#Also when I first saw the trailer for it I was in a theater in Amherst MA

[muhammadgiovanni]

Bob Carpenter “Miracle Man” Silent Passage, 1975.

[animationismycomfort]

bruh being born in the 2000s is so weird cause I grew up with one tmnt show was around when another came out and ended and I’m now around for another new release

[philip-the-nickel]

Marketing did Elemental DIRTY

Just saw the movie, it was well worth the watch. The trailer made the movie look like some half assed race metaphor Zootopia ripoff with a canned, rehashed love story you've seen a million times.

Let me be clear, Elemental was none of the things the trailer made you believe it was.

First things first, The Romance:

There's a reason aro/ace people are flocking to this movie. The main couple falls in love without having to rely on any passionate kisses or hand holding; they fall for each other based on who they are, their personalities, their interests, their appreciation of the other's uniqueness. The central hand holding comes at a point in the movie well after the two are established as a couple, and have gone on many dates together. This movie makes their characters fall in love over mutual appreciation, not physical chemistry, and its such a genuine, sweet, wholesome romance to see play out

On top of that, this movie goes into a lot of aspects of immigrant life and the expectations that come with being a first born in a new country. The romance does not shy away from this or sweep it under the rug. The romance blossoms as the two learn more about each other, and come to understand and respect those differences.

Second, the movie isn't about romance, its about being an immigrant.

I came into this movie expecting zootopia 2: now with elements, and what I got was a heart-wrenching look into the life of a first generation child in a new land, born to immigrant parents. The movie absolutely does NOT sugar coat things, showing not only an ellis island moment of having your name changed, but also a number of topics ranging from having to navigate in a city made for people who are nothing like you, being denied housing, micro-aggressions, and straight up being denied entry to public places based on who you are.

The true heart of this movie is about the child of immigrants realizing the life she wants for herself, struggling with disappointing people who gave up everything they had so they could give you a better life, repaying that sacrifice and what a burden it feels like, and somehow facing the truth of who and what is staring back at you from the mirror.

Third, and lastly, the movie is absolutely beautiful

The trailers did this movie dirty. You never saw the refracting lights from firelight streaming through water, you didn't see the glassblowing, or how the fire dies down to barely a wisp when Ember is sad to burning like a wildfire when she's angry. You didn't see the scene underwater with the tree and |Spoilers|, you didn't see the world building or the character design that went into the background characters. This movie is absolutely beautiful, and uses light as both a visual treat and a metaphor for the movie's themes. Its absolutely gorgeous.

So, if you're wondering whether to skip this movie or watch it, I'm telling you now: ignore the trailers and go see this in theaters.

[mochifiction]

I Saw Transformers One Early Last Week. Let’s Talk About It!!! (SPOILER FREE)

EXPECTATIONS

I’m going to be honest, I had very very low expectations for this movie for a multitude of reasons. The first was the cast, particularly choosing celebrity hires instead of professional voice actors for a franchise where dialogue delivery means SO MUCH historically and the present. I like Chris Hemsworth, I do, but I am so attached to Orion Pax that I did NOT see him as someone fit for the role. I was also afraid of it becoming a WFC situation where the VA tries TOO HARD to be Peter Cullen. I am also a huge fan of Elita One, and Scarlett Johansson was not my first choice by any means. The one thing giving me hope was the fact that Scarlett and Chris interact SO WELL in their films together and in press releases and they do give off that Orion and Elita energy sometimes. Regardless, I was skeptical.

Now for the big thing: I was very nervous how they were going to handle the politics and the buildup that leads to Megatronus and Orion’s separation. It is no secret that Pre-War Cybertron in many continuities begins with a very corrupt and fascist Senate. Corrupted Senators, capitalistic manipulation and unethical abuse, dehumanization, corporal punishment, you name it, Cybertron had it. The concepts of functionalism, shadowplay, mnemosurgery, and empurata also come to mind. It is also no secret that the United States is on the brink of total fascism. A lot of Pre-War Cybertron’s themes, particularly the Decepticon cause in its early days as a movement, emphasized the elimination of the oppressive regime and reconstruction with an end to the very infrastructure that caused class division and brutalization of Cybertronian bodies. Not only this, but Megatronus and Orion’s schism often comes because of class, particularly privilege and lack thereof, which is something that often happens in revolution. Those with more privilege often think that reform can happen underneath the system that looms over them, just with a switching of a guard and elimination of a few policies. They are often ones who partook in and benefitted from the system by birth or for the sake of survival. Those who come from the lower classes want to burn the entire system down, understanding in its entirety that its very infrastructure is unstable and is not sustainable, no matter who is in power. Examples of this divide despite deep friendship and similar ideas is Andres Bonifacio and Jose Rizal of the Philippines (as a Filipino). Orion, in most cases coming from a privileged background, saw hope in simple reform after extracting the corrupt portions of the federal structure. Megatronus, who fought his whole life to be deemed as sentient, understood that the entire system was diseased and could not go on. It would just eventually continue its horrid practices. I can go on a tangent about this, as someone who studies and writes on anti-colonialism, but that’s another post for another day. My concern based on the trailers was that it would address NONE of that and there would be some watered down conflict that removed the nuances and political passion behind a lot of other continuities. The trailers, to me, were not giving me enough proof that it would be handled correctly.

Initial Experience

My theater was filled with mostly adults of various ages who were fans of different continuities. Some people were even talking about how they thought the movie was going to suck, including me with my dad, who has been a fan since G1 in the 80s and was going in blind. However, throughout the entire film, the whole theater was laughing, gasping, cheering, clapping, and screaming. Afterwards, there were people who were literally talking about how it was the movie they’d been waiting for after years of disappointment. Someone literally shouted when leaving the theater that he was so excited for September when everyone else could see it. My dad, who has not been a fan of recent Transformers material, talked nonstop about how much he loved it. Me personally, I was BRIMMING with excitement afterwards, which is huge given that I was ready to criticize the movie’s every move. Let me get into why- note this is SPOILER FREE.

Orion Pax

Believe it or not, I really liked TF1’s Orion. He was witty, had the snark of Aligned Orion, and clearly had a goal in mind: to entirely shift the status quo by breaking the class distinction. He was extremely optimistic like most versions, something that is often criticized in the fanbase, and is also criticized in the film. However, the qualities that G1 created and the Bayverse destroyed were THERE. Orion was a DORK. He was KIND. He CARED for people deeply, even if they weren’t necessarily thinking about him. He was a KNOWN PROBLEM-SOLVER. His intelligence is noted MULTIPLE times. He really is authentically Orion. I’ll do a more in-depth analysis in September.

Megatronus/ D-16

Now, THIS MAN WAS AMAZING. I am so used to the source of his anger being solely lower class-based oppression amongst other things relating to that. The film offered another option, which I will not disclose, but I thought it was a wonderful addition. I will keep my mouth shut about D-16’s personality in this film because it’s a secret, but just know this new take on Megatronus was a bit refreshing and gives new material for both fan continuity writers and fanfic writers.

Elita

I was honestly scared to see how they would portray Elita, especially with their track record of solely making her Optimus’s love interest and killing her off. I also was afraid that they would turn her into a white feminism caricature, which I can go into depth about for clarification if anyone needs it. However, the writers take feminism for Elita and take a much more in-depth route. I found her well done. She was giving mother in this film, absolutely brilliant. There will be an analysis on her as well in September, especially since they have so much intended room for her.

Worldbuilding and Additional Characters

I think that with about an hour and a half, it would have been SO HARD to create an entire world of deep political brutality and nuance like the comics directly. So, I think the writers created a framework that was good enough to convey the fascist undertones of Cybertron while also leaving so many avenues to explore and elaborate on for future films, whether they be prequels or sequels. Some characters were added in with a bit of context, but no in-depth explanations. While I would normally say that’s a downside, I think that it was actually really smart on their part. If you tried to add all of these complex stories from the comics in an hour and a half film combined with everything else, it would have likely been underdeveloped and left more questions and holes than answers. By removing that, I think that it was a smart move to expand on in their own time and with good pacing. Besides, the presence of some characters was very enjoyable and kept the audience I was with wanting more from them. Not in a “there wasn’t enough of them” way at all, but instead a “they were so cool in the short time they were here I need more now” way. Everyone in this continuity gets a new and different start. I honestly think it would give fan continuity writers motivation to continue what they’re doing, now that basic and consistent pre-war plot lines have been redone. I think for how long the movie is, they did a great job.

Additional Thoughts

I think that everything was pretty well done. The pacing was especially important, given we were supposed to witness a buildup in such a devastating “divorce”. That isn’t done lightly, and they made sure that they built it up enough to where the final blow was devastating. It was SO DEVASTATING that people in my theater were gasping left and right. The comedy was well done, as someone who hates poorly-written jokes for laughs. It fit into the characters’ personalities well, that’s what made it work well. It didn’t feel forced because that’s just how that particular character is. I also think that, as a fandom, sometimes we get too wrapped up in very specific characterizations of these individuals to the point where we refuse new ideas. I was extremely guilty of this. However, this film was truly made by someone that loved the franchise and knew exactly what the fans wanted. Brian Tyler, who did the score for TFP, also doing the score for this film was proof of that (as someone who absolutely ADORES film scores as a musician) There was a good amount of brutality within the rating of the film, so bayverse fans who are itching for something shockingly horrible are in for a surprise. I also think that it knew its boundaries well and moved not to push them while also being considerate of certain audiences who may be a bit younger. It was a good restart, especially for animated Transformers films, and I think that they can really build it into something great. This was a very sound foundation and I was not disappointed.

ALSO, THERE IS A MID AND POST-CREDIT SCENE SO DON’T LEAVE IMMEDIATELY

[astoundingbeyondbelief]

I was a skeptic about Criterion releasing any post-Showa Godzilla movies on disc, but lo and behold, they're teeing up Godzilla vs. Biollante, my favorite movie of all time, for 4K Ultra HD + Blu-ray (or just plain Blu-ray) on March 18. The description:

SPECIAL EDITION FEATURES:

New 4K digital restoration, with 5.0 surround DTS-HD Master Audio soundtrack

In the 4K UHD edition: One 4K UHD disc of the film and one Blu-ray with the film and special features

New audio commentary featuring film historian Samm Deighan, host of the podcast Eros + Massacreand coeditor of the book Revolution in 35mm

Making-of program from 1993 featuring director Kazuki Omori and special-effects director Koichi Kawakita, among others

Short documentary from 1993 about the Biollante and Super X2 vehicle concepts

Deleted special effects

TV spots and trailers

New English subtitle translation

PLUS: An essay by science-fiction and horror film expert Jim Cirronella

Yes, this means they're skipping over The Return of Godzilla and not waiting until all the Heisei films are in their hands to unload them as another box set. I was surprised at first, but it makes sense. Biollante is the only Heisei movie Toho has released on 4K in Japan so far (with The Return of Godzilla and Godzilla vs. Mechagodzilla II joining it in June), and arguably the best-regarded. Toho's always going to prioritize the domestic market first, so this is Criterion's best shot at a new release during Godzilla's current swell of popularity.

I have mixed feelings, as is usual when any new English kaiju/tokusatsu home release is announced. I'm glad the movie is back in physical circulation; it's again become legendary as the most difficult Godzilla movie to find on home video for a reasonable price. Only one library in my county owns it, and that number is about to spike. It'll be a major visual upgrade to boot. The non-G54 movies in the Criterion Showa box set didn't have audio commentaries, so I'm glad they sprung for one this time. I'm not familiar with Samm Deighan's work, but I think she's the first woman to record an English commentary for a Godzilla movie.

But...

I saw the Criterion presentation of Godzilla vs. Biollante at the Dryden Theater in October, and the subtitles were... simply not proofread, or at least not proofread by anyone who should have a job in the field. "More typos than a Mill Creek Ultraman Blu-ray" was how I described it at the time. I believe Criterion is using a number of vintage (we're talking probably-shown-in-Hawaii) subtitle scripts for the Toho tokusatsu films they're made available on streaming but not on disc, and I dearly hope they show more care with the Biollante 4K.

There's also no English dub.

This suggests that Toho is now doing its best to bury all the pre-Reiwa Godzilla dubs, even the ones they commissioned themselves. I doubt Criterion will bother to include the film's English visuals either. So... the version of Biollante I rented from Blockbuster some 20 years ago, the version I grew up with, will just be completely erased from the latest-and-greatest (and last?) edition. Depressing stuff. The current incarnation of Toho might be embarrassed by those old dubs, but as an indignant woman in the Diet Building once exclaimed, the truth is the truth! And Biollante's one of the films I prefer to watch dubbed (for one, nobody can argue that the English the actors spoke on set was better than that recorded by the Hong Kong Players).

Lesser concerns: I'll have to double-check, but I think the making-of program and the short documentary were on the old Echo Bridge discs too. The trailers would be new, but, well, they're trailers. So potentially nothing fresh in the featurette department, certainly not a retrospective with surviving cast and crew. (Somebody get one of those done before we lose even more of them!) And I do feel bad for Ed Godziszewski, whose commentary for Echo Bridge was effectively pocket-vetoed by Toho and is now truly never going to see the light of day.

Bleh.

[five-hxrgreeves]

Not Like Quill

PAIRING: adam warlock & fem! quill’s sister!reader

WC: 2.5k (longer than I intended, oof!) 

SUMMARY: after your half-brother and half-sister leave, you’re left to fill in Peter’s shoes on the Guardian team. Unfortunately, Rocket can only see the faults where you lack the qualities that his best friend has. Luckily, though, a certain golden boy is always there to cheer you up.

WARNINGS: slight gotg three spoilers, fluff, angst if you squint.

AUTHOR’S NOTE: so this is my first official one shot AND first time writing for GOTG (hopefully I did a good job.) I saw GOTG3 in the theaters almost a week ago and WOW, was I surprised by Adam!! (I make it a point to not watch trailers to avoid spoilers.) I liked Will in The Dawn Treader but I haven’t seen any of his other movies since they’re not genres I usually watch, but I have been SLEEPING on this man!! I’m now obsessed with Gally (I’ve never even seen TMR but I’ve now read a ton of FFs) and, of course, Adam. So, here’s a one-shot :)

I know that Peter gave Rocket his Zune but in this scenario he gave it to you, his other half-sister. You do have powers but they’re not really mentioned here; if anyone is interested I can make a sequel/prequel.

Part 0 , Part 2

The repairs to Knowhere were going well— or at least as well as could be expected with leaders who bickered as much as the remaining Guardians. Peter and Mantis had left the planet a few weeks ago, leaving everyone quite sad at their departure. But, there were things to do so those that remained moved on as best they could in order help out. You, however, as Peter’s half-sister, had been hit harder by their departures than the others. Mantis and Peter were the only family you had, especially since the group had killed your father (not that he’d been a good one, of course.) Sure, the other Guardians had become like family to you over the years, but they weren’t blood— but this is also the only reason why you decided to stay instead of going off on your own like your siblings.

To make matters worse, the only physical reminder that you had of your brother was his Zune, which he’d left to you since you’d always stolen it anyway. Almost every day since his departure you could be found with the Zune clipped to your belt with at least one— and often both— earbuds plugged in to drown out the world. You busied yourself with helping the rest of the population repair their homes, enjoying the physical work as it tired you out too much to think about your missing family. When you weren’t working, you were training, which is how you (more officially) met one of the newest members of the Guardians, Adam. It hadn’t been the best first meeting, but that was a story for another time.

You were grateful to him for saving your brother so after he apologized for almost killing you, you forgave him pretty easily. Since you wanted to fill up your free time as much as possible, you offered to help train him because although he had powers, he’d barely been a match for the Guardians during the initial fight. You became close because of this and you found that you enjoyed his myriad of questions. You made sure to always be patient when answering him since you knew that the other Guardians were either too busy or would snap at him.

However, that was about the only good thing that had happened to you since the defeat of the High Evolutionary. The only time you really saw Rocket, Groot, Drax or Nebula was when you helped out around the headquarters or went on a mission, and even that wasn’t the same as it used to be. Rocket was a very different leader than Peter; he was, well, smarter, so that was good, but he had yet to acquire any sort of nurturing or encouraging attitude. When they trained as a team to get used to each other (as they had also added Kraglin and Viola to the group), Rocket would veer towards critical rather than critiquing.

“No, on your left, you idiot! Your other left!”

“You call that aim? Blurp could hit the target better than you!”

And, lastly, “that’s not how Quill would do it!”

Ouch. That one was always aimed at you, for anything Rocket could criticize you for. It didn’t have to just be training; sometimes he took it to ridiculous levels, either for the music you selected or the food you cooked. Anything you did, he compared you to your brother. And of course, you loved Peter; along with the other Guardians, he had saved you and Mantis from Ego and for that alone you would love him, but he had left you terribly big shoes to fill and you weren’t even the leader. You tried to hide how much Rocket’s words affected you— usually by keeping your Zune close at hand to drown him out, but they did get you down.

Even worse was his nickname for you. Although it had once been endearing, “little Quill” now felt like more of an insult— as if he knew you could never measure up to Peter. You never confronted him about this since you knew Rocket had a barbed tongue, but after being abandoned by your siblings, his words seemed to hit you harder than before. So, you kept your distance from him as best you could and tolerated it when you couldn’t.

On this particular day, you had decided to make chocolate chip cookies, which Peter had taught you to make on the first ‘Christmas’ that you’d been with the Guardians. You were really missing your brother so you plugged in your earbuds and started on the familiar recipe. In this instance, the kitchen that you were using was communal, so it was no surprise that someone else walked in on you as you baked. You didn’t notice at first, too lost in the music of Bohemian Rhapsody.

Adam had come into the kitchen after following the sweet scent that had caught his attention. He smiled a little at the sight of you standing at the counter, elbow-deep in. . . something. It was golden in color, although lighter than his skin, and flecked with black. He waved to get your attention but as usual, you were oblivious to your surroundings (and you were a fighter?) so he made his way over to you and tapped you on the shoulder.

Feeling the presence of another person, you turned around to see who it was— if it was anyone worth talking to— and when you saw that it was the (literal) golden boy, you sent him a smile and pulled one earbud out of your ear. “Hey, Adam.”

“Hi,” he replied you, still a little uncertain with less formal greetings. “What are you making? It smells really good.”

“Chocolate chip cookies,” you said. “Peter taught me how to make them. Do you want to try some?”

He looked at what was in the bowl curiously. “What does it taste like?”

“It’s sweet. If you liked the smell I’m sure you’d like the taste. Watch,” you instructed. Then you carefully picked up a small bit that had a chocolate chip in it before you at it. You closed your eyes and hummed at the delicious flavor.

Adam copied your action carefully, even going so far as to close his eyes and make the same sound— and then he repeated it more genuinely as he realized how good it was. You grinned at his reaction. “You like it, huh?” When he nodded, you added, “want to help? I’m almost at the fun part!”

“What’s that?”

“It’s where we make the cookies— this is just the batter,” you explained.

After you both washed your hands, you showed him how to form the batter into matching spheres and line them up on the baking tray. As you worked, you talked about the music you were listening to and even transferred your spare earbud to him so Adam could listen as well. Bohemian Rhapsody had become Starless by the band King Crimson. . . and of their better-known members, Adam Belew. You couldn’t help but find it amusing that Adam had the same name, and that one of the lines was “sundown dazzling day/gold through my eyes.”

As he finished forming one of the last cookies, Adam glanced up to see the hint of laughter in your expression. Although he didn’t know what was funny, he smiled back at you. For some reason that he didn’t understand, he was happy that you were happy; it was an emotion that you didn’t really seem to show that often, so the rare chance that he got to see it only made it more special. Your grin widened at you leaned forward to whisper conspiratorially: “now comes the fun part!”

He frowned with confusion. “I thought making the. . . cookies was the fun part,” he said slowly, trying out the new word.

“Sort of, but everyone knows the fun part is licking the bowl!” you exclaimed happily. “Like this.” You scraped some of the remaining batter together until it was big enough to eat before you popped it into your mouth. Together you made quick work of the remaining batter and then you put the bowl in the sink. You’d started the oven earlier, so it was ready for the tray.

After setting the timer, you made a face. “Now it’s time for the worst part: doing the dishes. Peter hated doing them so much that we usually just put them in the contamination chamber and chucked them out to space,” you explained with a giggle. “If anyone asked why we had to buy so many new dishes we just said that Peter was really clumsy.” You finished the story with a wistful look, remembering all the fun that you and your siblings had had before the Snap had ruined everything.

Adam wasn’t sure if doing the dishes was really that bad, but the happiness that had been present while making the cookies had slipped off your face, so he figured that it must be an arduous task. Wanting to spare you the discomfort, he offered: “I can do them, if you want. You did most of the work anyway.”

His suggestion pulled you back to the present and you shook your head. “You don’t have to. Since this is your first time having cookies you can just enjoy them. Next time you have to help,” you added playfully, covering up your sadness as you always did with humor— you learned that from your brother, after all.

The golden boy allowed a small smile at that, although he’d picked up on your habit. “I can wash and you can dry?”

You agreed, and soon the task was done. While you waited for the cookies to be finished you answered a few more of Adam’s questions. You found his curiosity refreshing after spending so much time with smart-ass, know-it-all teammates that wouldn’t know how to ask question if it slapped them in their face. (And yes, you did love your teammates— that’s why you could call them out on their stubbornness.)

The cookies were done about fifteen minutes later and you took them out to cool for another ten before you took one for yourself and one for Adam. You sat down next to him and bit into the warm dessert, closing your eyes again to enjoy it. As much as you liked the batter, the finished cookie was definitely better. Adam seemed to agree as he made the same sound of enjoyment from before, causing you to open your eyes and grin at him. “Good, huh?”

“Definitely,” he agreed, and he was finished with his cookie before you were done with yours.

You saw him eye the tray greedily, which caused you to laugh. “Go ahead, you can have another one.”

As he did so, the other members of the Guardians entered the room, apparently drawn by the same scent that Adam had smelled. Kraglin took his with a nod of thanks, stuffing one in his mouth as he left the room. Viola took one as curiously as Adam had, seeing as she’d never had a cookie either.

“You can take some to the other kids,” you told her— you’d made a double batch since they were pretty popular, so there was plenty. She thanked you as well and took some extra for her friends.

Then, it was Rocket’s turn. After the rest of his reactions to whatever you did, you found yourself holding your breath as you waited for his opinion. It only took a moment before he pronounced: “not bad, Little Quill.” You perked up at that, eyes wide with hope that you had finally done something right— something that Peter couldn’t do better than you. But Rocket wasn’t done: “not like Quill’s, though.”

You slumped in your chair as he took a few extra, oblivious to the effect his words had on you— but Adam noticed. “I think hers are better than Peter’s,” he spoke up quietly.

“Sure, blondie. You ain’t never tried Quill’s though, so ya don’t have a comparison.”

“I don’t need to,” he insisted, glancing over at you. “I know they’re better.”

Rocket scoffed with disbelief but didn’t bother arguing the point (he knew he was right, anyway), and left the room without so much as a thank you. Adam glanced over at your defeated posture; you’d been so confident and happy moments before the other Guardians had come in, but now you seemed to shrink into yourself, as if Rocket’s careless words had physically hurt you. Normally your recovery time after such an incident would be fast so no one else could pick up  on your feelings, but this was the proverbial straw that broke the camel’s back— if you couldn’t do cookies right, what hope did you have for anything else?

You suddenly felt a warm hand settle on top yours, which had been resting on the counter. You looked up sharply, surprised by the touch— you hadn’t been so much as hugged since Peter and Mantis had left. Adam’s expression was sympathetic, but there was a hint of anger in his golden eyes. “You’re not like Quill,” he said.

Unfortunately, you mistook his words after being so used to Rocket’s insults and looked away. You’d expected this sort of thing from him, not from Adam, and the blow hit you harder than anything Rocket had ever said. “I know,” you snapped, taking your hand away from his. “Thanks for the reminder.”

He gave you a confused look since he wasn’t sure what chord he’d struck to cause your reaction. It dawned on him quickly how his words could have been interpreted and he gently took your hand again as he repeated more firmly: “you’re not like Quill. You’re. . . there isn’t anything to compare. You’re not your brother— Rocket shouldn’t expect the same things from you that he did for Peter.” He hesitated for only moment before he added, “I can. . . talk to him, if you want.”

As he’d spoken, you realized you’d made a mistake and your initial thoughts had been right: Adam wouldn’t use your brother against you. You felt guilty for jumping to conclusions and gave him an apologetic look. Then, his words really sank in; a statement about how special your uniqueness was from someone whose society was literally carbon copies made your face heat up at the impact of his sentiment. You found that you couldn’t look him in the eyes and lowered your gaze to your still-connected hands. “I— thank you,” you said softly. “I just wish Rocket would see that. You don’t have to talk to him— I should be able to do that myself; I’ve been his teammate for longer, after all. But. . . I really appreciate it.”

His expression softened as he squeezed your hand, which inexplicably made your stomach roll nauseously (but in a good way, like when Peter would do loop-the-loops with Milano’s pod.) “Anytime, Little Quill.”

And just like that, “little Quill” went right back to being an endearing nickname.

[what-gs-watching]

"You can be beautiful or you can be ugly, but you can’t be plain."

Soooo I’m pretty sure I died over Christmas; my entire family got a stomach bug that was the worst thing I’ve ever experienced, and now I have a head cold and I’ve lost my voice and I’m convinced this is some weird limbo and I’ll never be healthy again.

BUT! Before all of that, my dad and I got to indulge in our favorite holiday tradition: going to the movies. He and I have been sneaking off in the afternoon once everyone falls into a Christmas coma to see something for like, fifteen years. That man hates holidays because my mom goes insane trying to make them perfect and he just wants to escape and I appreciate that he allows me to go with him. 

This year, I was especially excited - the first time I saw the trailer for A Complete Unknown in September, I called him immediately screaming about it. Bob Dylan’s music was a huge part of my childhood, another thing that my stoic father shared with me, and could not wait to see it with him. Honestly, I’d been vibrating out of my skin about it, shrieking at the tv every time the commercial would come on.

Gang. It was so worth it. What a beautiful fucking movie.

Wherein, 19 year old Bob Dylan (Timothee Chalamet) heads to New York City in 1961, befriends Woody Guthrie and Pete Seeger (Ed Norton), breaks into the folk scene, falls in love, has insane on and off stage chemistry with Joan Baez, writes songs that define a generation, puts the Newport Folk Festival on the damn map, learns he doesn’t really love fame, and then eventually goes electric. 

I do realize this movie isn’t going to be for everyone - it’s specific. Like, were you alive then and you’re wanting to relive that time and the way Dylan’s music made you feel? Perfect, you’ll dig it. Or, are you a super weirdo like me that WISHES you were alive during that time and just deeply loves the 60’s aesthetic and longs for what you think was a simpler era but it really was not, and you just want to romanticize the whole thing and feel wistful about it? Amazing, get your ass to the theater. 

One thing I appreciated about this movie was that it wasn’t really shoving anything down your throat, what was happening wasn’t overly explained, there were no ridiculous voice-overs or forced understanding, and honestly, Dylan was fairly mysterious. It didn’t feel like it was from his point of view, you’re not going to come out of this feeling like you finally GET him. He’s still this weird mythical genius, just doing what he’s driven to do. He never explains himself and he never wants to. So is this really a biopic? Or are we just seeing a snapshot in time, take it or leave it? I don’t think it matters; it’s wonderful, either way.

Also, like, DAMN, Chalamet. He was fucking incredible. Dylan is a hard guy to portray, he’s always been kind of aloof, withdrawn, he’s never seemed like this larger than life personality and to pull off that demeanor in a way that’s still endearing to the audience is NOT easy. He really encapsulated Dylan’s confusing charm, it was pitch perfect. And I had to laugh to myself a bit - last year’s Christmas movie was Wonka, also starring Chalamet. What a hilarious dichotomy from one year to the next. 

I’m going to be watching all of the award shows just for this. Give this dude all the flowers. 

As much of a fan of his music as I am, I never did a deep google dive on him and so I really enjoyed seeing his relationship with Joan Baez unfold. The scenes of them performing together were honestly beautiful, their voices blending and complimenting each other. Her song “Diamonds and Rust” unsurprisingly was also a large part of my musical upbringing and to learn she’d written it about their relationship - fuck. I listened to it again after we left the theater and it was devastating in an entirely new way.

Here’s the thing. I absolutely cried big fat tears a few times sitting there. It’s not a sad movie in any way, shape or form. But when he performs “The Times They Are A-Changin’” at the festival, just him and his guitar and his harmonica, and the crowd starts singing along with him, having never heard it before, I sobbed, smiling. 

When I was a senior in high school, my dad - who notoriously never put effort into gifts for us kids, relying on my mom to know what to buy - sat down and  made me a bunch of mix CDs of the songs he’d always been sharing with me. One of them was his 12 essential Bob Dylan tracks. The rest of that year, I lived in those tracks. The agenda pad I used for that school year was littered with Dylan lyrics, it’s my basement even now, “don’t criticize what you can’t understand” scrawled all over it.

So I was 17 again, sitting there, or 8 or 21 or any of the ages I’ve been where Dylan has kept me company. “It Ain’t Me Babe” is deeply ingrained in my mind as part of the dumpster fire that was the relationship I had with the first boy I ever fell truly in love with, and watching his long-time girlfriend Sylvie (Elle Fanning) witness him singing that with Joan Baez was like a punch to the gut. 

I’m not 100% sure what I’m driving at with all of this, but what I can tell you is: A Complete Unknown is beautiful. If you have any connection to Dylan’s music, it’ll light your soul on fire. If you don’t, it’ll still immerse you in a time or place you really should visit. It’s fascinating and visceral and glimmering, and it just might change you, a little bit.

HOW does it FEEL?

[graciesbow]

Please pleaseeeeee write a Severus Snape x reader who’s obsessed with musicals and drags him to see wicked and sings musical songs (like wicked/mamma Mia/sweeney Todd of course/hamilton) at home constantly

In honor of me seeing wicked 7 times I thought I'd write this :) ( I have so many one shots lined up) (let's also pretend the movie is act one and act two I got too ahead of myself)

CONTAINS SPOILERS FOR WICKED!!

You didn’t think you’d ever convince him to come.

The second you saw the trailer for Wicked, a movie musical inspired by Wicked: the musical, you knew you had to go. The soaring ballads, the lush costumes, the reimagining of the Land of Oz—it was everything you loved in a story. But getting Severus, your brooding, no-nonsense husband, to agree to two and a half hours of singing and dancing? That felt like a lost cause.

Still, you tried.

“I’ll owe you,” you had said, leaning on the kitchen counter as he skimmed the headlines on his tablet. “Whatever you want. A week of your favorite movies. Even the ones with subtitles.”

His dark eyes flicked to you, amused. “A week of no musicals?”

“Deal.”

And so, here you are, sitting next to him in a theater as the lights dim and the first lilting notes of Wicked play. Severus is already slouched in his seat, arms crossed, his usual look of resigned skepticism firmly in place.

The movie begins with the birth of Elphaba, the green-skinned girl destined to become the Wicked Witch of the West. The opening number is vibrant and grand, but you can feel him shift beside you, hear the faintest huff of disapproval when characters burst into song.

“Of course,” he mutters under his breath when Glinda makes her grand entrance in a bubble, singing an impossibly high note.

“Shh,” you whisper, elbowing him gently. “Just watch.”

An hour in, you notice the change.

It starts during Defying Gravity, a powerful ballad where Elphaba begins to question everything she’s been told about Oz. The actress’s voice fills the theater, raw and full of longing, and you glance at Severus. His arms are no longer crossed. He’s leaning forward slightly, his eyes fixed on the screen.

By the time Elphaba and Glinda perform their duet, For Good, a tear-jerking number about friendship and forgiveness, you catch him tapping his foot ever so subtly.

When the movie reaches its dramatic climax, with Elphaba and the Scarecrow defying the Wizard, you feel him tense beside you. It’s subtle, but you know Severus well enough to see it. He’s invested. He cares.

As the credits roll, you sit in your seat for a moment, watching the audience filter out. You’re glowing, your heart full from the story and the music. Beside you, Severus stretches, his expression thoughtful.

“Well?” you ask, trying to keep the teasing out of your voice.

He tilts his head, his mouth twitching into something almost like a smile. “It wasn’t terrible.”

You laugh. “Not terrible? I saw you tapping your foot during For Good. Admit it—you liked it.”

He shrugs, standing and offering you his hand. “The green witch was interesting. I’ll give it that.”

As you take his hand, his grip warm and firm, you can’t help but smile. “So, would you come to another one with me?”

“Maybe,” he says, that rare flicker of lightness in his voice. “If you don’t make me watch any more bubble entrances.”

You beam, knowing full well he’ll be there next time, humming the songs under his breath when he thinks you’re not listening. Sometimes, even the most stubborn hearts find their tune.

[pascalcampion]

Under the Boardwalk.

I was at Lightbox a few weeks ago and I bumped into a friend I hadn’t seen in a while. ( hey Francis! We need to do lunch) He was laughing because he said that he had just seen a trailer for this thing I did some work on years ago. It took me a minute to realize he was talking about Under the Boardwalk. Movies do take a while to get done.

Anytime I see a movie in a theater that doesn’t come from Pixar, Disney, Illumination or Dreamworks, I clap my hands in my mind. It is SO hard to get to the finish line. Each movie that you see is the result of a series of small miracles.

I did a couple months of work on it. I was think it was in preproduction at the time. It was called Jersey Crabs at the time and there were only three people on it. At least, I only met three.

There was Chris Zibach, Ericka Stewart and David Soren.

I had just come off of two rather long and hard productions and I was a bit burned out about Art direction, production design or just… design in general.

When I first got an email about this, I wasn’t sure. But I went over to Paramount to meet with all three of them.

And you know what? They were fantastic.

Ericka was the producer and she had this no nonsense approach. Tell me your price, I’ll tell you if we can do it, if not we’ll figure something out. Boom. Done. She cut to the chase and any time I had a question she would reply within the hour. Her feedback was always short and precise, and she was always encouraging. After I was gone, she emailed me a couple of times to follow up on this or that. She didn’t leave any loose ends AND, something that is absolutely remarkable in this industry, she would reply to emails. She didn’t simply reply when she needed something, but when I would ask her if I could send recommendations, or if there were any other projects going on, she would send me an email back. I think the longest it took her to reply was TWO days, which is incredible.

Chris Zibach. It wasn’t immediately clear what Chris’s role on this was. I knew he was an artist. I had met him a few years prior while visiting a friend at Dreamworks TV I think. He was quieter than Ericka. Not sure if he was shy or I was simply too aloof for him to talk to me. For whatever reason, when I saw him, I thought of Tim Burton. Maybe the genius in him? Not sure. Later, I learned he was the production designer. I was surprised because that is something I typically learn on the first meeting. I was also unsure of his role because I hadn’t seen any of his work before and he didn’t act like any of the production designers I had met before. He wasn’t bombastic or sure of himself. He wasn’t trying to win me over with his talent or past battlefield experiences. He was humble. Yes, I think that’s probably the right word. Humble. But at the time, I couldn’t figure out if it was humility or something else.

It became clear after the first few designs of his I’d seen and especially after I had done a sketch for a moment that I couldn’t quite picture. I wasn’t understanding what they were looking for and Chris did this thirty second sketch that was SO clear, SO readable and SO easy to work with, and I was. OH! Ok.. he’s the real deal.

I love Artists like him. I wish I had worked with him more actually.

And, David Soren, the director

That was such an interesting meeting.

You know how sometimes you are hesitating on a project and you meet the team and all of a sudden it all flips? That’s how it was for this. I didn’t know what this story was based on, I didn’t find crabs particularly interesting, and the story, as it was pitched, wasn’t what I gravitate toward.

But David, wow. He had this energy in the meeting, this confidence. He was good at talking but he could listen AND hear you. He could also answer questions. Any type of question regarding the art, the story, the schedule, the planning. I didn’t know much about him but I came away very impressed.

I gave it a shot and now, I feel I was lucky to have been asked because, even if I was only on this for a very short while, it was one of those candy like work experiences. All good, nothing bad. Short and sweet and really fun.

There was a moment when I was drawing this big long scene that was supposed to be in the middle of a battle and I stopped, look at it and laughed on the inside because I had just realized I was being paid to do this and THIS was SO much fun.

I don’t know what my job was, what I was supposed to bring to the project. I didn’t understand why they had me do these designs when Chris’s work was so different and so unique already, but all three did a good job at quieting those thoughts.

I was working from home and they were on the lot. If I remember correctly, they would send me emails to broadly tell me “ There is a flood there, there is a battle there, there is club, a hotel, etc etc” and I would just do some images on what I thought it could be.

They already had some character designs, and Chris had done a few images, so I wasn’t totally going from nothing.

Each time I would send a set of images, I would get an email back the same day or the next day from either Ericka or David telling me something nice. Never from Chris though. I always wondered why but now I am realizing it was because he was too busy getting the whole thing off the ground.

I would get notes sometimes but not very often. Chris would do little drawers or notes on my images and, again, they were always minimal except for that one set piece and always clear.

I don’t know what the movie is like. I was still working on this when I started with the Peanuts Special which would occupy my life for the next three and a half years.

But I do know that I remember this as a very fun, loving and carefree work experience, which have not come around very often in my career.

Thank you Ericka, Chris and David.

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You're commenting as Pascal Campion.

[susandsnell]

i saw wicked today too and loved it! what did you think? (was i the only one who went "oh shit" out loud in the theater when That Cameo happened?)

well i may or may not have just gotten out of my second viewing of it in three days some fourish hours ago, so that should be some indication!

hiya bestie! sorry for the delays on this, things have been thinging and life has been lifing. I'll admit that as early as February I was not looking forward to this movie or its promised follow-up. Splitting it into parts confused me, I was dubious over some of the casting, the visuals, the lighting, and the use of CG, and was being a bit of a hater over the trailers. However, every hater worth their salt should eat crow when they're wrong, and wow was I ever wrong. I couldn't have been more wrong, actually, because I'll go so far as to say (though I have high high hopes for Nosferatu later this month)! that Wicked Part One was my favourite movie of 2024. Extended (gushing) quasi-organized thoughts under the cut, because like Elphaba, no I never stop talking.

Bit of background, I've been lucky enough to see the show live twice, plus countless bootlegs/the cast album being the soundtrack to my life since I was nine. I know the script, the score, and the lyrics back to front. So you can imagine how shocked/pleased I was to find that the movie retained just about everything! I know people are giving mixed reviews about the extended scenes/runtime, but honestly the Oz they gave us (which I'll get to momentarily) was so wonderful and the cast so wholly inhabiting of their roles that I could not get enough of the world and these characters. I also thought they fixed several plotholes/added depth and stakes to a lot of arcs from the musical with their changes, especially with respect to the villains.

Visually, the film is an absolute treat; the colour grading/lighting does have the unfortunate modern fantasy film vibe to it, but the sets, practical props/effects, and costumes more than make up for it. That rotating library portico set? Let me live there! The Wizard's invitation?? The choreography was fantastic and every dancing scene was shot so so beautifully. My only complaint really is the CGI; the animals looked really fakey and goofy, particularly poor Dr. Dillamond, to the point that my entire theater was cracking up when his little goat ears wilted at the blackboard scene during my first viewing. Which is...not really the reaction you want to go for with a scene that's supposed to be depicting a hate crime.

The costumes in particular were a standout; Paul Tazewell's work is so stunning (Morrible's gowns, the revised Popular dress, and Elphaba's little pirate academia number when she gets her Emerald City invite) that I feel comfortable saying with the exception of Glinda's Junon-takeoff bubble dress (because it's just so iconic), they vastly outdo the stage version's costumes. He needs an Oscar for this yesterday and I'm not kidding.

The performances!!! Oh my gosh! Everyone sounding great and there being good mixing?? in a musical movie made after 2007??? Who'd've thought!!! My only complaint musically was, unfortunately, during Defying Gravity. In the stage show there's like 2 pauses in the song for plot to happen (Morrible's call-out and making the broom fly), and through that iirc they keep the instrumental going. Today, at my second viewing, I counted like....6-7 pauses where the song just outright stops, including two instances where they play different sad piano music altogether and give Elphaba this big suit-up superhero moment because book cover nod I guess, and healing her inner child, and it was kind of a pain because part of what makes Defying Gravity such a memorable piece is its momentum and when you stop the song to do something else, the momentum really dies. With that said, all eight parts of Defying Gravity were, in each pocket, performed to perfection.

I had high hopes for Cynthia Erivo vocally, but was dubious about an apparently more earnest, innocent Act 1 Elphaba as opposed to the stage version which I'm more used to, where she's a lot more of a Daria type. However, I was so pleased to find that she deepened the aching tragedy of the character with this take, especially opposite a more sinister and insidious Wizard + Morrible, and her takes on these songs, her vocal choices, her runs...heavenly. Ariana Grande pleasantly surprised me as being much cuter and funnier than I expected, and her surprise option ups during Popular were an absolute treat. Jonathan Bailey was as charming and talented as any Fiyero worth his salt (also loved how casually they made him bisexual?), Jeff Goldblum as the Wizard killed me (especially since they played him as simultaneously more of a huckster conman and an Evil Walt Disney, and it worked), but the show-stealer was Michelle Yeoh as Morrible for my money.

From the moment Morrible swoops in to smoothly cover for Elphaba's power explosion, knowing what it would mean to her to be spared social ruin, I was on the edge of my seat with such a different take on what's usually just kind of a comic relief diva character. Michelle Yeoh's effortless grace and elegance command screen presence. But the slow creep of her goading Elphaba into intensifying her powers while playing the sympathetic ear/mother figure/mentor only to make the betrayal hit that much harder (I genuinely choked up during the cut to Elphie's face when she hears her saying that her skin is a manifestation of her twisted nature), to say nothing of dangling her approval over Glinda until becoming the shoulder for her to cry on at the end of Defying Gravity...my god. chills. Forget Gelphie, shoutout to all the teenage sapphics with something deeply, deeply wrong with them who are going to have an awakening over this chillingly manipulative milfy sorceress who presents herself as a twisted maternal figure and intellectual colleague.

On the note of Gelphie -- oh my god??? A homoerotic swordfight during What Is This Feeling - are you KIDDING???? They amped it up from the stage show if anything; the Ozdust sequence brought me to tears, and then ended with them joining hands and running off together and leaving Fiyero behind like???? The amount of times they fell over each other? Glinda's thousand-yard stare during No One Mourns The Wicked, Elphaba's longing/fond glances....the love note, are you kidding me. They were baby's first yuri for me so seeing them on the big screen played with such natural chemistry by Cynthia and Ariana warmed my heart and got me super emotional. Sidenote, okay, not to be the boss baby guy about Carrie, but with the changes/additions, Elphaba is kind of Carrie White now and I'm here for it? From the visions to the explosions to baby Elphie already having her powers in the flashbacks...and then you get to the Ozdust scene, and the extended cruelty towards her plays very much as Elphaba's They're All Gonna Laugh At You Moment...only for Glinda to swoop in and dance with her as the Sue Snell, so yeah, we now have fantasy CarrieSue in Oz. We won so hard.

Last bit, to address your point about the cameos -- I really was worried that I'd be cringing at all the lore tie-ins with the '39 Wizard of Oz or the Broadway cameos or any of the other fanservice, but it all tied in and flowed so smoothly at most I was rolling my eyes affectionately rather than in exasperation (the Ding Dong The Witch Is Dead tie-in to No One Mourns The Wicked was shockingly seamless). Stephen Schwartz being the one to invite them to see the wizard got me properly emotional!! Idina and Kristin were hilarious and 10/10 diva legends as always, and the extended Wiz-O-Mania propaganda play/Grimmerie Lore Dump is both a visual and auditory treat. The original Glinda showing up to tell Ari to shut the fuck up during her song got maybe the biggest laugh of the movie out of me, but then they had Idina doing her end of defying gravity 'aaaaaaah ah ahhhh' Elphaba War cry riff as a heehe gag just like...20ish minutes before Cynthia!Elphaba is going to do it for real. Which had me in stitches because it plays then as either subversion of the wizard's propaganda in finding her voice, or Elphaba's a theatre kid and said yeah that was a sick riff I heard 2 hours ago, I'm going to incorporate it into my political loudmouthing after nearly being assassinated 20 times. Fuck you, Oz man, I'm stealing your propaganda riff!

What an ending. What a movie. Can't wait for part 2.

Thanks for asking! <3 hope you're well.

[tea-and-secrets]

I'm not sure if this is the right place to confess this, but I really need to get this out of my chest. Feel free to make a post redirecting me to another confessions blog if you'd like, in the meantime I'll just spit out what I wanna say. This will also be a long post, please excuse my ramblings.

on May of this year, a movie from A24 came out called "I Saw The TV Glow", a horror/drama film based on transness created by a transfemme individual. I didn't hear about it when it came out, I haven't seen any trailers or anything, but as soon as it started airing on local theaters on the US, everyone was talking about it. My TikTok FYP kept showing me dozens of videos of trans people crying after they watched the movie, how it was a beautiful touching and anxiety fueled movie that resonated with so many people from the trans community.

I was interested and my expectations were high, I like horror movies and I haven't seen many movies tackling on transgenderism. I told my partner (who doesn't label themself but they sure are every But cis) about the movie and they actually heard about it and was also interested. Since we're a super long distant couple (I live outside of the US while my partner is from there) we couldn't watch it on theaters, but we planned on watching it online at some point.

Well, that "some point" was a week ago. We got on call and watched the movie and... I was kinda disappointed. I didn't Hate the movie, I still think it was good and my partner thought the same, but we didn't see it as a amazing film like so many people were claiming. We both agreed it was a 7/10 movie with a great message, but in the end it was nothing special.

The confession comes from me feeling guilty about this. I feel bad for not liking this movie as much as a trans person compared to every other trans person that loved it. My partner and I read articles about it and even watched videos covering the ending that left us confused and unsatisfied. Later on I searched the movie tag here on Tumblr, and saw many posts of people (trans people) criticizing those who laughed at moments and questioned the movie and started picking it apart after the movie ended instead of staying in silence. I think that's kinda ridiculous considering that was our first reaction to the ending, but apparently everyone on the notes were agreeing with the original posters, even accusing those that did those as "ignorant cis people".

I'm sure people will say: "You didn't like it because you're not a trans woman/trans femme". And you're right about one part: I'm a transmasc non binary person, but that can't be the reason since I've seen trans men and transmascs enjoying and relating/resonating with the movie. "Well clearly You didn't have to hide your identity" I Have to hide my identity to so many of my family members. I can't even get the haircut that I want, I don't have the clothing that will make me feel like im dressing myself, I don't have access to top surgery or testosterone injections. I know who I am, I just can't fully be that person yet. "Maybe you didn't get the message and symbolism" I watched the movie Knowing the symbolism, people on TikTok weren't being really vague about it lol. It's about suppressing your gender identity, suppressing who you truly are and the dangers of doing so. Not transitioning can kill, and Has killed, so many people. No matter who you are or how old you are or where you live, there's still time. There's still time for you to dig out your suppressed identity and turn into your true self. I think the message is Beautiful and So Important, it's just Something in the Execution that didn't work for me, I can't even explain it.

I know that in the end it's not that deep, it's just a movie that a lot of people Love while I just mildly enjoyed. I just wish I cried and adored this movie like everyone else did, I wish I connected to this movie like everyone else did. Maybe one day I will not care about this anymore, but I don't know when this guilt will go away. Hopefully soon.

This is just a me issue btw, my partner feels fine with just finding the movie okay.

.

[lovebeatriceplz]

I've never talked about httyd on here before, and i've never really been apart of the fandom, but the movies mean a lot to me. How to train your dragon was the first movie i've ever seen in theaters. My dad took me, I was six, the movie had already been out for a few years so the rate was cheap. The theater was actually not that great, it was literally beside the local domino's and pretty small, not that it bothered me at the time. I remember a few things, me and my dad were the only ones there, it was cold that night so I wore two shirts and a jacket because I had asthma, the food was probably good? I was too excited to eat. I spent the first few minutes or so trying to hide under my dads shirt because I hated loud noises and the speakers were booming, but the movie was absolute magic, magical enough for me to be transfixed by the screen infront of me. I fell in love with Hiccup, fell in love with toothless, wanted to go blond because of Astrid, I liked the twins, they reminded me of two of my classmates, I liked Gobber because my neighbor had a beard like his. Every kid wanted a pet after watching that movie it's a canon event, I wanted a horse. Watched the sequels when I got a little older, at home and by myself because I don't live with my dad anymore, httyd was a core memory, like for some reason a memorable part of my early childhood. So can you imagine how scared I was when I heard a live action was in the making, I thought "they're finna fuck this up so bad I won't even watch it", over the years i've watched countless childhood shows get remade and butchered. I was so scared to press play, I mean I saw the trailer for the electric state two days prior soooo. But I watched it and felt like crying, squealed when I saw Gerald Butler as Stoick, I wanna give everybody at Universal a kiss on the forehead. I'm so hyped for this, this tumblr blog cannot express how hyped I am, i'll try to get my hands on the release date as soon as possible, my sister has never been to a movie theater, imagine if her first experience is also httyd but live action AHHHH, i might try to call my dad up too.

[buffyfan145]

About to go on a little rant here but you can tell most WWE fans don't watch AEW as so many last night bashed AEW for not promoting "The Iron Claw" as WWE actually had ads during their broadcast of "Smackdown" for the movie now being on Max. Now, I love that WWE is finally promoting the movie as they didn't at all when it was in theaters. However, AEW actually promoted the movie back in December when it was first released. They even had Kevin and his sons Marshall and Ross on there, and the sons actually have had multiple AEW and ROH matches (the most recent in February in a trios match with Dustin Rhodes). AEW also talked about the movie during the commentary for those matches, they showed the trailer multiple times during the ad breaks, mentioned how MJF and Ryan Nemeth were in the movie, the various wrestlers at AEW posted online when they saw the movie, and even when Will Ospreay fully joined AEW a lot of us fans realized and posted across social media how he and Harris Dickinson could pass for brothers, especially how Harris looked as David but also when they were both young starting out in wrestling & acting. Both companies should be promoting the movie as it was amazing and all wrestling fans should watch it. But to say that AEW didn't isn't true at all. Plus, it get some being baffled that AEW didn't show ads this past Wednesday during "Dynamite" about the movie being on Max, which is owned by WBD just like TNT/TBS is, but I actually expect it tonight during "Collision/Rampage" since the movie just only showed up on Max yesterday. Just seems it's being used as another excuse to bash AEW when again now both companies have promoted the movie now.

[its-your-girl-geekerella]

Wicked Movie Review

Spoilers Ahead. (Obviously)

Okay, I saw it on opening night release day. I've just been busy. And here are my thoughts:

Pre-watch. I was hoping for the best. The trailers were amazing, and the budget seemed sufficient for all it wanted to do. The vocals seemed a little off, but that was only because they had to make it "fit" for the trailer score. So I had high hopes!

But I was also preparing for the worst. After all, movie adaptations of musicals have a bad reputation for a reason. And all the promotion they were doing? I was certain they were compensating for something. And besides that, I had almost no faith (again, aside from what I heard in the trailer) in Ariana Grande. I don't really listen to her music, but I've heard a few of her songs. I honestly didn't think she could do musical theatre.

And boy, was I wrong.

Post-watch. It. Was. Amazing. I absolutely LOVED it. Ariana CRUSHED it! I think she did better than some Glindas on Broadway! In every scene leading up to the Ozdust Ballroom, I hated her. And I LOVED hating her. I think some Glindas just don't have that hateability, or they're too charming. But not Ariana. And during "Popular"? I absolutely loved it! She was great!

Cynthia Erivo did great, too. Her voice singing the riff at the end of "Defying Gravity" will certainly take getting used to, but it was, objectively, good. Her acting was on point, and I absolutely loved watching her. Say what you will about the woman's poster dilemma, the woman has a powerful presence onscreen. I honestly never doubted her ability.

Some random thoughts:

The script. The script was practically word-for-word of the musical. Some people might find it annoying and predictable. I, for one, found it charming and-- frankly-- reassuring. I knew what was coming a lot of the time, even if they did change some minor plot points (if you can even call them "plot points"; like I said, they were minor and didn't change the course of the story at all). For example, Mr. Thropp doesn't already have Elphaba enrolled at the school in the movie. But because I know how the story goes, I was sitting in the theater saying to myself, "He's gonna say 'go with her'". And guess what? He did.

Unfortunately, the script being word-for-word (and a lot of theatre kids knowing certain lines from the musical) partially ruins the impact or comedy of certain lines. The most notable one was when Fiyero and Elphaba are in the woods with the cub. Elphaba informs him that he's bleeding, and says, "It must have scratched you." He replies, a bit disassociated because of her touch, "Yeah... or maybe... it scratched me or something." Typically, in the theater, Broadway, regional, or high school, the audience laughs at this line. You know how many people laughed at it in the movie theater? Zero. Zilch. Except me. The delivery was AWFUL. I honestly can't believe that Jon didn't have that line reshot. Which brings me to Jonathan Bailey.

Jonathan Bailey is... a good actor? I personally haven't seen him in anything other than Wicked. But I do know that he is a good looking actor. However, I do believe that he was miscast for this role for three reasons. 1) Like I said, the comedy was not exactly there. Another example: "I've been thinking" "So I heard" However, I won't count that one against him, as I feel that one was mostly Cynthia's fault. 2) At first, I thought that Cynthia Erivo would look too old to play Elphaba, but I got over it really quickly. It was easy for me to see her as a college-aged student. And let's be honest, Ariana Grande will always look like a child, so that was never a problem. Jonathan Bailey, though? He doesn't look like a college student. He looks like a really hot 36-year-old man. And this kinda goes into my last point. 3) He was too intentional. I think Fiyero's character is dynamic in a variety of ways, and Jonathan's portrayal seems more like "Act II Fiyero" than "Act I Fiyero". Act I Fiyero's whole deal is that he's extremely loose. And while, yes, Elphaba calls it out as a façade, I think it's still a part of him that is a bit dumb (see the disassociated "scratched" comment or the "thinking" comment). I think if Jonathan had tried to play Fiyero more "dumb jock", it would've worked better, because his natural acting inclination would've counteracted it just enough.

I feel bad for complaining about Jonathan Bailey for so long. So onto the songs! The score was amazing. The music was amazing. The vocals were amazing. My favorite song was "What Is This Feeling?" The camera angles in this scene were amazing, and the choreography slaps so hard.

Right before "One Short Day", I thought to myself, "I sure hope we get an Idina and Kristin cameo!" Guess what happened. Truthfully, I barely heard a word they were singing, I was too busy bouncing in my chair and fangirling with one of my friends to hear them.

If there's someone I didn't mention (I'm looking at you Ethan and Michelle), it's because they did a good job and I don't have any particular opinion on them. Overall, I really enjoyed the movie! My favorite song was "What Is This Feeling", Jonathan Bailey was the weakest part of the movie, and it was a lot better than I thought it would be. And it was really fun to fangirl with other theatre kids.

[paintbrushnebula]

I think now that Tangled the Series has been over for the better part of four years now, what makes me sad the most is that there were enough pieces left behind by the film to construct a compelling narrative for a strong continuation of Rapunzel and Eugene's story that wouldn't have required all this "bigger and more epic" stuff that the series made up in order to be interesting. 

And you can have big epic magical stuff, that's fine! I LOVE epic large-scale stories! But there's a difference between expanding your world by further developing its elements and themes, and just scaling up the adventure tenfold to be “bigger and better”—which is what I feel that the series did in the end. 

It’s funny, because I was already a fan of Tangled when I was little. I still remember being 7 years old sitting in that theater with my sister, actually breathless and in shock when Eugene drew his last breath. I had never seen a kids movie where a lead character dies.

(and I know that sounds absurd because there were Disney films before where a lead character dies and comes back XD look I was 7 and my parents weren’t people who knew many pop culture American movies at the time so I didn’t watch much that wasn’t Disney Channel or VHS films that my Grandma owned. To this day I’m still kind of trying to catch up on film culture XD)

Sorry to get off track but what I’m trying to say is, I was there when the series was announced and they revealed that promo art back in 2016, I saw the 30 second promo trailer, I watched “Wind in my Hair” when it was released on Youtube in February 2017 the morning before school and I was hyped for the rest of the day, and I remember watching Before Ever After’s premiere with my sister and was FLOORED that it was good??!! Like actually was gonna have a serialized overarching story and everything! God I’ll never forget Eugene’s verse where he pulls out that ring. I’ll never forget Rapunzel’s face when he gives her his proposal speech (before it went downhill that is), and I’ll always forget the last 25 minutes that take place  after Rapunzel’s hair grows back because its low-key pretty heckin boring! 

What hyped me was the relationship stuff, Rapunzel’s PTSD, the parent drama, everything that those first 30 minutes had that made me THINK we were in for an emotional story about Rapunzel’s life after the tower, I thought we’d get to see in detail how she’s gonna to grapple with her trauma, her new life, her new responsibilities, her new relationships, all that. And some of the series was that, a very small “some.” Not enough by any means for me lol

Because like, wouldn’t that have been a more interesting story to tell than the one we got? Ultimately Rapunzel’s Tangled Adventure doesn’t feel like a continuation of Rapunzel’s story, it’s more like a Brand New Adventure that happens star Rapunzel and Eugene Fitzherbert. I know that sounds weird and I might not be making much sense here but, did the story of a girl who stops a plague of darkness and fights a transdimensional demon blueberry ghost girl and has to reconcile with her “step-sister” HAVE to be about Rapunzel? Also like, just. NOTICE how that summation of the story of the series DOESNT involve Eugene in some way. You know. The hecking CO-LEAD of the film this series is based on. 

And like, there was so much story to be told with Rapunzel and Eugene WITHOUT the blueberry Disney Junior-giving ghost girl, the poorly written heavily contrived step-sister conflict, AND the big plague of darkness nonsense. Rapunzel and Eugene are two VERY tragic individuals. DO SOMETHING WITH THEM, IOUHWO4Y2IBBU3FN3FI

I’ll admit that I was more attached to the series than I was to the movie while it was airing, and even for like 2 years after it was over. I was younger and more immature and the big stakes and fresh new characters and magical adventures captivated me more than the focused drama of the movie. But now that I’m older, I realize that I resonate more with Rapunzel in the movie. NOT in any concerning “do you need help?” Kind of ways, just that I find myself thinking the way she thought, since I’m now around the age she was in the movie. The way I think about my future, my self esteem etc. I relate to how she feels inexperienced and fresh in the world despite being a young adult, because she hasn’t done any of those “big things” yet. And you wonder “how am I gonna do those big things? When do they happen? Will I know what to do when they happen?” I get it, Rapunzel, I really do. 

The series is kinda an afterthought to me now I guess. I still appreciate that it exists and I’m so happy it happened. In the beginning, it didn’t feel real when it was happening. Like a dream honestly. And like, Tangled the Series is literally 80% the reason I wanted to write fiction, so I’ll always be grateful for it. 

But holy kriff is the movie so much better heeheeeeeeeeee

[mariacallous]

Classical music lovers can debate for hours over which Mozart melody has made the biggest impact. Maybe the first movement of the “Jupiter” symphony, perhaps the Queen of the Night aria from The Magic Flute, or what about the “Eine kleine Nachtmusik” serenade? Those who know the great 18th-century Austrian composer only through the movies have an easier time of it—the sound they’ll remember best may not be music after all but the whinnying, immature, and disobedient laugh heard throughout Milos Forman’s masterpiece Amadeus.

Amadeus, commonly accepted to mean “beloved by God,” was not technically part of Mozart’s name. (He was baptized as Joannes Chrysostomus Wolfgangus Theophilus Mozart, with Theophilus having a similar translation.) After his death, however, the moniker stuck as a way to venerate him. It’s perfect for the title of this movie, in which rival composer Antonio Salieri allows his jealousy over Mozart’s genius to build into a personal war against God. But expanding on some fudged truth is also in keeping with the spirit of the entire project, as the movie’s central conflict is almost entirely made up. (Even better, then, that the original trailer featured the tagline “Everything you’ve heard is true.”)

Based on a Tony-winning play by Peter Shaffer (inspired by a short 1830 play written by Alexander Pushkin, itself inspired by gossip that Salieri was somehow to blame for Mozart’s early death), Amadeus is celebrating its 40th anniversary this year. As such, a new 4K restoration is screening in specialty theaters across North America in advance of a new Blu-ray release. This, plus an eventual availability on streaming, is the first time the version that people originally saw back in 1984 will be available in years. (More on that in a bit.) An upcoming British television miniseries based on Shaffer’s play is in production currently, but we’re skeptical it will have the same magic.

The film’s story is told in flashback, with an old, institutionalized Salieri (played by F. Murray Abraham) “confessing” how he murdered Mozart (Tom Hulce). We are then witness to how Salieri, court composer to Emperor Joseph II (Jeffrey Jones), has his world turned upside down when Mozart bursts onto the scene. His musical instincts are on a level no mortal can comprehend and clearly, Salieri feels, handed down directly from above. But while Mozart’s work is divine, his demeanor is coarse and bratty, which turns Salieri’s understandable envy into an existential rage.

As the winner of eight Academy Awards, including best picture, best director, and best actor for Abraham’s Salieri, Amadeus’s legacy is secure, but any excuse to get more people to see this perfect film is a good one. I can personally report that not one, not two, but three millennial friends of mine came to this movie kind of dragging their feet, watching it only out of an obligation to check every Oscar winner off their list. Each one of them was blown away with just how funny and poignant and entertaining it was.

“I thought this would be boring, not bitchy!” one pal beamed after a recent screening I hosted with Paul Zaentz at New York’s Paris Theater. That energetic spark is evident in the script but catches fire in the movie thanks to its director. Forman’s resumé is one of the best from the 20th century, but Amadeus is something special, not just because it is about a maverick artist who has to do things his way (a recurring theme in both Forman’s life and work) but because the expatriate who fled communist-era Czechoslovakia to follow his calling was able to shoot the movie in Prague and Kromeriz. As Mozart cackled in the face of propriety, so Forman was able to poke his thumb in the eyes of those who had previously censored him.

Forman was born in the town of Caslav in 1932. Both of his parents died in Nazi concentration camps. He attended a school for war orphans where he befriended future filmmaker Ivan Passer and playwright-turned-politician Vaclav Havel. He began working on documentary crews and eventually made short films of his own that blended fact and fiction, getting better material from non-actors than trained professionals. His first feature, Black Peter (1964), focused on a timid teenager, and its follow-up, Loves of a Blonde (1965), was a similarly naturalistic look at awkward romance. Its deadpan, somewhat bleak style ran counter to the splashy films coming out of Italy and France at the time. Both films are early entries to what became known as the Czech New Wave, leading to Forman’s first bona fide masterpiece, The Firemen’s Ball (1967).

While The Firemen’s Ball—Forman’s first film in color—was understood to be a grand metaphor for the inefficiency of the political system at the time, one doesn’t have to know a damn thing about Eastern Bloc history to respect it as an iconoclastic farce not dissimilar from something like South Park. It was immediately banned in Czechoslovakia, but it and Loves of a Blonde were both nominated for best foreign language film at the Oscars.

Forman was in France raising funds for his next project during the Soviet invasion of Prague in August 1968. He was fired from his Czech production company and ended up emigrating to the United States. His first Hollywood film was the 1971 counterculture farce Taking Off (in which square, bourgeois parents try to get groovy with their kids, to embarrassing effect), which led to one of the most influential movies of the 1970s, One Flew Over the Cuckoo’s Nest.

After the anti-authoritarian Cuckoo’s Nest—which won five Oscars, including best picture, best director, best actor for Jack Nicholson, and best actress for Louise Fletcher—came his adaptations of the musical Hair (1979) and E.L. Doctorow’s novel Ragtime (1981). With that all under his belt and his hands on the rights to Schaffer’s hot play Amadeus, Forman went back to Prague in triumph.

Amadeus is set mostly in Vienna; still, Prague, which was generally left intact after World War II, certainly looks good on camera. And Prague was also an important city for Mozart. He made two lengthy visits there and found a very welcoming audience. Indeed, he wrote Don Giovanni with the intention of premiering the opera in Prague, which he did at the Estates Theatre in 1787. And it was at the Estates Theatre where Forman filmed many of the movie’s best scenes—ones of Mozart conducting opera, filmed with the alacrity and exuberance normally reserved for an action-adventure sequence. (The use of pyrotechnics in the Don Giovanni scenes caused a lot of worry on set, what with the old theater’s interior being mostly wood.)

Shooting a Hollywood movie behind the Iron Curtain naturally had some hardships. (Fruit and fresh vegetables, rarities at the time, needed to be trucked in from West Germany.) Given Forman’s background, the eyes of the state were on them. During that recent New York screening, Zaentz, who worked as a production coordinator on the project and is also the nephew of film producer Saul Zaentz, said secret police were essentially hands-off, except for one time. During off-hours, some members of the crew would hang out and watch VHS tapes of Hollywood movies and were unaware that some of those titles had been banned. The company was soon requested to keep to only approved films.

Perhaps more poignant was when they were shooting on the Fourth of July during one of the opera scenes. The Czech crew surprised Forman and the actors during one take. Expecting to hear the music of Mozart play back from a PA system, some well-wishers instead cued up “The Star-Spangled Banner” while others unfurled an enormous American flag. Everyone stood up and sang along, except, according to Forman, the 30 or so secret police who had been dispersed among the extras.

One can easily read the moment as a victory for Forman. Alas, Mozart’s fate was a little different. Though no one knows for sure why he died at the young age of 35—other than the fact that every case of the sniffles had graver implications back in 1791—the movie shows how Mozart’s queasiness with authority shaped him as a hand-to-mouth freelancer and how his lack of a permanent position and persistent money woes were bad for his health. After Amadeus, Forman continued to make movies about troubled-yet-visionary mavericks: Andy Kaufman in Man on the Moon (1999), Francisco Goya in Goya’s Ghosts (2006), and, um, Larry Flynt in The People vs. Larry Flynt (1996).

As for the Salieri yarn? There’s no historical evidence to suggest that the two composers weren’t just colleagues. (It’s true that Mozart did have a paranoid streak and maybe did think that “the Italians” at court had it in for him.) Salieri certainly did not live in chastity out of some pledge to God in exchange for musical inspiration. Indeed, he had eight children. He was also plenty famous at the time of his death and, later in life, was a tutor to Mozart’s youngest son. Nevertheless, no one should let reality get in the way of watching this incredible movie.

This 40th anniversary rerelease is especially exciting for old-school Amadeus-heads as it restores the 160-minute theatrical cut. All one can find out there now is the “director’s cut,” which is 20 minutes longer. As Zaentz explained to me, that version came out in 2002 during the first DVD wave, when home-video distributors were loading up packages with deleted scenes. Rather than have isolated bonus chapters, Forman decided to just release the longer version instead, though never really considered it the definitive cut. However, over time it became the only version in circulation.

While the longer version has a few splendid moments (some backstage zings with Christine Ebersole as Caterina Cavalieri), it also contains one scene that I am happy to see once again excised. In it, Salieri goes a wee bit too far and humiliates Mozart’s wife, Constanze (Elizabeth Berridge). It’s important for Salieri to be a scheming twerp but also someone who still holds your sympathy. The controversial scene only found in the director’s cut pushes him too far into the role of villain.

So sometimes edits are important! It is said that Mozart never revised, that he took dictation from God. As with so much else about the man, the truth is a little different.