#Creative Storytelling with Green Screen

[doink]

Capturing Winter Magic: Subject Masking in Green Screen by DoInk – Stuck in a Snow Globe Lesson

Step into a winter wonderland of creativity with our latest blog post and video tutorial! In this guide, we'll explore the enchanting world of subject masking using Green Screen by DoInk, focusing on the delightful and always popular "Stuck in a Snow Globe" project. Whether you're an educator bringing seasonal magic to your lessons or a content creator looking to add a touch of whimsy to your videos, this step-by-step tutorial is your key to unlocking the magic of subject masking in all time favorite Winter project of being stuck in a snow globe.

What you will learn:

Introduction to the Subject Masking Tool in Green Screen by DoInk

Crafting the "Stuck in a Snow Globe" project from start to finish

Tips for optimal subject masking in various scenarios

Enhancing your project with overlays, animations, and text

Real-world examples for inspiration and application

Empowering your creative storytelling with subject masking

Subject masking in Green Screen by DoInk opens up a world of creative possibilities, and the "Stuck in a Snow Globe" project is just the beginning. Whether you're telling a winter tale or creating festive content, subject masking adds a touch of magic to your storytelling.

Unlock the magic of subject masking and transport your subjects into a winter wonderland. Share your enchanted projects with us, and let the seasonal storytelling begin!

[divulgatoriseriali]

i segreti della motion capture: Animazione 3D nei film e videogiochi

Nel processo animativo, si generano sequenze video mediante l’utilizzo di tecniche e tecnologie intersecanti e sinergiche. I primi tentativi di animazione 3D nasce negli anni ‘70/’80 per espandere le possibilità creative e incrementare la flessibilità per gli artisti nel creare e modificare immagini. In questo articolo esploreremo in particolare la tecnologia del motion capture: utilizzata per…

[devotioncrater]

The Tedependent Tinhat Thesis

Welcome! Welcome to The Tedependent Tinhat Thesis.

As of writing this, only Episode 1 of Season 3 has been released so far. If you feel the need to send me an anon about how Ted/Trent won’t happen, I implore you to remember when fandom culture used to encourage people to ship characters freely — even when those characters never interacted. This is all written in good fun, and to critically analyze Ted Lasso through a queer lens.

Disclaimer: This meta compiles various topics discussed by people in the Tedependent camp. I cannot take credit for everything. If anything, this is a love letter to them. 

To make this a bit easier to digest (and write), I’ve divided this meta into the following sections:

Queerness in the Media. Ted Lasso and His Subtextual Bisexuality. Trent Crimm, Independent. Tedependent Evidence. Rom-com Tropes and Structure. Narratives and Storytelling. Unexpected Ending.

So let’s begin on a base level of understanding about queerness in the media and how that history does and doesn’t tie into Ted Lasso.

Queerness in the Media

The presence of queer people in film has been a contentious topic since the enactment of the Hays Code in 1934. The Hays Code sanitized/censored what could be shown on-screen, and catered to an audience of white, straight men. This sanitization/censorship of media went hand in hand with the American societal shift into conservatism at the end of the Great Depression and WWI.

The Hays Code remained in effect until 1968, when the political landscape of America once again shifted — this time into a more progressive light. Until 1968, filmmakers and creatives within the industry sought out ways to bend and push the Code’s rules. The invention of television helped play a role in the dissolution of the Code, as did the growing number of foreign films which depicted things like queerness and women’s sexuality. 

Why is this relevant to Ted Lasso, a television show made in 2020?

30 years of conservative censorship and catering to straight, white men does a number on what people deem “acceptable” to show in film. This thinking extends into the world of television. The Hays Code was rooted in conservative ideology and created a system in Hollywood that prioritized white, straight men’s stories — to the point where there was little representation of anyone else. Its effects are still felt today, 55 years on from dissolution. There still is a terrible underrepresentation problem in Hollywood that runs from POC stories to women’s stories to queer stories. Even worse if any of those stories intersect with each other.

Before we dive into the topic of queer-coding in television, we need to understand the history of queer signaling. Queer signaling emerged so that queer people could identify themselves to other queer people without outing themselves to danger. It is by nature subtle to ensure safety within a homophobic society. Men wearing green carnations on their lapels, women giving other women violets, and the use of lavender are all queer signals that were used back in the day. Fashion choices are another signal (the old hanky code), as are certain phrases (“Are you a friend of Dorothy?”).

When you leave things to be subtle, it allows for people on the outside to interpret the information in a way that is easiest for them to digest. That has ramifications on queer history to be erased or explained away or rewritten to better push a heterosexual "default". You see it time and time again when historians call women who lived together for decades "good friends" or when historians laugh at the possibility of someone like Abe Lincoln being queer. There's this homophobic undercurrent of: How can this beloved, well-known person be queer? Why would you even imply something like that?

The same thing happens to queer characters on-screen. Queerness in television, specifically, has a history of being coded. Queer-coded characters are characters who are not explicitly queer — sometimes even are mentioned as straight —, but through their mannerisms and traits can be perceived as queer to the audience. Well known queer signals help aid in queer-coding. Harmful stereotypes also are utilizied to code a character. Therefore it is important to discern the intent and the use of these signals and/or stereotypes. 

(Please note: Queer-coding is different than Queer-baiting. To code a character as queer is inherently neutral, while to bait a character as queer is almost always negative.)

The ambiguity of coding allows for the show/studio to not have to present overt representation at the risk of alienating its audience. Hello, Hays Code.

Queer-coding is a reflection on society's stance on queer people at the time the character is written. In the 1980’s, when the AIDS Crisis was labeled a “Gay Cancer”, Disney films queer-coded their villains (notable ones include Ursula and Scar). In the 1990’s, Chandler Bing in Friends became a queer-coded character, but instead of villainizing him, it served to ridicule him. Even jumping forward to today, characters (such as Deborah in Hacks) still remain coded despite other characters within the same show being explicitly queer. 

And while the queer-coded characters of today are not targets of outright villainization, there lies an undercurrent rationalization to their subtextual queerness. For example, characters like Wednesday and Enid Sinclair from Wednesday are explained away as: “Well they’re just friends”. 

Characters like Ted in Ted Lasso can be explained away as: “Well he isn’t toxically masculine”.

Ted Lasso and His Subtextual Bisexuality

Ted? A queer-coded character? Afraid so, bucko. 

He isn’t the only one in the show, either. Keeley, Colin, and Trent are also queer-coded for their own reasons. Colin most notably for his Grindr comment; Keeley most notably for her various sapphic comments. Trent…we will get to later on. 

(It is worth noting that as of writing this, there are still no explicitly confirmed queer characters in the show. Although the case can be made that Keeley is confirmed bisexual already).

Focusing back on Ted, there is a good amount of evidence for bisexuality that can admittingly be explained away. People can point out that he’s secure in his heterosexuality, that he isn’t toxically masculine, that that is just how his character is. And yes, those viewpoints are all true and well and good, but I want to pose a question: 

Why are we so adamant that Ted Lasso isn’t queer?

Explaining away a queer-coded character’s subtextual queerness is perhaps the easiest route fans can take. Whether there is (implicit) homophobia attached or simply because of the fan’s strict adherence to what’s been canonically established so far, quite a few people’s knee-jerk reaction to reading a theory their beloved main character could be queer is: “Nope! No way, José!” 

Let’s challenge that reaction for a second. Let’s put down the explanations. Let’s take a look into what, exactly, I am talking about when I say that Ted can be read as a bisexual man.

“Rugby. What a game. It’s like if American football and sumo wrestling gave birth to a baby with huge muscular thighs all caked in mud.” — Season 3, Episode 1.

This is a peek into how Ted views the sport of Rugby, and it sure is telling to what he pays attention to. It’s also said in the context of asking if Sharon is seeing anyone. The phrase “huge muscular thighs all caked in mud” draws up quite the image, which when paired up with the direct conversation context, lends itself into an erotic visual. Rugby is known to be a homoerotic sport, too. 

(Please note: The “baby" in this sentence is Rugby personified to help segue the listener from imagining the sport as an abstract to imagining the sport as tangible. “It’s like if ___ and ___ gave birth to a baby” is a common figure of speech used to mean the combination of two things. The focus in this sentence is not the baby, but rather the muscular thighs.)

Ted could have said anything else about Rugby. But he didn’t. The first association he has with the sport is “muscular thighs caked in mud”. Why is that?

“Guys have underestimated me my entire life. And for years, I never understood why. It used to really bother me. But then one day, I was driving my little boy to school, and I saw this quote by Walt Whitman, and it was painted on the wall there. It said, ‘Be curious, not judgmental.’ I like that.” — Season 1, Episode 8

Walt Whitman was an openly gay poet in the 1800’s. His famous body of work Leaves of Grass has clear homoeroticism within it. The quote Ted references, though, isn’t a Whitman quote. But Ted believes it to be. “Be curious, not judgmental” is an aspired quote that reminds us to be more open-minded. 

Added layer: Not understanding why peers underestimate you or treat you different is a common experience in the queer community.

“That’s funny, when it comes to small talk I often ask myself what would Dolly Parton do? Start with the 9 to 5 and end with God Only Knows” — Official Twitter. Sept 28, 2021

“And next week is, if I remember correctly, Shania Twain.” — Season 2, Episode 1

Dolly Parton and Shania Twain are gay icons, especially to country folk.

“Shoot, I know I got goosebumps. I remember being a little kid, sitting in front of the television and watching Queen perform right over there during Live Aid.” — Season 2, Episode 8

Queen is not only an iconic band, but interwoven with queer culture. Freddie Mercury was bisexual.

“Last time I saw equipment this impressive, I was about 20 minutes into Boogie Nights.” — Official Twitter. Aug 30, 2022.

Boogie Nights is a 1997 film about a man becoming an adult-film sensation in the 1970’s. Twenty minutes in, there is a scene referencing the main character’s dick.

Boogie Nights also draws heavily from the disco genre for it’s soundtrack. Disco is a staple in queer culture as it allowed people freedom to express their identities in the nightlife scene. It didn’t matter who danced with who in the clubs.

“I feel like you two [Beard and Nate] are about to do some improv comedy or tell me that you’re dating each other. Either one’s cool with me. ‘Cause your suggestion is: ally.” — Season 1, Episode 9

Ted is supportive of queer relationships. An ally, as he says. But maybe he isn’t just an ally.

He repeatedly calls members of the Diamond Dogs pet names/terms of endearment. “Sweetie” “Baby” “Honey”, the list goes on. When this began in Season 1, Episode 6, Beard found it out of character for Ted to do so. (Nate asking him if Ted’s alright and Beard laughing, “No!”). What makes me pause on this is that the origin of Ted’s terms of endearment stem from Michelle leaving him. Ted’s looking for emotional comfort or familiarity in other men that he can no longer give to or receive from his ex-wife.

Other straight men in the show (like Roy) don’t engage in this behavior.

Ted also really enjoys musical theatre. He references musicals a lot. I mention this information now because it is important later.

There are more examples in the show, but I hope I’ve laid out enough to get you to at least see the repeated mentions of queer culture. They’re spinkled in, sure, but they are there. And they’re given in a way that gives an impression that maybe, maybe Ted isn’t as straight as we’re led to believe.

Keep in mind that sexuality is fluid, bisexuality exists, and characters evolve over the course of their stories. Is it really so out there to imagine Ted developing into his own?

Let’s move on to Trent.

Trent Crimm, Independent

We do not know much of Trent’s backstory. Yet. James Lance has said in interviews that Jason Sudeikis brought it up to him early on. Interesting, as Trent hadn’t yet become a series regular. Was there always a plan in store for his character?

Well what do we know of Trent? From other character’s reactions and comments about him, we know he is someone who writes scathing exposés as a journalist. We know he’s highly obervant, blunt, and at times aloof. He takes his job seriously and he loves the sport of football. A “tough cookie” as Ted put it. People listen to what he writes about, as Rebecca mentions in Season 1 Episode 3. He’s established in his profession.

We also come to discover that he’s grown dissatisfied with his career. He’s “looking for something deeper”. He goes from disliking Ted (“Is this a fucking joke?”) to burning his source out of personal respect for Ted (“My source was Nate”). This shift in character is pretty drastic, though believable if you pay attention to how he acts in the press room and the questions he asks throughout Seasons 1 & 2.

He has a je ne sais quoi about him that queer fans of Ted Lasso have picked up on. Perhaps it’s the way he dresses, his hair, or his overall vibe. Perhaps it’s the way he looks at Ted like he’s endlessly fascinated by him. Trent Crimm, Independent inexplicably reads as gay.

Tedependent Evidence and Speculation

Keeping everything we’ve established so far in mind, let’s go through some of their scenes together. Keyword: some. This meta is long enough as is.

Lasting First Impressions

In the Pilot episode, one of the first things Ted says to Trent is, “I like your glasses.”  To which Trent takes them off, looks at them, and replies, “Oh, thank you.” And then it becomes a recurring move he does nearly every time he talks to Ted.

In Season 1 Episode 3, Trent greets Ted, “Hello Coach Ted Lasso from America.” to which Ted replies, “Hello Trent Crimm from the Independent.” And then that becomes a recurring joke between them.

Speaking of Season 1 Episode 3, if you jump to 18:29, you’ll catch Trent giving Ted a full body check as Ted finishes getting ready. 

Bring It On!

“Make like Dunst and Union and Bring It On, baby!” Ted says to Trent in Season 2, Episode 3.

The 2000 film Bring It On! includes a storyline about a gay cheerleader who is comfortable in his sexuality. The movie addresses issues of racism, appropriation, and systemic inequality. It’s become a beloved cult classic.

It is also the first time Ted uses a term of endearment on Trent. He doesn’t do that to any of the other journalists, indicating that they’re on personal friendly terms. Most of their interactions seem to happen off-screen. Ted baked birthday biscuits (and decorated them) for Trent’s daughter. Trent and Ted may have swapped phone numbers somewhere along the way too, seeing as Trent’s able to text him about Nate later on in the season.

The Tie Between Oklahoma! and Casablanca

When Ted references Oklahoma! in Season 1, Episode 5, it’s to specify that the musical is ruined for him due to it becoming a safeword in his marriage with Michelle. The direct quote is:

“So if either of us says ‘Oklahoma,’ the other one has to tell the God’s honest truth… Did ruin the musical for me though. So now every time I hear, ‘Oh, What a Beautiful Mornin’,’ or, uh… what… ‘Surrey with the Fringe on Top,’…”

“Surrey with the Fringe on Top” makes an appearance in the 1989 rom-com film When Harry Met Sally. Harry and Sally sing it together impromptu on a karaoke machine in an electronics store. Sally’s profession in the film is in journalism.

What else is referenced in When Harry Met Sally…? So glad you asked. Casablanca is referenced in the film a couple times. In the beginning and in the middle. It serves the narrative purpose to indicate how Harry and Sally’s outlook on love has developed over the years.

Casablanca is a hallmark of the romance genre. And it’s also been referenced in Ted Lasso. In Season 2 Episode 7, when Trent leaves his date to go over to talk to Ted, he says, “Of all the pub joints!”

The Casablanca quote is: “Of all the gin joints in all the towns in all the world, she walks into mine.” It is said by Rick about meeting Ilsa again.

Season 3 Episode 8 is allegedly titled “We’ll Never Have Paris”, which is a subversion of the Casablanca quote “We’ll always have Paris”. 

Now for the absolutely insane bonkers speculation. That quote is said in the final scene of the film right after Ilsa asks Rick, “What about us?”. Rick isn’t getting on the plane with her, they’re separating, this is the end of their story. “We’ll always have Paris” is a reassurance that they’ll always be together in their memories. 

So if “We’ll always have Paris” is a signifier to the end of a romance, it is possible that “We’ll Never Have Paris” is a signifier to the start of a romance. And who else in Ted Lasso has referenced Casablanca? No one. The only reference in the entire show so far has been said by Trent to Ted.

Twelfth Night

Want to get even more insane in the membrane? Of course you do.

Before Trent walks over to where Ted sits at the bar, Mae makes a reference to the Shakespearan play Twelfth Night. Her direct quote is: “If music be the food of love, play on. Give me excess of it.” 

To which Ted replies: “If that's your fancy way of asking if I want another one, you guessed right.”

Sidebar here — because I love connecting the dots even if it turns out I haven’t connected jackshit — Ted’s reply could be a double entendre. He doesn’t say “if I want another drink”, he says “if I want another one”. Another one of what? It’s clear in the context of the bar it’s another one (beer), but it could also foreshadow to mean another one (love). The latter makes sense when combined with Mae’s reference.

Because Twelfth Night is a love story. It’s a romantic comedy. It’s a queer romantic comedy.

So Mae makes a cryptic reference — unprompted — to the opening of a queer love story, and then immediately afterwards we get Trent greeting Ted with a reference to another famous love story. 

Remember how Trent did a full body check on Ted in Season 1 Episode 3? Well now it’s Ted’s turn. He does a full body check on Trent around the 31:50 mark in this episode. And he seems genuinely happy to see Trent until Trent puts his journalist cap on. 

This happiness is also short-lived if we jump forward to Season 2 Episode 12. When Trent texts Ted initially, Ted smiles at his phone. The smile goes away as soon as Trent sends him the article he wrote.

Burning A Source

Trent burned his source for Ted. This serious, established journalist burned his source.

The Carpark

“Hey! There he is. I was worried about you. I thought you might’ve been in a bike accident or something.”

“Actually, I don’t know how to ride a bicycle.”

“Really? That surprises me.”

“Why? Cause of the hair and the whole vibe?”

“Yeah, I guess so.”

— Season 2, Episode 12

Let’s break this down. 

Remember how I said certain phrases are used as queer signaling? Bicycle is one of them. Bi-cycle used to be slang for bisexual (an example of this in pop culture is Queen’s song “Bicycle Race”). Trent saying he doesn’t know how to ride a bicycle could be a double entendre, with the hidden meaning that he isn’t bisexual. He then goes on to ask Ted about “the hair and the whole vibe”, which could be another double entendre. This time with the hidden meaning to ask if Ted’s got a gaydar. The pause at the end of his question and the way he asks it is equally important. He’s testing the waters with Ted. 

And Ted passes the test with, “Yeah, I guess so.”

They are also in a carpark, which is a callback and parallel to not just Ted and Michelle, but also to Roy and Keeley. 

This entire scene is coded and contains heavy foreshadowing. There’s a lot to unpack. From Trent’s choice of words to locking himself out of his car to Ted saying, “Do what The Man says and try to follow your bliss.”

Speaking of Ted, this is the last scene we see of him in Season 2.

Rom-com Tropes and Structure

So how does that evidence fit in with the story structure? We all know Ted Lasso is a rom-com. So let’s dissect the genre’s tropes and how its typically set-up.

Perhaps one of the most common rom-com tropes is the journalist falling in love (sometimes with who they’re writing about). Sleepless in Seattle, When Harry Met Sally, He’s Just Not That Into You, How to Lose a Guy in 10 Days, etc. This profession is popular.

There are also the friends of the romantic leads who help guide them. Diamond Dogs, anyone? 

The anatomy of a rom-com is typically done in three acts.

ACT ONE: Meet-Cute

Every rom-com has a meet-cute. It’s integral to the structure. And oftentimes — if the rom-com includes someone who is a journalist — that meet-cute happens in the workplace. During this act, the two characters get to know one another and start to fall in love.

ACT TWO: Lose

This stage typically happens two-thirds of the way through. There’s a dissolution of some sort. One character betrays another or they argue or something gets in between them. Either way, one of them leaves.

ACT THREE: Declaration

Whoever left realizes “Wait a minute…I’m in love.” and then the rest of the film leads up to an iconic declaration of love. The characters reconcile and it’s — generally speaking — a happy ending.

It would make sense for Ted Lasso — which references rom-coms and rom-communism out the wazoo — to incorporate this structure. And I think that it already has somewhat in regards to Ted and Trent’s storyline, if you view each act as a corresponding season.

Narratives and Storytelling

Before we saw Ted’s panic attacks and now chronic depression, we got inklings of it. The writers consistently sprinkle foreshadowing into every major plot point in Ted Lasso. The situations in the show feel plausible and real because they’re given the space and the time to breathe, grow, and develop. Pacing is integral to this.

For a show to be so progressive yet not have an explicitly queer character seems strange to me. It feels off. We are given hints, though, which lead me to believe that sexuality will be a major plot point in Season 3. For it being the last season, it’s not going to be enough to potentially only have Colin be the One Gay in the entire cast of characters. That would feel uncharacteristically dismissive from the writers on a show about inclusion and found family.

It would also completely throw out a chance to further enrich the story and deepen the characters. Think about the wasted comedic potential of Trent becoming an accidental gay mentor to Colin. Or the wasted dramatic potential of the Richmond team banding together against homophobia. Or, I don’t know, the wasted dramedy in Ted talking to the Diamond Dogs about how he’s realizing he’s got feelings for men, and there’s a moment where they’re like, “No shit.”

Beyond foreshadowing, another common style the Ted Lasso writers love to utilize is the red herring. A red herring is a misleading bit of information used to distract the audience from the relevant information. We saw it in Season 2 between Ted and Rebecca and Sam. Some people didn’t connect the dots between Sam’s Bantr storyline and Rebecca’s Bantr storyline because Ted — the red herring in this example — was shown also texting on his phone. Editing played a part in this too, as some shots cut to Ted directly after Rebecca had a Bantr Moment.

I honestly think we’re going to get a subversion of this in Season 3. Only this time Rebecca will be the red herring to distract from Ted and Trent. Here’s why:

There are multiple parallels between scenes where Ted interacts with Rebecca and with Trent. This gifset captures those parallels. He gets through both of their barriers (hopping over Rebecca’s “fence” and softening Trent’s “tough cookie” exterior). It’s the Lasso Effect, baby!

What’s more, a larger portion of the audience watching Ted Lasso are primed to expect Ted and Rebecca as endgame. It’s what happens in shows between two main characters of the opposite gender, right? They get together, live happily ever after. Especially if they’re good friends. 

Anyone expecting the Ted and Rebecca ending will probably disregard anything developing between Ted and Trent even if its right in front of them. Because historically two men don’t end up together on-screen. Especially not in a show as big as Ted Lasso.

But what if a queer endgame is what Jason Sudeikis means when he says in interviews that the ending is not what we’ll expect?

Unexpected Ending

Before we look at the ending, we must look at the beginning.

The first shot of the season is of Ted’s depressed face in an airport. Since Ted Lasso has so far began and ended each season with a juxtaposition shot, it would make sense for the last shot in Season 3 to be of Ted’s happy face. Whether or not that’s in an airport remains to be seen.

The teaser trailer for this season dropped on Valentine’s Day, which was our first look into Season 3. Season 3 ends on May 31, 2023, one day before June. Or, in other words, one day before Pride Month. The combination here of Valentine’s Day and Pride Month lends itself to an interesting choice.

The official Season 3 playlist dropped on Apple Music. So far all the song’s have been in order, and as there are 56 songs on the playlist, I’m inclined to believe that it’s the entire season. 

“Wigwam” by Bob Dylan is the first song of the season. It’s got a melancholic, drifting feel to it, with no real lyrics. If it still stands that the songs are in order, then the last song on the show is “I Am What I Am” by Donald Pippin & George Hearn from the 1983 Broadway musical La Cage aux Folles. It’s got a purposeful, proud feel to it, with meaningful lyrics.

Remember how I said that Ted is a huge musical theatre nerd? La Cage aux Folles is an insane pick — in the best way — to end the show. It’s cultural impact was huge when it came out, as it was the first hit Broadway show that centered on a gay couple, Albin and Georges. “I Am What I Am” quickly became a gay anthem. I can’t give notable lyrics because the entire song is a love letter to being out and proud of who you are. It’s also worth noting that Albin and Georges are fathers to a son.

But why would they pick this particular song from this particular musical? Why choose a gay anthem? 

I cannot say for certain that Ted and Trent will end up together by the end of Season 3. All I can say is that it would make sense if they do. From the set-up to the Rom-com tropes to the unexpected ending. And if it doesn’t, if all this ends up being wrong, that’s okay too. 

Still, though, I can’t help but root for them.

[art]

Creator Spotlight: @kevinbparry

Kevin Parry is a stop-motion animator and visual effects artist in Toronto, Canada, who creates magical and mind-bending content for brands. Prior to working in social media full-time, he animated a number of stop-motion feature films at Portland-based LAIKA.

Check out our interview with Kevin below!

How did you get your start in stop motion and animation in general?

I was always very interested in moviemaking (monster makeup and visual effects), and that led to me studying animation in college, where I specialized in stop-motion.

How has technology changed the way you approach your work?

The shift to shorter content through social media feeds has made me approach storytelling in a more concise way. When I first started my career, ‘short form’ meant a story maybe 4 minutes in length. Now, I make videos that are as short as 4 seconds!

Over the years as an animator, who/what were your biggest inspirations behind your creativity?

I’m a big fan of directors and artists who have a bit more texture to their work - blending old-school, handcrafted techniques with modern technology. Filmmakers like Michel Gondry and Wes Anderson. And, of course, magicians! The surprise and delight of magic is something I try to capture in my work.

If there is one thing you want your audience to remember about your work, what would it be?

That I left them feeling stumped and curious about how I made it! It’s the best feeling when someone tells me they watched my video a dozen times and still can’t figure it out.

As we’re wrapping up with the year, what is one thing you learnt about yourself as a creator in 2022? Any goals for 2023?

This year, I’ve been focusing on making my work less polished. Meaning ditching green screens and doing a lot more of my stop-motion and visual effects in camera. It’s a bit of a battle with the perfectionist in me, but I think my work can have a lot more charm to it if I embrace mistakes and the rougher edges.

How did you transition from working for a company to working freelance?

I was working on stop-motion animated feature films at LAIKA and then eventually left to pursue social media full-time. There were a few years of overlap where I built up an audience and had already started to get offers from companies before finally making the leap. I’m thankful for all the years spent doing studio work because it prepared me for the business side of freelance—stuff like pitching concepts and understanding when work needs to serve the client and not myself.

Do you have any tips for creators out there looking to make the same move?

My two tips are:

Be as unique as possible. You want to give companies a reason to come to you, and not someone else.

Find a balance in your work between Hollywood and homemade. You want it to be professional enough that companies trust you with their brand but approachable enough that it blends in well on social media.

Who on Tumblr inspires you and why?

To be honest, I’m new to Tumblr! I signed up a few weeks ago and have just begun to explore the fantastic content. If people can leave a comment with who I should check out, that would be fantastic!

Thank you for stopping by, Kevin! Be sure to check out more of their work over at @kevinbparry, and drop a comment below with who Kevin should check out on Tumblr!

[soob1nn]

PREMIERES AND EVENTS - ADULT FAME DR

REMINDER! I haven’t shifted yet, so all these is just my imagination 🤍

Premieres, in the world of entertainment, are truly a grand spectacle, a moment when a new work of art is unveiled to the world. These events mark the culmination of countless hours of creativity, hard work, and dedication by filmmakers, actors, and production teams. Premieres are where the magic of cinema, theater, music, or any other artistic creation comes to life on the big stage, captivating audiences and leaving a lasting impact. They are a celebration of storytelling and a platform for artists to share their craft with the world, making premieres an essential and thrilling element of the entertainment industry.

LITTLE WOMEN PREMIERE

Attending the premiere of "Little Women" was a night to remember. I decided to don a stunning long dress, a unique creation that combined the elegance of pink on top with the vibrancy of green in the skirt. Walking the red carpet hand in hand with my recent husband, Penn Badgley, we made quite the entrance, and the buzz around us was unmistakable.

The premiere turned into an unexpected revelation as the news of our recent marriage broke out. It was a pleasant surprise to share this personal milestone with the world, and the warm wishes from the fans and media made the night even more special.

The cast, with whom I had formed a deep bond during the filming of "Little Women," gathered for photos, exuding a sense of unity and camaraderie. We were a family, celebrating not only the film but also our shared journey.

Amid the glitz and glamour, interviews were a chance to reflect on the film's significance and our roles in bringing these beloved characters to life. It was a moment of pride and nostalgia, looking back on the hard work and dedication that had gone into the production.

The screening of "Little Women" was a true delight, shared with esteemed guests, friends, and fellow cast members. The collective emotions in the theater, the laughter, and the tears, added to the film's impact.

The night ended with a lively party, where we all let loose and celebrated the success of the film. Laughter, music, and heartfelt conversations filled the room as we celebrated not only the movie but also the bonds we had forged. It was a night where we all ended up a little drunk but had an enormous amount of fun, creating memories to cherish for a lifetime.

KNIVES OUT PREMIERE

On the unforgettable night of the "Knives Out" film premiere, I was filled with a mixture of excitement and nerves. Stepping onto the red carpet, I wore a stunning purple dress with elegant sleeves and paired it with high purple heels. The ensemble made me feel like a true Hollywood star, and the cameras flashing in all directions only added to the thrill.

Adding to the specialness of the evening was the fact that my companion for the night was none other than Penn Badgley, my husband at that time. Our smiles were contagious as we interacted with fans and reporters, sharing our enthusiasm for the film.

Amidst the flashing lights and the buzz of the premiere, the cast and crew gathered for photographs, creating lasting memories of the evening. The camaraderie we had developed on set was evident as we posed for pictures, and the sense of unity among us was palpable.

Later, Chris Evans, who played Ransom, and I found ourselves in interviews, discussing the intricacies of our characters and the joy of being a part of this talented ensemble. It was a moment to reflect on the hard work and dedication that had brought "Knives Out" to life.

The film screening was a highlight of the night. We watched the movie alongside the esteemed guests and colleagues who had contributed to this cinematic masterpiece. The reactions of the audience were exhilarating, and the applause at the end of the film was a testament to the collective effort we had put into making it a success.

After the screening, we let our hair down and celebrated at a lively party. Laughter, music, and spirited conversations filled the room as we all relished the success of the film. It was a night to remember, one where we all let loose and reveled in the joy of the moment, toasting to the magic of storytelling and the bond we had formed as the "Knives Out" cast.

OSCARS 2020

At the Oscars in 2020, I made quite the statement with my attire, wearing a half-red dress on top and a light baby red skirt on the bottom. The striking combination exuded confidence and style, as I had recently gone through a divorce from Penn and wanted to showcase my independence and strength, looking both sexy and savage on the red carpet.

My presence at the Oscars that year was as a presenter for the "Best Director" category, which turned out to be a historic moment when Bong Joon-ho won for his exceptional film, "Parasite."

Interestingly, I attended the event by myself, walking down the iconic red carpet, making a statement not just with my attire but also with my confident solo appearance.

The night was bittersweet, with interviews that focused more on my recent divorce than my upcoming projects, which I was eager to discuss. Despite the distractions, I managed a few interviews, trying to steer the conversation towards my professional endeavors.

The evening culminated in a grand Oscar party, where attendees indulged in revelry. We all celebrated, unwinding with a bit too much to drink, and had a lot of fun, forging new connections and celebrating the artistry of the film industry.

EMMYS 2021

At the 2021 Emmys, I graced the event in a stunning blue marble dress, accentuated with elegant long sleeves, signifying a fresh start as the quarantine had recently come to an end.

What made the evening even more special was attending alongside my boyfriend at that time, Robert Pattinson. Although we weren't nominated for any awards, we had the privilege of being invited to the show, making it a memorable night for both of us.

Rob and I seized the opportunity to capture some beautiful photos on the red carpet, basking in the attention from the cameras and the shared experience of the event.

During interviews, we candidly discussed our exciting future projects and offered glimpses into our relationship, sparking interest and admiration from our fans and the media.

The night concluded with a lively Emmy after-party, where we mingled with industry colleagues and friends. As the night went on, laughter, music, and a few too many drinks added to the festive atmosphere, creating lasting memories of a night filled with fun and celebration.

OSCARS 2022

At the Oscars in 2022, I graced the event in a beautiful, voluminous, long cream dress, exuding elegance and style as I walked down the red carpet.

I had the pleasure of attending the Oscars with my father, Hugh Jackman, making it a memorable family affair. Together, we celebrated the magic of cinema and the incredible talents of the evening.

My role that night was as a presenter for the "Best Original Screenplay" category, and I had the honor of announcing Kenneth Branagh's "Belfast" as the winner. It was a moment filled with pride and excitement.

Hugh and I took the time to capture some cherished photos on the red carpet, relishing the moment together. We also engaged in interviews, sharing our thoughts on the event and the joy of being part of the Oscars.

The night concluded with a grand Oscar after-party, where we joined fellow industry colleagues and friends in celebration. As the evening went on, laughter, music, and a few drinks added to the festivities, creating enduring memories of a night filled with joy and camaraderie.

TOP GUN MAVERICK PREMIERE

At the premiere of "Top Gun Maverick," I wore a stunning blue dress, which perfectly complemented the theme of the evening. To add an extra touch of glamour, I adorned myself with a very expensive Tiffany necklace featuring a captivating blue jewel. My intention was to exude sophistication and make a lasting impression on the red carpet.

Interestingly, I attended the premiere alone, which allowed me to focus on the excitement surrounding the event and the film.

Things got quite wild when Miles and I, who had shared a past romantic connection, took pictures together on the red carpet. The paparazzi frenzy was fueled by the fact that our characters in the film had a relationship, leading to a flurry of rumors and speculations.

The interviews that followed were indeed awkward, with interviewers consistently bringing up the topic of our past relationship and delving into personal details that weren't rooted in reality. The persistent questioning about whether we had rekindled our romance or if Miles was getting divorced added to the discomfort.

Rumors and speculations began to swirl, and both Miles and I found it challenging to deal with the unwanted attention. While we shared a mutual respect and affection, it was important to clarify that we had moved on and maintained separate lives.

After the screening of "Top Gun Maverick," we joined the other guests for a grand premiere party. As the night unfolded, we all indulged in the festivities, including a few too many drinks, and enjoyed a night filled with laughter and camaraderie, putting the rumors aside and focusing on the celebration of the film.

THE SEVEN HUSBANDS OF EVELYN HUGO PREMIERE

As I graced the premiere of "The Seven Husbands of Evelyn Hugo," my choice of attire was nothing short of remarkable. I opted for an attention-grabbing white dress that perfectly accentuated certain features, and it was elegantly adorned with long black sleeves and other black accessories. The ensemble not only added a touch of sophistication but also ensured I stood out on the red carpet. With each step, I aimed to exude a sense of luxury and make a lasting impression on this extraordinary occasion.

Adding to the evening's grandeur, my current boyfriend, Taron, accompanied me to the premiere. We walked the red carpet together, turning heads and sharing the joy of the night as we posed for photos, basking in the attention.

What made this night even more remarkable was the fact that, in many ways, I felt like I was channeling Evelyn Hugo herself. The character I portrayed in the film had become a part of me, and walking the red carpet, adorned in my elegant attire, I couldn't help but embrace the essence of Evelyn's charm and charisma.

The premiere proved to be a resounding success on multiple fronts. Everyone in attendance couldn't help but appreciate not only my stunning appearance but also the outstanding performance I delivered in the film. It was a night filled with admiration and celebration, where the hard work and dedication that went into the project were recognized and celebrated.

The screening of "The Seven Husbands of Evelyn Hugo" with the guests in attendance was a true highlight. The room was filled with anticipation as the lights dimmed and the film unfolded on the big screen. The collective emotions, the laughter, and the occasional tear made it clear that the film had left an indelible mark on its audience.

Following the screening, we all gathered for a grand premiere party. As the night unfolded, we embraced the lively atmosphere, mingling with industry colleagues and friends, and enjoying a few too many drinks. Laughter and music filled the air, creating a warm and welcoming environment for all. The night was one to remember, marking not only the success of "The Seven Husbands of Evelyn Hugo" but also the camaraderie and joy that comes with celebrating a creative endeavor of this magnitude.

OSCARS 2023

The Oscars in 2023 was a night I'll cherish forever, as I had the honor of being nominated for "Best Actress" for my portrayal of Evelyn Hugo. For this momentous occasion, I chose to wear a stunning black dress adorned with glitter in the short sleeves, paying homage to the timeless elegance of "Breakfast at Tiffany's." Adding to the allure, I accessorized with exquisite jewelry from Tiffany and Co., making sure to capture the essence of classic Hollywood glamour.

Accompanying me to the Oscars were two of the most important people in my life: my current boyfriend, Taron Egerton, and my father, Hugh Jackman. The red carpet was a family affair, filled with love, support, and shared anticipation.

The competition in the "Best Actress" category was nothing short of legendary. I found myself in the company of renowned actresses like Angelina Jolie, Salma Hayek, Emily Blunt, and Cate Blanchett. The nomination alone was an incredible achievement, but little did I know that the night held something even more extraordinary in store.

As the awards ceremony unfolded, my heart raced with anticipation, and when my name was called as the winner of the Oscar for Best Actress, it was a moment of sheer elation. The recognition of my performance as Evelyn Hugo was a culmination of hard work, passion, and dedication to the craft of acting.

Following the awards, we all came together for a grand Oscar after-party, where we indulged in lively celebrations. Laughter, music, and perhaps a few too many drinks defined the night, making it a memorable and joyous occasion for all. It was an evening where we, the nominees and winners, set aside competition to come together and share the magic of the film industry, celebrating our collective achievements and the timeless art of storytelling.

[flung-out-of-asgard]

Ok but why did you like madam web? I have no opnion on the movie and I'm not planning to see it but I do want to see why the few people that enjoyed it did

There’s many reasons. For starters it is extremely campy, and I love that. I kinda miss superhero movies that go the extra mile to be different, that they even become a little bit cheesy. I guess that’s why I also liked Multiverse of Madness, it was refreshing to have a different story AND visual storytelling, which takes me to my second point.

I’ve heard a lot of people complain about how superhero movies became kind of static, no camera movements, no different shots or angles to push the story forward. I am a professional story board artist, so I appreciate a lot when a movie isnt just telling you what’s going on just through dialogue, but composition and camera work. Yes, it’s a little sloppy in madame web, but I’m so glad it just isnt green screen 24/7 and its the editing and the cinematography what «shows you» Cassie’s abilities. That’s super creative!

Then I loved Cassie as a character, I related a lot to her. The snarky comments, the acid humor, the not knowing how to «properly» interact with other people. That felt so real! She felt like a real person, like someone I can be. I also enjoyed her connection to the girls, them all had great chemistry even if the script made their scenes trip a little, but the way them all shared things in common and became a family, I liked that, I’m a sucker for the found family trope. And also Cassie’s relationship with her mom, I understood that, and that hit me deeply.

Then as for the superhero part. I love that Cassie’s power isnt questioned or dismissed because she’s a woman. I’m VERY tired of movies having these hollow speeches of: ‘Oh, but I am a woman and that makes me strong’ or ‘we’ll take you down with female power’, or having male characters underestimating them for being women and then ‘learning their lesson’. This story never goes there and I appreciate it a lot.

I have many other reasons, but I’ll end just by saying that I’m a huge greek mythology nerd. And I enjoyed a lot Cassie’s story connecting with Cassandra, the seer whose visions weren’t believed. And also Oedipus as Ezekiel trying to avoid his fate.

Is it the best movie? Definitely not, but it’s not as bad as people have said. I believe that every movie has something good to highlight and enjoy and I enjoyed this one a lot! Also. Britney Spears and The Cranberries in the same soundtrack, that sounds fucking awesome.

[souplups]

d20 new season theory

i have a growing theory that the coming season of dimension 20 is going to be somewhat inspired by knights of the round table AND maybe set in space?? and I HAVE EVIDENCE

if you lighten the reveal moment from the trailer you get a slightly better sense of what the set is going to look like and here's where things get interesting

this looks like eastern architecture, you have the spires/spikes and the really specific shapes of the domes and the color pallet being these rich purples and greens. but i think matt is the WRONG person to be doing something like arabian nights and we just did fairy tales in neverafter.

but you know what we HAVENT done. arthurian legends. and the two things that get me the most about htat are these. they are too intentional to not be important and there are so many similarities between both of these objects and the representations of the holy grail in art? i submit for consideration the following:

I ALSO submit for consideration the shirt that mercer is wearing, notably, the fact that it depicts a blade (I KNOW I KNOW it's exu but let me extrapolate)

in addition to that, i think that the spires COULD be gothic architecture which would have been the prominate architectural style of the mid-12th century when the legends of the round table first emerged.

here is where things get a little wild and i'm starting to take some liberties but we have a very similar background here as we do in a starstruck odyssey

we have also a few other elements that make me wonder if we have a space knight situation then umber one being the various orb like features on the dm screen

as well as the sound effects for the 'coming soon' sounding very space laser-y and the loading of the bar being reminiscent of some futuristic tech as seen in something like tron

this also would track with the pattern of d20 combining themes/genres for storytelling purposes AND it would give them a lot of creative liberties with the "aesthetic" which could explain the less traditional arthurian theming!

my other guess would be that it would be a true space fantasy which would compliment the instrumentation choices of the teaser as well as the drama of the whole ordeal!!

ANYWAY those are my thoughts as to what's coming and i look forwards to finding out more!!

[pjstafford]

There are a million ways to tell a life story. Review of Reverse the Curse.

"There are a million ways to tell a life story. As a tragedy or a comedy or as a fairy tale with baseball teams that can keep you alive..."

Reverse the Curse is a movie written and directed by and starring David Duchovny based on his novel Bucky F*cking Dent. Duchovny plays Marty, a man dying of lung cancer. Logan Marshall-Green plays his estranged son Ted, an aspiring writer who works as a peanut vendor at Yankee Stadium. Stephanie Beatriz plays Mariana, a grief specialist nurse. Early in the movie, before we ever see Marty, Mariana speaks this line which foreshadows that, while this is a familiar story with universal themes, it is going to be told in a way that will take you by surprise. As the writer adapts his novel to the screen, it retains the signature style of Duchovny's written works for screen, novel, and song lyrics which is more reflective of life than any specific genre of storytelling. In Reverse the Curse Duchovny creates a story of tragedy, comedy, a touch of a fairy tale, an epic sports season, and a dash of romantic comedy. It's a movie that will take you on a heart-filled journey of loss, healing, and new beginnings while you laugh and cry.

With Duchovny's unexpected style (a critic refers to this movie as genre-bending), he is sometimes criticized for tonal dissonance. This film moves quickly, finds creative ways to express backstory without long exposition, and does a better job than his first movie (House of D which I would recommend) of signaling when the fairy tale aspects are about to begin (literally by asking the question do you believe in fairy tales). The story beats of comedy and drama blend into each other in a way that feels connected.

The story of the 78 Red Sox and New York Yankees works well as the backdrop of the story of the father-son. Sports provides a bridge for the two men to learn how to talk to each other again after years of estrangement. Marty makes the point that baseball is the one sport where theoretically a game might never end. However, the genius of this backdrop is that it anchors the story in our world which happens to be a world where people believe in curses and where sometimes there occurs an improbable outcome such as a shortstop with a poor batting average hitting a legendary home run. The fact that this story is a historical fact lends credibility to the more fairy tale parts of the movie.

What really pours forth from this movie is heart. Duchovny delivers comedic lines with genius and there is a confession scene which many are referring to as the best dramatic scene of his career. He has great chemistry with Marshall-Green whose hesitation with some comedic material works well in the character of Ted who is unsure of himself. Beatriz is a standout in her portrayal of a woman whose career path has been determined by personal tragedy. The most "out there" characters in the movie are the three barbershop boys, Marty's older male friends who spend their days in the barbershop. These characters are exactly that...Characters! Played by Jason Beghe, Evan Handler, and Santo Fazio, what makes the scenes with these characters work is the sense that they have known each other and developed their banter over decades. A storyline that could have been seen as silly becomes a story about true friendship over time.

This movie has the feel of a seventies movie. It is not simply that it is set in 1978. In fact, there are some historical inaccuracies such as the showing of Jimmy Carter's malaise speech which takes place in 1979 not 1978. It is the fact that the movie feels like it was based on the type of movies we might have seen in the theater in the seventies. Some of that is cinematic. The cinematographer, Jeff Powers, said in an interview that he drew inspiration from a lot of the American New Waves films from that time including Five Easy Pieces. It reminded me of movies like Harold and Maude, Midnight Cowboy, and Love Story. It's a character-driven story where the ending is a foregone conclusion that takes its beats getting to the ending because the ending is not the point as much as the journey to the ending. Each step of laughter and each step of tears and even sitting through a scene with an over-reliance on fart humor is a beat of hearts within the film.

For me, my journey of watching the film, my heartbeats, were these. Seeing Marty in a hospital bed with oxygen in the first scene in which we see him instantly transported me to the first time I saw my father after his lungs collapsed. However, the seventies feel of the movie transported me to a time when my father and I used to go to the theater to watch movies together - in the seventies- and how much he liked movies like this one. It was a surprise to me to feel that my father's presence was laughing with me as we had laughed together at so many films while he was alive. It was a gift of heart.

All the stars from me!

Please note I had a difficult time not constantly referring to changes between the book and the movie in this review. I was slightly afraid to see the movie for fear it would hurt the novel for me. I am now fascinated by the decisions that were made that make each so unique while telling the same story. In a few weeks, when spoilers are more acceptable, I will do a written comparison of the two.

[bombshellsandbluebells]

ALLLLLSOOO how much of the budget is going to go towards bringing back now Oscar award winner RDJ when I know for a fact Disney pays their crew minimum rates, cuts down departments and pre production to save money (which leaves creatives unable to make things of quality) and just generally doesn’t value the actual crew people making their films

in a period in the industry where like every other crew person is unemployed and struggling to make ends meet

this is less a call out of RDJ himself and MORE a call out of how ridiculously disproportionate budgeting towards crew salaries and the things that will get you quality work (like hiring enough art people and giving them enough time in pre pro - similarly hiring more vfx people and giving them enough time in post) vs. the salaries of name actors has gotten, how much of these massive, ballooning budgets just go towards a handful of people

and that is not to say actors aren’t important! I don’t mean to argue that crew are more important than actors because the fact is it’s a collaborative art form that requires ALL pieces of the puzzle to perform well to make a quality product

but how much does your actor matter when the story around them is terrible because you didn’t let people skilled at storytelling make the decisions? how good can they possibly look when you hired too few costume designers and gave them no time or money to produce quality costumes? how well does the actor’s performance work when you shoot everything on green screen and then overwork a handful of vfx artists with waaaay too tight of deadlines and also constantly change your mind on what they should even be creating, leading to low quality looking work that is more laughable than immersive?

but paying RDJ a massive amount of money to return to a series that continues to make decisions void of actual storytelling, that values all the wrong things over the talented creatives that actually have the skills to make quality art people care about, that considers AI a fair replacement to artists because they fundamentally misunderstand the value of art and creativity in filmmaking, is the solution to save the MCU

anyways, I am once again begging everyone to read Martin Scorsese’s article on the MCU

[koi-fish-boy]

Ranting bout Ai cuz I fucking hate it.

I've been thinking about AI recently cause of an essay I had to write about what should be considered when creating AI. The articles I was assigned to read didn't say a single bad thing about it. It praised AI, calling it intelligent, the future, blah blah blah. Yeah, AI may be smart, but it's not human. I see people using AI art and AI bots like character AI and I don't understand. Those bots will never have the soul, the work, the toil put into generating those stories and "art" that work made by people have. Artisans spend years, decades of their lives toiling over their work, improving bit by bit, learning new techniques to help them improve, getting tips and tricks from those who've been doing it longer than them and know how to make it easier and to help. Will AI ever replicate that? AI is just green lines of code on a digital screen. I'm not saying it's easy to make AI, but that's what it is. It will never replicate the bonds, communities, and pride that stem from someone simply being interested in something and wanting to learn more. AI is constantly learning, but what bonds does it make? Who does it talk to? Movies and stories made by AI won't have the passion put into it like those made by humans. Throughout humanity one of the things we have held close and passed down is art and creating things. It's human to create, the earliest humans created, who we are today stems from their creativity and their communities and their bonds with each other, not artificial voices and stolen data. Using AI to create these is taking the traditions we held dear to our hearts for thousands of years and stripping it down to the click of a button. Our future is bland and soulless if we actually let AI do these things. Our future is ours to write, it is in our hands. Not the digital hands of a pixel screen masking green lines of code. Using AI to create is taking what makes us human and mutilating it. Our creativity is not a lamb for the slaughter, it is not to be given away so lightly. It may be cheaper, it may "look nice", it may be fast, but that takes away everything that makes art and storytelling art and storytelling. All those years mathematicians, artists, writers, screenwriters, scientists, medical staff, etc have put into being good at what they are is being thrown right out the window because of AI being able to do what they spent their lives learning with the click of a button. This is the end of humanity. Not as a species, but as who we are. AI can never replicate the feeling of being praised by someone you look up to because they think the art or story or anything you made is good. AI is not human. Stop letting it pretend to be human.

[doink]

Crafting Magic: How to Create a GIF with a Transparent Background in Green Screen by Do Ink

Unleash the power of visual storytelling with Green Screen by DoInk! In this blog post, we're delving into the enchanting realm of GIF creation, specifically focusing on how to achieve a transparent background. Whether you're a teacher looking to enhance your lessons or a content creator adding a touch of magic to your projects, this tutorial will guide you step-by-step through the process of crafting captivating GIFs with seamless transparency.

What you will learn:

Introduction to GIF creation with transparent backgrounds in Green Screen by DoInk

Step-by-step guide on achieving transparency in your GIFs

Utilizing the app's features for seamless integration and customization

Tips for optimizing your GIFs for various platforms and purposes

Real-world examples showcasing the versatility of transparent GIFs

Elevating your visual storytelling with captivating and dynamic animations

With Green Screen by Do Ink, creating GIFs with transparent backgrounds is a breeze. Whether you're adding subtle animations to your lessons or creating eye-catching visuals for your content, transparent GIFs offer endless possibilities for creativity and storytelling.

[bougierthanthou]

So About Ben 10: Alien Force

Story: Moving our heroes off the road and out of the rust bucket and into their hometown of Bellwood is a welcome change that could allow us to see different facets of our protagonists which informs the story as a whole. Having Ben and Gwen search for their now missing grandfather only for them to stumble upon a conspiracy by aliens known as the Highbreed to take over the earth was a premise rife with potential. Getting to see Ben and Gwen operate independently of Grandpa Max especially considering they're nowhere near as knowledgable about this world as him is brilliant. Incorporating Kevin to be a resource isn't bad but INCREDIBLY RUSHED. Him begrudgingly helping them on occasion would've been more sensible for the characters and the story instead of him coming to their aid consistently. How are we supposed to feel the loss of their grandpa Max while they navigate this alien world if Kevin immediately fills that void? What was the point of making Ben step into the role of leadership for his grandpa max to just come back anyway? Speaking of Grandpa Max they barely react to his alleged death throughout this series and Ben and Gwen's collective grief isn't even fully explored. The trio's personal lives are never given any real screen time and when it is it's far too late in the series. When Kevin isn't working on his car where does he sleep, is it in his garage? I'm not saying we need long drawn out answers to some of these questions but a throwaway line here and there or multiple episodes dedicated to these topics and questions would show that the writers are putting some actual forethought into this story. Another stray thought since the DNAliens are revealed to be humans that have been enslaved by the Highbreed we should've seen our heroes struggle with that either in combat or just from a moral standpoint. It should've realistically caused some conflict amongst the trio about how to proceed and how to properly restrain themselves going forward. Would've been a useful way to show other aspects of their personalities and upbringings. While the transition from the episodic nature of the original to serialized storytelling in the sequel is to be applauded the new ideas presented have promise but poor execution overall.

Characters & Combat: Ben is no longer cocky and impulsive, instead he sports a newfound maturity that can only be rivaled by someone in their 50s. This development completely guts him of any potential for character development. Another progression in his character that I just didn't care for was his over reliance on the omnitrix, since it doesn't time out as quickly as it used to it has become a crutch for him. We no longer see his creative mind at work when posed with an alien threat and 'going hero' is no longer an option. In the second episode of classic we see Ben takedown a mutant hamster with nothing but his wit athleticism and a motorized scooter. Gwen is no better she was my favorite in classic and is utterly unrecognizable to me now. Known for being a feisty sarcastic fiercely intelligent character whose interests in science history and tech made her useful not only as a foil to Ben to show her level of competence in comparison, but as an ally when providing him with advice on what transformation to take on for whatever problem they were facing at the time. Not to mention her background in martial arts helped her and Ben deal with less powerful enemies and her latent talent for magic after encountering Hex Charmcaster the charms of Bezel along with obtaining a spell book made her a more active combatant. In Alien Force her abilities as well as personality are flattened. Instead of casting spells to create mini tornadoes cause water spouts manifest mist levitate objects and project shields that deflect laser fire they make her into a great value green lantern. When it comes to combat she's weaker now than when she was a child, the power of her shields are inconsistent her energy discs don't do the same amount of damage as Ben and Kevin's attacks. On top of that they decided the origin of her power is alien via her grandmother. She's no longer a uniquely magical girl whose powers act as a vehicle to bring fantasy elements into this sci-fi story but another generic alien. In this show they just reduced her to the token girl which will never sit right with me. Kevin is back and no longer as murderous as he used to be when Ben and Gwen came across him when they were kids. Instead Kevin is now pushing alien tech as a dealer, weapons specifically. This isn't a horrible progression considering Kevin was a street rat and unhoused in classic plus his stint in the null void it actually makes some semblance of sense. What doesn't make sense is his willingness to help, he's a consistently selfish person so aiding Ben and Gwen happened too quick. They should've had Ben and Gwen coaxing him into helping with their mission either through providing him with whatever alien tech Grandpa Max had laying around or trading in information he'd find beneficial. His crush on Gwen was also completely out of left field the same goes for their romance which was as rushed as it was forced. If there was a buildup to it all.

Art & Character Design: The backgrounds and character design are now as flat and lifeless as Ben and Gwen's personalities. A majority of the episodes always take place at night leaving everything shrouded in a perpetual darkness that rivals the shadow realm of Yu-Gi-Oh. Character design is quite poor when you consider the leads can only make about two expressions leaving them unable to properly emote or show the full range of human emotion. Thankfully, this doesn't extend to Ben's aliens they're quite expressive too bad they're just poor knockoffs of the originals and when they aren't knockoffs they're just hybrids of the originals. Swampfire is just Heatblast merged with Wildvine, Big Chill is just Ghostfreak with cryokinesis. Chromastone is Diamondhead but he can absorb and redirect energy while Echo Echo is just Ditto with the addition of a sonic scream. Gone is the excitement and innovation that comes with a new transformation because they're just a half assed combo of what we've seen already. Actually, I take that back there are a few notable exceptions, Spidermonkey was a great addition with a great design and unique I'd even argue the same for Goop because he provides something different and is reminiscent of an alien species we saw in classic in the movie Ben 10: Secret of the Omnitrix. Most of these new transformations invalidate the originals and are too OP with no clear limits. They don't even look as alien monstrous grotesque or dynamic as you'd expect given the standard set by classic. Ben's design is fine but his fit is so generic, plain black tee paired with a green jacket that has the number ten on it and blue jeans. The simplicity of his clothes does suit his now rigid persona tho. Gwen is the worst offender sporting a white button up with a blue sweater with a black skirt stockings and short heels. It's been made apparent in classic that she loves fashion so relegating her to a school uniform seems not only out of character but completely fucking ridiculous. How did these two have more style and flair at 10 than they do at 15?

[flutishly]

GGF rewatch, part 3 - Season 1 wrap-up

Note: I started writing this post a few months ago. Things have happened since which affected my ability to get this post out. I haven't picked up The Great Webseries Rewatch since, but I intend to, once things... settle. In the meantime, I'll wrap up this loose thread.

I didn't even process how quickly the end was coming up. I sped through the last batch of Green Gables Fables episodes with such ease that it just... happened.

GGF has aged remarkably well.

More than so many other shows, GGF has an excellent sense of environment and world. Its side characters exist in a way that makes them feel entirely alive and not just when they're on the screen for Anne-the-blogger's sake. There is a sense that Avonlea is richly populated, even beyond what Anne specifically shows us and shares with us. Things like the writing group, Anne having her friends show up on camera (as young people are wont to do), and the creative writing class project that has everyone doing vlogs (which really is unfair when everyone knows Anne already has a vlog, it's totally favoritism!) all give space for characters to exist on their own terms.

GGF also does one thing which at the time distinguished it from other amateur (and not-amateur webseries): It included an adult. The fact that GGF shows Matthew as a living, breathing, awkward character is delightful. It's lovely because it also shows that Anne's life and choices and mistakes don't exist in a vacuum. When GGF was airing, it struck me as "okay, that's nice" rather than something which actually helps make GGF an excellent adaptation.

There's not all that much effort to modernize, truthfully. GGF never strays too far from the original text (or its intention). Because Anne of Green Gables is still fairly modern itself (or at least still resonates fairly well with the modern reader, all things considered), there aren't needs for huge leaps in order to get the story to work.

Even the romance! Where a lot of the literary webseries needed to make sure that their characters were neatly packed off to relationships by the end (some of which didn't necessarily make sense and some of which were expressly changed so that they could make sense), Anne of Green Gables has no such demand. Anne and Gilbert have the ultimate realistic relationship, in terms of its ups and downs and complications. It's slow. It's powerful. It continues to enchant young readers. GGF sticks to the original script, which I think helps keep it feeling relevant and earned.

GGF also does an excellent job with... minutiae. Ruby remains one of my favorite adapted characters, in large part because she appears on screen as someone whole, who just happened to have not yet been featured and then continues to develop with the confidence and ease of a fully-drawn character. (She's also very well-acted.) Her vlogs don't amount to a subplot (in this season, at least) and they just give space to a human being. It doesn't feel like there's a message that needs to come across or a niche that needs filling (a la Maria Lu in LBD). This is evident in Anne's vlogs as well, where the ever-engaging Mandy Harmon sometimes vlogs about things that really don't fit to any expected plot points, but still give you a rich sense of the character and her world. It's good storytelling.

Ultimately, I'm left with little to say other than... yeah, this has held up. Green Gable Fables feels richer and smarter and deeper almost a decade after the fact than when it first aired, which I think is a combination of my increased appreciation for what it does so well, my better understanding of the source text (I actually hadn't read AoGG when I first started watching GGF and indeed read it because of GGF!), and the way I've seen other shows try to do what GGF is able to do so seamlessly here. I'm exceedingly pleased that I chose this as my second show for the rewatch project; it has held up so well and was just a wonderful rewatch overall. And if you've never seen it before? You're in for a great time.

[whiskeyswifty]

she sang these surprise songs to distract us from how bad the Karma MV is.... Jk, she looks hot and all and the devil scene is a serve but i am getting sooo tired of the cgi onslaught and the "random scenes of me looking cool" kind of concepts. I gettt the theme whatever but girl none of it is fun or interesting! Ari caused a stir with a similar mv concept a few years ago already!!! You waxed on and on about being a film nerd a while ago WHERE is that? And I knooow music videos are a different wheelhouse but you can do so many cool things with them and in the past Taylor has had amazing storytelling concepts and cool visuals and from like Lover onward it was like: "Teehehe look how many Easter Eggs I can drop in these 50 unrelated scenes filmed in front of a green screen". The fucking art heist music video she filmed in Liverpool better be good.... I am tired... (Sorry for being mean and rambling in your inbox it's just. Blergh!)

i totally agree and i'm not really a current mv aficionado (ask me about any mv from the 90s thru the mid 2010s tho i gotchu) but i can speak to how the cgi garbage onslaught is saturating film as well and it's soul sucking. look i get it that cgi is cheaper than it's ever been before and practical effects but so many "directors" use it as a crutch. it's just plain ugly for the most part and you can compare the practical effects in the LavHaze video and see how lovely and gorgeous and tactile something can be when done practically. it's just more tangible and quite frankly show's a level of skill and understanding of the medium and craft of filmmaking where cgi just shows the opposite. it's not going away, unfortunately, but there are still many directors out there who insist on practical or use cgi in really tasteful ways.

i also think many swifties don't want to reckon with this but she is a budding filmmaker (if she continues on this path) like she is JUST STARTING. which means she has no skills in this department. her mv's prior were amazing because they're made by longtime professional directors. and i don't care how good you are at storytelling in other mediums, filmmaking is a very specific and restrictive way of doing it. and if you're bad at it, it's VERY obvious, and it's like learning a new language. yeah you can write a stunning novel in english, but it'll take you at least 10 years to learn spanish competently enough to even attempt to write a novel in spanish that is as deft and skilled as your english one, and it will probably still not measure up. because a language is more than the words; it's also the phrases and the references and, well, you get the metaphor. creative skills take decades to hone. unless you're a savant, or someone with a singular, culture shifting vision (which she is not, not in film at least, sorry) it takes soooooo many films to really sharpen your tools and understand the craft. i'm willing to give her some slack in that department, as every MV she makes is just basically her film school projects, and film school projects are clunky and middling at best cuz you're learning. sometimes i like them, and sometimes i feel like they're just not quite there, but she's fortunate that she is afforded this many mini projects to experiment and find her footing before embarking on a feature. unfortunately they are also promotional material, so they must be bogged down with easter eggs and the like. i'm sympathetic to that, even tho i am, like you, also frustrated. I really hope the liverpool one is good. it looks like it had a lot of moving parts which is promising!! hopefully less green screen cop out garbage. fingers crossed!

[soob1nn]

MY CHARACTERS - ADULT FAME DR

REMINDER! I haven’t shifted yet, so all these is just my imagination 🤍

masterlist - main mastelist

As an actress, I've had the privilege of breathing life into a multitude of incredible roles, each one a unique canvas upon which I've painted a diverse spectrum of characters. Each role has been a mesmerizing chapter in my career, a testament to the limitless possibilities that the world of acting has to offer.

ELIZABETH SWANN - PIRATES OF THE CARIBBEAN

four films (2010-2014)

Elizabeth Swann is a captivating character from the "Pirates of the Caribbean" film franchise. Portrayed by me, Elizabeth is a spirited, intelligent, and determined young woman. She is known for her striking beauty, with long, flowing chestnut hair and striking green eyes.

Elizabeth is the epitome of courage and resilience. Throughout the series, she evolves from a prim and proper governor's daughter into a fierce and resourceful pirate. Her transformation is marked by her unwavering loyalty to her friends, including the enigmatic Captain Jack Sparrow and the honorable Will Turner.

However, it's important to note that Elizabeth Swann appears in only four of the five films in the series. This is because the I decided to take a break after four straight years of playing the same role. Despite my absence in one installment, Elizabeth's character remains a beloved and iconic figure in this series.

As a character, Elizabeth Swann embodies the spirit of adventure and a desire for freedom, often challenging societal norms and expectations. Her presence on screen is a testament to the strength and complexity of female characters in the realm of cinematic storytelling. Elizabeth Swann's journey in the "Pirates of the Caribbean" series has left a lasting impact on audiences, making her a beloved and iconic figure in the world of film.

BELLE - BEAUTY AND THE BEAST

(2017)

Belle, the enchanting protagonist of Disney's "Beauty and the Beast." is a character that has captured the hearts of audiences for generations. Portrayed in the live-action adaptation by me, Belle is a character of beauty, intelligence, and unwavering courage.

With her distinctive hazel eyes and a crown of chestnut hair, Belle exudes a timeless and natural beauty. Her iconic golden gown and matching accessories only enhance her charm.

But Belle is not just a pretty face. She's known for her voracious love of reading and her curiosity, often seen with her nose in a book. Her desire for knowledge and adventure sets her apart from her provincial life and leads her to the enigmatic Beast's enchanted castle.

What truly makes Belle special is her spirit. She's courageous, compassionate, and willing to look beyond appearances to discover the kindness and humanity within. Her journey from a small village to an enchanted castle, marked by her love for the Beast, is a tale of inner beauty, strength, and the transformative power of love. Belle remains a beloved and enduring symbol of intelligence, kindness, and the timeless message that beauty is found within.

JO MARCH - LITTLE WOMEN

(2018)

Jo March, a central character in Louisa May Alcott's classic novel "Little Women," is a literary icon known for her strong-willed, independent, and fiercely creative nature. Jo is a character who transcends the pages of her story and remains an enduring symbol of determination, ambition, and the pursuit of one's dreams.

With her fiery auburn hair and a boundless spirit, Jo embodies the essence of the independent woman of her time. She is a talented writer and storyteller, channeling her experiences and imagination into her works. Her passion for literature is evident in every word she writes.

Jo's journey in "Little Women" is a tale of her desire for independence, self-expression, and the pursuit of a literary career. Her character shatters societal expectations for women of her era and challenges the conventions of her time. Jo's story is a timeless reminder of the power of resilience and the importance of pursuing one's ambitions, making her an inspirational figure for generations of readers and audiences.

MARTA CABRERA - KNIVES OUT

(2019)

Marta Cabrera, portrayed by myself in the film "Knives Out," is a character with a strong moral compass, a compassionate heart, and an extraordinary ability to speak the truth. Marta is not only an integral part of the film's intricate plot but also a captivating and memorable character in her own right.

Marta's character is characterized by her humble, down-to-earth appearance and a warm, empathetic demeanor. Her simple, unpretentious attire reflects her nature as a caregiver, always putting the well-being of others first. Her expressive brown eyes and genuine smile reveal the depths of her character.

What truly sets Marta apart is her condition of involuntary regurgitative reaction to dishonesty. This condition serves as a central plot point and a clever narrative device, emphasizing her honesty and making her a key player in solving the mystery.

Marta's character is a reflection of unwavering integrity and a commitment to doing what is right, even when faced with deceit and duplicity. Her journey in "Knives Out" is a testament to the enduring power of truth and goodness in the face of deceit and duplicity, making her a character that resonates with audiences long after the credits roll.

ROSSANA MITCHELL - TOP GUN MAVERICK

(2022)

Rossana Mitchell, the daughter of the legendary Pete Mitchell, known as Maverick, is a character who embodies the same unwavering bravery and stubborn determination as her father.

Following in his footsteps, she becomes a pilot in the army and is as passionate about flying as Maverick himself.

Rossana's love for aviation runs deep, and it's a part of her identity. Her courage and resilience shine through in the cockpit, just like her father. She's not one to back down from a challenge, and she thrives in high-pressure situations, carrying on the Maverick legacy.

But it's not all about flying for Rossana. In the midst of her thrilling aerial adventures, she finds herself falling in love with Rooster, a connection that adds depth and complexity to her character. Her journey is a compelling mix of familial legacy, personal passion, and the twists and turns of love in the high-stakes world of military aviation. Rossana Mitchell is a character with an indomitable spirit, soaring through the skies and capturing hearts along the way.

EVELYN - THE SEVEN HUSBANDS OF EVELYN HUGO

(2023)

Evelyn Hugo, the enigmatic and alluring protagonist of the novel "The Seven Husbands of Evelyn Hugo" by Taylor Jenkins Reid, is a character of captivating complexity and depth. Her life story is an extraordinary journey through the glitz and glamour of Hollywood's golden age, intertwined with profound personal experiences.

Evelyn is portrayed as an icon of beauty and allure, with her striking looks and timeless elegance. Her character embodies the essence of old Hollywood glamour, with a magnetism that captures the attention of everyone around her.

Beyond her captivating exterior, Evelyn is a woman of immense determination, resilience, and ambition. Her life story, filled with secrets and sacrifices, is a testament to her fierce independence and her unyielding pursuit of success in an industry known for its challenges.

What makes Evelyn Hugo truly fascinating is her introspective and self-aware nature. Her journey, as she recounts her life to a young journalist, is marked by deep introspection and a desire to leave a legacy that transcends her film career.

Evelyn Hugo is a character who defies categorization, a woman of complexity and contradictions who navigates the intricacies of love, fame, and personal identity. Her story is a captivating exploration of the human experience, leaving an indelible mark on both the novel and its readers.

[frankbelloriley]

Here's some of the best things I've watched in 2023.

New releases (an incomplete list because I'm gonna catch up on more stuff in January, so I'm only going to put seven):

Godzilla Minus One - An absolute hoot of a time at the movies. A human melodrama interrupted by a giant city destroying lizard. A fascinating deviation from Shin Godzilla which is more of "what if the bureaucracy of In The Loop had to deal with a radioactive monster" satire, while this goes for pure thrills and audience pleasing moments. Between this and last year's RRR, how are other countries better at pure audience pleasers than us?

The Boy and the Heron - I walked out of The Wind Rises in 2013 thinking, "Yeah, that perfectly caps Hayao Miyazaki's career. After telling the story of how a man's imagination ran away from him and questioning the impact of his life's work, what else does he need to say?" I walked out of The Boy and the Heron thinking, "So that's what."

Barbie/Asteroid City - I'm putting both together because Greta Gerwig has joined Wes Anderson in making movies with one singular moment that seem genetically engineered to wreck me (I will not say what they are here because chill bro, I don't know you like that.). That and both telling their stories through production design. I would hope that the lesson from Barbie making a billion dollars would be, "maybe shoot things on actual sets instead of green screen studios," but it's going to be, "find me another doll to make a movie from." As for Wes Anderson, it's so weird that the criticism he gets is, "it's too Wes Anderson-y." You want him to dilute his voice and make it...what exactly? Look, you like what you like, but why do some people want Wes Anderson to make less what he likes? Anyway, I thought this movie was Wes's clever way to be introspective about his storytelling process, and it's one I'm going to revisit soon.

Killers of the Flower Moon - I've seen this twice, and while I never thought the three and a half hours dragged the first time, it flew by the second time. I also never thought The Irishman dragged on either, almost as if Thelma Schoonmaker and Martin Scorsese know what they're doing, but then again I don't have a two second attention span (some of y'all need to get off the damn TikTok and quit making me feel older than seeing the startling amount of grays I see on my head and in my facial hair in the mirror when I say that). The criticism that it should have been centered on Mollie instead of Ernest almost willfully misunderstands what Scorsese's artistic choice to focus on one of his most unsympathetic protagonists in his career. Scorsese is placing you in Leonardo DiCaprio's shoes because you in the audience are more likely to be Ernest than you will ever be to Mollie, and he wants you to sit with that uncomfort. That and Martin Scorsese knows the limits of empathy in that while he can understand Mollie's pain and the trauma endured by the Osage nation still felt today, he cannot truly know it to tell their side of the story. That should be clear from the start if people knew what empathy actually was, but some of y'all think empathy is binging a season of Ted Lasso in a weekend (wow, 2023 really left me cranky).

Ferrari - My joke to a friend coming out of this movie was, "you will believe Adam Driver is Italian," but Michael Mann's latest has hung around in my head ever since. Some call Driver's performance stilted or stiff as if that isn't a creative choice of needing to seem still while anxiety and peril go on behind his eyes in the face of very real peril and danger in 1950s motosports. Almost as if Mann has history of exploring themes of masculinity as a mask that both helps and hurts depending on the context. Penelope Cruz is also incredible here, adding life to a role that, played wrongly, makes the movie fall apart, but ties the whole thing together emotionally. I haven't seen two actors play off this well against each other since James Gandolfini and Edie Falco when I finished The Sopranos earlier this year.

Oppenheimer - Like this year's Miyazaki and Scorsese's works, feels like a culmination of all of Nolan's previous films. Great stuff, in addition to being a movie you can say, "hey, it's that guy" literally five minutes. I've written too much on all these already, so I will say is: Christopher Nolan is never going to work for Warner Brothers ever again.

Some new to me watches in 2023 I really loved:

Written On The Wind - This by Douglas Sirk was a revelation to me. I had no idea white people were emotionally capable of making Telenovelas.

Rio Bravo - Every time I've watched a Howard Hawks picture, I come away thinking they're among the most entertaining things I've watched. A Western that is less about the codes of honor than it is just hanging out.

The Heroic Trio/Magnificent Warriors/Royal Warriors - all of these were part of Criterion Channel's Michelle Yeoh collection, and they're all great with fantastic action set pieces. Michelle Yeoh stars in, respectively, a comic book movie, a period serial kind of like Indiana Jones, and a cop action drama that starts with her foiling an airplane hijacking.

Mississippi Masala - American independent movies used to be "find two hot and talent actors that have chemistry and build a movie around it." We used to be a proper country.

Decision To Leave - Probably would've been my favorite movie of 2022 if I had gotten around to seeing it then.

The Yakuza - In recent years, Robert Mitchum has become one of my all time favorite actors. We used to have guys with lines on their faces that would tell a story without saying anything (RIP director Sydney Pollack's Michael Clayton castmate Tom Wilkinson while I'm at it). The story of friendship and duty between Mitchum and Ken Takakura is the stuff of Dudes Rock (Melancholy Edition).

Strange Days - Incredibly prescient in how we would use phone cameras and how social media would rot our brains back in the 1990s. Doubles as the origin of a Fatboy Slim song. Worth a watch for Ralph Fiennes and Angela Bassett's chemistry alone.

Going to throw in a rewatch that blew me away this year, and that was Kiyoshi Kurosawa's Cure. I hadn't seen it since a Horror In Film class in undergrad, and it is an utter clinic in how film editing can make a viewer feel dread at any moment. The final shot is incredible.