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kerryshifts · 1 month ago

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I’D RATHER GET HIGH FASHION,

that girl reading a book next to sofia coppola? oh, that’s kerry colt.

kerrylyn magnolia colt (born 24 october 2003) is an italian and albanian actress, singer and philosopher. born to luxury brand ‘paradiso’ owner roselyn paradis and owner of luxury car company ‘carvaya’ elia colt, and with martin scorsese as a godfather, she began her acting career in major film as a co-star lolita (2016) and later on pursued a career as a singer with her rock band, their debut album being detention diaries (2019). she also appeared on some of her mother’s fashion runaways, the most known are: paradiso 2020 spring collection & 2023 autumn collection.

in 2022, colt starred in the critically acclaimed film drama saint joan dir. by christopher nolan, winning her first oscar as best actess in a leading role, and making her the youngest female academy award of that category, at only nineteen.

EARLY LIFE.

kerrylyn magnolia colt was born on october 24, 2003, at the gemelli university hospital, to billionaires roselyn paradis and elia colt. her godfather is martin scorsese, who colt later on says ‘is the man that introduced her to cinema’ and the one who told her to follow her own path instead of doing what her parents wanted her to do. on her father’s side, colt is italian, while on her mother’s side, she is of albanian descendants, even if colt claims to have a love-and-hate relationship with that part of her lineage.

when she was three years of age, her parents made the decision to move from rome to new york city, where kerrylyn colt grew up alongside her childhood best friend and self-proclaimed cousin, james potter. her penthouse in manhattan is known by the public as the luxury 80s dream so many people aspire to have. as a child, she often watched films directed by family-friends and barbie movies, and thanks to scorsese, she secretly started having acting lessons. colt later on says that her parents wanted her to use her privilege to do something more important in life instead of acting.

colt first attended the edelrose academy in manhattan from age to 12 until graduation at 17, where she was very popular. her circle was made of the children of some of the most affluent families of europe and united states. since her birth, she has been the subject of tabloid and media reporting, including birthdays, attendance at society events, and reviews of her fashion choices; and this resulted into the public speculating on her friendships and personal romantic interests. at age 16, colt was on covers of magazines who explained in detail her outfit choices, and gossiping about her complicated relationship with the most beloved students at edelrose academy, now writer and director, regulus black.

as a teenager, colt said that the social-media apps such as tumblr made her open her interests in numerous things. at age 15 she anonymously started a blog about spirituality, astrology, showing her love for stevie nicks, lana del rey, nirvana and david bowie, and philosophy; she has said that people seemed interested in reading her takes on death and the universe, (and her humor), so she started researching more, and more, about the meanings of everything. here’s a later-found post of her tumblr when she was still anonymous, before deactivating, and later on used as one of her lyrics:

we are souls with a body not the contrary.

after her first acting role at twelve years old, colt later on says that her parents were very disappointed in her for choosing that career, and, just out of spite, colt lied to her headmaster at edelrose academy and said that her parents were okay with her being part of the edelrose-project-short series baby directed by luca guadagnino, as a lead actress in the role of ludovica. years later, her parents still wonder how the fake documents looked so real.

after graduating at the edelrose academy at 17, colt proceeded with an higher education at the new york academy as a philosophy student, and after completing her advanced studies, becoming a philosopher-scolar.

CAREER.

colt, controversially, made her acting debut in 2016 with a major role in the thriller and psychological horror film lolita. in 2018 she started another major scandal by acting as co-star in the edelrose acting project baby, and almost got everyone involved with the project sued by her parents. in 2019, at age 16, colt began her modeling career as a brand ambassador for the fashion house paradiso. as an act of rebellion against her mother, colt found a way to have a partnership with miu miu, who’s founder had historically a hateful relationship with paradiso’s founder. colt has also modeled for the brands on runways and in numerous fashion magazines, including vogue, glamour, elle, harper’s bazaar, wonderland, love, madame figaro, w, and v.

in the same year, colt and her alternative rock/grunge/desert rock band THE INKSTAINS, signed under the geffen records, made their debut album detention diaries with their producers; dan nigro, jack endino and butch vig. five of their songs peaked number 1 on the billboard hot 100 charts, and surpassed 1 billion streams on spotify. their single my killer became a world-wide sensation. at the v mas, they won: video of the year, best new artist, best rock. while at the grammys, they won: best rock album. during early 2020 they started their ESCAPE TOUR.

in 2020, at age 17, colt had a leading role in the film unholy, dir. by sofia coppola. for her performance in the film, colt was nominated and won the screen actors guild award in outstanding performance by female actress in a leading role. in the same year, she closed the show for the paradiso spring collection runaway.

in 2021 colt got the lead female role in the movie badlands, alongside austin butler as lead male role. colt was nominated and won the marcello mastroianni award. later that year, she dropped her second rock album under the inkstains, rust&ruin, who performed even better than the debut and later on started the IRONWORLDTOUR.

everything changed for colt in 2022, at only 19 years of age. she got casted as lead female role in the movie saint joan, dir. by christopher nolan, and this being her very first taste of respect in hollywood. she won a BAFTA award for best actress in a leading role, and SAG award for outstanding performance by a female actor in a leading role, and academy award for best leading actress. ‘so, uhm, what the fuck’ the famous words of kerrylyn colt with the oscar in her hands.

she reunited with director sofia coppola in 2023 for the shakespeare adaptation romeo & juliet, and later that year lisa frankenstein directed by anna biller. months later, colt stated that lisa frankenstein was her favourite movie she had ever been in.

in 2024, colt starred as ellen hutter, a young woman traumatized by the vampire count orlok, in robert eggers’ gothic horror film nosferatu. terming it a ‘transfixing performance’ the hollywood reporter's david rooney added that "the movie belongs to colt, whose performance is a revelation". nominated for her second academy award, she later that night lost.

in the same year, at age twenty-one, colt got casted alongside some of big & new stars in the industry, for the fantasy tv show mélusine’s ballad. after the success of game of thrones, everyone was looking for a new fantasy adaptation that was about to shape pop culture once again; and directors robert eggers, guillermo del toro, peter jackson & regulus black listened. from 2024 to 2030, colt worked on this masterpiece that got her many emmys. during that summer, THE INKSTAINS released their third studio album. dirtunderglitters and later on started their world tour.

filmography.

discography.

public imagine. (coming soon!)

PERSONAL LIFE.

colt is trilingual in english, italian and albanian, and has italian, albanian and U.S.and citizenship. she has been known by the public since she was younger as the rebellious daughter, not surprising anyone once she started her career as a rockstar. before revealing herself on her tumblr account, colt has been using instagram on-and-off since 2018, gaining a cult following.

even if very private about her personal life, gossip magazines and paparazzi never failed to catch her partying and breaking the rules with her now band members.

ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ

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mostlysignssomeportents · 1 year ago

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Algorithmic feeds are a twiddler’s playground

Next TUESDAY (May 14), I'm on a livecast about AI AND ENSHITTIFICATION with TIM O'REILLY; on WEDNESDAY (May 15), I'm in NORTH HOLLYWOOD with HARRY SHEARER for a screening of STEPHANIE KELTON'S FINDING THE MONEY; FRIDAY (May 17), I'm at the INTERNET ARCHIVE in SAN FRANCISCO to keynote the 10th anniversary of the AUTHORS ALLIANCE.

Like Oscar Wilde, "I can resist anything except temptation," and my slow and halting journey to adulthood is really just me grappling with this fact, getting temptation out of my way before I can yield to it.

Behavioral economists have a name for the steps we take to guard against temptation: a "Ulysses pact." That's when you take some possibility off the table during a moment of strength in recognition of some coming moment of weakness:

https://archive.org/details/decentralizedwebsummit2016-corydoctorow

Famously, Ulysses did this before he sailed into the Sea of Sirens. Rather than stopping his ears with wax to prevent his hearing the sirens' song, which would lure him to his drowning, Ulysses has his sailors tie him to the mast, leaving his ears unplugged. Ulysses became the first person to hear the sirens' song and live to tell the tale.

Ulysses was strong enough to know that he would someday be weak. He expressed his strength by guarding against his weakness. Our modern lives are filled with less epic versions of the Ulysses pact: the day you go on a diet, it's a good idea to throw away all your Oreos. That way, when your blood sugar sings its siren song at 2AM, it will be drowned out by the rest of your body's unwillingness to get dressed, find your keys and drive half an hour to the all-night grocery store.

Note that this Ulysses pact isn't perfect. You might drive to the grocery store. It's rare that a Ulysses pact is unbreakable – we bind ourselves to the mast, but we don't chain ourselves to it and slap on a pair of handcuffs for good measure.

People who run institutions can – and should – create Ulysses pacts, too. A company that holds the kind of sensitive data that might be subjected to "sneak-and-peek" warrants by cops or spies can set up a "warrant canary":

https://en.wikipedia.org/wiki/Warrant_canary

This isn't perfect. A company that stops publishing regular transparency reports might have been compromised by the NSA, but it's also possible that they've had a change in management and the new boss just doesn't give a shit about his users' privacy:

https://www.fastcompany.com/90853794/twitters-transparency-reporting-has-tanked-under-elon-musk

Likewise, a company making software it wants users to trust can release that code under an irrevocable free/open software license, thus guaranteeing that each release under that license will be free and open forever. This is good, but not perfect: the new boss can take that free/open code down a proprietary fork and try to orphan the free version:

https://news.ycombinator.com/item?id=39772562

A company can structure itself as a public benefit corporation and make a binding promise to elevate its stakeholders' interests over its shareholders' – but the CEO can still take a secret $100m bribe from cryptocurrency creeps and try to lure those stakeholders into a shitcoin Ponzi scheme:

https://fortune.com/crypto/2024/03/11/kickstarter-blockchain-a16z-crypto-secret-investment-chris-dixon/

A key resource can be entrusted to a nonprofit with a board of directors who are charged with stewarding it for the benefit of a broad community, but when a private equity fund dangles billions before that board, they can talk themselves into a belief that selling out is the right thing to do:

https://www.eff.org/deeplinks/2020/12/how-we-saved-org-2020-review

Ulysses pacts aren't perfect, but they are very important. At the very least, creating a Ulysses pact starts with acknowledging that you are fallible. That you can be tempted, and rationalize your way into taking bad action, even when you know better. Becoming an adult is a process of learning that your strength comes from seeing your weaknesses and protecting yourself and the people who trust you from them.

Which brings me to enshittification. Enshittification is the process by which platforms betray their users and their customers by siphoning value away from each until the platform is a pile of shit:

https://en.wikipedia.org/wiki/Enshittification

Enshittification is a spectrum that can be applied to many companies' decay, but in its purest form, enshittification requires:

a) A platform: a two-sided market with business customers and end users who can be played off against each other; b) A digital back-end: a market that can be easily, rapidly and undetectably manipulated by its owners, who can alter search-rankings, prices and costs on a per-user, per-query basis; and c) A lack of constraint: the platform's owners must not fear a consequence for this cheating, be it from competitors, regulators, workforce resignations or rival technologists who use mods, alternative clients, blockers or other "adversarial interoperability" tools to disenshittify your product and sever your relationship with your users.

he founders of tech platforms don't generally set out to enshittify them. Rather, they are constantly seeking some equilibrium between delivering value to their shareholders and turning value over to end users, business customers, and their own workers. Founders are consummate rationalizers; like parenting, founding a company requires continuous, low-grade self-deception about the amount of work involved and the chances of success. A founder, confronted with the likelihood of failure, is absolutely capable of talking themselves into believing that nearly any compromise is superior to shuttering the business: "I'm one of the good guys, so the most important thing is for me to live to fight another day. Thus I can do any number of immoral things to my users, business customers or workers, because I can make it up to them when we survive this crisis. It's for their own good, even if they don't know it. Indeed, I'm doubly moral here, because I'm volunteering to look like the bad guy, just so I can save this business, which will make the world over for the better":

https://locusmag.com/2024/05/cory-doctorow-no-one-is-the-enshittifier-of-their-own-story/

(En)shit(tification) flows downhill, so tech workers grapple with their own version of this dilemma. Faced with constant pressure to increase the value flowing from their division to the company, they have to balance different, conflicting tactics, like "increasing the number of users or business customers, possibly by shifting value from the company to these stakeholders in the hopes of making it up in volume"; or "locking in my existing stakeholders and squeezing them harder, safe in the knowledge that they can't easily leave the service provided the abuse is subtle enough." The bigger a company gets, the harder it is for it to grow, so the biggest companies realize their gains by locking in and squeezing their users, not by improving their service::

https://pluralistic.net/2023/07/28/microincentives-and-enshittification/

That's where "twiddling" comes in. Digital platforms are extremely flexible, which comes with the territory: computers are the most flexible tools we have. This means that companies can automate high-speed, deceptive changes to the "business logic" of their platforms – what end users pay, how much of that goes to business customers, and how offers are presented to both:

https://pluralistic.net/2023/02/19/twiddler/

This kind of fraud isn't particularly sophisticated, but it doesn't have to be – it just has to be fast. In any shell-game, the quickness of the hand deceives the eye:

https://pluralistic.net/2024/03/26/glitchbread/#electronic-shelf-tags

Under normal circumstances, this twiddling would be constrained by counterforces in society. Changing the business rules like this is fraud, so you'd hope that a regulator would step in and extinguish the conduct, fining the company that engaged in it so hard that they saw a net loss from the conduct. But when a sector gets very concentrated, its mega-firms capture their regulators, becoming "too big to jail":

https://pluralistic.net/2022/06/05/regulatory-capture/

Thus the tendency among the giant tech companies to practice the one lesson of the Darth Vader MBA: dismissing your stakeholders' outrage by saying, "I am altering the deal. Pray I don't alter it any further":

https://pluralistic.net/2023/10/26/hit-with-a-brick/#graceful-failure

Where regulators fail, technology can step in. The flexibility of digital platforms cuts both ways: when the company enshittifies its products, you can disenshittify it with your own countertwiddling: third-party ink-cartridges, alternative app stores and clients, scrapers, browser automation and other forms of high-tech guerrilla warfare:

https://www.eff.org/deeplinks/2019/10/adversarial-interoperability

But tech giants' regulatory capture have allowed them to expand "IP rights" to prevent this self-help. By carefully layering overlapping IP rights around their products, they can criminalize the technology that lets you wrestle back the value they've claimed for themselves, creating a new offense of "felony contempt of business model":

https://locusmag.com/2020/09/cory-doctorow-ip/

A world where users must defer to platforms' moment-to-moment decisions about how the service operates, without the protection of rival technology or regulatory oversight is a world where companies face a powerful temptation to enshittify.

That's why we've seen so much enshittification in platforms that algorithmically rank their feeds, from Google and Amazon search to Facebook and Twitter feeds. A search engine is always going to be making a judgment call about what the best result for your search should be. If a search engine is generally good at predicting which results will please you best, you'll return to it, automatically clicking the first result ("I'm feeling lucky").

This means that if a search engine slips in the odd paid result at the top of the results, they can exploit your trusting habits to shift value from you to their investors. The congifurability of a digital service means that they can sprinkle these frauds into their services on a random schedule, making them hard to detect and easy to dismiss as lapses. Gradually, this acquires its own momentum, and the platform becomes addicted to lowering its own quality to raise its profits, and you get modern Google, which cynically lowered search quality to increase search volume:

https://pluralistic.net/2024/04/24/naming-names/#prabhakar-raghavan

And you get Amazon, which makes $38 billion every year, accepting bribes to replace its best search results with paid results for products that cost more and are of lower quality:

https://pluralistic.net/2023/11/06/attention-rents/#consumer-welfare-queens

Social media's enshittification followed a different path. In the beginning, social media presented a deterministic feed: after you told the platform who you wanted to follow, the platform simply gathered up the posts those users made and presented them to you, in reverse-chronological order.

This presented few opportunities for enshittification, but it wasn't perfect. For users who were well-established on a platform, a reverse-chrono feed was an ungovernable torrent, where high-frequency trivialities drowned out the important posts from people whose missives were buried ten screens down in the updates since your last login.

For new users who didn't yet follow many people, this presented the opposite problem: an empty feed, and the sense that you were all alone while everyone else was having a rollicking conversation down the hall, in a room you could never find.

The answer was the algorithmic feed: a feed of recommendations drawn from both the accounts you followed and strangers alike. Theoretically, this could solve both problems, by surfacing the most important materials from your friends while keeping you abreast of the most important and interesting activity beyond your filter bubble. For many of us, this promise was realized, and algorithmic feeds became a source of novelty and relevance.

But these feeds are a profoundly tempting enshittification target. The critique of these algorithms has largely focused on "addictiveness" and the idea that platforms would twiddle the knobs to increase the relevance of material in your feed to "hack your engagement":

https://www.theguardian.com/technology/2018/mar/04/has-dopamine-got-us-hooked-on-tech-facebook-apps-addiction

Less noticed – and more important – was how platforms did the opposite: twiddling the knobs to remove things from your feed that you'd asked to see or that the algorithm predicted you'd enjoy, to make room for "boosted" content and advertisements:

https://www.reddit.com/r/Instagram/comments/z9j7uy/what_happened_to_instagram_only_ads_and_accounts/

Users were helpless before this kind of twiddling. On the one hand, they were locked into the platform – not because their dopamine had been hacked by evil tech-bro wizards – but because they loved the friends they had there more than they hated the way the service was run:

https://locusmag.com/2023/01/commentary-cory-doctorow-social-quitting/

On the other hand, the platforms had such an iron grip on their technology, and had deployed IP so cleverly, that any countertwiddling technology was instantaneously incinerated by legal death-rays:

https://techcrunch.com/2022/10/10/google-removes-the-og-app-from-the-play-store-as-founders-think-about-next-steps/

Newer social media platforms, notably Tiktok, dispensed entirely with deterministic feeds, defaulting every user into a feed that consisted entirely of algorithmic picks; the people you follow on these platforms are treated as mere suggestions by their algorithms. This is a perfect breeding-ground for enshittification: different parts of the business can twiddle the knobs to override the algorithm for their own parochial purposes, shifting the quality:shit ratio by unnoticeable increments, temporarily toggling the quality knob when your engagement drops off:

https://www.forbes.com/sites/emilybaker-white/2023/01/20/tiktoks-secret-heating-button-can-make-anyone-go-viral/

All social platforms want to be Tiktok: nominally, that's because Tiktok's algorithmic feed is so good at hooking new users and keeping established users hooked. But tech bosses also understand that a purely algorithmic feed is the kind of black box that can be plausibly and subtly enshittified without sparking user revolts:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

Back in 2004, when Mark Zuckerberg was coming to grips with Facebook's success, he boasted to a friend that he was sitting on a trove of emails, pictures and Social Security numbers for his fellow Harvard students, offering this up for his friend's idle snooping. The friend, surprised, asked "What? How'd you manage that one?"

Infamously, Zuck replied, "People just submitted it. I don't know why. They 'trust me.' Dumb fucks."

https://www.esquire.com/uk/latest-news/a19490586/mark-zuckerberg-called-people-who-handed-over-their-data-dumb-f/

This was a remarkable (and uncharacteristic) self-aware moment from the then-nineteen-year-old Zuck. Of course Zuck couldn't be trusted with that data. Whatever Jiminy Cricket voice told him to safeguard that trust was drowned out by his need to boast to pals, or participate in the creepy nonconsensual rating of the fuckability of their female classmates. Over and over again, Zuckerberg would promise to use his power wisely, then break that promise as soon as he could do so without consequence:

https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3247362

Zuckerberg is a cautionary tale. Aware from the earliest moments that he was amassing power that he couldn't be trusted with, he nevertheless operated with only the weakest of Ulysses pacts, like a nonbinding promise never to spy on his users:

https://web.archive.org/web/20050107221705/http://www.thefacebook.com/policy.php

But the platforms have learned the wrong lesson from Zuckerberg. Rather than treating Facebook's enshittification as a cautionary tale, they've turned it into a roadmap. The Darth Vader MBA rules high-tech boardrooms.

Algorithmic feeds and other forms of "paternalistic" content presentation are necessary and even desirable in an information-rich environment. In many instances, decisions about what you see must be largely controlled by a third party whom you trust. The audience in a comedy club doesn't get to insist on knowing the punchline before the joke is told, just as RPG players don't get to order the Dungeon Master to present their preferred challenges during a campaign.

But this power is balanced against the ease of the players replacing the Dungeon Master or the audience walking out on the comic. When you've got more than a hundred dollars sunk into a video game and an online-only friend-group you raid with, the games company can do a lot of enshittification without losing your business, and they know it:

https://www.theverge.com/2024/5/10/24153809/ea-in-game-ads-redux

Even if they sometimes overreach and have to retreat:

https://www.eurogamer.net/sony-overturns-helldivers-2-psn-requirement-following-backlash

A tech company that seeks your trust for an algorithmic feed needs Ulysses pacts, or it will inevitably yield to the temptation to enshittify. From strongest to weakest, these are:

Not showing you an algorithmic feed at all;

https://joinmastodon.org/

"Composable moderation" that lets multiple parties provide feeds:

https://bsky.social/about/blog/4-13-2023-moderation

Offering an algorithmic "For You" feed alongside of a reverse-chrono "Friends" feed, defaulting to friends;

https://pluralistic.net/2022/12/10/e2e/#the-censors-pen

As above, but defaulting to "For You"

Maturity lies in being strong enough to know your weaknesses. Never trust someone who tells you that they will never yield to temptation! Instead, seek out people – and service providers – with the maturity and honesty to know how tempting temptation is, and who act before temptation strikes to make it easier to resist.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/05/11/for-you/#the-algorithm-tm

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

djhughman https://commons.wikimedia.org/wiki/File:Modular_synthesizer_-_%22Control_Voltage%22_electronic_music_shop_in_Portland_OR_-_School_Photos_PCC_%282015-05-23_12.43.01_by_djhughman%29.jpg

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/deed.en

#pluralistic #twiddling #for you #enshittification #intermediation #the algorithm tm #moral hazard #end to end

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mgu-h · 5 months ago

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i'm will :) this is my f1 sideblog! my main is @intermundia i have an rpf ao3 where i post fic

lando norris is my favorite person on the grid!! i adore watching his old content and making gifs of him, so there's a lot of that on here. also max verstappen's story got me into the sport and i still love him very much, so i'll talk about him some too, but mostly lando.

i'm a lando multishipper as i think he has homoerotic tension with many different friends and coworkers lmao but nortrell, carlando, and norstappen are by far my favorites. lando with oscar does nothing special for me, like i don't hate him, as i don't hate any driver, but he's not my preference for lando :)

i support mclaren, and i will continue to, no matter how much they're imperfect, just as long as lando considers the team home!! i tend to listen to what he says and take him at his word haha i don't know his situation better than he does. all rpf talk is not reality.

lando nostalgia (2013-2020), lando review (2021-2024), and landoLOG (2018-2024), and retromax (2009-2015) are some gif series i've been making. if there is a video you want gif'd, my askbox is open. i have a a nortrell vocabulary quirk list (and more) that i update sometimes <3

#a new pinned post :)#i try to tag drivers and ships and things #but sometimes i slip up so #lmk!!#always will fix it

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salvadorbonaparte · 10 months ago

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2024 in Films - Part I

I watched too many films again this year so here's some reviews from the first quarter of 2024

January

Kuch Kuch Hota Hai (1998) - Pretty much the opposite college experience as depicted in 3 Idiots and also there's a scene where a child spontaneously converts to Islam to keep a wedding from happening and that works

Rocky (1976) - I got a little too into that series this year

The Karate Kid (1984) - Turns out the original is actually pretty good and I just watched the bad reboot as a kid! Oops!

Face/Off (1997) - This feels like it should be a fake film within a different film. Why is the face transplant plan A? There are some great scenes though, like the wife not recognising her husband, that made me question if this is actually a really deep exploration of identity. And then it got silly again.

Theater Camp (2023) - Almost makes me wish summer camps were real

Gone are the Days! (1963) - I watched this for Alan Alda's terrible high pitched southern accent but stayed for Ossie Davis infectious energy

Eternal Sunshine of the Spotless Mind (2004) - Manic Pixie Dream Girl Amnesia. Joke aside, why is it that I can't stand Jim Carrey in comedies but love him in dramas

Moonstruck (1987) - This won an Oscar????

February

That Touch of Mink (1962) - homophobia stops insider trading apparently

Carol (2015) - This probably would have given me a sexuality crisis in 2015

Ay Carmela (1990) - no scene in any film will portray the horror of the civil war and fascism as well as the half eaten dinner table in the abandoned house

Rope (1948) - people only focus on the gay subtext (which is real) but can we pleeaaase talk about the politics of the film

Catch-22 (1970) - did a pretty good job in adapting a book that is really difficult to adapt

Platoon (1986) - This was another entry in my grad school watch list

Pan's Labyrinth (2006) - I wanted to watch this since forever but wanted to wait until I could understand it in Spanish. Well worth the hype.

Rocky II (1979) - a sequel that initially made me go "was this really necessary" but then brought me a lot of joy

Rocky III (1982) - Intricate Rituals

Rocky IV (1985) - A metaphor for the Cold War but also. Bad.

Rocky V (1990) - Bad

Rocky Balboa (2006) - Better but like what the fuck was that editing during the fight

March

Hannah Gadsby: Nanette (2018) - I love when stand up comedy is recommended to me with "this will make you cry and change your life" and then it's true

The Holdovers (2023) - Liked it so much I watched it twice but the guy playing Kountze looked too modern like he definitely knows what an iPhone is

The Zone of Interest (2023) - the banality of evil is kind of a cliché phrase by now but it's real

American Fiction (2023) - clever satire, if I say more it probably turns into an essay

Capote (2005) - Rip Truman Capote you would have loved true crime podcasts. Also this was a continuation of my Philip Seymour Hoffman haunting

An American Werewolf in London (1981) - I love when a werewolf film doubles as survivors guilt

Poor Things (2023) - Horrible

Creed (2015) - Pretty much just Rocky but with a 2015 soundtrack and I'm not mad about it

A Fantastic Woman (2017) - a wrote a long ass review on letterboxd about this film is about loss

Creed II (2018) - As haunted as a sports movie is allowed to get before having to add real ghosts (please tell me there's sports films with ghosts). It's about "like father like son". It's about legacy. It's about being defined by your family names. It's about fatherhood. It's about breaking the cycle.

Creed III (2023) - Finally a film that asks the brave question "what if Rocky V was good?"

Dune (1984) - I liked the worms

The Joel Files (2001) - the story of two families in the third reich and one of them happened to be Billy Joel's

Oppenheimer (2023) - Would have made me insufferable during my teenage physics phase

Shiva Baby (2020) - a film that's also an anxiety attack

Searching for Sugar Man (2012) - insane!!!

Menashe (2017) - first Yiddish film I ever watched

Fruitvale Station (2013) - haunted

I, Tonya (2017) - a film keenly aware of the unreliability and subjectivity of both interviews and biopics, this is a sports biopic but also a moving story about the human need for love and the cycle of abuse and it's also damn funny.

Nosferatu (1922) - both scarier and more boring than the novel and also uniquely blood libel flavoured

Mädchen in Uniform (1931) - people were right this is gay

Picnic at Hanging Rock (1975) - Lovecraftian horror for cottagecore lesbians

I do not care if we go down in history as barbarians (2018) - history repeats itself, first as a tragedy then as a farce

La Haine (1995) - I watched this because of my professor :)

A Most Wanted Man (2014) - Philip Seymour Hoffman Haunting Continuation

Ödipussi (1988) - "Mommy calls me Pussi" is an actual quote

13 Little Donkeys and the Sun Court (1958) - Yeehaw???

#2024 in Films #Reviews #films #film log #macks musings

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snowlessknitter · 7 months ago

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“Please, Blanche! Sidney Sheldon tells shorter stories!”

— Dorothy Zbornak, “Blanche and the Younger Man”

Time for another edition of “Snowlessknitter Explains the Golden Girls Joke”!

After we recently got back Disney+ (thanks to our cable company; we previously had it for a couple of months around the beginning of 2020, but got rid of it when the pandemic forced my dad to take a temporary pay cut at his job), I’ve been rewatching The Golden Girls on there from the beginning (it’s technically on Hulu, but I think our subscription is a Disney+/Hulu bundle which allows you to watch Hulu shows on Disney+ without having to switch apps). Anyway, the streaming version of the show restores jokes and scenes that were otherwise cut from the syndicated version of the show. So anyway, I came across this particular joke for the first time and I decided to look into who Sidney Sheldon was.

Sidney Sheldon was born Sidney Schectel on 11 February 1917 in Chicago. The son of Ukrainian Jewish parents, Sheldon showed a talent for writing from an early age. He sold his first poem at the age of 10, earning $5 for his work. (According to an inflation calculator, $5 in 1927 has the same purchasing power as $90.60 today. Not a bad sum for the time!) He worked a variety of jobs during the Great Depression, and although he was able to enroll in college on a scholarship, he ended up having to drop out after six months in order to support his family. He ended up moving to Hollywood in 1937 to work as a script reviewer and screenwriter. He later enlisted in the Army Air Corps (the predecessor to what is now the United States Air Force) during World War II, but was medically discharged due to a back injury before he would have been deployed.

During his time as a screenwriter, Sheldon also began writing Broadway productions. He primarily wrote for musical theater, but he also wrote several plays, and he eventually developed a reputation of being one of Broadway’s most prolific writers. This reputation allowed him to return to Hollywood, where he won an Oscar for Best Original Screenplay in 1948 for writing The Bachelor and the Bobby-Soxer (a screwball comedy starring Cary Grant as the “Bachelor”, Shirley Temple as the “Bobby-Soxer” who develops a crush on the older “Bachelor”, and Myrna Loy as the sister and guardian of Shirley Temple’s character). He additionally won a Tony Award in 1959 for writing the book (musical theater term for “script”) to the musical Redhead. Sheldon’s career in writing for the stage and screen also included many films and television shows, including writing scripts for The Patty Duke Show, I Dream of Jeannie, and later on Hart to Hart.

What makes Sidney Sheldon appear in this series, though, is his career as a novelist. He published his first novel, The Naked Face, in 1970. He primarily wrote in the mystery and thriller genres, and he gained a largely female fan following in part due to the somewhat steamy nature of his novels, as well as his use of primarily female protagonists. He was often regarded as a “potboiler” (or someone who wrote primarily to make money rather than for the sake of art), but regardless he would have been quite well known during the time of The Golden Girls’ run. (This wasn’t the only joke on the show mentioning Sidney Sheldon, by the way. There’s another mention of him in Season 2 — I think the episode where Rose, Dorothy, and Blanche go on a disastrous Caribbean vacation — where Rose admits to reading Blanche’s diary and says she got 20 pages in before she realized it wasn’t a Sidney Sheldon novel.) In his lifetime, Sheldon wrote 18 novels that sold a total of over 300 million copies.

Sidney Sheldon died in Rancho Mirage, California from pneumonia on 30 January 2007 at the age of 89, just 12 days before he would have turned 90. Married three times, he was survived by at least one child (a daughter, Mary Sheldon, who is an author in her own right). After his death, his estate authorized British author Tilly Bagshawe to write sequels to some of his novels as well as novels inspired by his writing style and her works usually carry the Sidney Sheldon’s tag in the title.

#the golden girls #dorothy zbornak #snowlessknitter explains the Golden Girls joke

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firenati0n · 1 year ago

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year in review: favorite lines! :) <3

hello hello! I was tagged by the lovely @anincompletelist in this adorable tag game where we share our top favorite segments from our published fics and/or wips! :)

I only have one published fic LOL so here are some of my favorite pieces from that and three out of four wips right now (four is buck wild to me considering i had zero like ten days ajflakjfds).

i saved some of my real faves for y'all to read in worm fic (i didn't want to spoil my favorite paragraph at the end LOL). I have linked the fic as well as the tags with wip snips :)

from our world, mine and his alone (the midnight train to go)

Deep breath in. “By the way. Digging the cardigan, Henry. Very…” He rifled through his extensive vocab for literally any appropriate adjective. Refined? Boring. Professional? Practical, but also boring. “Very…?” Henry raised an eyebrow, long fingers wrapped around a cup of tea. Earl Grey, Henry had said a while ago, but Alex couldn't be sure. He had been terribly distracted by said fingers, wondering where else those fingers could— What Alex’s distracted, useless worms in his left temporal lobe decided to supply him with as a response was: “Slutty-English-Literature-professor core.” Alex was going to jump off the train. He was going to change his name. He was going to get a lobotomy, as a treat. “Excuse me?!” Henry sputtered into his tea, turning red alarmingly quickly. His sexy-librarian cardigan was collateral damage, tea splattered down the front.

from the full spectrum of human emotion (WIP, The Proposal (2009 movie) AU, eta 2024):

And selfishly, he’s pretty fucking scared for his career trajectory if it doesn’t work out. He can’t start over, he can’t. His resume can’t take it, and neither can his ego. He can already hear Oscar clicking his tongue and shaking his head, practically taste the disappointment in Ellen’s pitied gaze and outstretched hand. He absolutely cannot give them the silver bullet that goes clean through his erratic heart and wrenches him back home. He loves Austin, breathes it, and yet…and yet. He just can’t return, not when he’s so close. He still has so much to prove, so much to hold up to the sky and say I’m here, I can take it, I did it, I’m good enough. It almost swallows him whole—his overwhelming love for his family, his nostalgia for the Texas sun. But it’s just not enough to—

from queerano de bergerac (WIP, Cyrano / The Half of It (2020 movie) AU, eta 2024):

“Amber, everyone thinks you’re pretty, it is an objective fact. Irrefutable, even.” “Aw, Henry! That’s so nice of you to say, thank you.” She flashes him a genuine smile. She’s sweet, Henry is loath to admit. “You’re welcome. But. This letter…we need to workshop it a bit. Make it more personal? More about who Alex is as a person, and not who we see him as. What’s below the surface? What are his hidden depths that you are willing to explore? How do you show you’re in love, not just tell?” Amber raises an eyebrow. “Okay. How do I do that?” She sniffs. “I thought I was being so obvious when I asked if he had lunch plans.” “...You asked him if he had lunch plans during our…one lunch period at school?” “Okay, fine! I’m not the best with fancy words like you, Mr. Future English Literature Major.”

from untitled continuation of worm fic (WIP, eta 2024):

If Alex could land Henry's phone number (a bit forcefully, if he remembered Henry's tone correctly) using sheer fucking charisma, he could nail a date with the guy. Easy peasy. Except. Except for the fact that Alex's brain seemed to rapidly degrade in every conceivable way when faced with Henry's fairytale hair and anime-worthy blue eyes. Henry's presence was lethal for every ounce of Alex's grey matter. With every blink of his doe eyes, Henry obliterated another one of Alex's (already fucking limited!) brain worms. They would writhe in agony, unable to shake the vicelike grip of Henry's charisma, doomed to a slow and sensual death. Alex was so fucked, and not in the fun, safe, and lubed way.

no pressure tagging @ninzied @inexplicablymine @anincompletelist @myheartalivewrites @suseagull04 @priincebutt @sparklepocalypse @kiwiana-writes @onward--upward @nocoastposts @user-anakin @wordsofhoneydew @littlemisskittentoes @happiness-of-the-pursuit @matherines @lizzie-bennetdarcy @celeritas2997 @sherryvalli @gayrootvegetable @ssmtskw @affectionatelyrs @tinyarmedtrex @hgejfmw-hgejhsf @14carrotghoul @orchidscript @rmd-writes @dustratcentral @eusuntgratie @magicandarchery @leaves-of-laurelin @songliili @cricketnationrise @msmarvelouswinchester @leojfitz @dragonflylady77 @cha-melodius and open tag for anyone else wishing to share! have fun :)

xoxo roops

#tag game #fave #roop writes #rwrb #rwrb fic #fic: tfsohe #fic: worm fic #fic: queerano

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justinssportscorner · 1 year ago

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Anthony Castrovince at MLB.com:

Major League Baseball’s embrace of the Negro Leagues is now recognized in the record book, resulting in new-look leaderboards fronted in several prominent places by Hall of Famer Josh Gibson and an overdue appreciation of many other Black stars.

Following the 2020 announcement that seven different Negro Leagues from 1920-1948 would be recognized as Major Leagues, MLB announced Wednesday that it has followed the recommendations of the independent Negro League Statistical Review Committee in absorbing the available Negro Leagues numbers into the official historical record. "We are proud that the official historical record now includes the players of the Negro Leagues," Commissioner Rob Manfred said. "This initiative is focused on ensuring that future generations of fans have access to the statistics and milestones of all those who made the Negro Leagues possible. Their accomplishments on the field will be a gateway to broader learning about this triumph in American history and the path that led to Jackie Robinson’s 1947 Dodger debut."

Gibson, the legendary catcher and power hitter who played for the Homestead Grays and Pittsburgh Crawfords, is now MLB’s all-time leader in batting average, slugging percentage and OPS and holds the all-time single-season records in each of those categories. Gibson is one of more than 2,300 Negro Leagues players -- including three living players who played in the 1920-1948 era in Bill Greason, Ron Teasley and Hall of Famer Willie Mays -- included in a newly integrated database at MLB.com that combines the Negro Leagues numbers with the existing data from the American League, National League and other Major Leagues from history. “The Negro Leagues were a product of segregated America, created to give opportunity where opportunity did not exist,” said Negro Leagues expert and historian Larry Lester. “As Bart Giamatti, former Commissioner of Baseball, once said, ‘We must never lose sight of our history, insofar as it is ugly, never to repeat it, and insofar as it is glorious, to cherish it.’”

[...]

Why are the Negro Leagues being added to the historical record?

Essentially, to right a wrong. It certainly was not the fault of Black baseball stars such as Gibson, Cool Papa Bell and Oscar Charleston that they were forbidden from participating in the AL or NL, and recognizing the Negro Leagues as Major Leagues is in keeping with long-held beliefs that the quality of the segregation-era Negro Leagues circuits was comparable to the MLB product in that same time period.

[...]

Which Negro Leagues will be included in the official record?

There are seven, and they operated between 1920 and 1948. The reason for the starting point is that attempts to develop Negro Leagues prior to 1920 were ultimately unsuccessful and lacked a league structure. And 1948 was deemed to be a reasonable end point because it was the last year of the Negro National League and the segregated World Series. After that point, the Negro League teams and leagues that had endured were stripped of much of their talent.

The seven leagues are as follows:

• Negro National League (I) (1920–1931) • Eastern Colored League (1923–1928) • American Negro League (1929) • East-West League (1932) • Negro Southern League (1932) • Negro National League (II) (1933–1948) • Negro American League (1937–1948)

Major League Baseball is recognizing the stats of 7 different Negro Leagues between 1920 and 1948 into the record book. This comes almost four years after the league announced that the leagues would be classified as Major Leagues.

See Also:

Yahoo! Sports: Negro Leagues statistics to be officially integrated into MLB historical record

#MLB #Negro Leagues #Black History #Baseball Stats

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whileiamdying · 5 months ago

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David Lynch, Twin Peaks Creator and Mulholland Drive Director, Dies at 78: 'There's a Big Hole in the World'

The director was a four-time Oscar nominee By Victoria Edel Published on January 16, 2025 @ 01:28PM EST

David Lynch in 1984. PHOTO: DE LAURENTIIS ENTERTAINMENT GROUP/RGR COLLECTION/ALAMY

David Lynch has died at the age of 78, his family announced on Thursday, Jan. 16.

"It is with deep regret that we, his family, announce the passing of the man and the artist, David Lynch. We would appreciate some privacy at this time," read a message on Facebook. "There’s a big hole in the world now that he’s no longer with us. But, as he would say, 'Keep your eye on the donut and not on the hole.' "

"It’s a beautiful day with golden sunshine and blue skies all the way," they added.

Lynch, who would have turned 79 this Monday, Jan. 20, was best known for creating the 1990 TV series Twin Peaks. The show spawned a 1992 feature film, Twin Peaks: Fire Walk with Me, and a 2017 revival season. A four-time Oscar nominee, he also directed films including The Elephant Man, Blue Velvet and Mulholland Drive. He was known for his distinctive style that became described as “Lynchian.”

Lynch was born in Missoula, Mont., in 1946 and grew up in Spokane, Wash., and Boise, Idaho. His father was a forest research scientist, and Lynch spent much of his childhood outside, exploring. Those same mysterious Pacific Northwest woods would eventually inspire Twin Peaks.

When he was a teenager, the family moved to Alexandria, Va. He had "a kind of happy persona” there, he told PEOPLE in 1990, but soon learned “all the thrilling things happened just after school or between classes. It added up to some sort of pitiful joke — so constricting it would drive you nuts. It inspired me to try to break rules. Behind it all, I was getting it together to be a painter.”

David Lynch in 1984. KOBAL/SHUTTERSTOCK

Lynch went to Philadelphia to study art at the Pennsylvania Academy of the Fine Arts, and there he began experimenting with film and animation. "I loved Philadelphia," he said in 1990. "The most corrupt, fear-ridden city I've ever seen. It's one of my major film influences."

In 1975, he released The Grandmother, a 35-minute blent of live-action and animation about a lonely boy whose dead grandmother comes back to life. It earned him a spot in the American Film Institute's Center for Advanced Film Studies in L.A. He spent the next five years working on his feature debut, 1977’s Eraserhead. To support himself, he held a series of odd jobs, including a paper route.

"$9.80 a night was not a thrilling rate, so I was pretty depressed," he said in 1990. "But I worked it to where I was shooting the route in one hour, almost to the second — a totally efficient hour. You learn to fold, bag and drive at the same time."

"I got an awful lot of pressure to abandon Eraserhead and do something worthwhile," he added. "I just couldn't. It was frustrating, but also beautiful." Eraserhead had a small opening, but gained interest as a midnight movie and ultimately became a cult favorite. One fan was Mel Brooks, who hired Lynch to create a film about Joseph Merrick. That movie, 1980’s The Elephant Man was a hit and garnered eight Oscar nominations, including best director and best adapted screenplay for Lynch.

David Lynch (right) directing Dean Stockwell and Francesca Annis on the set of 'Dune'. NANCY MORAN/SYGMA VIA GETTY

Next he directed an adaptation of Dune, released in 1984. It received mostly negative reviews upon it release, though it went on to be a cult favorite. “It was a heartache for me. It was a failure, and I didn’t have final cut,” he told The Hollywood Reporter in 2020. “I’ve told this story a billion times. It’s not the film I wanted to make. I like certain parts of it very much — but it was a total failure for me."

He released Blue Velvet, starring Isabella Rossellini, in 1986. The erotic thriller was criticized by some for being too violent, but he received a second Oscar nomination for best director. "When people first meet David, they expect him to be neurotic and crazy and sick, but he's not," Rossellini, who was romantically involved with Lynch at the time, told PEOPLE in 1990. “It's just that he looks at life in a different way.” He said of his creative inclinations, “I'm in love with ideas, and I'm out there trying to catch them.”

His next major film was 1990's Wild at Heart, starring Nicolas Cage and Laura Dern, who had also appeared in Blue Velvet. She told PEOPLE in 1990, “David's greatest gift is that he sees making a movie like a trip to Disneyland." Lynch described Wild at Heart as a “violent comedy, a love story in a twisted world.” He explained, “Wild at Heart goes to extremes — it's not a film for everybody. But as shocking as some things in it are, they're based on the truth of human nature, and there's a lot of humor and love wrapped up in that.”

Kyle MacLachlan (left) and David Lynch on the set of 'Blue Velvet' in 1986. EVERETT/SHUTTERSTOCK

Twin Peaks also premiered that same year. "Working at this speed is unusually intense, but I really like it," the director told PEOPLE. “It gets kind of crazy.” The mystery TV series reunited him with Dune and Blue Velvet star Kyle MacLachlan.

Set in the titular, fictional Washington town, Twin Peaks explored the mystery of who killed Laura Palmer (Sheryl Lee), though the surreal series came to mean so much more to fans. Not that Lynch was forthcoming about any of the ideas he intentionally incorporated into his work. "I never talk about themes," he said in 1990. "No way. A film should stand on its own. People talk way too much about a film up front, and that diminishes it."

MacLachlan praised Lynch as “a sound, mood and rhythm director. David hasn't forgotten the images, fears and desires you have when you're 10 or 18 or 25. They're so pure, these images, that they have a lot of impact.”

David Lynch in 1986. BONNIE SCHIFFMAN/GETTY

"I like things that go into hidden, mysterious places, places I want to explore that are very disturbing," Lynch said. "In that disturbing thing, there is sometimes tremendous poetry and truth." The combination of violence, surrealism, mysticism and blue-collar life would come to define the “Lynchian” aesthetic.

Twin Peaks aired for two seasons on ABC. It was an instant success when it premiered; PEOPLE included Laura Palmer on it annual list of most interesting people at the end of 1990. But the second season was derailed when ABC executive Bob Iger made Lynch reveal in the premiere who had killed Palmer, a mystery the director had wanted to save for the end of the series. Ratings declined, Lynch was unhappy, and the show was canceled.

In 1992, Lynch visited the story again in the prequel film Twin Peaks: Fire Walk with Me. And he returned for a third season of the series, which aired on Showtime, in 2017. “I called all the regulars — or most everyone — and I had a chat,” Lynch told Deadline in 2018 about bringing the cast back together. “These people are like family, so it was so beautiful calling them and talking to them again and getting together like for a family reunion.” He guessed that 99 percent of the surviving cast was happy to return. Dern also joined the show for the third season.

Lynch felt season three was more comparable in quality to the first than the second, which he did not like. He received nine Emmy nominations for his work on Twin Peaks.

David Lynch in 2015. GLENN HUNT/GETTY

Lynch directed four more films: 1997’s Lost Highway, 1999’s The Straight Story, 2001’s Mulholland Drive and 2006’s Inland Empire. He received his third Oscar nomination for best director (and fourth overall) for helming Mulholland Drive, which followed an aspiring actress in Los Angeles played by Naomi Watts. It was originally conceived as a TV show.

“It was a closed-ended pilot, and then the ideas came to make it into a feature,” he told Interview in 2012. “I was meditating, and all these ideas just flowed in, in one meditation — all the ideas to finish that into a feature.” In 2019, Lynch received an honorary Oscar for his contributions to film.

Lynch never gave up his early love of painting and continued to create visual art throughout his life. In 1994, he published Images, a book that featured painting, photographs and images from his films. He was also involved in several music projects, including working on the scores of several of his films.

In 2006, he published a book, Catching the Big Fish: Meditation, Consciousness, and Creativity, about transcendental meditation, and in 2018, he published Room to Dream, which was a hybrid of memoir and biography. He directed music videos for artists like Moby, Nine Inch Nails and Donovan, as well as many commercials. He also portrayed director John Ford in Steven Spielberg's 2022 film The Fabelmans.

David Lynch receiving his honorary Oscar in 2019. MICHAEL BUCKNER/VARIETY/PENSKE MEDIA VIA GETTY

Lynch was married to first wife Peggy from 1967 to 1974. They shared daughter Jennifer, who also became a director. Jennifer told PEOPLE in 1990, “He was not your normal dad, but he's been the best dad he could be, and we've had a blast.”

From 1977 to 1987, he was married to Mary Fisk. They shared son Austin. From 2006 to 2007, he was married to Mary Sweeney, with whom he shared son Riley. In 2009, he married Emily Stofle, who appeared in Inland Empire and the third season of Twin Peaks. They shared daughter Lula Boginia. Stofle filed for divorce in 2023.

Looking back on his one-of-a-kind career, Lynch was mostly content. “Well, I'm sort of proud of everything except Dune,” he said in a 2020 YouTube video. "I’ve liked so much working in different mediums. It’s not a thing about pride, it’s more like the enjoyment of the doing, enjoyment of the work."

He added, "I’ve just enjoyed working in all these different mediums, and I feel, again, really lucky to have been able to enjoy those things and be able to live."

#David Lynch #People Magazine #Victoria Edel #Obituary

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thenerdparty · 11 months ago

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Twisters film review

Written by Shawn Eastridge

Let’s get the important stuff out of the way first: between starring in Richard Linklater’s Everybody Wants Some with Tyler Hoechlin and now with David Corenswet in Twisters, Glen Powell has worked with TWO Supermen in the past decade. A true honor and privilege, and one I hope he doesn’t take for granted.

Am I the only one who’s paying attention to these things? Does this mean I have a Superman problem? Yes and yes? Great. Now that we’ve gotten that out of the way, on to the review!

Twisters is the latest in a batch of sequels that arrives at least two decades later than it should have. (I’m looking at you, Top Gun: Maverick–and don’t think I’ve forgotten about you, Beverly Hills Cop: Axel F.) Maybe I’m just out of the loop and the world has been clamoring for a sequel to the 1996 box office smash, but I have a sneaking suspicion that by the time we officially reached the 21st century, it wasn’t near the top of anyone’s cinematic wish list.

That said, when the Twisters trailer dropped during Super Bowl Sunday, I was more delighted than I’d ever expected to be. (I’m almost positive it had something to do with the added “s” at the end of its title.) That initial delight grew into genuine excitement when I learned the film was being helmed by Lee Isaac Chung, the writer and director of one of my favorite films from the past decade, Minari. (That 2020 release, nominated for six Oscars, including Best Picture and Best Director, was lost in the midst of the pandemic, and is well-worth seeking out if you missed it.) But how would Chung fair helming a multi-million dollar blockbuster sequel? Would his tendency towards low-key human drama be drowned out by the genre’s demands for rip-roaring special effects to appease the popcorn-munching masses? Would he truly put the “s” in “Twisters”??

If Top Gun: Maverick proved anything back in good ol’ 2022, it’s that you can have the best of both worlds: a sequel that not only goes above and beyond expectations but delivers an effort superior to its predecessor. Look, I get a kick from watching Twister as much as the next person. Its special effects still hold up, Bill Paxton and Helen Hunt are a charming duo, and it’s lovely to see a pre-Boogie Nights Philip Seymour Hoffman doing his best Bill and Ted impersonation. But it’s no masterpiece (disasterpiece?). There was always plenty of room for improvement and Twisters rises to the occasion with more thoughtful storytelling and better drawn characters and emotional conflicts. It’s not particularly nuanced, but its heart’s in the right place, and how often can you say that about your average modern day blockbuster? And while Twisters is no Top Gun: Maverick (for one, it doesn’t have the benefit of Tom Cruise insisting that they take on real tornadoes. Wait, how has no one pitched that movie?), when it comes to crowd-pleasing, heartfelt, pulse-pounder blockbusting, Chung and his amazing cast and crew manage to get the job done and then some.

Sure, Twisters’ characters and their relationships with one another are relatively simple and straightforward. Its screenplay, written by Mark L. Smith (The Revenant), based on a story by Joseph Kosinski (director of the aforementioned Top Gun: Maverick), hits just about every plot beat you’d expect. In fact, I’d go so far as to say there might not be a single genuinely surprising moment in this entire story. It’s likely your average moviegoer (a.k.a. Mom and Dad) could call the film’s plot beat for beat from the get-go. But that’s okay! Mom and Dad are allowed to get one right every so often! Chung and Smith aren’t out to revolutionize the genre. Twisters is more of a refinement of the disaster movie formula, and it improves upon its predecessor in nearly every respect.

Besides, whatever shortcomings are evident in the script are cushioned not only by Chung’s confident direction but a top-notch cast led by Daisy Edgar Jones (Normal People, Where the Crawdads Sing) and 2024’s go-to leading man Glen Powell (Top Gun: Maverick, Hit Man). These two are genuine superstars and manage to effortlessly carry this massive, multi-million dollar effort on their shoulders. Rounding them out is an excellent supporting cast, featuring Anthony Ramos (Hamilton, Transformers: Rise of the Beasts), Sasha Lane (American Honey), and Brandon Perea (Nope, The OA). There’s even what threatens to be a stock “along-for-the-ride” journalist character, whose portrayal by Harry Hadden-Paton (Downton Abbey, The Crown) is so sincere and genuine you end up loving him as much as the rest of the raucous crew. These performances are strong enough to elevate the material, grounding it in an emotional reality that might have collapsed in on itself in lesser hands. Kudos to Chung for never missing an opportunity to home in on these characters’ small emotions and character beats, humanizing the whole enterprise.

But what would Twisters be without its tornadoes? And you’ll be pleased to know Twisters’ action delivers, providing solid thrills that end up being more involving than your standard blockbuster. Working with seasoned cinematographer Dan Mindel (Star Trek ‘09, The Force Awakens) and top notch sound and VFX departments, Chung does an expert job of dropping the audience right smack-dab in the middle of nature’s gargantuan terrors. The thrills are more visceral and hard-hitting than the original. And yes, while this might have something to do with the massive improvements in special effects in the nearly 30 years since Twister was released, it also has a lot to do with Chung’s documentary-esque approach to capturing these sequences. It’s a MOVIE THEATER movie in the “go for broke” way you want it to be.

FINAL VERDICT:

Despite its plot contrivances and simplistic characterizations, Twisters has thrills and heart to boot. It’s simultaneously a throwback to the days of simpler, straightforward cinematic thrill rides and an exciting, forward-looking venture that suggests more on the cloudy-skied horizon. As for me, I’d follow Daisy Edgar Jones and Glen Powell into any tornado and I can’t wait to see David Corenswet switch gears and save people from tornadoes in James Gunn’s Superman next year. (And you thought I was going to conclude this review without referencing Superman. Oh, how little you know me.)

I award Twisters 3.5 flying cows out of 5.

#twisters #twister 1996 #twister #film review #movie review #movie recommendation #cinema #film #movies #review #glen powell #daisy edgar jones #anthony ramos #david corenswet #superman

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swingoutmister · 4 months ago

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Simone: "Two girls can make out and it's hot, but when two guys make out, it's gay."

"Beach Rats" is a film that is difficult to pigeonhole. It is a "gay movie," but the protagonist, Frankie, played by Harrison Dickenson ("Triangle of Sadness," "The Iron Claw"), spends his days bumming around Coney Island and the beaches of Brooklyn, wearing tank tops and clunky shoes, getting high with his three fellow stunted friends. At night, Frankie gets on a Chatroulette-type app seeking older men for clandestine sex. He is tentative and shy, even during the meetups. It is not internalized homophobia but the movements of a teenager who is scared and nervous but unable to shed his urges. He meets a girl at the beach but cannot perform. He feels that dating this girl gives him a sense of normalcy ("I have a girlfriend," he tells his tricks). With his interactions with Simone, played beautifully by Madeline Weinstein from "Mare of Easttown," director Hittman has not allowed Frankie to be a stereotyped horny teen but one unsure of what he's supposed to make of a possible relationship, either sexually or emotionally.

His home life is turbulent – his father has just died of cancer. His caring mother tries to give Frankie all the support she can, but the drug use and the sexual confusion have left him numb to her emotional overtures. The film has a bit of Larry Clark's "Kids," one of the best films of the 1990s, with the difference being that "Kids" was an ensemble, while "Beach Rats" is only focused on Frankie. The film is a superb character study tracing one young man's stunt evolution to drugs and confusion. The film was written and directed by Brooklyn native Eliza Hittman, who three years later wrote and produced one of the best films of 2020, "Never, Rarely, Sometimes, Always," where a pair of teenage girls in rural Pennsylvania travel to New York City to seek out medical help after an unintended pregnancy. Both films show older adolescents making the difficult transition from adolescence to adulthood, one in rural Pennsylvania and one in Brooklyn.

Oscar Angle: Dickinson will have a nomination within five years – he should have been nominated for “Triangle” and his role as Zac Efron’s brother in” The Iron Claw.” Next up for Dickinson is the lead in “Blitz,” due in November 2024, which is Steve McQueen’s WWII film. This A-list project may yield results where he stars with Oscar Magnet Saoirse Ronan.

Review from Sheila O'Malley at RogerEbert.com:

“…... but "Beach Rats" works best when it's elusive, when it succumbs to its interest in bodies; filmed in fragments, forearms, cheekbones, stomachs, sculpted with shadows. The film is frankly voyeuristic, sometimes objectifying, but it's an appreciative objectification, reminiscent of Bruce Weber's photographs. The male bodies dominate. We are in Frankie's claustrophobic world of longing.”

#harris dickinson #beach rats

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kylesvariouslistsandstuff · 6 months ago

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I already see it, now that MOANA 2 looks to make around $140-150m for the 3-day weekend take, $200m+ for the 5-day, and plenty more worldwide overall... It's kicking some serious ass, for sure, much like how INSIDE OUT 2 did for Pixar earlier this year.

Like I said, I already see it...

That's it, no more original movies ever again! Especially if ELIO flops! They'll just convert more failed Disney+ shows into sequels!

Once again, no panic buttons here. Only "let's assess" buttons, lol.

Yes, it's true that MOANA 2 was an up-conversion from a Disney+ series, and apparently they crunched the living heck out of the animators/crew because that decision to change things happened way too late in the game... And they're being rewarded at the box office for it, though reviews aren't spectacular and an Oscar nom ain't likely. I wouldn't be surprised if that MUFASA thing has more of a shot at this rate than MOANA 2 does, which I don't think it really has to begin with - it did, however, begin life as a movie from the ground up. If Barry Jenkins somehow pulled it off and people like it, who the hell knows lol. I have no interest, myself.

Back on track, I really do think that something went down at WDAS after WISH imploded at the box office, and Disney themselves did a panic button-pressing because heaven forbid they didn't have a new WDAS movie ready for Thanksgiving 2024. Heck, WISH being a centennial celebration might've been a panic button move in its own way. But yeah, the MOANA 2 situation seemed like this to me: Delay an original, take this MOANA Disney+ series that was showing some promise, quickly make that a movie instead of giving the studio a more reasonable spring 2025 release date to work towards, have our first genuine box office hit since FROZEN II- Anyways...

There's only one Disney+ WDAS show left, and that's TIANA, which to my knowledge is to remain a show.

Even though the streaming bubble has burst and such, but yeah, it still looks to be a show and could probably debut any time next year. From what I understand, it's a Burbank-Vancouver production much like MOANA 2 was, and is aiming for a stylized look in its visuals. More SPIDER-VERSE than actual 2D animation, apparently.

Disney announced TIANA, alongside MOANA: THE SERIES, IWAJU, ZOOTOPIA+, and BAYMAX! in December 2020. Back when these companies convinced themselves that these streaming services were the future. But times have changed, and I feel a lot of MOANA 2 becoming a thing had to do with just how damn popular the original 2016 movie is year after year on streaming services. I'm sure they wanted to do a movie sequel for some time, and that desire probably just grew over the years. I don't think THE PRINCESS AND THE FROG sees that kinda traction on streaming, unless I'm mistaken. Tiana and her world have indeed held on well after the 2009 film's so-so performance ($267m against an $105m budget, 2 1/2x, really didn't seem to be to Disney's liking), the film has a theme park attraction now, but I don't know if it's all enough to make Disney switch gears on TIANA. They could, they may not.

And if they did... I can only hope that such a switch doesn't happen months away from release, yet again. That seemed to be a Jennifer Lee (and John Lasseter) specialty, just micromanaging the hell out of these movies during the finalizing process. No more "lock the picture and go", that's been a thing of the faaaaaar past. I wonder if current leader Jared Bush does the same as Lee and Lasseter, or refrains from that and makes production go smoother. Work out perceived problems very early on, not while the movie itself is being animated, lit, finalized, scored even.

I do not know. I think we get a taste of how Bush runs things when that 2026 movie comes out. MOANA 2 really did seem like a real stopgap production, and a very rushed one at that. The original FROZEN was reportedly such a production, too. Apparently WDAS had nothing for 2013 and hastily put ANNA AND THE SNOW QUEEN, a project halted in early 2010, back in the works to make that date. And eventually retitled it to FROZEN. Supposedly it was in a "development" race w/ KING OF THE ELVES to get that fall 2013 slot. Perhaps the best example of a sort-of "stopgap" film in terms of Disney animated films is none other than... DUMBO! Belted out on a relatively shoestring budget by a B-team within two years, at a time when World War II really made a dent in the Disney studio's armor. They needed something economical out while the "A-team" was still hard at work on BAMBI, which wouldn't be released for another year... In addition to all its other delays. You know, BAMBI was originally supposed to be the second-ever Disney animated feature after SNOW WHITE? Work began on it in 1936, one year before SNOW WHITE's world premiere, but due to so many complications, PINOCCHIO and FANTASIA eventually pulled ahead of it and came out first... BAMBI wouldn't be released until 1942, as the studio's fifth all-animated feature, sixth overall if we're counting hybrid THE RELUCTANT DRAGON.

Where was I? Oh yeah, so there are some tweets floating around that are all like "Disney's just gonna movie-ify more D+ shows" and "No more originals".

Again, TIANA's the only WDAS-made Disney+ series left as far as I know. If that even gets turned into a feature.

And... I've said it before. You don't get sequels without originals, and the wells eventually run dry. Even the other big-time animation studios know this...

WDAS has sequelized most of their 2010s output, and likely won't touch the pre-CGI stuff. Disney Pictures instead just remakes those. No animated legacy sequels to the classics. Though could you imagine how much moolah Disney would make if they got a great 2D unit together and made a true LION KING sequel? That would make *serious* bucks... But that would never happen, lol. And would cause headaches amongst some as to what counts and what doesn't, if it were to ignore the Disneytoon sequels and such.

I know some of us get upset when the slate seems rather sequel-heavy, and in the case of both WDAS and Pixar... It kinda does seem that way, not gonna lie.

WDAS has ZOOTOPIA 2 next year, FROZEN III in 2027, and FROZEN IV sometime thereafter. No word on what the 2026 original is, and I'm pretty sure they'll keep an original slotted for 2026. The studio doesn't really do two movies a year like Pixar's been doing, save for 2016 packing both ZOOTOPIA and MOANA, and 2021 - because of COVID - serving up RAYA AND THE LAST DRAGON and ENCANTO... If they did that, I think they'd have more originals to balance out sequels. So in a way, I get it. It seems like a looong wait for something original, as the years go by. Well, that's what we have other animation studios for. If Disney's not bringing an original movie in a calendar year from either of their studios, then look to someone else. This year, we did get non-sequel movies like TRANSFORMERS ONE and THE WILD ROBOT, some streaming stuff like ORION AND THE DARK and ULTRAMAN RISING. Most of those maybe based on books or IPs or whatever, but weren't sequels to anything.

As frustrating as that is for Disney fans, it's not like the 1960s and 1970s, where the waits between a new Disney animated feature would be like 3-4 years. And you didn't have the classic ones on any home media formats, unless you somehow had access to film prints of them.

The other thing is, "original movies" this, "original movies" that... When it seems like most of the internet wasn't too fond of... The majority of the original movies both WDAS and Pixar had put out over the past four years. Suppose ZOOTOPIA 2 next year blows all of those movies out of the water and is a bona fide high quality home run... Then I think it will boil down to what I always think it boils down to, when it comes to armchair purveyors of animated family film excellence... It ain't the lack of originals, or the lack of specific devices/tropes these people want in their animated movies...

They just want good storytelling, however they may define that.

Fwiw, I liked a lot of those so-called "mid" originals. Pixar I think let out some entertaining films like ONWARD and LUCA, and I absolutely loved TURNING RED, and ELEMENTAL has some great stuff in it. On the WDAS end, I found RAYA to be a fun film and ENCANTO has moments of greatness, I see a better film trapped under STRANGE WORLD's Koeingsegg pacing and undercooked story. WISH was really the only animated Disney release of the 2020s to really leave me with little, but I didn't straight up dislike it.

That's all a discussion for another day, really. MOANA 2 is said to be an obvious patchy job from said purveyors, but I heard at least two ovations at my cinema job, audiences coming out of it very satisfied, lots of families taking photos with the cardboard lobby displays too. It seems like they really dug it... I won't be surprised if this thing legs it all the way to $500-600m domestically alone, and get the big billion worldwide...

Anyways, I'm waiting patiently for WDAS to announce what the 2026 movie is. That'll be three years since the release of WISH...

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mariacallous · 2 years ago

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Emmy-nominated Succession star Sarah Snook will hit the West End stage in January 2024 in an adaptation of Oscar Wilde’s The Picture of Dorian Gray. According to Deadline, the production may also have Broadway in its sights.

Snook will portray all 26 characters in the classic tale which will open at the Theatre Royal Haymarket in January 2024 for a limited 10-week engagement.

According to Baz Bamigboye, Snook will perform the production from Australian theatre and opera director, Kip Williams, for two hours with no intermission.

Snook is best known for her Emmy-nominated performance as Siobhan Roy in the HBO drama Succession, which recently completed an acclaimed four season run.

Described as "one of the greatest performances ever seen on an Australian stage" (Time Out), Dorian Gray employs multiple live cameras and pre-recorded video which will allow Snook to create an audacious cascade of theatrical transformations. The production premiered in 2020 to five-star reviews and has garnered stellar receptions and returned for an encore run at Sydney Theatre Company in 2022.

Building on a career-long fascination with theatrical innovation and spectacular reinventions of classic stories (Strange Case of Dr Jekyll and Mr Hyde, Suddenly Last Summer, The Resistible Rise of Arturo Ui), STC Artistic Director Kip Williams has written an adaption of Wilde's century-old fable that is a magnificent mirror to our times.

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bisluthq · 9 months ago

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I’m going to rant for a bit so bear with me.

I never really play attention to Oscar predictions (specifically this early) but I keep seeing people talk about Saoirse’s chances for The Outrun and the way they talk about it sounds like they just don’t want her to be nominated. I don’t know that she will because honestly this feels like a weird year where none of the movies seem like sure Oscar contenders (the way films like Oppenheimer, Barbie and KOTFM were) but people are acting like there’s no chance she can get a lone nomination with this while also believing Angelina Jolie is 100% winning (even though people like Kristen lost in a similar situation) and thinking Amy Adams is 100% getting a nomination for Nightbitch which doesn’t look good. I think the chances of Saoirse getting a nomination are low, but the way people are talking about her vs other actresses feels like they just don’t want her there because they point out everything that’s against her and everything that’s for the other actresses without ever pointing out the opposite.

Then there’s the fact that she will most likely be campaigning The Outrun for lead. They’ve gone to so many festivals, she got the silver medallion at Telluride and they’re doing a million Q&As with screenings. You can tell she’s really pushing for it. We also know this movie means a lot to her and she produced it so she probably wants to get a nomination out of it. Most places are predicting she’ll go supporting for Blitz, which makes sense, but when I see people talking about Blitz they’re obsessed with her going lead for that? And saying that she will drop The Outrun and campaign Blitz for lead when I can’t see her doing that? I will also say that a year ago I would’ve believed she had more chances with Blitz, but right now? I’m not so sure.

They keep saying The Outrun has bad reviews but they aren’t any worse than the reviews for most, if not all, the other movies with lead actress contenders. People also bring up the rotten tomatoes score as if movies with lower rotten tomatoes scores don’t get Oscar nominated? It’s wild because I never participate in Oscar predictions but merely from observing who has been nominated I feel like I know more than most of these people making predictions? Like, I do think it will be hard for Saoirse to get nominated given that it is a very small movie, but people are acting like a lone nomination is a crazy thing when it happens like every year? And honestly, she probably deserves a nomination for this more than Paul did for Aftersun. Another small Scottish movie that’s probably a better film, but I don’t believe his performance was better (and I haven’t even seen Saoirse’s performance yet). And all of the other actresses have things going against them too.

It also annoys me that they act like Saoirse is like Florence or Anya or any other actress that age. But Saoirse is a 4 time Oscar nominee that got her first nomination like 15 years ago. They keep treating her like she’s new to all of this instead of putting her with older actresses who have had a career as long as hers.

Last but not least, I HATE that people complain when she chooses roles like Bad Apples or Foe because it means she won’t be getting an Oscar nomination every couple of years like back in 2016-2020, and they say her career is going downhill and things like that. But then they complain about her doing The Outrun and Blitz because apparently she only chooses “Oscar baity” roles?? Which is it?? I will agree that Ammonite was Oscar bait but I don’t think either of these are. I think she wanted to work with Steve McQueen and we know why she did The Outrun.

I kind of want her to go back to making bad movies so these people forget she exists and shut up. Maybe I’m being a cupcake, but what annoys me isn’t people saying she isn’t going to get a nomination (because like I said I do think her chances are low), it’s the way people talk about her vs other actresses. I just also feel like people don’t know what they’re talking about when they talk about her? It’s like when people talk about her doing bad movies now when they’re all better than what she was doing in most of the early 2010s. She had some mid to bad movies between Brooklyn and Lady Bird and then again between Lady Bird and Little Women but people act like she only made Oscar nominated movies and now she’s doing trash. They keep comparing her to actresses her age when she’s been around for so much longer. People should be forced to read her Wikipedia or imdb before they speak about her.

Anyway, sorry for the rant, I apologize for any typos because I did not proof read this and I need a gun 🙃

fair enough lol. This is very long but you’re right. I might have more ideas on this later but you’ve said it all quite well and - again because we’ve been talking food and anon inspired me - I’m making soup lol.

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forkaround · 2 years ago

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Classic BL Watch: MasterPost

Namaste besties. @waitmyturtles started a challenge watching Older Thai BLs and it got me thinking as well. I've seen a few, I've DNF-ed a few, but I wanted to see the progression with my own eyes. Thus we be here.

The basic premise is to watch and review Thai BLs from Love Sick 2014 (which I believe is the first Thai BL) to present time.

I'm going to make a few changes to the format and include BLs from other countries as well, including China (if I can find it).

This is a long post so I divided it into chapters: - Some History - The Method to Potential Madness - List - Rating System I've made individual posts about each under #org: subcategory

I've been fascinated with BLs for over two years. To find that there was an entire world of queer content out there which A) existed and B) didn't queerbait or bury the gay, was a revelation. How could this be? I'd watched Yuri!!! on Ice in 2017 and I guess assumed that BLs would be the same (E7 blocked kiss). So while BLs were on my radar for a while before I started I didn't get into them until relatively recently. I got so into them that I started a YouTube Channel about it.

See I'm a writer and watching art transform in front of your eyes is a relatively recent phenomena and it makes my brain go brrr...

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Some History:

I'm Indian. I'm queer. We didn't have any rights until 2018 when the ban on homosexuality was lifted. We've had queer movies but they were your traditional Oscar-bait type things until very, very recently. By that I mean until last year where we had Maja Ma, a Madhuri Dixit starrer movie about a mom coming out as a lesbian which shocks the family and makes trouble for the son's marriage. It's a brilliant movie with one of India's best actresses as the lead. But it was a Netflix Original. Before that there was Subh Mangal Zyada Savdhan and Badhaai Do, which are both good queer movies which aired in cinemas from 2020 and 2022 respectively. All to say, queer media is very very very new in India. As such, what was a young queer to do but follow the Indian Dream and go to America. Which I did, in a literary sense. In fact watching Nyssa Al Ghul kiss Sara Lance was my queer awakening. (I love Ava but this ship was really something.) Between the good writing and queer chars being present, I wasn't coming back to India like any typical NRI.

I've mentioned before about how for the story I started writing at 15 there was no other love interest for the female lead except for another girl. It just won't make sense. This was before 2018, mind you, so not a chance in hell this would be published in India. I consoled myself with 'We'll publish in America. It takes place in space anyway, so it's fine.' But then came a story that just won't work in America. Think: what if Succession's terrible people protags were queer and Indian but it's written from a 'truly believes in romance' pov. Confused already right? I'd already given up hope. I love this, but it won't be anything more than a webnovel.

Par kahte hai -

(It is said, if you love something with all your heart then the entire universe will conspire to get it to you.)

And somehow I found BLs. A world of queer stories the likes of which I'd never seen before, brimming with love and support and honest and real and queer. The Bollywood fan in me lived again after a decade 6 feet under.

I love BLs. There's no two ways about it. I love them for the love they give, the hope they have, the cringe, the drama, the stupidity, the honesty, the realness. It's everything I ever wanted queer media to be. To start it from 0 and learn what made them what they are would be an amazing learning experience and to share that with other people... well how can I not?

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The Method to potential Madness:

My tastes are a little peculiar. I have seen media from all over the world, the good and the bad, what it has taught me is nothing is every going to be perfect and I will miss things that are important to other people but what else I've learned is that I don't really care about something being good. If it's broken, a little difficult, a little cheap but made with love. I am all in.

See when I was young during Janmasthami every year these guys from an organization called Yogeshwar would come in white kurtas and perform nataks(plays) in our society. They didn't have sets, 2-3 props, just that white kurta and pants as outfits and yet it was entertaining. It was fun. I loved it. So money and pure intentions have never been barriers for me.

(an example of Janmasthami natak)

What I do care about is competence. That the writer understands what they are writing about. The best actor can't pull off a bad script but a bad actor can be tolerated in a good script.

To get you an idea of my tastes some of my favorite medias are Legends of Tomorrow, Guardian (Cdrama), Supernatural, Agents of Shield, Agent Carter, Chains of Heart, Kinnporsche, LITA, The Eclipse, The Devil Judge, Crash Course in Romance, SRK movies from '00 like Kuch Kuch Hota Hai, Main Hoon Na, Kabhi Khushsi Kabhi Gham, etc. As you can see, very widely ranging. I love competence and I love heart. Everything else I can live without. To that end some shows I didn't like/DNF-ed: Bed Friend, Step by Step, Big Mouth, Eve, Game of Thrones, most Netflix things, Mr. Robot, Supergirl, The Flash, Elite, Witcher, Coffee Melody, War of Y. If you get too PC without the narrative backup I'll leave; If it's too nihilistic, I'll leave; If it's too monotonous, I'll leave. I have Psychotic Depression, I don't have the time to deal with this shit.

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List:

To borrow from @waitmyturtles, a list of shows I'll cover:

ThaiBL: 1) Love Sick and Love Sick 2 2) Make It Right + Make It Right 2 3) SOTUS + SOTUS S 4) Together With Me 5) Love By Chance 6) He’s Coming To Me 7) Dark Blue Kiss 8) TharnType 9) Puppy Honey 10) Theory of Love 11) Until We Meet Again 12) 2gether + Still 2gether 13) I Told Sunset About You + I Promised You the Moon 14) Manner of Death 15) A Tale of Thousand Stars 16) Lovely Writer I will group these into either productions i.e. all GMMTV or by writer i.e. all MAME, all Jittiran, all Sammon, etc

Korean BL: 1) Where Your Eyes Linger 2) Color Rush 3) To My Star 4) You Make Me Dance 5) Nobleman's Ryu's Wedding 6) Light On Me 7) Peach of Time 8) Kissable Lips 9) Long Time No See 10) Cherry Blossoms After Winter 11) Blueming 12) Our Dating Sim 13) The Eighth Sense Others like The Tasty Florida, Where Your Eyes Linger, Semantic Error, etc. I've already seen and don't include on this list.

Japanese BL: (from @absolutebl's recs) 1) Seven Days 2) My Love Mix-up 3) Restart after Come back Home 4) Mr. Unlucky Has No Choice but to Kiss! 5) Life: Love on the line 6) Man who defies the world of BL 7) Takumi kun 8) Boys Love 9) Cornered Mouse Dream of Cheese 10) Eternal Yesterday 11) Ossan's Love 12) Given Others like Cherry Magic, Old Fashion Cupcake, Minato Coin Laundry, etc. I've already seen and don't include on this list.

Taiwanese BL: 1 - 5) HIStory Series 6) Be Loved in this House: I Do 7) See you after Quarantine? 8) DNA says I love you 9) We are Gamily 10) Your Name Engraved Herein 11) Papa & Daddy 12) Plus Minus 13) Love is Science Others like We Best Love, About Youth I've already seen and don't include on this list.

Chinese BL: (If I can find them) 1) Addicted Heroin 2) The Untamed 3) Advance Bravely 4) My Esport Genius Brother 5) Like Love: I love you as a man 6) Mr. CEO is falling in Love with him 7) S.C.I 8) Irresistible Love 9) Mr. X and I Others like Guardian and Word of Honor I've already seen and don't include on this list

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Rating System:

Range: 3 Wonderland to 3 Wasteland. Wonderland = Good. Wasteland = Bad. 3 Wonderland = Best Ever. 3 Wasteland = Worst Ever. Categories: Writing/Script (character work, world building, pacing, etc.); Production (technical stuff, camera work, visuals, etc.); Acting; Joy Levels (how much I enjoyed it); Feeling (satisfied, confused, angry, etc.)(totally subjective, grain of salt metric) and a Final Rank.

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Tags: classic BL watch; [show]; fork watches; fork report;

[16/06/2023]

#classic BL watch #org: masterpost #type: masterpost #thai bl #asian bl #korean bl #japanese bl #taiwanese bl #chinese bl #youtube #fork report #fork watches

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