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rachelbethhines · 4 years ago

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Vintage Shows to Watch While You Wait for the Next Episode of WandaVision - The 50s

So the first three episodes of Wandavision have dropped onto Disney Plus and like me you’re probably already obsessing over it. Also like me you’re probably jonesing for another fix while waiting for more as the episodes only come out once a week.

But never fear, we literally have decades of cheesy comedy sitcoms to sift through to keep us entertained during quarantine. Along with the occasional action and/or horror stuff if you’re so inclined. So if you’re trying to decide where to start I’ll be making short lists for each decade that coincides with each episode.

1. I Love Lucy (1951- 1957)

The granddaddy of all American television sitcoms staring the first lady of comedy herself, Lucille Ball. While not the first sitcom to air, tv had been kicking around since the late 40s, this show did pave the way for many technical innovations for the new medium both on and behind the scenes. As such Elisabeth Olsen cited Miss Ball’s work as one of her inspirations for her role as Wanda in the series, as do many a woman entering into the comedic field.

Also the show is just flat out funny. One of those rare 50s sitcoms that manages to overcome some of it’s more dated aspects through shear force of personality and peak comedic screwball antics. The only downside is you have to have Hulu to watch it as the copywrite is tightly controlled even to this day.

2. Amos��‘n Andy (1951-1953)

The 1950s television landscape was overwhelemingly white. It’s no secret that POC had a hard time finding work in the field of entertainment let alone be the stars of the show. Amos ‘n Andy, a spin off of the earlier same titled radio show, was one of, if not the first black led shows on television and so deserves a mention just for that alone.

Now I will not act as if this show is perfect or ahead of it’s time. The series was controversial even during its day for is depictions of racial stereotypes. Eventually the series was canceled because of protests from the NAACP despite being very popular in the ratings. However I’m a full believer that history should be observed and talked about in order to progress further so check out an episode or two on youtube and decide for yourself if it’s worth remembering or not.

3. The Adventures of Superman (1952 - 1958)

Ok, not a sitcom, but as we all know, Wandavision isn’t just a sitcom it’s also a superhero show and this is one of the first tv series in this genre. It and the Fleischer Superman cartoons from the previous decade helped to make the juggernaut industry that we know today.

Plus Superman did an official crossover with I Love Lucy, seriously.

4. The Adventures of Ozzie and Harriet (1952 - 1966)

Hardly anyone talks about it today, but Ozzie and Harriet is the longest running sitcom to date. It's Always Sunny in Philadelphia being the only other show threating to up seat it come next year. However the two sitcoms couldn’t be any more different.

The series stared the real life Nelson family who had got their start in radio as comedians and singers who then crossed over into tv. While the show was completely scripted it tried to hew as close to real life as possible, kicking off American’s obsession with platonic voyeurism. Much in the way Wandavision has the meta storyline of being watch in their own home.

5. Father Knows Best (1954 - 1960)

Another radio to television entry here, however the series drastically changed the main character during the transition. During the 40s radio sitcoms were very biting and sarcastic, often either going the complete surreal screwball route or were satires of the day. This fell out of favor as tv became more dominated by commercials and advertisers feared offending their potential costumers. So things were greatly toned down as the decade progressed.

Therefore when Father Knows Best hit the small screen gone was the rude and domineering dad and in his place we got the very model tv father; affable, gentle, loving, devoted, and very congenial. All traits we love to see in Vision some six decades later.

6. The Honeymooners (1955 - 1956)

I physically can not make a recommendation list of 50s sitcoms and not mention The Hoonymooners. I just can’t. It’s one of the greatest sitcoms ever made and hugely influential. So much so that The Flintstones ripped off the series whole sale to the point that Jackie Gleason threatened to sue Hanna-Barbera. However there’s little such influence in Wandvision.

See what made The Honeymooners stand out at the time and what gave it such longevity is the fact that the main characters were poor. They lived in a cramped and over crowded sparsely furnitured one bedroom apartment in Brooklyn. They owed bills, they dressed plainly, they worked long hours at low paying jobs, and they were often dirty from said work.

Much like how Wandavision will pull back the curtain a little to see the reality hiding underneath their suburban utopia, so too did The Honeymooners defy the the ‘perfect American dream’ that was soled on tv during the 50s to show us the trauma of poverty and the only thing that you can do when you find yourself trapped within that reality, laugh.

7. Leave it to Beaver (1957 - 1963)

You can not get any more quintessentially 50s than Leave it to Beaver. The series has become synonymous with the decade and it’s take on the ideal American family life to the point where it’s become a punchline of numerus jokes criticizing the values and attitudes of the era.

Does it really deserve such mockery? Who knows. I think one needs to watch it for themselves to decide. However it slots right into the aesthetic that the first episode of Wandavision is trying to recreate and it must have been popular for a reason, right?

8. The Many Loves of Dobie Gillis (1959 - 1963)

We featured wholesome family sitcoms and screwball comedies with married folks but we haven’t covered any surrealist humor yet, and Wandavision is seeped into that sort of stuff. That’s because there really isn’t a lot of fantasy in most 50s sitcoms. So while the trappings for episode one of Wandavision is very 50s the effects and premise is more 1960s.

That’s where Dobie Gillis comes into play. Like Wandavision, The Many Loves of Dobie Gillis is based off a comic book, or comic strip rather. However that comic was very down to earth and tame compared to the tv show. More fondly remembered as the inspiration for Scooby Doo a decade later, Dobie Gillis quickly transformed from a typical coming of age show about teenagers to a surreal, sarcastic, tongue in cheek comedy, complete with get rich quick schemes, spys, bongos, and a giant chicken.

9. Bonanza (1959 - 1973)

Yeah, I know all of y’all are judging me right now. “A western in a sitcom/sic-fi list? What are you thinking?” Well one really can’t talk about 50s television and not mention westerns of some sort. They permeated all mediums and dominated the cultural air waves. And Bonanza is far more than just a western.

Bonanza is literally every thing. It’s every genre at once; western, historical drama, sitcom, action adventure, satire, crime drama, soap opera ,and yes even the occasional foray into science fiction, albeit with a more Jules Vern take than a typical spaceman theming.

If Wandavision is a melding pot of seemingly disconnected genres then it’s because Bonanza paved the way with it’s similar breakage of formula.

10 The Twilight Zone (1959 to 1964)

Yeah, you probably knew this was coming. When not being a homage to sitcoms Wandavision is a downright horror movie, but not one with gore and mindless monsters. Rather the show evokes old school surrealist horror, like that employed in the famous (or infamous) Twilight Zone.

What you probably didn’t know is that we have the I Love Lucy show to thank for it. See Lucille Ball and her then husband Desi Arnaz had created their own production company in order to make I Love Lucy. This production company, Desilu Productions, is responsible for picking up Rod Sterling’s pilot and producing The Twilight Zone.

Runner Ups

Good shows that have little to do with Wandavision but are good anyways.

What’s My Line (1950 - 1967)

Just a really fun game show. Stars of the day would sometimes appear on it including many of the sitcom comedians listed above

Have Gun - Will Travel (1957 - 1963)

One of the very few pure westerns that I can tolerate. The lead actually cares about people and justice and will stand up to bigots.

Dennis the Menace (1959 - 1963)

While I have fond memories of the 90s film, I thought it was a tad redundant to put on the list when there’s already Leave it to Beaver.

So there’s the 50s list. On Wednesday I’ll post a list for the 60s and cover some of the more obvious stuff Wandavision was paying homage to.

#wandavision #wanda #vision #sitcoms #1950s #marvel #disney #i love lucy

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monster-bait · 4 years ago

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Soooo 👀 you got anymore HCs up your sleeve on Rukh? He has been living rent free in my brain for a while now (like a lot of your OCs!)😅🤩😍

Here are some HCs for Rukh, our favorite gruff bartender in the GW universe. (I've already started writing a small one-shot of Rukh's job interview with Tate, because once I started writing these, I couldn't get the idea out of my head! That will be posting to Patreon shortly!)

If you're interested in learning more about any of my existing characters, all ko-fi contributions earn a headcanon! (Higher amounts will be more detailed!)

Previous Rukh headcanons, including the extremely memorable moment of IvyMemnoch finding a Celtic flute version of Despacito (my fav Tumblr moment of the year, by far! 😂) can be found here

RUKH

Had never heard of the tiny resort town where the Pixie is located before responding to the job listing, despite the fact that he lives in neighboring Starling Heights. He’d been working in one of those quick-service garages before then—an embarrassing waste of his skills, but he figured with his prison record, he was lucky to find a job at all. He’d not been planning on leaving his position, was only looking for a part-time gig, but the job post for the Pixie was too intriguing to scroll past—it was written in Orcish, practically unheard in a mixed-species society, catching his eye immediately. Unlike the other half-a-dozen bartender help wanted ads he’d looked at, the Pixie’s post said nothing about requiring an “upbeat personality” or his “smile being part of the dress code,” all descriptors that made him cringe. Punctuality, accountability, and an authoritative presence were the expectations, experience a plus but not required...it was straightforward and direct., it was clearly directed at orcs...he fit the bill, he thought. He considered himself to have a finely-tuned bullshit meter, and the Pixie’s ad didn’t set it off at all

He has since admitted to himself that he has fallen for Tate’s particular brand of bullshit repeatedly over the years

Rukh is a very tightly closed book. He’s definitely the strong silent type and is not at all comfortable talking about himself. (Despite that, he spilled his guts and told Tate his whole life story during his job interview—falling for the bullshit instance #1)

He discovered a love of reading during his incarceration, one he didn’t possess in his younger days. When he moved to Starling Heights, he was low-key delighted to find his apartment was on the same block as the library. He prefers mysteries and crime novels to anything overly literary, doesn’t have the patience for the endless world-building of high fantasy, and enjoys a wide spectrum of non-fiction. It’s become a game of sorts, engaging Ainsley in conversation and being able to not only keep up, but add his own insights and facts.

Another mental game he likes to play is trying to pinpoint Tate’s actual age. He’d never come right out and ask but sometimes Tate will chime into conversations knowing things he just...shouldn’t, or else will make references to things that Rukh can barely remember from his *own* childhood, things he remembers his parents reminiscing over. He’s added some Celtic history books to his rotation and surreptitiously jots down notes on the random head-scratchers Tate will casually drop and follows rabbit holes looking into said notes...as a result, he’s even more spooked by Tate than he was before he started snooping 😂

When Rukh first started at the Pixie, he thought they would fail. He was positive about it. Too small, in the middle of nowhere, an owner who very quickly made enemies with most of the people in town...he was shocked when the old girl's business plan actually fell into place. Shocked and thrilled, of course. He loves having a routine, loves having a reason to get up and feel energized every day, likes the clientele and takes his job of overseeing the “sightseers” during tourist season seriously. Since the bar turns a respectable profit, they're constantly receiving promotional odds and ends, which is how Rukh wound up with a Bourbon of the Month club subscription for a free year. (Tate hissed like a cat and shooed the offending pamphlet away as though it might bite.) He continued the subscription once the free year ended, and looks forward to his monthly ritual—he waits until his night off, puts on some moody jazz, cracks open the month’s bottle, and enjoys it with a cigar. Thessa referred to it as a self-care routine once, after asking him about his plans for the night, and he nearly turned inside out in mortification.

He doesn’t talk about his time in prison, nor the crime he committed to wind up there. Tate is the only one who knows, and Rukh is happy to keep it that way. It’s not that he regrets the act itself all that much—he has no remorse for his brother, but rather the way it fractured their family, upended his life, and had branded him as someone to be wary of since his release.

That being said...things he did pick up during his incarceration—the ability to keep his head down and just get by, the knowledge that sometimes you simply need to kick someone’s ass, and the value of tidiness—are assets at the Pixie.

Loves nothing more than his solitary days at the Pixie during the off-season. The night-time regulars, while they consistently fill the cash till, are still a handful. He loves the quiet of the daytime, the handful of day drinkers, the time to hear himself think without needing to watch over every aspect of the business. Speaking of which—he knows how to do everything in the Pixie. The ordering, the inventory, the budgets, the schedules, the upkeep...he's not entirely sure why, as Tate very much micro-manages every bit of the day-to-day management, but it was something the boy insisted on and Rukh wasn't about to argue. "Someone needs to be able to take care of her if I'm not here anymore," was the only answer he got, and he decided it was easier not to ask questions. Since Silva has been on the scene, Rukh has been left to his own devices more often and it is *bliss.*

He thought he'd left his days of vice behind him. He drank, he smoked, he dabbled in recreational drugs, he worked on souped-up hot rods and bet on drag racing...prison changed all that and his life afterward left little room for any of it...but Tate and Ainsley are terrible terrible influences. Gamblers and hustlers, he has someone to talk cars with again, to trade intel on illegal street racing with, the chance to get his hands just a littttle bit dirty again, and he loves it

Smokey blues, soulful R&B, moody rock

Sloooow dancing

He is *incredibly* protective of Elshona. He’s the first person who meets her once she arrives in her new home, and he recognizes the fear in her eyes. He’s the only one who understands what it means to be cast out of one’s community, he knows what it means to have to start over again. He doesn’t understand the relationship she has with Tate, doesn’t know all of the details of her expulsion and shunning from her clan, but he’s made a quiet promise to himself that she’ll never be left to flounder completely alone again.

Has a FWB relationship with a half-troll woman in his building. Single mom, splits custody with her ex, so has several nights a week free, and she’ll spend one of them in his bed. It’s casual and neither of them is interested in pursuing more, but it’s occasional companionship and scratches an itch.

He's not immune to the plethora of easy sex the commune attracts. There would be hell to pay if the staff acted on anything beyond mild flirtation at the Pixie, but he'd be a liar if he said he hadn't drifted down to the parties and pool-side bar before to check things out. He's been on the receiving end of more than one edge of the party blowjob to know how addictive that sort of access to easy sex could be; he sees the commune residents and the reckless way they behave and knows how easy it would be to slip into that lust-crazed mindset, and makes a point of only indulging in visiting that side of the resort occasionally

He much prefers to find his partners the old fashioned way: closer to home, in one of the dimly lit little pubs around his neighborhood. He loves the adrenaline rush of a flirtation turning into close talking and lingering hands, that first heat-filled kiss. He doesn't mind the evening ending back at his or her place, he's not picky, and prefers to savor the night (as opposed to the fast, anonymous sex at the commune parties.) Ladies on top or old-fashioned missionary, any position that lets him see their faces: heads dropped back, faces screwed up in ecstasy, that moment when they come...he'll take that over a blow job in the dark any day of the week

A skill that Tate possesses that Rukh greatly admires and strives to emulate: easy banter which leads to confidences shared. They were talking about cars one minute, and in the next Rukh was revealing the details of the day he killed his brother, the shunning of his clan which followed, and his incarceration. He left that initial interview feeling shaken, positive that he'd been the victim of fae magic...but he's come to realize that there is truth in the old adage of hairstylists and barkeeps being the keepers of the whole town's secrets. Tate knows everything about everyone, is able to tease out information as casually as pouring the next drink, and Rukh has begun to employ the same tactics. He was shocked to find that it actually works. As the years have gone on, he's improved his game and knows much about all of the Pixie's regulars, hears the commune gossip and news from town, and is gleeful with the power of being able to pass on information that the Pixie can use to leverage her business.

There is very little that scares him in this world. Possessions are just things and things can be replaced, he's been in fights with bigger, meaner dudes than the Pixie's roughest patrons, and he's not afraid to meet his maker. He's let go of the past and the people in it and tries to live life one day at a time, and that's not a mindset that lends itself to fear much. Tate is a wholly different story. Rukh knew his type in prison: those who viewed other people as pawns, who traded and secrets gossip to advance their own positions; had a minotaur cellmate who was that sort and he got his ass kicked on the regular for it. He knew a lizardman who was as slippery, who contorted himself in and out of trouble, ingratiating himself with the guards and the inmates of the upper echelons to hold himself out of real hot water...but he's never met anyone with the same capacity for mischief and spite as his current employer, has never met anyone so terrifyingly adept at causing trouble while staying out of it. The boy isn't overly concerned about making enemies or worrying about his own hide and wreaks havoc for havoc's sake, and Rukh might be impressed if he didn't actually care about him. Silva is, in Rukh's opinion, Tate's perfect match. A sweet little angel, an absolute beauty, wide-eyed and innocent looking and, Rukh (rightly) suspects, just as shrewd and self-preserving as Tate. He has a feeling the entire town will be set ablaze if/when their relationship consumes itself, and only hopes it happens on his day off.

I hope you enjoyed this little peek into a character who doesn't get as much page time as some of his peers! If you'd like a headcanon of your own, visit my ko-fi! Thanks so much, IvyMemnoch!

#monsterbait answers #ko-fi #girls weekend #the plundered pixie #rukh #ivymemnoch

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hellzyeahwebwielingessays · 5 years ago

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The Not-So-Amazing Mary Jane Part 28: AMJ #3.2

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As with issue #2 (and all future posts) I advise you to read the prior instalment as I’m not going to recap the first half of the issue again here.

Moving on, we finally get to meet these new crewmembers. They consist of:

H.E.R.B.I.E. 1.05, a version of the F4’s robot buddy

Screwball, a “… self-styled as a performance artist and the world's first live-blogging super-villain. She was an Internet personality and social-media attention monger to such an extent that she committed crimes on camera.”

And Master Matrix. He's a whole mess. Basically he is the world’s most powerful LMD, and a highly dangerous weapon. He views Spider-Man and Deadpool as his ‘fathers’ in a weird way.

Beck starts to justify the hires, but MJ says that if they believe in the project as she does and have earnest intentions then she’ll reserve judgement.

Screwball tells McKnight that she’s leaked some fake photos to mislead the Savage Six and buy them some time. With that McKnight is eager to get to work.

Let me be upfront about this, I know little about HERBIE or Master Matrix. I’m not an F4 expert and I never bothered with the Spidey/Deadpool ongoing. So I will admit that maybe I’m missing some important context here. My research on the Marvel.wiki didn’t yield any results on who HERBIE 1.05 is beyond him maybe being the regular version of HERBIE. And last I checked the regular HERBIE wasn’t a bad guy. Master Matrix in contrast seems to have been a morally ambiguous character initially but grew to be a good guy. He has a kill switch he willingly handed over to SHIELD just in case he ever went rogue.

So 2/3 of them are perfectly fine. I don’t even know how much MJ would know about HERBIE or Master Matrix. However, Screwball?

Screwball is a straight up criminal. Not an especially dangerous one granted, perhaps not even a D-lister. But a criminal nonetheless. MJ has seen her before, as she witnessed Superior Spider-Man assaulting her on TV in Superior Spider-Man v1 #6.

Realistically, given how horrified MJ was by the incident you’d imagine it’d stick in her mind. Additionally, given how Screwball is an attention monger and very into social media I’d imagine MJ would have some awareness of who she is. MJ herself is very up-to-date with the latest trends and would be plugged into modern pop culture and social media.

However, for the sake of argument let’s say MJ doesn’t remember Screwball at all. Let’s say she’s never heard of HERBIE or Master Matrix. Given how in the first issue she was taking note of the criminal and super powered crewmembers, wouldn’t she at least suspect these people might be shady? Wouldn’t she double-check somehow that they are legit? It all leads back to the same complaints I made between my coverage of issues #1-2. She’s not even checked that Beck is out and about legally for God’s sake!

What’s so much worse is that the story acknowledges that these hires might be shady. Beck is concerned MJ will have reservations. MJ decides to reserve judgement.

This means she doesn’t fully trust them, that she acknowledges they might be sketchy.

And her conditions for reserving judgment depend upon even shakier criteria.

How the Hell can she tell in this singular moment, when she’s barely spoken to any of them, that any of these people:

a) ‘Believe’ in the movie like she does?

b) Have earnest intentions?

She’s not verified any of them are reformed or on probation. She’s got no idea what they are fully capable of or if they are on the run.

Once more she is engaging in blind faith. She is trusting the word of a super villain who’s entire skillset revolves around lying.

The final thing to take note of is the fact that the crew are actively avoiding the Savage Six; hence the new shithole location.

Um…why aren’t they just contacting the authorities or organizing protection for themselves?

SIX super villains just attacked them and want to do so again. That’s surely grounds to bring in the police or the West Coast Avengers or somebody.

Surely, MJ herself could arrange that.

Alright, maybe you could argue they want to avoid arousing suspicion because of their criminal crewmembers. But this leads back to the fact that MJ wouldn’t stand for criminals working on the movie and Beck wanted press attention for the movie anyway. In fact if a civilian like Diperna knows about the movie how do the press not? How could no one have noticed that there are super powered people and criminals working on the set?

Everyone should know that about the movie anyway, so why not bring in help from superheroes or the authorities for protection?

The answer lies in the fact that this story is incredibly half-baked and inconsistent.

I will also add that on a purely personal note I dislike 616 Screwball so just seeing her annoys me.

The next day filming has been delayed again because of bad weather. Mysterio decides they should shoot in the caves.

Filming inside some caves nearby an abandoned zoo whilst it’s raining. Seems like a health and safety nightmare doesn’t it?

If so then it’s yet more evidence of how vain and selfish Mysterio is.

Days later, we see some crewmembers intimidated by Screwball. Their conversation with her reveals she hacked someone’s private information and threatened them to deliver food to them.

MJ overhears this conversation and learns that, in order to evade the Savage Six, Screwball arranged an unmarked truck. MJ decides to solve the problem by contacting Peter and asking if he knows any teleporters in L.A.

Later, Cloak and Dagger show up and deliver food to the cast and crew.

*pinches bridge of nose again*

God, where to start with this?

So, Screwball has definitely committed a crime in the course of her role as production manager. Hacking someone’s cloud server is very much illegal and an invasion of their privacy.* Depending upon whether you believe her or the truck driver she might also have threatened the driver’s life.

Screwball admits to having done this and MJ over hears it. And yet MJ is still ‘reserving her judgment’?

I guess earnest intentions+believing in a movie>>>>>>>>>>>harming people in Mj’s book right?...

...what the fuck Williams seriously��

But the stupidity goes another level when MJ contacts Peter so she can get super powered assistance.

Let me get this straight, MJ and Beck are on board with using superheroes to deliver food to them, but not as protection for actual super villains who want to hurt them?

And MJ in particular doesn’t feel she should let Peter or other heroes know about Mysterio or his criminal crewmembers. BUT she will still contact them for a far less serious reason?

Anyone still arguing that for MJ to ask for help would be reductive to her/female characters no longer has a leg to stand on. MJ just used super heroes to solve a problem for herself. Scratch that, she asked her super hero boyfriend to solve a problem for her. And by bringing in characters like Cloak, Dagger, HERBIE and Master Matrix AMJ has arguably invited the wider Marvel universe into the story too. At which point MJ has no end of options available to her to ensure Mysterio isn’t a danger. She just isn’t using them because Leah Williams Mary Jane is not the Mary Jane we’ve known and loved. She’s this weird facsimile with all her social skills and charm but none of her deeper moral convictions.

Finally, if Beck and MJ (hypothetically) aren’t getting protection because they have crooks on staff then why bring in super heroes at all? I admit we never see what crewmembers are in Cloak and Dagger’s line of sight, so arguably MJ asked the criminal crewmembers to scram. But a hint of that would’ve been nice.

As filming inside the cave proceeds we see the Spidey actor struggling with his lines. The scene depicts ‘Spidey’ saying ‘You’ve gone too far this time, Mysterio. Now it’s personal.’ Amidst a street full of injured/dead people.

Mallorie is playing one of the injured people.

First of all, Mallorie wasn’t an actor or extra earlier in the story. But I suppose it’s not uncommon for crewmembers to have small roles in movies and with a reduced cast it’s likely she was just filling in.

More problematically, the scene is clearly depicting the fact that Mysterio has hurt (even murdered) people in his past. He’s done stuff so bad that Spider-Man, a hero, has been personally enraged by his evil acts.

This is in the movie. It’s in the script. MJ read this. MJ is seeing this recreated.

This eviscerates even the slightest remnant of deniability on MJ’s part. As I’ve argued in prior instalments, MJ SHOULD know Beck is a killer and a violent person. There was no denying that. But even if you were being wilfully ignorant or belligerently insisting only the events of this mini-series ‘counted’, the mini-series just spelled out for you that beck has seriously hurt people and that MJ knows that.

But she is still allowing him to make his vanity project. She’s still letting him walk free. She’s still chummy with him. She’s still showing no sign at all that she’s going to make Beck face justice.

On the last pages the actor playing Spider-Man quits after a light falls nearby. This leaves Beck and MJ sad, wondering how they can finish the film without Spider-Man.

I have nothing to say about this beyond a heavy light falling inside a wet cave should’ve been an obvious health and safety concern.

So, that was Amazing Mary Jane #3, quite possibly the single worst issue of the entire series thus far.

Honestly, I’m going to soldier on through this series, but I’ve made my points.

There is no hope of fixing this series now.

Not because there couldn’t be a justifiable explanation (or several) that could address all the problems. But because it’s become plain to me that Williams will not provide them to us.

Williams frankly seems like someone who understands aspects of MJ as a character. She knows how to make those aspects shine.

But there are other aspects she so fundamentally doesn’t get that it debilitates any good she might’ve done.

And more poignantly, even within the context of the story she is telling she has been incredibly inconsistent and at times downright baffling.

She either needs a better editor or she might be someone who ultimately wasn’t a good fit for this character/story.

*It’s extra bad considering several years ago in real life there was a major news story about the private photos of celebrities being hacked, perhaps the most notorious example being Jennifer Lawrence. I’m like 99% sure Leah Williams heard about that because I heard about that just from tumblr and I’m not someone who used to work in Hollywood nor do I work in the entertainment industry in any capacity.

P.S. How does Peter not know about the Savage Six?

Super villain attacks aren’t that common outside of New York city and the villains in question are predominantly associated with operating in NYC.

Three of them are very recurring enemies of his, one of which committed some very violent crimes during a traumatic recent event; the ‘Hunted’ storyline.

They attacked the set of another of his very recurrent enemies that his lover is working on.

None of this happened in a secluded location, it was all perfectly public.

So how on Earth does he not know about this? Why hasn’t he contacted MJ to ensure she’s okay? Why isn’t he riding down there to see if he can help her or trying to arrange his Avengers buddies to provide some protection?

The only answers are that MJ has lied about that again, Williams is mischaracterizing Peter indirectly or this story is badly written.

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#Leah Williams #Amazing Mary Jane #mjwatsonedit #mary jane watson #Mary Jane Watson Parker #MJ Watson #Spider-Man #Peter Parker #Mysterio #Quentin Beck #Carlos Gomez #Vulture #The Vulture #Adrian Toomes

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weekendwarriorblog · 4 years ago

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The Weekend Warrior 10/16/20: SYNCHRONIC, FRENCH EXIT, TRIAL OF THE CHICAGO 7, LOVE AND MONSTERS, HONEST THIEF, THE KID DETECTIVE and More!

After the last couple weeks, I really need a break, which is why I’m writing most of this in transit to Columbus, Ohio to see my mother, sister and all (or some) of the friends that I made during my sabbatical to the city seven years ago for cancer treatment.

On, and look... Variety wrote about the movie theater chains and NATO lobbying Governor Cuomo to reopen movie theaters, showing that there’s been no proof of any cases leading back to movie theaters. (And more from The Hollywood Reporter…) New York leads and the world follows? More like ED leads and the world follows. Been saying this shit for months now and putting up with all sorts of needless abuse for it.

This week’s “Featured Flick” is actually a movie coming to theaters on October 23, but since I’m not sure I’m writing a column next week, I’m gonna review it this week! Cool? The movie is SYNCHRONIC (Well Go USA), and it’s the follow-up to Aaron Moorehead and Justin Benson’s amazing sci-fi film The Endless from a few years back. This ome stars Anthony Mackie and Jamie Dornan as parademics in New Orleans who have been coming across a series of bodies that have died in gruesome ways, all connected by a designer drug they were all taking.

I’ll just say right from the start that I loved almost everything about this movie from the amazing performances by Mackie and Dornan to the entire look and tone of the movie, which shows the duo taking huge steps forward as filmmakers, particularly Benson as a screenwriter. Unfortunately, I’m not sure what I can say about the movie and its plot without spoiling other’s enjoyment. I will say that it involves a designer drug and time travel and Mackie’s character has something odd about his brain that makes him better suited to figure out what is happening to the victims than others might be. Also, Dornan’s character Dennis has family issues, particularly with his daughter Brianna (Ally Ioannides), who disappears mysteriously, but it’s so nice seeing Katie Aselton as Dennis’ wife, as well as in another movie out this week.

I’ll also say that people who watch this movie will inevitably make comparisons to the work of Alex Garland and maybe even the more-versed ones might see a little of David Cronenberg’s Videodrome in the film’s trippy nature. The thing is that the movie is super-smart, and it’s obvious that Moorehead and Benson must have done a lot of research to make every aspect of it feel authentic. It’s just amazing what this duo can do with a small fraction of the money that Christopher Nolan had to make Tenet, and yet, they can create a complex and unique premise that’s actually easy to understand. Things like the camerawork, the music and sound design all add to the amazing tone and the mood that the duo have created.

I also think it’s Mackie’s best role and performance in many years, maybe even going back to The Hurt Locker, so as a long-time fan, I’m glad he connected with Moorehead/Benson to show that he’s more than capable of leading a movie like this.

Again, Synchronic will be in movie theaters and drive-ins NEXT Friday, October 23, but I want to give you an advance heads up, because Synchronic is likely to be the most original sci-fi or genre film you see this year. If you can’t get to the drive-in and don’t feel comfortable going to a movie theater, then I’m sure it will be on digital soon enough, but you definitely shouldn’t miss it!

Next up is Aaron Sorkin’s THE TRIAL OF THE CHICAGO SEVEN, streaming on Netflix starting Friday and the movie I was most looking forward to seeing this week. I was such a huge fan of Brett Morgen’s Chicago 10 documentary, which opened Sundance in 2007, especially with how he recreated the court trials using animation and a talented roster of voice actors including Hank Azaria, Mark Ruffalo and Geoffrey Wright. Sorkin has just as an impressive list of actors for his version, including Mark Rylance, Eddie Redmayne, Sacha Baron Cohen, Frank Langella, Joseph Gordon-Levitt and many more.

If you don’t know about the protests outside the 1968 Democratic National Convention in Chicago – you see, back in those days, the Democrats were the bad guys… how times have changed!! Those protests led to a number of arrests but a few years later, the federal government charged a number of individuals with inciting the riot. The accused include Black Panther leader Bobby Seale, played by Yahya Abdul-Mateen II from Aquaman and Watchmen, Abbie Hoffman (Cohen), FBI agent Tom Hayden (Eddie Redmayne), Jerry Rubin (Jeremy Strong), David Dellinger (John Carroll Lynch) and two more. The six white guys are defended by Mark Rylance’s William Kunstler, who faces the tough Judge Hoffman (Langella) who is not putting up with any guff from these young revolutionaries.

All of the characters are quickly introduced with a quick-cut opening montage with actual newsreel footage, but then we’re quickly moved to a meeting to the Attorney General (Keaton) with the trial’s prosecutor (Gordon-Levitt). From there, we’re right into the trial about 16 minutes into the movie, although Sorkin frequently cuts back to the actual day of the Chicago protest to recreate what happened as testimony is given. Probably the part that will have the most impact and resonance is the way Seale was mistreated compared to the others, getting so riled up at the judge that the judge orders him chained and gagged. The trial would end up taking place for almost 7 months even though the results were eventually overturned.

This really is perfect material for Sorkin, and maybe if I hadn’t seen Chicago 10 first, I would have been a lot more fascinated by the trial sequences, though Morgen did an equally great job working from the transcripts. Basically, what happened happened. Where Sorkin’s screenplay and film excels is showing what’s going on outside the courtroom, whether it’s the recreations or just conversations taking place between the plaintiffs. As might be expected from Sorkin, the screenplay is great with lots of fast talking, making for a movie that moves at a kinetic pace for its two hours.

If I had to pick a few of the best performances, I’d probably focus on Cohen’s Abbie Hoffman, which is more than just an accent, he and Strong’s Rubin bantering back and forth like a seasoned Vaudeville act; Rylance’s Kunstler is spot-on, and Langella is just great as the crusty judge, the film’s only true antagonist. I also appreciated John Carroll Lynch and in fact, all the performances, although I felt that with so many characters, Sorkin wasn’t able to give Bobby Seale the time his story truly needed. Still, I would be shocked if this isn’t considered a SAG Ensemble frontrunner.

Ultimately, The Trial of the Chicago 7 is a fine recreation of a certain moment in history that still feels relevant and timely fifty years later, even if it’s so heavy at times you either need to focus or, like me, watch it on Netflix in two sittings. I still liked Steve McQueen’s movie Mangrove that takes place in a similar era and also culminates in a trial just a little bit better.

Before we get to the rest of this week’s new movies, I have one last review from the New York Film Festival, and it’s the closing night film, FRENCH EXIT, from director Azazel Jacobs and writer Patrick Dewitt, who has adapted his own book. The film stars Michelle Pfeiffer as Frances Price, a Manhattan widow from wealth who discovers she has no more money, just as her son Malcolm (Lucas Hedges with longer hair than usual) has decided to marry his girlfriend Susan (Imogen Poots) though he hasn’t told his mother that yet. With no other options, Francis takes her son on a ship to live in Paris for a while at the home of one Mme. Renard (Valarie Mahaffey), an elderly woman who is a genuine fan of Francis and welcomes them as her guests.

This is one of those ensemble character dramedies that I wouldn’t even be able to begin to tell you why you should see it unless you miss seeing Pfeiffer in a semi-decent performance, but one that doesn’t do much as the film itself is so boring and insufferably pretentious most of the time I’m not sure I can even recommend it for that.

Jacobs and Dewitt previous made the movie Teri maybe ten years ago, and I was never really a fan, so I’m not sure why I thought that Dewitt adapting his own book would bear better results. Once Frances and Malcolm get to Paris, there’s just an influx of odd characters who show up, some who have more impact than others. I liked seeing Danielle Macdonald as a psychic medium the duo meet on the ship across the Atlantic who Malcolm bonks. She’s brought back when Frances wants her to conduct a séance to communicate with her late husband who she thinks is now inhabiting an omni-present cat. Like everything else, the relationship between Malcolm and Susan and how that’s affected by her meeting a new guy just never goes anywhere.

For the most part, the whole thing is just dull and uninteresting, and so pretentious it never really leads to anything even remotely memorable. I have no idea why the New York Film Festival would decide to close with this one. (Although the 58th NYFF is over, some of the movies will hit its Virtual Cinema soon, so keep an eye out! For instance, this Friday, FilmLinc begins a Pietro Marcello retrospective as well as showing his latest film Martin Eden in FilmLInc’s Virtual Cinema.)

Liam Neeson stars in Mark Williams’ HONEST THIEF (Open Road), a crime-thriller in which he plays Tom Carter, the uncaught robber behind 12 bank robberies who decides to settle down with Kate (Grey’s Anatomy) Walsh’s Annie Wilkins, who he meets while renting a storage space to hide all the money he’s stolen. After a year of things getting serious with Annie, Tom decides to retire so he calls the FBI and says he’s ready to give back the 9 million, but two crooked FBI agents (one played by Jai Courtenay, the other by Anthony Ramos) decide they’re going to take the money instead. Their plan to steal the money Tom’s trying to return leads to a number of deaths, including putting Annie in the hospital. When that happens, Tom has had enough, and honestly, there’s no one better at getting revenge than Neeson. (Did we mention that Carter is ex-Marine? I mean, of course he is!)

Many will go into Honest Thief expecting the typical Neeson action revenge flick ala Taken or maybe one of his high-concept thrillers, but Honest Thief isn’t nearly that exciting. It starts out fairly slow and dry with no real crime or action elements, although Williams does throw them in from time to time. The whole thing is pretty dry, and it’s a good 54 minutes before we get to the revenge aspect of the story and that’s after a lot of bad decisions being made across the board. Anyone who is still wondering how Jai Courtney has a career won’t be changing that decision by his turn as the villain, and it’s a lot odd when the movie tries to make a sympathetic character out of his partner, played by Ramos.

Regardless, any elements that make Honest Thief unique from other Neeson action movies are quickly tossed aside for the same usual cliches, and the action scenes aren’t even that great. While Honest Thief may not be an awful or unwatchable movie, it’s probably not the action movie you might be expecting from Neeson – more like a bargain basement The Fugitive with one plot decision that almost kills the whole movie.

Delayed a number of times and now dumped to PVOD (with minimal theatrical) is Paramount’s LOVE AND MONSTERS, which is written by the prolific Bryan Duffield (The Babysitter, Spontaneous), directed by Michael Matthews and produced by Shawn Levy’s 21 Laps Entertainment. In the movie, Dylan O’Brien plays Joel Dawson, a young man surviving the apocalypse with a small community after the government’s plot to blast a couple asteroids heading to earth backfires. Instead, it creates giant, carnivorous monsters out of the earth’s animals who eliminate 95% of the earth’s human population. (We learn all of this through a Zombieland-like animated prequel getting us up to speed.) Before the earth fell into disarray, Joel was in love with Jessica Henwick’s Aimee, but they were separated by the fateful events. Seven years later, they’re reconnected via radio and Joel has sworn to travel the 85 miles across the creature-covered wasteland to reunite with her. Hence, the title “Love and Monsters.” Get it?

I actually didn’t hate this movie, although it’s not really a family film or one meant for young kids, because it’s PG-13 for a reason, including mild violence i.e. people being chomped by monsters, and some sexuality. Dylan O’Brien does a decent job carrying it, but it relies just as much on the other people he meets, particularly Michael Rooker’s Clyde and his young ward Minnow, played by Ariana Greenblatt, the latter who is such a scene-stealer that it’s disappointing they’re only in the movie for a small chunk. They’re probably the funniest part of the movie.

I like giant monsters and these ones are certainly … interesting. They seem to have been toned down a bit maybe to be more kid-friendly, more like the kid-friend Godzilla than the terror we’ve seen in recent incarnations. There are also a number of great action set-pieces, and some good post-Apocalyptic ideas we haven’t seen, especially when Duffield’s dark sense of humor is able to come out and keep things fun.

Still, Love and Monsters is not a kids’ movie, and there’s something about it that might make people wish the filmmaker just went full-on R, because going further towards PG would have made even the best parts quite painful to get through. As it is, Love and Monsters is a suitably fine boy and his dog adventure – oh, did I mention the dog? – that would make a perfectly fine streaming movie.

We’ll get back to some of the other theatrical releases in a bit, but I wanted to get to two movies that were pleasant surprises, maybe because I went into them with absolutely zero expectations.

I wasn’t really sure what to think about Cooper Raiff’s SH#!%HOUSE (IFC Films) at first, maybe because it’s title is a little off-putting and not really particularly representative of what the movie is. Raiff himself plays Alex Malmquist, a fairly new arrival at his college but already missing home and his mother (Amy Landecker) and not really adjusting to the crazy college lifestyle as exemplified by his roommate Sam (Logan Miller). After a party at a frat called “Shithouse” (hence the title), Alex meets and connects with his dorm’s R.A. Maggie (Dylan Gelula) and the two spend the night bonding and hanging out.

Obviously, someone at IFC Films loves these platonic indie two-handers about people meeting and hanging out over the course of a night, because Shithouse is the second such movie after Olympic Dreams earlier in the year. They also must know that I’m a sucker for these kinds of semi-rom-coms, because just like with that other movie, I totally ate up everything Raiff was trying to do and say with his movie. The chemistry between the two leads is undeniable, and maybe it won’t be a surprise that Gelula also appeared in Raiff’s previous movie.

As with any relationship, things do come to an end, and this one crashes and burns in a very sad way for Alex the very next day. Maggie starts to pretend she doesn’t even know him, and she ignores his incessant texts saying how much he enjoyed their night together. Boy, I have been there back in my reckless and romantic days of youth.

At first, I wasn’t that into Raiff as an actor – remember what I’ve said about filmmakers casting themselves? – but Alex definitely grew on me. Gelula is absolutely amazing, and frankly, I can see someone “discovering” her in ten years and becoming a new Parker Posey, Kate Lynn Sheil or other similar indie ingenue.

The combination of the two is what makes Shithouse such a special experience, since their situations are quite relatable and Raiff does a great job with the characterization in his writing to make this quite enjoyable to see how things will resolve themselves.

I also wasn’t quite prepared for how much I’d enjoy Steve Byrne’s THE OPENING ACT (RLJEfilms), maybe because I was unfamiliar with Byrne, and as usual, I didn’t read the description of the movie before sitting down to watch it. If I did, I would have known that Byrne is a stand-up comic and presumably this movie is somewhat based on situations that have happened to him. It stars Jimmy O. Yang from Crazy Rich Asians (a great comic in his own right) as Willy Chu, a young comic who has always dreamed of making it in stand-up but instead, has been stuck trying to get slots at an open mic night, while holding down a day job working at an insurance company. One day, his friend (Ken Jeong) sets him up for an MC gig in Pennsylvania at the Improv where his idol Billy G (Cedric the Entertainer) will be performing, so Willy quits his job to pursue his dream.

Much of Byrne’s movie deals with Billy’s “adventure” in Pennsylvania with the club’s womanizing featured act (played by SNL’s Alex Moffatt) and trying to face the struggles of stand-up in hopes of getting to the next level. There have been better movies about the subject, like Mike Birbiglia’s Sleepwalk with You, but Byrne’s film is a nice addition, particularly because Yang plays such a likeable, benevolent character you want to see him do well even after he crashes and bombs on a Saturday night and is at risk of losing the Improv gig.

It’s obvious that Byrne pulled in a lot of favors from friends to get such a great cast of comics – even getting Whitney Cumming to make a cameo – but the likes of Bill Burr actually take on key roles, like Willy’s boss in that case. Moffatt is particularly hilarious expanding on some of his outrageous SNL characters to play a stand-up who actually does help Willy, even as he puts him in pretty awful situations. Cedric also gives another fantastic performance as Willy’s idol who gives him the cold shoulder at first but eventually comes around and offers him the mentoring that Willy needs.

The Opening Act isn’t anything particularly revelatory, but it is thoroughly entertaining, and a nice little indie that I hope people will discover for themselves, especially those who like (or perform) stand-up.

Edward James Olmos directs THE DEVIL HAS A NAME (Momentum Releasing) starring the great Oscar-nominated David Strathairn as almond farmer Fred Stern, who has been running his orchard for three decades with trusty second Santiago, played by Olmos himself. Things are going well until they notice that some of the trees are rotting. It turns out they’re being poisoned by the water that’s been sullied by crude oil run-off from the nearby Shore Oil rigs. Around the same time, an opportunist named Alex Gardner, played by Haley Joel Osment, offers Fred a very low-ball offer to buy the farm, though Fred suspects something is up, and sure enough, Shore Oil is responsible.

Another movie I didn’t know what to expect other than a few cursory elements is this movie “based on a true story” movie about the little farmer taking on “The Man.” In this case, Shore Oil is represented by Kate Bosworth’s Gigi Cutler, a tough exec. at the corporation who thinks their lawyers (one of them played by Katie Aselton!) can crush this local troublemaker. When Stern’s lawyer (Martin Sheen) sues the oil company for 2 billion, they need to start taking things seriously, bringing in a tough “fixer” played by Pablo Schreiber.

I’m not sure where to begin with this movie that certainly has noble intentions in telling this story but suffers from quite a few issues, mostly coming from the script. I was a little concerned once I knew the premise, because I was not a huge fan of Todd Haynes’ Dark Water from last year, although I did enjoy the Krasinski-Damon-Van Sant ecological venture, Promised Land. This one falls somewhere in between, and probably its biggest issue is that it tries to create some humor out of the erratic behavior of the characters played by Bosworth and Schreiber; both performances are so off-the-rails at times it regularly takes you out of Fred’s story. (Osment is also pretty crazy but at least he fits better into his role.) Strathairn is great and well-cast, and Olmos is equally good, and I imagine that it’s partially because many of their scenes are together, allowing Olmos to direct with his acting. Aselton and Sheen are also decent, especially in the courtroom scenes.

Oh, and did I mention that Alfred Molina plays the Big Boss, who is interrogating Cutler as a needless framing device? Yeah, there’s a lot of characters, and when you hold this up against something like The Trial of Chicago 7, it’s just obvious that the film has too many elements for any filmmaker to be able to juggle at once.

Because of this, The Devil Has A Name is an erratic real-life dramedy that’s too all over the place in terms of tone, it ends up shooting itself in the foot by trying (and failing) to be funny despite the serious subject matter.

Next up is 2 HEARTS (Silver Lion Films/ Freestyle Releasing), another movie based on a true story from the Hool Brothers, who I really wasn’t very familiar with. I assumed this was going to be a faith-based movie, and maybe in some ways it is, but not really. It essentially tells two stories set in different time periods that you assume will somehow be connected. Ooh, boy.

First, there’s Jacob Elordi of Euphoria and The Kissing Booth – neither of which I’ve seen, mind you – who plays Chris Gregory, a college kid who connects in a meet-cute way with Tiera Skovbye’s Sam. Before we get too far into their story, we cut back to what looks like Cuba in the ‘50s and 60s, and meet Jorge Bolivar (Adan Canto), the son of an alcohol magnate, a soccer player who suffers a serious lung issue that puts him in the hospital. Years later, Jorge is travelling to Miami when he meets Radha Mitchell’s Leslie working as a flight attendant.

Both guys are pretty suave smooth-talking pick-up artists, and the movie spends almost an hour cutting between two very corny and cheesy romance stories that really don’t offer much in terms of story. Instead, it keeps following Chris and Sam’s life as they have kids, taking forever to get to the connection between the stories. I was getting pretty bored of the movie, but I felt like I had to stick it out to see what happens.

When you call a movie “2 Hearts,” you kind of expect it to be about a heart transplant of some kind, right? But no, it’s actually about a dual lung transplant that Jorge receives. Want to take a wild guess who the donor is? I certainly don’t want to spoil what happens, but for a movie that spends a good hour setting up the relationships between the two men and their pretty blondes with ups and downs that makes it seem like a Nicholas Sparks movie, it really throws a spanner into the fairy tale with all the melodrama that’s to come. It’s such a whiplash in terms of tone it pretty much destroys any chance of one enjoying the movie for what it is. It also loses a lot without Elordi, since the actors who play his family aren’t very good at all.

I had to actually look up the story to see how much if it was true, only to learn that Jorge was based on Jorge Bacardi who actually received a double lung transplant from one Christopher Gregory, inspiring him to create the Gabriel House of Care. The problem is that the time periods get so messed up by setting one story decades in the past. Using the same actors to play the people over that time with pretty shabby make-up just makes things that much more confusing. The big problem is that it spends so much time avoiding the actual plot and point of making the movie that by the time it gets to it, you just don’t care about the characters anymore.

The whole thing is very by the books and predictable, but ultimately, it’s hard to believe any of it, despite it being based on a true story. If you go into this movie expecting love and romance and all that kind of mushy stuff from the title, you’re likely to be disappointed when the movie finally gets to its point. (In other words, it could have used some giant monsters.)

Here’s another movie that I didn’t really know what to expect going in and that probably should have helped me enjoy it more… if it was anything resembling a good movie. Picked up at the Toronto Film Festival where it premiered last month, Evan Morgan’s THE KID DETECTIVE (Sony) stars Adam Brody as Abe Appelbaum, the “kid detective” of the titles, who as a child was one of those super-smart kids who have the deductive powers to help the people in his community, but as a 32-year-old, he just isn’t taken as seriously any more. When a high school girl named Caroline (Sophie Nélisse) comes to Abe to find out who murdered her boyfriend, Abe finally realizes that he has his first grown-up case, though he’s still obsessed with the disappearance of the mayor’s daughter (and his kid receptionist) Gracie many years earlier.

I’m sure there’s gonna be people out there who watch and appreciate The Kid Detective for what it is, a wry and slightly clever noir pastiche pseudo-comedy, but anyone who has seen Rian Johnson’s first film Brick or the underrated Mystery Team (starring Donald Glover very early in his career) might feel that this doesn’t live up to either. Besides the fact that Brody really hasn’t developed much personality as an actor, the film rolls along with a fairly flat, deadpan tone that just never gets remotely exciting. The humor is subdued and yet it feels like everyone is constantly trying too hard, particularly Morgan, while at the same time not really taking any chances. This is a movie that could have been edgier but instead, it milks its flimsy high-concept premise as long as possible before giving up.

Like Love and Monsters, Sony is releasing The Kid Detective into theaters on Friday, and hopefully parents will check that rating before assuming it’s a kid flick. Although there isn’t so much bad language or anything that wouldn’t warrant a PG… other than the fact that it’s not particularly funny or even entertaining and kids will be super-bored.

I can’t believe there’s still more! Amazon’s “Welcome to the Blumhouse” anthology series continues this week with two more movies in the series of eight, which you can now watch on Prime Video:

Easily my favorite of the four movies I’ve seen is Zu Quirke’s NOCTURNE (Amazon), which follows a pair of twins, Julie (Sidney Sweeney) and Vivian (Madison Iseman), who are both competitive concert pianists at the Lindberg Academy, although Vivian is clearly the better, as she’s heading off to Julliard while Julian is taking a gap year.

Before we meet them, we see a young violist jumping off the balcony to her death for some reason, and we learn that she was the finalist to play a concerto, so now that slot is open and both Julie and her sister desperately want it.

Nocturne is certainly more like the horror movies we expect from Blumhouse, which is both good and bad. The good is that it is indeed quite scary as Quirke’s team uses really eerie lighting effects and other things to create suspense. But there’s also an artiness to what Quirke does that elevates Nocturne above the normal high-concept horror-thriller.

Quirke, who also wrote the film, delivers all the characterization you expect from a good horror film so that you really care about the characters, and she’s put together such a fine cast, particularly Sweeney who has to run a gamut of emotions as Julie. I also like Rodney To as Julie’s tough instructor Wilkins

Again, I won’t say too much more about the actual plot, although if you can imagine a Faustian bargain and how that plays out for those around Julie, you can probably understand why a super-fan of The Omen might dig what Quirke did in this environment.

The fourth movie in the “Welcome to the Blumouse” series is EVIL EYE (Amazon), from Indo-American filmmakers Elan and Rajeev Dassani, a relatively innocuous thriller based around the relationship between Pallavi (Sunita Mani from last week’s Save Yourselves! and GLOW) and her mother Usha, played by Sarita Choudhury. Pallavi is in her late 20s and single and her mother keeps wanting to get her set-up with a nice man, as a good Indian mother is wont to do. When Pallavi meets Sandeep (Omar Maskati), things are going well since he has money and her mother thinks her daughter has hit the jackpot, until she realizes that Sandeep has a dark secret.

Here’s another thriller where it’s really tough to talk about the plot, because obviously the filmmakers want the story to unfold in the specific way it was written. Apparently, this one was once an Audible story, and the first thing I noticed was how amazing Sunita Mani looks from her fairly glammed down roles in other things. I think she’s just wearing make-up and has her styled different but I’m not sure I would have known it was the same actor in Save Yourselves! Because I had to do a double take.

The problem with Evil Eye, and it’s been a problem with some of the other “Welcome to the Blumhouse” movies, is that it isn’t necessarily what I’d consider horror. It really plays a lot more like a romantic drama, other than the fact that Pallavi’s mother has visions and believes in astrology enough to send her daughter trinkets to protect her from the “evil eye.” In fact, the movie just gets weirder and weirder, as it starts introducing supernatural elements, and without giving the big plot twist away, it does expect one to believe in reincarnation.

I wish I could have liked this more, but it really seems like it would be better suited for a show like “The Outer Limits” or “The Twilight Zone,” since the premise is stretched so think for about 30 minutes longer than necessary. I think the filmmakers did perfectly fine with what they had to work with – the two main actresses are just fab – but I think I’d need to see some of their other work to see if the issues I had were just cause the story isn’t that interesting or by their limitations in making it.

(And I promise that I do have a feature on all the filmmakers from the first four “Welcome to the Blumhouse” series coming over at Below the Line, but it’s been a pretty tough piece to write.)

I reviewed Alex Gibney’s new doc Totally Under Control (Neon/Participant), co-directed with Ophelia Harutyunyan and Suzanne Hillinger, in last week’s column but it’s now available to watch On Demand and then it will be on Hulu starting next Tuesday, October 20. Obviously, everyone wanted to get this out there and make sure people see it before they get too in-deep with the election.

I also reviewed David Byrne’s American Utopia (HBO), directed by Spike Lee, a few weeks back, but it will be on HBO and presumably HBO Max on Sunday night. Not as big an event as Disney+’s Hamilton but still worth watching, especially if you’re a fan of Byrne or his band the Talking Heads, because it actually acts as a nice counterpoint bookend to the late Jonathan Demme’s fantastic Stop Making Sense, one of the best concert documentaries ever made, or at least top 5. I’m bummed I missed Byrne’s show on Broadway, and it doesn’t sound like Broadway will be coming back anytime soon so I guess this HBO documentation is the best any of us can wish for.

Of the movies I didn’t have time to watch this week, the two that I’m hoping to still get to are two docs: Inna Blockhina’s SHE IS THE OCEAN (Blue Fox Entertainment) and Rick Korn’s HARRY CHAPIN: WHEN IN DOUBT, DO SOMETHING (Greenwich). She Is the Ocean explores the lives of nine women who all have a passion for the ocean. The Harry Chapin doc may be more self-explanatory, and I wish I was a bigger fan of Chapin, the famed singer/songwriter/activist, because maybe I would have watched this movie earlier. (But seriously, look at how many movies came out this week, when I was hoping it would be “slower”!) Also, I’m a little bit interested in the K-Pop doc #BlackPinkLightUpTheSky that will air on Netflix, just because, I dunno, I like adorable, young Asian women, so sue me?

Premiering on Disney+ this Friday is Justin Baldoni’s CLOUDS, starring Fin Argus as musician Zach Sobiech, who has only months to live when his cancer starts spreading, but he follows his dream to make an album and becomes a viral music phenomenon. I’m not sure if this is a true story but it certainly sounds a lot like a faith-based film called I Still Believe that hit theaters just before they all shut down due to the pandemic. Coincidence? I think not.

Also this week, the 32nd ANNUAL NEWFEST LGBTQ FILM FESTIVAL begins on Friday, running through October 27 with opening night being the well-regarded Ammonite, starring Kate Winslet and Saoirse Ronan, but it will be done as a drive-in, so I’m out. Over in Los Angeles, the AFI FEST starts on Thursday and runs through October 22, and that’s also showing a lot of cool festival/awards films that I haven’t had a chance to watch yet like The Father, I’m Your Woman and more. I missed my chance to get press accreditation, so yeah, I guess I’ll be waiting on that.

And then we get to all the movies that I didn’t have time to see or didn’t receive a screener, so here we go. This week’s unfortunate dumping ground:

Lupin III: The First (GKIDS) (This anime film is being released as a Fathom event on Oct. 18 – dubbed, and Oct. 21 – subtitled)

Belly of the Beast (I’ve actually heard good things about Erika Cohn’s doc about illegal sterilizations being conducted in a woman’s prison.)

Don’t Look Back (Gravitas Ventures)

Rom Boys: 40 Years of Rad (101 Films)

The Antidote (Cinetic/Brand New Story)

Monochrome: The Chromism (Tempest)

J.R “Bob” Dobbs and the Church of the Subgenius (Uncork’d)

Monster Force Zero (WildEye Releasing)

Ghabe (GVN Releasing)

The Accidental President (Intervention)

In Case of Emergency (Kino Lorber)

I’m not sure how much of a column I’m gonna write next week since I won’t have nearly as much time to watch movies or write about them in the coming week, while I’m in Colmbus. There are a couple high profile movies I hope to get to, so we’ll see what happens.

By the way, if you read this week’s column and have bothered to read this far down, feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honest!

#TheWeekendWarrior #Movies #Reviews #VOD #Streaming #Synchronic #TrialOfTheChicago7 #FrenchExit #LoveANdMonsters TheKidDetective #Nocturne #2Hearts #Shithout #THeDevilHasAName #TheOpeningAct

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audreyprovostya · 4 years ago

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Welcome back. I switched art programs; I went from photoshop to clip art studio (which I adore). But it sure didn’t adore me, since whenever I booted it up, the pen would lag like crazy! After a few weeks bouncing between sweet-talking and threatening my computer, and sometimes banging my head against my desk, I finally got it to work. It’s a tentative truce, but I’ll take it. I’m still getting the hang of it.

This time, I’ve decided to review An Enchantment of Ravens, by Margaret Rogerson, a fantasy romance novel dealing with themes such as forbidden love, appearances, and humanity.

The story centers around Isobel, who lives in a small town with her aunt and sisters where she earns money by painting portraits. But her paintings aren’t just for anyone; they are highly coveted by the fair folk; dangerous immortals versed in magic and trickery. Soon, Isobel must prepare herself when she receives her most dangerous client yet- Rook, the prince of the autumn court. But when she accidentally makes a mistake in the prince’s portrait, he drags her into the world of the fair folk to pay for her crimes. Along the way, they must rely on each other to survive, and the relationship that springs forth could prove far more dangerous than any other monster they might encounter.

I inhaled this book. It took me only one day to read it because I was addicted. I so thoroughly enjoyed it that I’ve already added it to my list of favorites. There are many things to praise, starting with the most notable aspect of the story- the romance.

At first glance, it seems typical enough for the genre; a regular human girl falls in love with a dark, mysterious, mystical guy. I happen to be a sucker for this trope, which is what drew me to read it, to begin with. But it goes beyond just that. Isobel is a generally likable character. She doesn’t fall prey to what most people would expect of female romance leads, who fall in love with their abusive and/or manipulative love interests. While Rook can be those things, they are presented as flaws, not reasons for why he’s attractive. It is through their interactions that the two become friends first; him by dropping his cruelty and her by dropping her defenses. Once the masks are off, then Isobel truly gets to know him, as opposed to when she thought she knew him, perhaps even loved him, earlier in the story. What’s more, she discovers and then accepts Rook’s imperfections. While he lets go of his beastly attitude, he still remains as such under the disguise he wears (I’m also a sucker for the beauty and the beast trope). It’s especially poignant that an artist who has spent most of her life recreating perfect beauty falls in love with someone who isn’t as such. Rook isn’t perfect. He’s more human than anything, and he learns to love that about himself because Isobel knows what true beauty really is. She sees Rook’s humanity.

What I also really admired was Rogerson’s use of descriptive language. She creates an enchanted wood with a sinister side, and the images are so well articulated I can clearly see them in my mind’s eye. The Barrow Lord in particular was the most lovingly constructed monster I’ve ever had the pleasure of reading about. She describes it as a hulking, lumbering creature with an unbalanced hobble, filled to the brim with fungi nesting like larvae in the sac of its stomach. One quote caught my eye- “Its flesh was the skin of a decomposing log, riddled with disease and fungus. It’s head, a hollow bark cave with two empty sockets from which a pair of mushroom cluster grew, wiggling about on long stalks with a life of their own” (Rogerson). This sentence pulled me out of the story, but only so I could properly admire it. It’s what writers do- we geek out over descriptions. Rogerson uses language like this often, especially to make beautiful comparisons that help build her characters.

At the same time, I also was left wanting more to the story. More character development, more backstory, and more world-building.

Firstly, I would have liked to see Isobel have a stronger emotional connection with her artwork. The story clearly states that being an artist is dangerous because of the fair folk, and she clearly takes the risk so she can protect her family after her parents were killed. I would have liked to see her experiencing more sadness, anger, or trauma from the experiences she had as a child, and how it would have affected her relationship with Rook and the painting she makes for him.

The story also emphasizes craft as a uniquely human experience, and delving into the act of creating more could have wedged a poignant divide between Isobel and the fair folk she encounters, while bolstering her growing connection with Rook and the humanity they both share.

Secondly, I was not a fan of the beginning of the book. I felt that it was too long. Isobel spends a lot of time with Rook painting his portrait, and the two are very friendly with each other over the few months it takes. It comes to the point that after she finishes and he leaves, she feels that she has fallen in love with him. It was clever, though, that Isobel’s mistake would put them at odds with each other enough to truly get to know one another. Perhaps Rogerson was trying to make a statement on the typical storylines of young adult romances by first emulating them, and then outright rejecting them. However, I felt that it wasn’t necessary to the overall plot. This part slowed the pacing of the book down a little too much, when I really wanted to get to the action.

Next, I would have loved to see Rook’s court. Throughout a good portion of the book, Rook and Isobel pass through the different lands very quickly, and there isn’t a whole lot to see; they are literally walking through the woods, rather than experiencing fair folk society. We do finally get to see it in the spring court, which was wonderfully detailed. However, I would have liked to see Rook in his full power and authority; it wasn’t clear to me that he was one of the most powerful of his kind; a ruler, and thus expected to be a pinnacle of inhumanity. Not only that, but it would provide a great opportunity to explore his differences with his own kind. Rook spends most of his time with Isobel, so we don’t get to see all of the interesting rapport between him and the other characters.

Lastly, I felt that there was wasted character potential in Hemlock, the huntress who was after Rook. It wasn’t clear to me why she was after him. At first, it was interesting, because the two seemed to have a deep history. However, it was never explored. Along those lines, much of Rook’s past wasn’t truly explored either. Rook wears a necklace that represents his previous love, also a mortal woman. This seems to be the source of Rook’s more human tendencies; what sets him apart from the other fair folk. However, not even her name is revealed. I would have loved to explore the nature of their past relationship and how it formed Rook’s character.

Perhaps all these issues stem from a much larger need; the book should have been longer. I was so invested in knowing this world and these characters, but by the end, I was left wanting to know more about them. I think the story would have really benefited from being a series, rather than just a novel. The characters were so full of life, the romance was so honest and strong, and the world was so malevolent yet beautiful that I just hungered for more. Thus, I’m eager to read more of Rogerson’s work!

Author’s Website: http://www.margaretrogerson.com/

#an enchantment of ravens #margaret rogerson #ya lit #young adult literature #book review

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catherinep05-blog · 5 years ago

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For many who Have been Questioning ..

I'm not a huge fan of Aquaman, nor did I get pleasure from him in Justice League. Aquaman is a 2018 superhero motion movie based on the comic by DC Comics. It is rated PG-thirteen for mild violence and is acceptable for most ages. Visuals. The film regarded really nice with nice environments and superior costumes. Action. There was a whole lot of nice motion. This is an motion movie in the beginning. It appeared higher rendered than a video recreation, but the movements have been very video game-like. Music. Both the soundtrack and the songs were very nice and different than what you usually hear in any movie, particularly superhero movies. Black Manta is Evil. I like the truth that Black Manta was not misunderstood, not a tragic figure, not a cartoon villain, however an evil unhealthy guy who does things as a result of he is dangerous and his wickedness punishes him. Story. If you have virtually any queries relating to wherever and also tips on how to use superheroine costume, you possibly can e-mail us in our website. The story was pretty skinny. It was your typical action film with "twists" that weren't surprising and over the top dramatic reveals. Black Manta is a Thug. Black Manta was principally an unlikeable thug. The place they've set him up to be in the following movie, they needed to make him extra attention-grabbing. I want this movie had had a stronger story. Aquaman is an entertaining motion flick. It have beautiful settings and wonderful costumes. The story is skinny, predictable, and largely an excuse for all the numerous action scenes. The music was very totally different than you're used to hearing in films at present, however superb. I give this film 3.5 out of 5 containers of popcorn.

We also had a Superhero Snack bar prepared for munching and a bit of cape for each little Superhero (this little sweetie was the only woman on the occasion but that didn't sluggish her down)! I used fabric from a previous challenge for the capes and this sample. We stored the youngsters busy with lots of fun Superhero games! We decorated Superhero masks, used "Foolish String" to get some Super villains (footage on the back of a door), practised jumping over skyscrapers and raced to vary into superhero costumes. After lunch everyone sang to Andrew and lots of little buddies helped him to blow out his candles. That is always my favorite part of the celebration. His massive smile makes all the get together prep more than price the trouble! It was so nice to see all of Andrew's new pals come together to celebrate his birthday. It is onerous to imagine that only a few short months in the past we knew nobody in this city! I feel he shall be wanting to take a few again to Canada with him!

Geez, I’ve been reading loads of comics and graphic novels currently. I was given the opportunity to read the "soft" reboot of my favourite Batgirl, Barbara Gordon. This model has Barbara moving to Burnside for a fresh start as she pursues her PhD. It’s been three years since her spinal damage, but she’s again to her crime fighting ways and ready to take on town. Fifty two Batgirl series. I loved Simone’s work but it surely was a bit too severe for my daughter, so this seemed like a somewhat age appropriate strategy to introduce her to Barbara Gordon. I wanted to love this, I actually did, however one way or the other it simply fell flat for me. This was certainly a "lighter" storyline and, apart from just a few panels, I would really feel snug handing it over to my daughter to read. The art was enjoyable and colorful. I really appreciated Batgirl’s motorbike jacket-fashion costume, it was practical, practical, and undoubtedly more reasonable than a few of the other superhero costumes on the market.

Since this the first volume, there isn’t much character improvement for the new supporting characters, however I already love Barbara’s research assistant Nadimah Ali. In some ways Barbara continues to be recovering from her injuries. In a battle, sometimes she is slow to react, and whereas I recognize that the writers aren’t mechanically exhibiting her in high kind, I additionally feel she is lacking the emotional aspect of her restoration. I also liked how they used social media within the storyline, it was virtually a character in its own right. The writers did effectively showing all the good issues that may be achieved with social media and coding, however additionally they show how harmful this technology will be when it’s in the wrong arms. This reboot got off to an okay begin, and that i hope the story gets better because it progresses but I wouldn’t be shocked if it continues to fall flat. I really like Barbara Gordon as Batgirl (and Oracle) so I hope we get to see more dimension in her character and the supporting characters.

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ebaeschnbliah · 8 years ago

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WHAT MIGHT HAVE HAPPENED ON JANUARY 15th

________________________________________________________________

A POSSIBLE SOLUTION FOR THE STORY TOLD IN SHERLOCK BBC

This idea led me back to the unaired PILOT, to the story of Sherlock and John and their first meeting … as it is told here.

One might call it a crazy idea and people who don’t approve of the possibility of EMP/EDT or even more so of EEMP probably won’t like it. Therfore the cut. Although … I don’t know if I should even call it EMP. It’s more to do with ‘DREAM’. Anyway … everyone who dares to go 'deeper’ …. I hope you enjoy the read. :)

This idea is based on the following Facts:

the existence of the 'UNAIRED PILOT’ in general

there has been a special panel for said 'Unaired Pilot’ at Sherlocked Con 2016 ….. WHY ???

TPTB tell us again and again that they are going BACK ….. but where exactly are they goning to go back to? Where have we left the Boys?

Benedict’s statement via AP that Sherlock BBC is not going to happen in the same regularity as it has been happening and after watching S4 everyone will realize why

Benedict’s statement via Crime Magazine that S4 will show who Sherlock really is

Marks statement at GALHA Annual Lunch 2014 about the portrayal of LGBT characters on TV

watching TPTB as well as the crew attending conventions, panels, interviews …. almost bursting with joy, excitement and delight, devilish grin on their faces and obviously having the greatest fun of their lives …… this in mind I simply can’t imagine they are telling a dark and heartbreaking tragedy

over the course of 10 episodes the whole story turned out to be beautifully ultra-dramatic as well as full of exquisite exaggerations …. with still rising tendency

and there is a certain someone in the story who loves to be dramatic … and after all it’s his story

Finally the air dates for S4. The first episode is aready confirmed for Sunday, 1st January. If the pattern stayes the same as in previous years the following two episodes will probably air on:

Sunday, 8th January

Sunday, 15th January.

ALL OF THIS GAVE ME THE IDEA THAT A REVISIT OF THE 'UNAIRED PILOT’ MIGHT BE IN THE REALM OF POSSIBILITY

WHEN? …. AFTER THE MAIN EVENTS OF S4 HAVE LEFT EVERYONE HEARTBROKEN, DROWNING IN TEARS AND …. EXACTLY AS PROMISED …. GUT-PUNCHED INTO DEVASTATION

BUT THIS TIME THE WHOLE STORY WILL BE TOLD

WHAT DID REALLY HAPPEN AFTER THE MEMORABLE CASE OF THE LADY IN PINK - THE VERY FIRST CASE SHERLOCK AND JOHN SOLVED TOGETHER

ENDCREDITS ……. NOT ROLLING

SHERLOCK: Dinner? JOHN: Starving. SHERLOCK: There’s a good Chinese at the end of the road, stays open ’til two.

(and meanwhile it is common knowledge what 'dinner’ stands for in this show)

AT THE CHINESE RESTAURANT:

John is feeding up a finally hungry certain consulting dedective. The whole event is dominated by extended flirting as well as heavy eyesex …. much more so than at Angelo’s. The tablecloth will be in danger of bursting into flames……

Afterwards Sherlock and John take a taxi to John's place because 221b is inaccessible due to the dead serial killer, all the blood on the carpet, the annoying police officers still milling around the whole flat and a massively pissed off landlady.

Here comes the part ( already pointed out and brilliantly described by a lot of people) where the TV will go dark … for reasons. So I leave you to your own avid and skilled imaginations. :)))

SOMETIME SEVERAL HOURS LATER - PROBABLY ROUND NOON OR MID AFTERNOON

JOHN (shaking Sherlock awake): Hey, Sherlock … wake up … you’re dreaming ….

SHERLOCK (startling awake, staring wide eyed and heavily gasping at John): ……

JOHN: Bad dream was it?

SHERLOCK (suddenly coming to life, grabbing John and kissing him desperaately): ….

SECONDS GO BY, MINUTES, HOURS, DAYS ….. AEONS ….. who knows? Hopefully the TV doesn’t go black this time ….

JOHN (gasping for air): That bad?

SHERLOCK (gasping as well): Worse ….

JOHN (wordlessly lifting an eyebrow in question): ……

SHERLOCK (accusingly): You married ….

JOHN (still silent but lifting the eyebrow a little higher): …..

SHERLOCK (deep and growling voice): …. a woman ….. she shot me …..

JOHN (shaking his head with determination): Nope! That’s certainly never going to happen!

SHERLOCK (wordlessly lifting an eyebrow himself): …..

JOHN: If I’m ever going to marry someone it would be ….. (falling silent)

SHERLOCK (his eyebrow hides under a mop of dishevelled curls): ……

JOHN (serious with a tiny little smile coming to life): It …. it would be you …. I suppose …..

SHERLOCK (quick): Yes.

JOHN: What?

SHERLOCK (rolling his eyes): Yes! … Of Course, yes! …. I do!

JOHN (a trifle bemused): What????

SHERLOCK (getting impatient, emphasizing every word): I do …. I accept your proposal …. I want to marry you too! Got it now?

JOHN (after holding his breath in surprise for several seconds): But ….. Sherlock, you DO know that we only met less than 24 hours ago? Right?

SHERLOCK (rolling his eyes dramatically): Yes, John. And by now YOU should know that I’m a genius and I certainly don’t need ages to recognize the love of my life. Right?

JOHN (wispering): I am the love of your life?

SHERLOCK (holding John’s gaze without blinking): Of Course! Of Course, you are the love of my life. It’s always you ….. always will be …..

JOHN (drowning in Sherlock’s eyes): ….

SHERLOCK (getting slowly impatient again): Now … what are you saying?

JOHN (still drowning): Hm?

SHERLOCK (sighing): About getting married ….

JOHN (coming 'back’ again, smiling): Ohhh …. that ….. well, three things. First - we finish the 'buisiness’ we started … before … your proposal (kissing Sherlock on the tip of his nose).

SHERLOCK (quickly interrupting): YOUR proposal.

JOHN (smiling and kissing the nose in question again): OK. OUR proposal.

SHERLOCK (nodding solemnly): Agreed. What else?

JOHN (kissing the beautiful nose once more): Breakfeast. A nice late breakfest. And then …. we are going to plan our honeymoon. OK?

SHERLOCK (the biggest grin ever splitting his face): Brilliant!

And again the TV goes dark for the same reasons as before …. so sorry :)

ENDCREDITS ARE ROLLING

After an extension of the 'UNAIRED PILOT’ like this, TPTB could continue the story several years after wedding and honeymoon, with Sherlock and John happily married in an already established relationship. This could explain Benedict hinting at the 'irregularity’ after S4. Several years passing 'inside’ the story but not nessessarily 'outside’ of it. Moreover the actual age of the actors would be of no relevance as well. TPTB could continue with a lot of new stories and bigger adventures with the 'cosulting husbands’ as long as they and the actors enjoy doing it.

MURDER MYSTERY AND MAYHAM AHEAD

SHERLOCK & JOHN

JUST THE TWO OF THEM AGAINST THE REST OF THE WORLD

_______________________________________________________________

F I N A L L Y …

_______________________________________________________________

… the one aspect of this idea which surprised and delighted me the most is a little detail I only discoverd last night while rewatching 'THE PILOT’ and taking some nice pics for this post. On

John’s Blog

the famous meeting of Sherlock Holmes and John Watson takes place on January, 29th

In the unaired 'PILOT’ however John receives Sherlock’s message that he should come to Baker Street if convenient ….. on January, 14th !!!!

NOW …… IF OUR BELOVED DETECTIVE AND HIS DOCTOR HAD DINNER AFTER THE 'PINK LADY CASE’ AND THEN …… SOMETHING MORE CAME TO PASS ……

THEN THE DAY SHERLOCK AND JOHN WOULD WAKE UP TOGETHER FOR THE VERY FIRST TIME WOULD BE:

I leave you to your own deductions.

Oh, and for everyone who is concerned that Mycroft Holmes isn’t present in this story …. that’s not quite true. He is:

Apparently there is an 'impossible situation’ that bothers him and Sherlock gives the very famous advice:

WHEN YOU HAVE ELIMINATED THE IMPOSSIBLE WHATEVER REMAINS MUST BE THE TRUTH

Thank’s @callie-ariane for the scripts.

_______________________________________________________________

Thank you @impatient14 for informing me that the link doesn't work anymore. Thankfully I have a copy of this post. After one of my posts 'vanished' on Saturday (The stage is set - the curtain rises) I made copies of the rest. Just in case. :)))) And I try to recreate the lost one.

SO .... IT IS UP AGAIN AND I DON'T DO IT UNDER A CUT IN CASE IT VANISHES AGAIN!

January, 2017

@gosherlocked @isitandwonder @loveismyrevolution @tendergingergirl @monikakrasnorada @longsnowsmoon5 @tjlcisthenewsexy @yan-yae @the-7-percent-solution @may-shepard @skulls-and-tea @shylockgnomes @mollydobby

#what might have hapened on 15th january #tld #s4 #spoiler #speculation

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