#31 Days of Oscar

[dweemeister]

Instant reactions to the 96th Academy Awards

A rough night for me. But there have been rougher ones before. I imagine most of my comments put me in a very lonely minority, as has been apparent the last few months.

But here goes:

For all intents and purposes, yours truly was on the Killers of the Flower Moon train. An extraordinary crime epic from Scorsese, with astounding craftsmanship and fantastic performance from Lily Gladstone. More than what I previously believed possible, a major studio production went out of its way to make sure that its Indigenous American representation on-screen was as genuine as it could possibly be (still imperfect, as the film acknowledges, but what an effort). And yet, KOTFM goes 0/10. I've never had a favored Best Picture nominee be shut out in such a way before. And I'm not surprised at all by it. It was clear that non-American and non-Canadian audiences didn't get the context to the film (a criticism I understand, given the screenplay) and, in other quarters, folks thought it was too long (I admittedly have a higher tolerance for longer movies) and others have said something akin to the fact that they are getting tired over "racial guilt" movies from America. I'm not in the mood to respond to the last one. I think it deserved better tonight. I particularly think Lily Gladstone deserved better tonight.

Stat upheld: two non-white actresses have never won on the same night in Oscar history. History, in and of itself, was always against Gladstone.

Oppenheimer winning? Fine, I guess. It was my #4 choice of the ten Best Picture nominees. I guess Christopher Nolan was overdue, but I have always been a Nolan skeptic. The film certainly is his most humanistic, and I appreciate that. As for the narrative organization and editing trickery? It mostly serves to take me out of the movie. And I don't think Nolan truly understands what thematic film music can accomplish for his movies. I think RDJ should have had much more competition all season long, but he did not. Most people are gonna say this is the return of the Academy's favorite subgenre... the Great Man Biopic. But in composition and structure, Oppenheimer (and even Maestro) resembles very little of the past Great Man Biopics. It'll be interesting to see how history treats this movie.

I disliked Poor Things. I didn't care for its sense of humor, didn't agree with many folks' opinions that it was a magnum opus of female empowerment. I thought it was incredibly male gaze-y and troublingly sanitized its scenes of sex work. Jerskin Fendrix's score was unlistenable outside the context of the film and distracting within it. But it has four Academy Awards and people love this movie, so my opinion can go to heck?

Well done Da'Vine Joy Randolph for her win as Supporting Actress for The Holdovers. I truly hope this opens up a lot more new opportunities for her going for! Wonderful speech.

And speaking of wonderful speeches, both documentary winners got me very emotional. The Last Repair Shop is on YouTube for American and Canadian viewers, and it's simply wonderful. Perhaps the happiest I was all night long! And then came Mstyslav Chernov's speech after winning for 20 Days in Mariupol. Chernov had, arguably, the speech of the night. And I agree with him. I, too, wish he never had to make his film and that he never won this Oscar. But he did his job to document what happened in Mariupol. And for that he (and the Ukrainians suffering and dying in their war versus Russia) deserves our plaudits and support.

Once more, Hayao Miyazaki cannot be bothered to show up to an awards ceremony. It's hilarious! I would have voted Robot Dreams, but The Boy and the Heron is not a winner to sniff at. Spider-Verse will have one more shot.... whenever the third movie comes out?

Good lord, they selected the worst possible winner in Animated Short with War Is Over!. There's an unwritten rule that the Academy, among the fifteen nominated shorts, must select one which will piss me the hell off. And for the second straight year in Animated Short, they have done exactly that, choosing something akin to a soft drink commercial.

Billie Eilish and Finneas are now the youngest and second-youngest ever to win two Oscars, after Luise Rainer (Best Actress for 1936's The Great Ziegfeld and 1937's The Good Earth). That feels very, very weird. In both cases of this record.

The "I'm Just Ken" performance? Gentlemen Prefer Blondes (Like Ken)??? Busby Berkeley choreography? What do the kids say? Inject that straight into my veins? It was wonderful.

And speaking of nods to cinema history, I'm so glad they led off the stunt performers tribute with Charlie Chaplin, Buster Keaton, and Harold Lloyd. :,)

And congratulations to Godzilla Minus One and its Best Visual Effects win! After seventy years, Godzilla is now an Oscar-winning franchise, and its win percentage is 100%! Simply wonderful!

I think the moral of the story is that the Academy of Motion Picture Arts and Sciences (AMPAS) has been gradually internationalizing over the last decade. And the results of that were very clear tonight. Does that mean I'm too provincial in my tastes? I don't know. But wins such as Emma Stone's, Anatomy of a Fall, The Boy and the Heron, and Godzilla are demonstrative of that.

I'm glad this season is over. I certainly hope that Killers of the Flower Moon will be looked upon more kindly by history and time, without the bells and whistles of awards campaigning and a fuller understanding of why it was made the way it was.

This month has been fun! But now it's time to see movies again without the lens of awards for a long, long while.

[citizenscreen]

Starting with a bunch of Roberts at 11 am ET, today’s #31DaysOfOscar schedule on #TCM is fantastic. Through prime-time and beyond.

[dweemeister]

For viewers in Canada, Puerto Rico, and the United States, the film is available here (needless to say, the film contains graphic war imagery not suitable for all audiences):

20 Days in Mariupol (Mstyslav Chernov, 2023)

"An emotionally devastating account of the inhumanity of war."

"Documentary film-making rarely gets more impactful and devastating than this personalised account of life inside the southern Ukrainian city of Mariupol at the start of last year’s Russian invasion."

[treasureplanetsheep]

Watching Penny Serenade with Cary Grant on TCM...tbh the title was really familiar and I don't think I've actually watched it before...

Welp. My mom just spoiled the movie for me 😭

[f1archives]

Oscar Piastri in the paddock on media day - Brazil, 2024 (📷 Kym Illman)

[dweemeister]

Children of a Lesser God (1986)

In narrative art that features individuals with deafness or hearing loss, these films tend not to portray such characters on their own terms, failing to centralize the story around them. Neither Jane Wyman’s character in Johnny Belinda (1948) nor Patty Duke’s portrayal of Helen Keller in The Miracle Worker (1962) frame their respective films; both movies rely on a hearing character to do so. Looking beyond the United States, the same is true of The Shop on Main Street (1965, Czechoslovakia) and the anime film A Silent Voice (2016, Japan) – once more, it is the hearing character who becomes the audience’s proxy. No deaf or hard of hearing actors played the roles referenced in this paragraph.

Such is also the case in Randa Haines’ Children of a Lesser God, with one significant exception – a deaf actress, Marlee Matlin, plays the deaf main character. In the late 1980s, such representation was a revelation, and simply unheard of. Matlin, deaf since she was eighteen months old, came to the producers’ attention after starring in a Chicago-area stage play. While auditioning for the role, she and actor William Hurt struck up a relationship – questionable timing, as both actors got the part (more on their troubled relationship much later).

Haines’ film, distributed by Paramount and from a screenplay by Hesper Anderson and Mark Medoff (adapting his own stage play of the same name), is a capable romantic drama with two great performances. Its portrayal of a deaf character by a deaf actress was indeed significant for its time; the decision to position the film through the hearing character’s experiences fails to distinguish it from its fellow films and numerous films since.

Somewhere in New England, James Leeds (William Hurt) arrives for his new job: as a teacher at a school for the deaf and hard of hearing. His enthusiastic teaching style rubs off on most of his students, as he emphasizes that, as important as it is to sign and read lips, they must also learn to speak. Also working at the school is Sarah Norman (Matlin), a former standout student who works as the school’s custodian. While the school’s hearing staff, for reasons initially unclear, dislike Sarah, the students appreciate her. James falls quickly for Sarah and they eventually begin dating, after a few rebuffs on her part. What follows is a romance where our two protagonists navigate through his desire to help her adjust to the world beyond the school walls and her lack of trust in others. Drifting in and out of the film are the school’s hearing principal, Dr. Curtis Franklin (Philip Bosco), and Sarah’s mother (Piper Laurie) to give both main characters advice, encouragement, and dramatic obstacles.

Children of a Lesser God suffers from its emphasis on James’ perspectives. Between James and Sarah, it is James who demands the most in any compromises between the two. When he first asks Sarah whether she would want to move in with him, James’ approach is, at times, more demanding than it is a genuine query. His insistence on Sarah speaking phonetically to hearing people, from the onset, seems to disregard whatever personal reasons Sarah might have for refusing to do so. Late in the film, the most heated discussion between the couple on this topic comes in perhaps the most inappropriate way – he wants to hear her say his name during sex. Both James and Sarah carry into this relationship sizable foibles and broken pasts, but the former’s communication style can be abrasive and domineering. At times, it makes Children of a Lesser God seem like yet another savior narrative.

Certainly, Sarah’s reluctance to speak phonetically is a defensive mechanism – one to shield her from the pain of past interactions with hearing people and a refusal to have anybody to speak on her behalf. The film also implies that she may be a survivor of sexual abuse. Matlin is magnificent in this role (my goodness, does she sign quickly or what?) and there are a few key scenes where, as Sarah, her character truly shines without James’ input. Interestingly, both scenes involve music. The first instance comes on their first date at a restaurant, when Sarah insists on dancing to “I’ll Take You There” by the Staple Singers. Feeling the vibrations of the music “through [her] nose”, Sarah grooves, eyes closed, to the music. Rather than shaking her hips and moving her head with the beat, she sways, and gracefully moves her arms to the song – released from the bounds of the musical and lyrical phrasing.

Later in the film, Sarah does not betray any irritation when James claims he cannot enjoy his favorite piece of classical music (in this case, the second movement to J.S. Bach’s Double Violin Concerto) because she is unable to enjoy it. Instead of showing her discomfort or lashing out, she asks James to “show [her] the music”, similar to how she “felt” the music on the first date. James fails to do so, but not for lack of trying. Here, Matlin, as Sarah, is fully observational – one can see, through her eyes and face, a sincere attempt to understand what the Bach “feels” like. Where others might point out Matlin’s emotionally fraught scenes in this movie as the best exemplars of her work (any of the fights with Hurt’s James, her jealousy while watching the school show, her reconciliation with her mother), Matlin’s command in these less dramatically important moments also deserve praise.

Matlin’s performance, however, cannot stop Children of a Lesser God from depicting Sarah as the otherized character that must change the most. The film, released in a decade of popular cinema with a more cavalier attitude towards relationship violence than previously seen, puts so little on Hurt’s James. It is fine to portray an imbalanced romantic relationship in a movie. But the film seems tepidly interested in Sarah in stretches, and fails to truly allow the audience to connect with her in moments where that might be possible. Additionally, whenever Sarah or anyone else who is deaf or hard of hearing signs in the film, there are no subtitles. Instead, it is up to James or another hearing character to verbalize the sign language – disallowing the opportunity for any viewer to find, in Sarah, a chance to see the events of the film through her. This, like CODA (2021; which incidentally also stars Marlee Matlin and concentrates on a hearing character, albeit a child of deaf adults), makes Children of a Lesser God a film not for the deaf or hard of hearing community, but for hearing audiences. Sarah’s deafness becomes an obstacle in this film – indeed, some of this is on the original stage play, but there surely were ways to address this.

The chilly New England atmosphere of this movie lends it a coziness that no stage play could possibly replicate. John Seale’s (1996’s The English Patient, 2015’s Mad Max: Fury Road) cinematography and Michael Convertino’s (1988’s Bull Durham, 1994’s The Santa Clause) electronic-heavy score (electronic-heavy scores tend to date quickly, and this is no exception), however, are merely functional. Children of a Lesser God, lacking in any technical accoutrements, relies solely on the strength of its actors and its adapted screenplay and the odd autumnal landscape of red-orange tree leaves and mist wafting over water in the early mornings. Director Randa Haines had never made a theatrical film prior to this, with her directorial career only covering network television and television movies until Children of a Lesser God. Her direction is here is unremarkable, but at least is sufficient for the purposes of this adaptation.

Hurt and Matlin began a romantic relationship shortly after auditioning for Children of a Lesser God – establishing a tricky situation of power dynamics on set during the making of the film. Matlin, seen as the ingénue, knew she had much to learn from Hurt (one year removed from his Academy Award-winning role in Kiss of the Spider Woman and one year away from Broadcast News) and everyone else on set. Matlin has always praised her fellow cast and crew members for that education in filmmaking. She moved in with Hurt shortly after shooting ended on Children of a Lesser God, but that was the beginning of the end of their relationship. The relationship, marked by drug and verbal abuse and rape, continued through the 59th Academy Awards in March 1987 (that evening, on the way home, Hurt questioned the legitimacy of Matlin’s Best Actress win, callously comparing Matlin to the other four nominees) but ended several months thereafter. In later years, following the publication of Matlin’s memoir detailing the worst aspects of their relationship, Hurt apologized for any harm he inflicted on Matlin and her family, wishing them all well. After Hurt’s death in 2022, Matlin reflected on her time making Children of a Lesser God and noted that Hollywood had “lost a really great actor”.

When Children of a Lesser God received five Academy Award nominations and won Marlee Matlin her Best Actress Oscar, speculation abounded regarding changes in the portrayals of deaf characters and opportunities for deaf and hard of hearing actors. Matlin was the incarnation of a potential groundswell of such representation in Hollywood. That groundswell has been less dramatic than anticipated (as are all such movements to address underrepresentation in American films), but Matlin’s win has, slowly, in its own way, opened a wealth of new opportunities for deaf and hearing-impaired actors in the United States in film and television. Children of a Lesser God might not be the revolutionary film that many non-viewers may have heard of. Nevertheless, its positive impacts continue to create small ripples through American filmmaking, belatedly, more frequently than ever before.

My rating: 7/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[dweemeister]

American followers: this film will make a one-day special theatrical release on Wednesday, March 6 in select theaters before a wide release on May 31. Check your local theaters to see if they might be participating!

Robot Dreams (2023) dir. Pablo Berger

[citizenscreen]

The 30th #31DaysOfOscar returns to #TCM on February 9th.

[tkbrokkoli]

i thought arthur finally got a rly good night's sleep but turns out this was just the beginning of a nightmare full of The Horrors

[sasa-chan]

The Bourne Legacy (2012)

[dweemeister]

See you on the other side of the 96th Academy Awards tonight! Good luck to all the nominees!

"After all... tomorrow is another day."

Gone with the Wind (1939), Victor Fleming

[pucksandpower]

The Kinktober 2024 Masterlist

→ Formula 1 after dark 💋

Day 1 → Cockwarming 💋 Toto Wolff

Day 2 → Chastity 💋 Max Verstappen

Day 3 → Oral Fixation 💋 Charles Leclerc

Day 4 → Bruise Marking 💋 Lando Norris

Day 5 → Size Difference 💋 Oscar Piastri

Day 6 → Daddy Kink 💋 Carlos Sainz

Day 7 → Virginity Loss 💋 Toto Wolff

Day 8 → Breeding Kink 💋 Max Verstappen

Day 9 → Overstimulation 💋 Charles Leclerc

Day 10 → Exhibitionism 💋 Kimi Räikkönen

Day 11 → Sex Pollen 💋 Max Verstappen

Day 12 → Mirror Sex 💋 Oscar Piastri

Day 13 → Temperature Play 💋 Charles Leclerc

Day 14 → Innocence Play 💋 Lewis Hamilton

Day 15 → Thigh Riding 💋 Max Verstappen

Day 16 → Remote-Controlled Vibrator 💋 Jenson Button

Day 17 → Lactation Kink 💋 Lando Norris

Day 18 → Praise Kink 💋 Charles Leclerc

Day 19 → Spreader Bar 💋 Toto Wolff

Day 20 → Menthol Cream 💋 Oscar Piastri

Day 21 → Anal 💋 Lando Norris

Day 22 → Bedding Ceremony 💋 Charles Leclerc

Day 23 → Consensual Non-Consent 💋 Max Verstappen

Day 24 → Piercing 💋 Toto Wolff

Day 25 → Monsterfucking 💋 Carlos Sainz

Day 26 → Cum Marking 💋 Charles Leclerc

Day 27 → Hunter/Prey 💋 Max Verstappen

Day 28 → A/B/O 💋 Oscar Piastri

Day 29 → BDSM 💋 Toto Wolff

Day 30 → Innocence Kink 💋 Lando Norris

Day 31 → Mind Break 💋 Charles Leclerc

Tumblr won���t let me link the final five fics for some reason but they have been published!

[oconnormusicstudio]

The Music Man

    TCM is currently doing 31 Days of Oscars.  I first sort of noticed this when I looked ahead in the scheduling and noticed that all TCM shows were alphabetized.  At first, I thought maybe that this scheme was some sort of placeholder before I realized what they were doing. Personally, I preferred when 31 Days grouped films by nomination category, by studio or by actor. Alphabetical is easy for…

[macrolit]

The 100 Best Books of the 21st Century.

As voted on by 503 novelists, nonfiction writers, poets, critics and other book lovers — with a little help from the staff of The New York Times Book Review.

NYT Article.

*************

Q: How many of the 100 have you read? Q: Which ones did you love/hate? Q: What's missing?

Here's the full list.

100. Tree of Smoke, Denis Johnson 99. How to Be Both, Ali Smith 98. Bel Canto, Ann Patchett 97. Men We Reaped, Jesmyn Ward 96. Wayward Lives, Beautiful Experiments, Saidiya Hartman 95. Bring Up the Bodies, Hilary Mantel 94. On Beauty, Zadie Smith 93. Station Eleven, Emily St. John Mandel 92. The Days of Abandonment, Elena Ferrante 91. The Human Stain, Philip Roth 90. The Sympathizer, Viet Thanh Nguyen 89. The Return, Hisham Matar 88. The Collected Stories of Lydia Davis 87. Detransition, Baby, Torrey Peters 86. Frederick Douglass, David W. Blight 85. Pastoralia, George Saunders 84. The Emperor of All Maladies, Siddhartha Mukherjee 83. When We Cease to Understand the World, Benjamin Labutat 82. Hurricane Season, Fernanda Melchor 81. Pulphead, John Jeremiah Sullivan 80. The Story of the Lost Child, Elena Ferrante 79. A Manual for Cleaning Women, Lucia Berlin 78. Septology, Jon Fosse 77. An American Marriage, Tayari Jones 76. Tomorrow, and Tomorrow, and Tomorrow, Gabrielle Zevin 75. Exit West, Mohsin Hamid 74. Olive Kitteridge, Elizabeth Strout 73. The Passage of Power, Robert Caro 72. Secondhand Time, Svetlana Alexievich 71. The Copenhagen Trilogy, Tove Ditlevsen 70. All Aunt Hagar's Children, Edward P. Jones 69. The New Jim Crow, Michelle Alexander 68. The Friend, Sigrid Nunez 67. Far From the Tree, Andrew Solomon 66. We the Animals, Justin Torres 65. The Plot Against America, Philip Roth 64. The Great Believers, Rebecca Makkai 63. Veronica, Mary Gaitskill 62. 10:04, Ben Lerner 61. Demon Copperhead, Barbara Kingsolver 60. Heavy, Kiese Laymon 59. Middlesex, Jeffrey Eugenides 58. Stay True, Hua Hsu 57. Nickel and Dimed, Barbara Ehrenreich 56. The Flamethrowers, Rachel Kushner 55. The Looming Tower, Lawrence Wright 54. Tenth of December, George Saunders 53. Runaway, Alice Munro 52. Train Dreams, Denis Johnson 51. Life After Life, Kate Atkinson 50. Trust, Hernan Diaz 49. The Vegetarian, Han Kang 48. Persepolis, Marjane Satrapi 47. A Mercy, Toni Morrison 46. The Goldfinch, Donna Tartt 45. The Argonauts, Maggie Nelson 44. The Fifth Season, N.K. Jemisin 43. Postwar, Tony Judt 42. A Brief History of Seven Killings, Marlon James 41. Small Things Like These, Claire Keegan 40. H Is for Hawk, Helen Macdonald 39. A Visit from the Goon Squad, Jennifer Egan 38. The Savage Detectives, Roberto Balano 37. The Years, Annie Ernaux 36. Between the World and Me, Ta-Nehisi Coates 35. Fun Home, Alison Bechdel 34. Citizen, Claudia Rankine 33. Salvage the Bones, Jesmyn Ward 32. The Lines of Beauty, Alan Hollinghurst 31. White Teeth, Zadie Smith 30. Sing, Unburied, Sing, Jesmyn Ward 29. The Last Samurai, Helen DeWitt 28. Cloud Atlas, David Mitchell 27. Americanah, Chimamanda Ngozi Adichie 26. Atonement, Ian McEwan 25. Random Family, Adrian Nicole LeBlanc 24. The Overstory, Richard Powers 23. Hateship, Friendship, Courtship, Loveship, Marriage, Alice Munro 22. Behind the Beautiful Forevers, Katherine Boo 21. Evicted, Matthew Desmond 20. Erasure, Percival Everett 19. Say Nothing, Patrick Radden Keefe 18. Lincoln in the Bardo, George Saunders 17. The Sellout, Paul Beatty 16. The Amazing Adventures of Kavalier & Clay, Michael Chabon 15. Pachinko, Min Jin Lee 14. Outline, Rachel Cusk 13. The Road, Cormac McCarthy 12. The Year of Magical Thinking, Joan Didion 11. The Brief Wondrous Life of Oscar Wao, Junot Diaz 10. Gilead, Marilynne Robinson 9. Never Let Me Go, Kazuo Ishiguro 8. Austerlitz, W.G. Sebald 7. The Underground Railroad, Colson Whitehead 6. 2666, Roberto Bolano 5. The Corrections, Jonathan Franzen 4. The Known World, Edward P. Jones 3. Wolf Hall, Hilary Mantel 2. The Warmth of Other Suns, Isabel Wilkerson 1. My Brilliant Friend, Elena Ferrante

[dweemeister]

Thank you for joining me during this month-long marathon of “31 Days of Oscar” for another year. That’s all for now!

Bride of Frankenstein (1935)

[lost-in-fandoms]

Winter Warmers Day 31: NYE countdown. Maxiel. About 1.5k words.

"Max, Maxy, Maximum, Maximus Prime!"

Max turns away from his conversation with Alex just in time to catch Daniel around the waist as he stumbles into him, the drink in his cup sloshing over his wrist.

"Hello, Daniel," Max says, unable to stop himself from smiling, readjusting his grip so that he can hold Daniel more comfortably.

From the corner of his eye he catches Alex moving away, probably deciding that their conversation is over now that Daniel has Max's attention. Which is a very fair assumption, given that in all the years they've been friends, Max has always dropped anyone and anything to focus on Daniel.

Some might call it pathetic, to still be in love with his best friend after so long, but Max doesn't really care about what other people think. He just cares about Daniel's warm weight in his arms, and the fact that when all the people at this party will have left their house, Daniel will still be there, probably moving stuff around to pretend he's helping with the clean up.

"Are you having fun, Daniel?" he asks, trying to maneuver them towards the kitchen, both to clean up Daniel's wrist before he complains about the stickiness and to not feel like every single person is staring at them.

Well, every single person other than Charles and Carlos, who seem to be trying to get acquainted with each other's tonsils.

"Yes," Daniel answers, letting himself be dragged away, stumbling unhelpfully on his own feet.

Once they're in the kitchen, occupied only by Logan and Oscar, heads bent over a phone, a half empty bottle of wine next to them, Max hoists Daniel on the counter, right next to the sink, swiping away a few empty paper plates.

"Stay still, please," he tells Daniel, grateful he doesn't have to shout as much over the music anymore. They should probably start lowering that actually, if they don't want the cops called on them again, but it's new year's eve, for sure old Meredith could let it slide this once.

He plucks Daniel's cup from his hand, something of not clear nature inside it, and wets a couple paper towels, gently wiping at his wrist and hand.

"Maxy," Daniel says, dropping his head forward to rest it on Max's shoulder. He's making Max's job harder like this, but Max is not going to complain. He just hums, showing Daniel he's listening.

"I have decided on my resolutions list," Daniel tells him, sounding slightly more sober than he did before.

Max drops the paper towels and grabs an empty cup, filling it with water from the sink and handing it to Daniel, coaxing him to raise his head to drink it.

Daniel had been talking about his resolutions list for more than a week. Max is not sure why he's so set on having new year's resolutions, since in the past eight years he's known him not once Daniel has been the kind of person who follows a plan, but he's been listening anyway every time he brought the topic up.

Max doesn't understand why he's having so much trouble creating the list either. Sure, Daniel does have his moments of perfectionism, but seeing him actually get stressed about this had been puzzling.

"Yeah? Can I know it?" he asks, dropping the now empty cup when Daniel hands it to him before opening his arms, letting Daniel comfortably slump into him again.

Somewhere on his left, Logan and Oscar leave the kitchen, closing the door behind them, cutting off a little more of the noises of the party, making Max feel like he's in his private Daniel bubble for the first time this evening.

He's not ashamed of saying that he's a bit possessive, greedy about having his fair share of Daniel's time, but he's gotten better with the years. The last time Daniel had been in a relationship, Max hadn't even tried to scare them off, but they had gone anyway after a couple of months, leaving a very mopey Daniel behind. Max had keyed their car.

"First thing, I want to learn how to play the banjo," Daniel says, way too loud way too close to Max's ear.

It makes Max smile anyway, knowing this point will be abandoned in a few months at most, just like every other instrument Daniel had tried to learn, getting bored with each one of them.

"Good start," he encourages anyway, because he's nothing but disgustingly soft when it comes to Daniel, even worse when he's tipsy like tonight.

He gets rewarded by Daniel pulling back to beam at him, before going back to Max's shoulder.

Sometimes holding himself back from kissing him takes all of Max's strength.

"Then, I want to improve my handwriting."

Yep, just as Max had thought. Another task that will be abandoned, like all the other times Daniel had tried before.

"I can read your handwriting," Max tells him, because it's true. No matter the kind of drunken chicken scratch he finds on the grocery list, Max has learned to interpret it all. It's not that hard really, when you manage to recognise the subtle differences between the squiggles. Part of the game is actually learning what is supposed to be a word and what is a doodle.

"You can, because you're great," Daniel mumbles against his shirt, as Max tries to pretend he can't feel himself blushing, "but I am so tired of people complaining about it."

"People should just learn how to read," Max tells him, unhappy with someone making Daniel feel like he should change. Which is very stupid, because Daniel is perfect, chicken scratches included.

It makes Daniel laugh, waist moving under Max's hands, his wet bottom lip dragging against the exposed part of Max's shoulder.

"Do you have any more?" he rushes to ask, trying to distract himself from the feeling of it.

In the other room, the music gets lowered, and for a second Max thinks it's the cops again, until he hears someone scream two minutes!

They should probably rejoin their friends, celebrate midnight with them, but Max is quite comfortable where he is, and he doesn't want to see Daniel grab someone to kiss, even if just to laugh about it afterwards.

He had long learned his lesson, after one year he had tried to angle himself in Daniel's line of view, just for him to reach around him and grab Charles instead. Max had gotten way too drunk that night.

"One more," Daniel says, voice even lower now that the music is off and they're so close. He sounds more hesitant suddenly, nervous fingers fidgeting with the hem of Max's shirt.

"Do you want to tell me?" Max asks, just to be sure. Sometimes Daniel needs a little push before he opens up, but it's always a very thin line between getting an answer and being shut out with a joke instead. This time Daniel nods.

"I want to suck your dick."

Max chokes on his spit, trying to push back Daniel to be able to see his face, feeling his eyes go wide.

It wouldn't be the first time they joke about it, but Daniel doesn't sound like he's joking, and if this is a prank Max is going to get very drunk again and probably go cry in the bathroom, but...

But when he manages to push Daniel's head up, he's blushing and he's looking at Max from underneath his lashes, fear and determination mixing on his face.

"You mean it?" Max forces himself to ask, sounding breathless. His heart is beating too fast, so loud he's sure Daniel can hear it too.

Daniel nods, one corner of his mouth turning up in a shadow of his usual smile.

"My last resolution is to stop lying to myself about my feelings for you," he says.

It echoes around his brain, bouncing around and amplifying: feelings for you feelings for you feelings for you feelings for you.

In the other room someone starts the countdown, and Max reaches forward, cupping Daniel's jaw with his hands.

"Are you gonna buy me dinner first?" he asks, just to see Daniel smile properly.

"Can I do it next year?"

Max rolls his eyes, but he still chuckles, weak for Daniel always, even when it's his bad jokes.

Three, two, one...

On the other side of the door sound explodes, their friends cheering and screaming, but Max barely hears it as he presses his lips against Daniel's.

(George screams when he opens the door to come grab the champagne chilling in the fridge and finds them making out against the counter, Max's thigh between Daniel's. The new wave of cheers that follows it is so loud Max starts mentally preparing his apologies for old Meredith and the cops, even as he copies Daniel in flipping them all off.)