got to see more of that? like, the remains of humanity after the dogs attacked? also, more small explanations for the dogs’ attack would have been interesting

- loved the chase and fight scenes. i can see how they’d be boring, but the moments of conflict between man v. machine were fucking awesome

- K N I F E D O G

- anyone else get serious farenheit 451 vibes?

- the teddy bear thing was dumb. i don’t think we needed to see what was inside the warehouse. yet another time black mirror threw in just a little more than we needed

- okay so belle keeps alluding to the fact that she has safe family members out there somewhere, so am i to believe that there is some place where humans are safe from dogs? if so, why the actual fuck did she leave? i can’t believe it was just because of fuckin teddy bears

- alllllll the david lynch vibes

- 7/10, but you gotta actually pay attention to the visual details to get the best parts

ep6 - black museum

- BOOOOYYYYYYY! this entire episode i waited for the fuckin shoe to drop and then SHE! DID! THAT!

- the amount of callbacks to previous episodes was,, nice,, but also it was kind of annoying??? and unnecessary?

- the museum owner was reaaaaaalllly annoying, which is think was intentional. what a fuckin sleaze. in comparison, i thought that jon hamm in ‘white christmas’ was still a somewhat charismatic narrator, but this dude was just yikes

- so, the first story was... kind of a lazy reach? idk, it just felt kinda like a parody of black mirror itself. i get the entire ‘mad science’ vibe they were trying to evoke, but as opposed to the next story, this one had very little to say about human nature. black mirror works its best when it tells stories that use technology as a way to analyze humanity; this one really didn’t (we all already know we’ve got weird kinks)

- the second story was better, but, like, SUPER heartbreaking. poor carrie. i don’t think her husband should have done The Thing at all, honestly, I don’t believe that he couldn’t have seen what happened next coming. it’s like the arkangel mom again; either these characters are just SUPER present-oriented, or just fuckin dumb

- the most tragic moment in this season was ‘monkey needs a hug.’ i felt nauseous

- okay, now for THE TWIST! the accent drop was a great touch, and i loved that she was poisoning him the entire time. also fuck white men and supremacists, and fuck the museum dude for enabling them.

- the ending was great. i liked that her mom was chillin with her. the building blowing up was very tarantino. loved her a lot

- 8.5/10, boring in the beginning but the end is worth it

and now..

BLACK MIRROR EPISODES RANKED (AS OF SEASON 4)

1. U.S.S. Callister

2. Nosedive

3. Hated in the Nation

4. San Junipero

5. Fifteen Million Merits

6. Be Right Back

7. White Bear

8. White Christmas

9. Black Museum

10. Crocodile

11. Arkangel

12. Metalhead

13. Hang the DJ

14. Playtest

15. The Entire History of You

16. Men Against Fire

17. Shut Up and Dance

18. The National Anthem

19. The Waldo Moment

#black mirror #black mirror s4 #sam reviews #uss callister #arkangel #crocodile #hang the dj #metalhead #black museum #bm

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coquuin · 6 years ago

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really LONG CHARACTER SURVEY. RULES. repost , don’t reblog ! good luck !

TAGGED. i stole it from Kiki!! TAGGING. whoever wants to do it!!

BASICS.

FULL NAME: Ezekiel Axel Ruiz Rosario

NICKNAME: Zeke

AGE: (Verse dependent) anywhere from 19 to 25! most often tho, i usually make him 25.

BIRTHDAY: November 15 (self given bc he doesnt know his real birthday)

ETHNIC GROUP: Puerto Rican / Latino

NATIONALITY: British-American

LANGUAGE(S): English, Spanish, Dutch, Japanese, Latin, Romanian, some Russian, and some Chinese! he likes to study languages a lot....

SEXUAL ORIENTATION: Demi-Pansexual

ROMANTIC ORIENTATION: Demi-Panromantic

RELATIONSHIP STATUS: Hes multiship boiiii

CLASS: Upper class, though he really doesnt have very expensive tastes or anything. Seems like he’d be lower class, but. yknow, he is a celebrity so.

HOMETOWN / AREA: London, England

CURRENT HOME: A very small and shitty apartment. Yeah, he could get a much better home bc he does have the money, but... hes weird and likes a more slightly cramped space. dont question Ezekiel, he has weird preferences.

PROFESSION: Guitarist of the rock band Rogue! also used to work at a music shop when he was like 17, but that was back in London.

PHYSICAL.

HAIR: Very curly and messy black hair! He hardly bothers to take care of it. its prolly greasy bc hes a fucking gremlin pls make him take a shower. stinky boye

EYES: BIG OL FUCKIN EYES. they’re brown! a little sunken, and has massive bags under them--rather than the bags being from lack of sleep, though, theyre actually a result of too much sleep! Ezekiel can and WILL fall asleep wherever and whenever he wants. you cant stop him. his eyes are pretty big actually, and very expressive!

NOSE: the bitch looks like its been broken like ten times. he got a weird ass nose. its a little big, but not terribly so!

FACE: scrawny as FUCK. motherfucker’s head shape looks like a fuckin crescent moon. you know that one tiktok meme with the girl who has the weird ass moon lookin head? bitch looks like that a little bit. croissant lookin ass head.

LIPS: very thin! pls get him some chapstick

COMPLEXION: bitch looks like he hasnt gone out in the sun in over 20 years! which, actually, isnt entirely wrong bc he pretty much hasn’t. pale as fuck! his skin looks gray, like a fucking corpse. he looks like a zombie, but i swear to god hes a plain ass human i think

BLEMISHES: a lot! mostly on his body tho, especially on his back.

SCARS: A L O T!!! his back is literally covered in a shit ton of scars in the shape of upside down crosses, and he has a lot on the rest of his body as well, and several on his left wrist. yeah he, uh... he aint okay

TATTOOS: None! hes way too terrified to get one and hates the idea of one being stuck on his body for like the rest of his life rip

HEIGHT: 6′ 3″ / 190.05cm

WEIGHT: about like... 98lbs?? which is. fUCKING TERRIBLE FOR HOW TALL HE IS!!! LIKE HOLY SHIT EZEKIEL ARE YOU GOOD??? HOW ARE YOU ALIVE?!?!?! EZEKIEL?!?!?!?! FUCKING EAT SOMETHING PL EASE

BUILD: SCRAWNY AS SHIT. HE IS SO SKINNY HOLY SHIT. OH MY GOD GET THIS BOY A FUCKING BURGER OR SOMETHING BEFORE HE DIES JESUS CHRIST!!!!

ALLERGIES: Dandelions! He’ll just sneeze a lot around them

USUAL HAIRSTYLE: The bangs are kiiiinda kept to the side sorta just so its not falling in his eyes, but other than that, he doesnt really bother to like, style it or anything. its just curly and messy. although! when he was a child all the way to his teens, he did have a stupid ass bowlcut! but that wasnt his own choice, so he cant really be blamed for it :(

USUAL FACE LOOK: motherfucker has the WORST case of resting bitch face you will ever fucking see. even when hes happy he still looks angery sometimes!!! but thats literally just his fucking face!!!!

USUAL CLOTHING: a looot of slightly baggy clothing. lots of hoodies! especially wears a lot of black and red, mostly black. also wears mostly boots or sneakers, usually the ladder. he just doesnt really give two shits about fashion, as he’s more concerned with just sorta.. hiding his body. hes very insecure! save him

PSYCHOLOGY.

FEAR(S): "the devil”, getting close to anyone, performing in front of people, people in general, cats, knives & other sharp objects, the sight of his own blood

ASPIRATION(S): "to escape the Devil’s wrath,” as he phrases it. of course, the whole ‘THE DEVIL IS OUT TO KILL EVERYONE I LOVE AND THEN HE’LL KILL ME NEXT’ thing is obviously just in Ezekiel’s head, but it feels very real to him! he basically just wants to be free of the “demons” in his head. aside from that, he also really really reeaaally wants to own an orphanage someday! basically take in orphan kids and help give them a much better life than he had. but as for right now, he fully realizes he’s not ready for that at all, so he’s currently more focused on his music career and getting better mentally, though the ladder is a slow process.

POSITIVE TRAITS: Patient, simple, humble

NEGATIVE TRAITS: Rude, temperamental, paranoid

ZODIAC: Scorpio!

TEMPERAMENT: uhhhh fuck idk i just took a quiz for this and ezekiel got like a tie between phlegmatic and melancholic--but if i had to guess, i’d say melancholic!

SOUL TYPE(S): Spiritualist!

ANIMALS: i always associate Ezekiel with dogs bc. he literally just acts like a fuckin angery dog. and an angery snake or something. bUT MOSTLY DOGS. he will literally bark at people, because he’s a fucking weirdo who doesnt know how to behave like a normal fucking human being

VICE HABIT(S): uhhh drugs and alcohol are a big thing he does!! and generally pushing everyone away so he doesnt get close to anyone! and also acting like a gotdam ANIMAL. SOMEONE PLS MAKE EZEKIEL STOP FUCKING BARKING AND HISSING AT PEOPLE!!!

FAITH: Christian! his religion is very important to him too!

GHOSTS?: Yes!

AFTERLIFE?: Yes!

REINCARNATION?: He isn’t really sure about reincarnation, but wants to believe it exists.

ALIENS?: Yes.

POLITICAL ALIGNMENT: fuck if he knows. ezekiel could not give less of a shit about politics and hardly knows anything about it bc he really doesnt keep up with anything.

SOCIO POLITICAL POSITION: he doesnt give a fuck

EDUCATION LEVEL: None. he never even went to school, fun fact!

FAMILY.

FATHER: Dead!

MOTHER: Dead!

SIBLINGS: None!

EXTENDED FAMILY: None!

NAME MEANING(S): Ezekiel means “God will strengthen”! I have no idea what Rosario means sadly bc i cant find anything good on it on google :(

HISTORICAL CONNECTION?: None that he knows of.

FAVORITES.

BOOK: He couldn’t possibly pick a single favorite book--he loves a lot! but he loves mostly romance genres! which is so fucking ironic considering he’s fucking terrified of getting into relationships. and even more ironically? he doesnt read any horror genres bc it scares him too much!

MOVIE: he doesn’t know.

5 SONGS: While My Guitar Gently Weeps - the Beatles; Brick in the Wall - Pink Floyd; Stairway to Heaven - Led Zeppelin; Bohemian Rhapsody - Queen; Don’t Fear the Reaper - Blue Oyster Cult.

DEITY: God, Jesus

HOLIDAY: Christmas! everyone expects Ezekiel to be like the grinch or something and hate Christmas, but nope! He surprisingly loves it!

MONTH: March

SEASON: Fall

PLACE: His bed

WEATHER: Preferably a little cold, but not too much, bc he just cant stand being hot--and completely dark outside!

SOUND: Gentle guitar strums.

SCENT(S): Ivory

TASTE(S): Anything thats like. Meat. hes very picky tho

FEEL(S): Skin. As in, like, being affectionate with someone else! He’s just very touch starved rip

ANIMAL(S): Yknow, oddly enough, despite acting like a fuckin wild animal a lot, he doesnt like animals much. but definitely dogs are his favorite!

NUMBER: 20

COLORS: Red and black--though he likes blue as well, especially dark blue.

EXTRA.

TALENTS: Music--especially with guitar! And painting, writing, literature.

BAD AT: Anything to do with math or science and stuff like that; anything that requires physical work. hes p much bad at like.. most things tbh.

TURN ONS: Just like.. be soft and gentle with him... also probably has a lowkey praise kink--if you could call it much of a kink i guess? hes pretty vanilla tbh. hes just soft.....

TURN OFFS: If you go rough on him at all he WILL cry. Also anything that, like, restricts him like ropes or some shit will literally make him panic so fucking bad. basically hes just vanilla as fuck, just be gentle with him pls

HOBBIES: Writing / playing music, writing in general, painting, watching random ass movies on TV until he falls asleep, sleeping, avoiding his problems like the fuckin wind

TROPES: man fuck if i know

AESTHETIC TAGS: literally all of Aurelio Voltaire’s songs; shit you’d see in Halloween (which is funny bc Ezekiel fucking hates Halloween); vampires; satanic symbolism. which is all ironic, bc Ezekiel doesnt actually like spooky shit! but it all sure does give big Ezekiel vibes anyway

GPOY QUOTES: huh

FC INFO.

MAIN FC(S): Jack the ripper from, well, Oyasumi Jack the Ripper!

ALT FC(S): None!

OLDER FC(S): None!

YOUNGER FC(S): None rip

VOICE CLAIM(S): Murdoc Niccals from Gorillaz

GENDERBENT FC(S): iiiiii dont really do genderbends pretty much so none

MUN QUESTIONS.

Q1: IF YOU COULD WRITE YOUR CHARACTER YOUR WAY IN THEIR OWN MOVIE, WHAT WOULD IT BE CALLED, WHAT STYLE WOULD IT BE FILMED IN, AND WHAT WOULD IT BE ABOUT?:

Honestly probably something like the movie Sybil??? like basically just delving deep into his whole psychology and mindset and whatnot and why he acts the way he acts. those are always like my FAVORITE type of movies, and Ezekiel would honestly be fucking perfect for something like that bc literally every single aspect of his entire personality has been molded in some way shape or form by some event in his life, especially to do with the cult he was raised in, and it hONESTLY IS SO INTERESTING TO JUST LIKE.. STUDY WHAT EZEKIELS BRAIN IS LIKE BASICALLY. AT LEAST FOR ME ANYWAY BC I AM HIS MUN AND ALL BUT.

Q2: WHAT WOULD THEIR SOUNDTRACK / SCORE SOUND LIKE?:

for some reason i always kinda associate him with like edgy violin and piano music?? i mean hey rock stars can be classy too fuck u

Q3: WHY DID YOU START WRITING THIS CHARACTER?:

WELL ORIGINALLY WHEN I FIRST CREATED HIM HE WAS JUST BASED OFF MURDOC NICCALS BC, YALL ALREADY KNOW DAMN WELL IM OBSESSED WITH THAT PICKLE MAN, BUT. Now, however, he’s WAAAAAAAAY different and i just love writing him so much bc like. basically like what i said in the movie question!! he is SO fucking interesting to delve into psychology wise. like, yeah he has an edgy ass tragic backstory, but whats neat about that is you can absolutely see how said edgy backstory ties into his mindset and individual habits and how the memories of it still affects his everyday life despite the fact that he’s escaped it a long time ago now. even in the small things he does, chances are is that every single thing that he does is either something he does to soothe and comfort himself for his own safety, or something that has just been fucking drilled into his mind by the cult members and whatnot, if any of that makes sense? LIKE YALL DONT UNDERSTAND I HAVE LITERALLY WATCHED LIKE HOURS LONG DOCUMENTARIES ON ORPHANAGES AND SATANIC CULTS AND PSYCHOLOGY AND HOW TRAUMA LIKE WHAT EZEKIEL EXPERIENCED CAN FUCK SOMEONE UP, JUST FOR THE SAKE OF WRITING HIM CORRECTLY AND REALISTICALLY. LIKE HE STARTED OFF AS SOME MURDOC NICCALS REJECT WHEN I MADE HIM IN LIKE?? 2015 MAYBE??? BUT NOW, MY MAIN INTEREST IN HIM IS LIKE, HOW FASCINATING HIS FUCKING MIND IS IN A WAY. idk im a big psychology nerd but.

Q4: WHAT FIRST ATTRACTED YOU TO THIS CHARACTER?:

Murdoc

Q5: DESCRIBE THE BIGGEST THING YOU DISLIKE ABOUT YOUR MUSE:

him pushing everyone away! like its one thing to have a self-defense mechanism like where you just generally act kinda mean to drive people off, but Ezekiel can really take it to a whole new level and he really can be like.. a hUGE ASSHOLE BC OF IT. its mostly when he realizes that he may be starting to become close with anyone that it really gets to a bad point and he becomes all the more self-destructive. THIS IS GONNA BE VERY UNSANITARY SO WARNING BUT hes literally told someone in an rp once like “YOURE GOING TO FORCE ME TO EAT YOUR SHIT OR DRINK YOUR FUCKING URINE JUST LIKE THOSE FUCKING PEOPLE IN THE ORPHANAGE DID, ARENT YOU???? IS THAT WHAT YOU FUCKING WANT FROM ME?? TO USE ME, HURT ME, CUT ME, WHAT THE FUCK DO YOU WANT??? WE ARE NEVER GOING TO BE FUCKING FRIENDS YOU GODDAMN IDIOT!!! WHAT THE HELL MADE YOU THINK WE HAD ANYTHING IN COMMON??” AND ITS JUST KINDA.. YIKES SCOOB! but basically hes willing to say just about anything to push people away so he can avoid getting close to anyone

Q6: WHAT DO YOU HAVE IN COMMON WITH YOUR MUSE?:

WE BOTH FEAR AND AVOID ROMANTIC RELATIONSHIPS LIKE THE FUCKIN WIND. also when i was younger i definitely had a tendency to try and make people hate me just to push people away like Ezekiel does but im not like that anymore thankfully!!

Q7: HOW DOES YOUR MUSE FEEL ABOUT YOU?:

oh hed probably try to fucking kill me lol

Q8: WHAT CHARACTERS DOES YOUR MUSE HAVE INTERESTING INTERACTIONS WITH?

HONESTLY LIKE.. P MUCH EVERY INTERACTION EZEKIEL HAS IS SO GOOD. Ezekiel is one of those characters where its very hard to have a boring rp bc he just does so much shit, so like no matter who i rp him with, its bound to be amazing. ALTHOUGH I DO NEED TO MAKE HIM INTERACT WITH MORE PEOPLE TBH!!! the only problem i have when writing him sometimes is actually making him talk to new people, bc of his extreme shut-in attitude and whatnot, so he literally just never starts conversations with anyone he barely knows.

Q9: WHAT GIVES YOU INSPIRATION TO WRITE YOUR MUSE?:

listening to any music that reminds me of him! but otherwise, it usually just comes pretty naturally to me tbh. just some days ill be in the mood for him all day--same with a lot of my characters actually.

Q10: HOW LONG DID THIS TAKE YOU TO COMPLETE?:

A LONG ASS TIME

#shut up erica; ooc #ezekiel facts

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