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path-of-my-childhood · 4 years ago

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The Story Behind Every Song on folklore - According to Aaron Dessner

By: Brady Gerber for Vulture Date: July 27th 2020

The National multi-instrumentalist spoke to Vulture over the phone from upstate New York a few hours after the surprise release of Swift’s eighth studio album. (“A pretty wild ride,” he admits, sounding tired yet happy.) He was clear that he can’t speak on behalf of Swift’s lyrics, much like he can’t for The National frontman Matt Berninger’s either, or the thinking behind Jack Antonoff’s songs. (Here’s a cheat sheet: Jack’s songs soar, Aaron’s glide.) But Dessner was game to speak to his specific contributions, influences, and own interpretations of each song on folklore, a record you can sum up by two words that came up often during our conversation: nostalgic and wry.

“the 1″

“the 1” and “hoax,” the first song and the last song, were the last songs we did. The album was sort of finished before that. We thought it was complete, but Taylor then went back into the folder of ideas that I had shared. I think in a way, she didn’t realize she was writing for this album or a future something. She wrote “the 1,” and then she wrote “hoax” a couple of hours later and sent them in the middle of the night. When I woke up in the morning, I wrote her before she woke up in LA and said, “These have to be on the record.” She woke up and said, “I agree” [laughs] These are the bookends, you know?

It’s clear that “the 1” is not written from her perspective. It’s written from another friend’s perspective. There’s an emotional wryness and rawness, while also to this kind of wink in her eyes. There’s a little bit of her sense of humor in there, in addition to this kind of sadness that exists both underneath and on the surface. I enjoy that about her writing.

The song began from the voice memo she sent me, and then I worked on the music some and we tracked her vocals, and then my brother added orchestration. There are a few other little bits, but basically that was one of the very last things we did.

“cardigan“

That’s the first song we wrote [in early May]. After Taylor asked if I would be interested in writing with her remotely and working on songs, I said, “Are you interested in a certain kind of sound?” She said, “I’m just interested in what you do and what you’re up to. Just send anything, literally anything, it could be the weirdest thing you’ve ever done,” so I sent a folder of stuff I had done that I was really excited about recently. “cardigan” was one of those sketches; it was originally called “Maple.” It was basically exactly what it is on the record, except we added orchestration later that my brother wrote.

I sent [the file] at 9 p.m., and around 2 a.m. or something, there was “cardigan,” fully written. That’s when I realized something crazy was happening. She just dialed directly into the heart of the music and wrote an incredible song and fully conceived of it and then kept going. It harkens back to lessons learned, or experiences in your youth, in a really beautiful way and this sense of longing and sadness, but ultimately, it’s cathartic. I thought it was a perfect match for the music, and how her voice feels. It was kind of a guide. It had these lower register parts, and I think we both realized that this was a bit of a lightning rod for a lot of the rest of the record.

The National’s Influence On Swift

She said that she’s a fan of the emotion that’s conveyed in our music. She doesn’t often get to work with music that is so raw and emotional, or melodic and emotional, at the same time. When I sent her the folder, that was one of the main feelings. She said, “What the fuck? How do you just have that?” [laughs] I was humbled and honored because she just said, “It’s a gift, and I want to write to all of this.” She didn’t write to all of it, but a lot of it, and relatively quickly.

She is a fan of the band, and she’s a fan of Big Red Machine. She’s well aware of the sentiment of it and what I do, but she didn’t ask for a certain kind of thing. I know that the film [I Am Easy To Find] has really affected her, and she’s very much in love with that film and the record. Maybe it’s subconsciously been an influence.

“the last great american dynasty”

I wrote that after we’d been working for a while. It was an attempt to write something attractive, more uptempo and kind of pushing. I also was interested in this almost In Rainbows-style latticework of electric guitars. They come in and sort of pull you along, kind of reminiscent of Big Red Machine. It was very much in this sound world that I’ve been playing around with, and she immediately clicked with that. Initially I was imagining these dreamlike distant electric guitars and electronics but with an element of folk. There’s a lot going on in that sense. I sent it before I went on a run, and when I got back from the run, that song was there [laughs].

She told me the story behind it, which sort of recounts the narrative of Rebekah Harkness, whom people actually called Betty. She was married to the heir of Standard Oil fortune, married into the Harkness family, and they bought this house in Rhode Island up on a cliff. It’s kind of the story of this woman and the outrageous parties she threw. She was infamous for not fitting in, entirely, in society; that story, at the end, becomes personal. Eventually, Taylor bought that house. I think that is symptomatic of folklore, this type of narrative song. We didn’t do very much to that either.

“exile” (ft. Bon Iver)

Taylor and William Bowery, the singer-songwriter, wrote that song initially together and sent it to me as a sort of a rough demo where Taylor was singing both the male and female parts. It’s supposed to be a dialogue between two lovers. I interpreted that and built the song, played the piano, and built around that template. We recorded Taylor’s vocals with her singing her parts but also the male parts.

We talked a lot about who she thought would be perfect to sing, and we kept coming back to Justin [Vernon]. Obviously, he’s a dear friend of mine and collaborator. I said, “Well, if he’s inspired by the song, he’ll do it, and if not, he won’t.” I sent it to him and said, “No pressure at all, literally no pressure, but how do you feel about this?” He said, “Wow.” He wrote some parts into it also, and we went back and forth a little bit, but it felt like an incredibly natural and safe collaboration between friends. It didn’t feel like getting a guest star or whatever. It was just like, well, we’re working on something, and obviously he’s crazy talented, but it just felt right. I think they both put so much raw emotion into it. It’s like a surface bubbling. It’s believable, you know? You believe that they’re having this intense dialogue.

With other people I had to be secretive, but with Justin, because he was going to sing, I actually did send him a version of the song with her vocals and told him what I was up to. He was like, “Whoa! Awesome!” But he’s been involved in so many big collaborative things that he wasn’t interested in it from that point of view. It’s more because he loved the song and he thought he could do something with it that would add something.

“my tears ricochet”

This is one of my absolute favorite songs on the record. I think it’s a brilliant composition, and Taylor’s words, the way her voice sounds and how this song feels, are, to me, one of the critical pieces. It’s lodged in my brain. That’s also very important to Taylor and Jack. It’s like a beacon for this record.

“mirrorball”

“mirrorball” is, to me, a hazy sort of beautiful. It almost reminds me of ‘90s-era Cardigans, or something like Mazzy Star. It has this kind of glow and haze. It feels really good before “seven,” which becomes very wistful and nostalgic. There are just such iconic images in the lyrics [“Spinning in my highest heels”], which aren’t coming to me at the moment because my brain is not working [laughs].

How Jack Antonoff’s Folklore Songs Differ From Dessner’s

I think we have different styles, and we weren’t making them together or in the same room. We both could probably come closer together in a sense that weirdly works. It’s like an archipelago, and each song is an island, but it’s all related. Taylor obviously binds it all together. And I think Jack, if he was working with orchestrations, there’s an emotional quality to his songs that’s clearly in the same world as mine.

We actually didn’t have a moodboard for the album at all. I don’t think that way. I don’t really know if she does either. I don’t think Jack... well, Jack might, but when I say the Cardigans or Mazzy Star, those aren’t Jack’s words about “mirrorball,” it’s just what calls to mind for me. Mainly she talked about emotion and to lean into it, the nostalgia and wistfulness, and the kind of raw, meditative emotion that I often kind of inhabit that I think felt very much where her heart was. We didn’t shy away from that.

“seven”

This is the second song we wrote. It’s kind of looking back at childhood and those childhood feelings, recounting memories and memorializing them. It’s this beautiful folk song. It has one of the most important lines on the record: “And just like a folk song, our love will be passed on.” That’s what this album is doing. It’s passing down. It’s memorializing love, childhood, and memories. It’s a folkloric way of processing.

“august”

This is maybe the closest thing to a pop song. It gets loud. It has this shimmering summer haze to it. It’s kind of like coming out of “seven” where you have this image of her in the swing and she’s seven years old, and then in “august” I think it feels like fast-forwarding to now. That’s an interesting contrast. I think it’s just a breezy, sort of intoxicating feeling.

“this is me trying”

“this is me trying,” to me, relates to the entire album. Maybe I’m reading into it too much from my own perspective, but [I think of] the whole album as an exercise and working through these stories, whether personal or old through someone else’s perspective. It’s connecting a lot of things. But I love the feeling in it and the production that Jack did. It has this lazy swagger.

“illicit affairs”

This feels like one of the real folk songs on the record, a sharp-witted narrative folk song. It just shows her versatility and her power as a songwriter, the sharpness of her writing. It’s a great song.

“invisible string”

That was another one where it was music that I’d been playing for a couple of months and sort of humming along to her. It felt like one of the songs that pulls you along. Just playing it on one guitar, it has this emotional locomotion in it, a meditative finger-picking pattern that I really gravitate to. It’s played on this rubber bridge that my friend put on [the guitar] and it deadens the strings so that it sounds old. The core of it sounds like a folk song.

It’s also kind of a sneaky pop song, because of the beat that comes in. She knew that there was something coming because she said, “You know, I love this and I’m hearing something already.” And then she said, “This will change the story,” this beautiful and direct kind of recounting of a relationship in its origin.

“mad woman”

That might be the most scathing song on folklore. It has a darkness that I think is cathartic, sort of witch-hunting and gaslighting and maybe bullying. Sometimes you become the person people try to pin you into a corner to be, which is not really fair. But again, don’t quote me on that [laughs], I just have my own interpretation. It’s one of the biggest releases on the album to me. It has this very sharp tone to it, but sort of in gothic folklore. It’s this record’s goth song.

“epiphany”

For “epiphany,” she did have this idea of a beautiful drone, or a very cinematic sort of widescreen song, where it’s not a lot of accents but more like a sea to bathe in. A stillness, in a sense. I first made this crazy drone which starts the song, and it’s there the whole time. It’s lots of different instruments played and then slowed down and reversed. It created this giant stack of harmony, which is so giant that it was kind of hard to manage, sonically, but it was very beautiful to get lost in. And then I played the piano to it, and it almost felt classical or something, those suspended chords.

I think she just heard it, and instantly, this song came to her, which is really an important one. It’s partially the story of her grandfather, who was a soldier, and partially then a story about a nurse in modern times. I don’t know if this is how she did it, but to me, it’s like a nurse, doctor, or medical professional, where med school doesn’t fully prepare you for seeing someone pass away or just the difficult emotional things that you’ll encounter in your job. In the past, heroes were just soldiers. Now they’re also medical professionals. To me, that’s the underlying mission of the song. There are some things that you see that are hard to talk about. You can’t talk about it. You just bear witness to them. But there’s something else incredibly soothing and comforting about this song. To me, it’s this Icelandic kind of feel, almost classical. My brother did really beautiful orchestration of it.

“betty”

This one Taylor and William wrote, and then both Jack and I worked on it. We all kind of passed it around. This is the one where Taylor wanted a reference. She wanted it to have an early Bob Dylan, sort of a Freewheelin’ Bob Dylan feel. We pushed it a little more towards John Wesley Harding, since it has some drums. It’s this epic narrative folk song where it tells us a long story and connects back to “cardigan.” It starts to connect dots and I think it’s a beautifully written folk song.

Is ‘betty” queer canon? I can’t speak to what it’s about. I have my own ideas. I also know where Taylor’s heart is, and I think that’s great anytime a song takes on greater meaning for anyone.

Is William Bowery secretly Joe Alwyn? I don’t know. We’re close, but she won’t tell me that. I think it’s actually someone else, but it’s good to have some mysteries.

“peace”

I wrote this, and Justin provided the pulse. We trade ideas all the time and he made a folder, and there was a pulse in there that I wrote these basslines to. In the other parts of the composition, I did it to Justin’s pulse. Taylor heard this sketch and she wrote the song. It reminds me of Joni Mitchell, in a way - there’s this really powerful and emotional love song, even the impressionistic, almost jazz-like bridge, and she weaves it perfectly together. This is one of my favorites, for sure. But the truth is that the music, that way of playing with harmonized basslines, is something that probably comes a little bit from me being inspired by how Justin does that sometimes. There’s probably a connection there. We didn’t talk too much about it [laughs].

“hoax”

This is a big departure. I think she said to me, “Don’t try to give it any other space other than what feels natural to you.” If you leave me in a room with a piano, I might play something like this. I take a lot of comfort in this. I think I imagined her playing this and singing it. After writing all these songs, this one felt the most emotional and, in a way, the rawest. It is one of my favorites. There’s sadness, but it’s a kind of hopeful sadness. It’s a recognition that you take on the burden of your partners, your loved ones, and their ups and downs. That’s both “peace” and “hoax” to me. That’s part of how I feel about those songs because I think that’s life. There’s a reality, the gravity or an understanding of the human condition.

Does Taylor Explain Her Lyrics?

She would always talk about it. The narrative is essential, and kind of what it’s all about. We’d always talk about that upfront and saying that would guide me with the music. But again, she is operating at many levels where there are connections between all of these songs, or many of them are interrelated in the characters that reappear. There are threads. I think that sometimes she would point it out entirely, but I would start to see these patterns. It’s cool when you see someone’s mind working.

“the lakes”

That’s a Jack song. It’s a beautiful kind of garden, or like you’re lost in a beautiful garden. There’s a kind of Greek poetry to it. Tragic poetry, I guess.

The Meaning Of Folklore

We didn’t talk about it at first. It was only after writing six or seven songs, basically when I thought my writing was done, when we got on the phone and said, “OK, I think we’re making an album. I have these six other ideas that I love with Jack [Antonoff] that we’ve already done, and I think what we’ve done fits really well with them.” It’s sort of these narratives, these folkloric songs, with characters that interweave and are written from different perspectives. She had a vision, and it was connecting back in some way to the folk tradition, but obviously not entirely sonically. It’s more about the narrative aspect of it.

I think it’s this sort of nostalgia and wistfulness that is in a lot of the songs. A lot of them have this kind of longing for looking back on things that have happened in your life, in your friend’s life, or another loved one’s life, and the kind of storytelling around that. That was clear to her. But then we kept going, and more and more songs happened.

It was a very organic process where [meaning] wasn’t something that we really discussed. It just kind of would happen where she would dive back into the folder and find other things that were inspiring. Or she and William Bowery would write “exile,” and then that happened. There were different stages of the process.

Okay, but is it A24-core? [Laughs.] Good comparison.

#Aaron Dessner #interview #vulture #about taylor #taylor swift #folklore album #folklore era #songwriting #producer #the national #bon iver

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vexing-imogen · 4 years ago

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the persistence of 1/?

Vex wakes with a pounding headache and the nagging sensation that something isn’t quite right. She’s on hard packed earth instead of her nice, soft bed, and she can hear her friends’ voices, all some measure of concerned. She opens her eyes with a groan, wincing at the too bright sunlight.

Pike is right there, her small hand on Vex’s cheek. The furrow between her brows relaxes when she sees Vex’s eyes open. “Hey,” she says softly. “How are you feeling?”

Vex tries to sit up, gasping when her vision swims with the movement. She lies back down, fighting off a wave of nausea. “Fuck.”

Pike hums sympathetically. “Yeah, you hit your head pretty hard.” The throbbing in her skull recedes somewhat as Pike pumps one healing spell into her, and then another. “Just rest for now. I’ll be back to check on you in a little while.”

After a few minutes, she becomes aware of a presence at her side. A hand strokes her cheek, and she risks opening her eyes again, expecting her brother. Instead it’s Percy, staring down at her with a mix of trepidation and relief that feels wildly out of place. It’s almost like he’s... No, that’s absurd. She dismisses the thought before it can even finish.

And yet. There’s something off about him, about everything, that she can’t quite place. A hazy, dreamlike quality that’s not quite deja vu. Maybe Pike’s right. Maybe she just hit her head really hard.

She gives him the winningest smile she can manage while feeling like she got hit with a tree. “Can you help me sit up, darling? I promise I’m not going to throw up on you.”

Percy chuckles. “Because I’ve never heard that before.”

She frowns. She certainly doesn’t recall having ever thrown up on Percy. She’s sure Scanlan and Vax would never let her hear the end of it if she had.

Still, he helps her sit up, far more gentle than she’s come to expect from Percy. He stays by her side, watching her with an expression she can only describe as fond. His hand comes up to stroke her cheek again.

“I thought we agreed we were going to stop doing this,” he teases. Before Vex can ask what he means, he leans in and kisses her.

What. The. Fuck.

It’s not a bad kiss, all things considered. It’s soft and sweet, little more than a press of his lips against hers. But it’s also incredibly intimate, somehow. He kisses her like he knows her. So she does the only thing she can think of when he pulls away.

She slaps him. Hard.

He looks confused more than anything. A little hurt, a little betrayed. “Vex, wha-”

“What the hell, Percy?” She shoves him for good measure. “What the fuck is wrong with you?”

There’s a low whistle, and Vex turns to see Grog and Scanlan watching them.

Scanlan is clearly trying to hold back laughter. “What did you do, de Rolo?”

“Yeah,” Grog chimes in. “We could hear that slap from the other side of the clearing.”

Percy shrugs. “I...don’t know?” he says weakly.

Vex is about to protest that he knows exactly what he did when Pike and Keyleth join them. “What’s going on, guys?” Keyleth asks. “We heard yelling.”

“We seem to have interrupted a bit of a lovers quarrel,” Scanlan says, smirking.

“Vex slapped Percy,” Grog adds.

Keyleth frowns. “Oh.” She turns to Vex. “Why?”

Vex sighs, her cheeks flaming. “He kissed me.”

They’re suddenly all looking at her like she’s grown a second head. “And that’s a bad thing?” Pike asks slowly.

“Well, yeah,” she says. “You don’t just kiss someone without asking them first.”

That only seems to confuse them more. “Not even if you’re married?” Scanlan asks.

Vex rolls her eyes. “Well, alright, but that’s different,” she says. “Percy and I aren’t married.”

A few jaws drop at that. Percy’s frozen in place, his eyes wide. “Oh dear.”

That nagging feeling of something being Very Wrong returns with full force. She shrinks back, curling in on herself. “Why are you all acting so weird? What the fuck is going on?” It suddenly hits her what, or rather who, has been missing this entire time. “Where’s my brother?”

There’s a low muttered fuck, she can’t tell who from. Percy buries his face in his hands. Keyleth turns away from her entirely.

“Vex?” Pike asks, approaching her slowly. “What’s the last thing you remember?”

It’s harder than she thinks it should be, but she finally settles on an answer. “Allura,” she says. “Um, she came to the Keep last night to give us the papers we’d need to get into Kraghammer. So we could go find her friend, Kima.”

A terrifying silence falls over the group, broken only by Grog’s muttered, “Oh shit.”

Pike takes a deep breath, grasps both of her hands. “Vex, um, I don’t know how to say this, but...”

“But what?” Vex asks. “Pike, what’s going on?”

“I don’t know exactly,” Pike admits. “But, going into Kraghammer to find Lady Kima? Vex, we did that five years ago.”

#critical role #critfic #vox machina #vex'ahlia #perc'ahlia

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orsuliya · 4 years ago

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Guess what, it’s time for more married!Awu/XQ headcanons, part 2 of who knows how many. Beware of the sappiness!

Once it becomes clear that Xiao Qi and Awu have wildly different ideas about educating children, the denizens of Ningshuo Fortress draw a collective breath. Amusingly enough, it never comes to an all out fight like the one people have been expecting… but still a rather interesting time is had by all.

See, there is no doubt that raising a legion of soldiers is as much out of question as raising a glasshouse of tropical flowers… or root vegetables. That much everybody – from Ah Li Ma to Tang Jing who were both asked to consult on the matter – can agree on. The devil lies in the details. Reading and writing is paramount, but is calligraphy really necessary? Sewing is obviously a must for all, but is fanciful embroidery? Every child should be competent with at least one weapon, but ought they also learn to play instruments, even those with no particular talent for it? At least rudimentary drawing is useful all across the board, no argument to be had there.

The problem is not that Awu and Xiao Qi cannot find a compromise in each of those cases – they absolutely can. Or rather they could... if they were not so careful of offending each other. There comes a time when Xiao Qi blurts out that a princely education is no guarantee of a clear mind or an honourable heart… and then spends the next day or two being strangely apologetic. Which Awu certainly notices, for all that she has no idea what might have caused this sudden development. Yeah, that comment didn’t really register, at least not in the way Xiao Qi fears it did. And yes, Zitan is that much of a non-entity in Awu’s mind.

At the same time Awu might have been dancing around certain subjects, loathe to admit that her husband’s writing is sufficient for the purpose, but would absolutely prevent him from pursuing any kind of serious career in civil service. And since they want their kids to have options, maybe they should think about employing a calligraphy master after all.

Don’t worry, they come clear on both issues! What else are their nightly hug-discussions for, if not resolving potentially painful matters in a relaxed, constructive and mutually satisfying manner?

______________________________

Why would Awu be dancing around certain subjects related to Xiao Qi’s level of education? It’s not like he was ever particularly sensitive to such matters as class difference, right? No sign of inferiority complex there, that’s for sure. Well…

When Awu and Xiao Qi were preparing to leave the capital, Asu made an entire production out of his sister’s upcoming departure. Ningshuo, for all that it may be paradise itself – if one listens to the locals – is rather… provincial, right? No decent wine to be had, no silks, golden bathtubs, first-class inks, high-quality perfume or incense and if there is one decent guan to be had out there, then Turnip will eat his own most decorative one!

Not that Turnip ever comes out and says that Ningshuo is his idea of hell, but still. There is a reason why Xiao Qi prefers not to take part in this whole packing rigmarole; he wouldn’t want to distress his brother-in-law too much… or rather more than he already does at court. Awu takes this brotherly care with good humour; Asu is Asu and it’s true that he would never be able to make it in Ningshuo, but they’re very different Wang breeds and she has no doubts that she will absolutely thrive once there.

The thing is that once they settle in Ningshuo, Xiao Qi starts making those little comments. Nothing really overt and really, they’re made in jest more often than not… But it’s concerning all the same. Self-deprecation is not a good look on Awu’s husband! Well, it totally is, but there are much better ones, so it’s time to stage an intervention.

The next time Awu hears that a Princess like her could have never imagined she would be forced to toil in the field, she snaps. Not like they were toiling anyway – marking out the best pastures is hardly a back-breaking work! So what does she do? Well, first she waits until the evening… and then she immobilizes her husband. True, he may still try to get up while she’s in his lap, but this way he would be forced to take her with him! It’s truly diabolical.

As her second step she asks – very seriously – who is always right in their household and is it true that it’s Princess Yuzhang. Prince Yuzhang, unaware that he’s entering a trap and also rather distracted with what’s in his lap, admits that readily enough.

If Princess Yuzhang is always right, declares Awu, and I am Princess Yuzhang, then what I say must be the absolute truth. And what I say is that you are a silly, silly man. There is nobody else that I would ever wish to call my husband and nowhere that I would rather live but here, by your side, building a future for us and our children. Why, I wouldn’t exchange our current life for any crown and I am something on an expert on those.

It works rather well, that’s as much as I will say on the matter.

______________________________

They do end up employing a calligraphy master for the children. And a painting master. And a slew of other masters as some of the kids get older and develop specific talents. Besides, there is nothing that says they need to limit their educational efforts to their own legion. Ningshuo’s population is booming and there is no better time to found a school or twenty for local children.

Of course most established scholars are very used to comfort and not really used to long trips. In short order, Ningshuo becomes the number one destination for young adventurous men of letters, most rather lacking when it comes to illustrious family background. But they are not the only ones interested in moving to Ningshuo: a good number of respectable old masters also decide to do so.

Turnip Wang tries to warn his sister that she’s playing host to a whole host of dangerous free-thinkers, some of them openly critical of this whole idea of monarchy. Oh, the horror! Awu simply looks at her harried sibling with a perfectly straight face and says that she hasn’t noticed any danger other than the danger of having exceedingly eloquent dinner-companions, which sometimes means that food grows cold before anybody even starts on it. Xiao Qi is very pointedly suppressing a smile in the background.

______________________________

Xiao Qi and Awu are that unbearably cheesy married couple who remains staunchingly and embarrassingly in love even after twenty, thirty years of marriage. And they have absolutely no qualms about public displays of affection. Which leads to some rather amusing moments while at court, but that is an entirely different story.

Now, their kids – both bio and adopted – think it’s the bee’s knees that their parental units love each other so much… but could they tone it down? Just a little? Would a tiny smidge of dignity be totally out of question? There is nothing fundamentally wrong with Father picking Mother up… but must he do it in the middle of the courtyard? And let us not even speak of farewell hugs. And the teasing. Oh, the teasing!

It gets much, much worse once the kids grow up and start pairing off. See, only now do they start to realize what some of their parents’ little quirks actually mean. And most of them mean that Awu and Xiao Qi – grey hair and all – are not that far removed from a pair of newly-weds. More that one son-in-law gets absolutely flustered – some into speechlessness – by the ever-powerful hearteyes. For some reason daughters-in-law deal with this situation much better, although approximately every second one develops… certain expectations.

______________________________

Awu and Xiao Qi do not get it on nearly as often as those poor horrified kids might think. That is they do get it on quite a lot! But it’s far from the only way of marital closeness they enjoy.

The first time Awu and Xiao Qi take a bath together establishes a routine that lasts for the rest of their lives. Dressing and undressing is Awu’s time to be petted and made much of, but bathing? Ooooh, that’s a wholly different matter.

That first time they get into a tub together it’s actually Awu who sits behind Xiao Qi and starts washing him. At first he is more than a bit bashful about it and tries to turn the tables on her, but she is relentless. Finally he starts to relax and once Awu gets to washing his hair, his state can only be described as utter contentedness. There might be some neck kisses and soothing scratches to be had as well, both of which only draw him deeper into a dreamlike trance.

After the water grows cold, Awu dresses them both in soft nightime robes and leads Xiao Qi, still pretty out of it, to bed. Not to have sex, mind you. Just to lie down and breathe together, as close to each other – bodily and mentally – as it is even possible. I am not saying that Xiao Qi cries at any point… Well, of course he cries! It is the first time he’s been treated with this kind of overwhelming tenderness; experiencing such absolute depth of care and love for the first time is an earth-shattering experience for a man who had known so little of both in his life.

They take care to repeat this experience at least once a month; after the first several times Awu no longer has to propose taking a bath together. The first time he actually asks? Her heart grows two whole sizes from sheer pride.

#the rebel princess #monarch industry #Awu and XQ headcanon time #I am so sappy it's getting embarassing #do I care #no not really and it's all your fault anyway #you evil nonnies with your evil asks #you know who you are #I am but a victim and so cannot be blamed for anybody overdosing on pure sugar

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grigori77 · 3 years ago

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Summer 2021′s Movies - My Top Ten Favourite Films (Part 2)

The Top Ten:

10. WEREWOLVES WITHIN – definitely one of the year’s biggest cinematic surprises so far, this darkly comic supernatural murder mystery from indie horror director Josh Ruben (Scare Me) is based on a video game, but you’d never know it – this bears so little resemblance to the original Ubisoft title that it’s a wonder anyone even bothered to make the connection, but even so, this is now notable for officially being the highest rated video game adaptation in Rotten Tomatoes history, with a Certified Fresh rating of 86%. Certainly it deserves that distinction, but there’s so much more to the film – this is an absolute blood-splattered joy, the title telling you everything you need to know about the story but belying the film’s pure, quirky genius. Veep’s Sam Richardson is forest ranger Finn Wheeler, a gentle and socially awkward soul who arrives at his new post in the remote small town of Beaverton to discover the few, uniformly weird residents are divided over the oil pipeline proposition of forceful and abrasive businessman Sam Parker (The Hunt’s Wayne Duvall). As he tries to fit in and find his feet, investigating the disappearance of a local dog while bonding with local mail carrier Cecily Moore (Other Space and This Is Us’ Milana Vayntrub), the discovery of a horribly mutilated human body leads to a standoff between the townsfolk and an enforced lockdown in the town’s ramshackle hotel as they try to work out who amongst them is the “werewolf” they suspect is responsible. This is frequently hilarious, the offbeat script from appropriately named Mishna Wolff (I’m Down) dropping some absolutely zingers and crafting some enjoyably weird encounters and unexpected twists, while the uniformly excellent cast do much of the heavy-lifting to bring their rich, thoroughly oddball characters to vivid life – Richardson is thoroughly cuddly throughout, while Duvall is pleasingly loathsome, Casual’s Michaela Watkins is pleasingly grating as Trisha, flaky housewife to unrepentant local horn-dog Pete Anderton (Orange is the New Black’s Michael Chernus), and Cheyenne Jackson (American Horror Story) and Harry Guillen (best known, OF COURSE, as Guillermo in the TV version of What We Do In the Shadows) make an enjoyably spiky double-act as liberal gay couple Devon and Joaquim Wolfson; in the end, though, the film is roundly stolen by Vayntrub, who invests Cecily with a bubbly sweetness and snarky sass that makes it absolutely impossible to not fall completely in love with her (gods know I did). This is a deeply funny film, packed with proper belly-laughs from start to finish, but like all the best horror comedies it takes its horror elements seriously, delivering some enjoyably effective scares and juicy gore, while the werewolf itself, when finally revealed, is realised through some top-notch prosthetics. Altogether this was a most welcome under-the-radar surprise for the summer, and SO MUCH MORE than just an unusually great video game adaptation …

9. THE TOMORROW WAR – although cinemas finally reopened in the UK in early summer, the bite of the COVID lockdown backlog was still very much in effect this blockbuster season, with several studios preferring to hedge their bets and wait for later release dates. Others turned to streaming services, including Paramount, who happily lined up a few heavyweight titles to open on major platforms in lieu of the big screen. One of the biggest was this intended sci-fi action horror tentpole, meant to give Chris Pratt another potential franchise on top of Guardians of the Galaxy and Jurassic World, which instead dropped in early July on Amazon Prime. So, was it worth staying in on a Saturday night instead of heading out for something on the BIG screen? Mostly yes, although it’s mainly a trashy, guilty pleasure big budget B-picture charm that makes this such a worthwhile experience – the film’s biggest influences are clearly Independence Day and Starship Troopers, two admirably clunky blockbusters that DEFINED prioritising big spectacle and overblown theatrics over intelligent writing and realistic storytelling. It doesn’t help that the premise is pure bunk – in 2022, a wormhole opens from thirty years in the future, and a plea for help is sent back with a bunch of very young future soldiers. Seems Earth will become overrun by an unstoppable swarm of nasty alien critters called Whitespikes in 25 years, and the desperate human counteroffensive have no choice but to bring soldiers from our present into the future to help them fight back and save the humanity from imminent extinction. Less than a year later, the world’s standing armies have been decimated and a worldwide draft has been implemented, with normal everyday adults being sent through for a seven day tour from which very few return. Pratt plays biology teacher and former Green Beret Dan Forrester, one of the latest batch of draftees to be sent into the future along with a selection of chefs, soccer moms and other average joes – his own training and experience serves him better than most when the shit hits the fan, but it soon becomes clear that he’s just as out of his depth as everyone else as the sheer enormity of the threat is revealed. But when he becomes entangled with a desperate research outfit led by Muri (Chuck’s Yvonne Strahovski) who seem to be on the verge of a potential world-changing scientific breakthrough, Dan realises there just might be a slender hope for humanity after all … this is every bit as over-the-top gung-ho bonkers as it sounds, and just as much fun. Director Chris McKay may still be pretty fresh (with only The Lego Batman Movie under his belt to date), but he shows a lot of talent and potential for big budget blockbuster filmmaking here, delivering with guts and bravado on some major action sequences (a fraught ticking-clock SAR operation through a war-torn Miami is the film’s undeniable highlight, but a desperate battle to escape a blazing oil rig also really impresses), as well as handling some impressively complex visual effects work and wrangling some quality performances from his cast (altogether it bodes well for his future, which includes Nightwing and Johnny Quest as future projects). Chris Pratt can do this kind of stuff in his sleep – Dan is his classic fallible and self-deprecating but ultimately solid and kind-hearted action hero fare, effortlessly likeable and easy to root for – and his supporting cast are equally solid, Strahovsky going toe-to-toe with him in the action sequences while also creating a rewardingly complex smart-woman/badass combo in Muri, while the other real standouts include Sam Richardson (Veep, Werewolves Within) and Edwin Hodge (The Purge movies) as fellow draftees Charlie and Dorian, the former a scared-out-of-his-mind tech geek while the latter is a seriously hardcore veteran serving his THIRD TOUR, and the ever brilliant J.K. Simmonds as Dan’s emotionally scarred estranged Vietnam-vet father, Jim. Sure, it’s derivative as hell and thoroughly predictable (with more than one big twist you can see coming a mile away), but the pace is brisk, the atmosphere pregnant with a palpable doomed urgency, and the creatures themselves are a genuinely convincing world-ending threat, the design team and visual effects wizards creating genuine nightmare fuel in the feral and unrelenting Whitespikes. Altogether this WAS an ideal way to spend a comfy Saturday night in, but I think it could have been JUST AS GOOD for a Saturday night OUT at the Pictures …

8. ARMY OF THE DEAD – another high profile release that went straight to streaming was this genuine monster hit for Netflix from one of this century’s undeniable heavyweight action cinema masters, the indomitable Zack Snyder, who kicked off his career with an audience-dividing (but, as far as I’m concerned, ultimately MASSIVELY successful) remake of George Romero’s immortal Dawn of the Dead, and has finally returned to zombie horror after close to two decades away. The end result is, undeniably, the biggest cinematic guilty pleasure of the entire summer, a bona fide outbreak horror EPIC in spite of its tightly focused story – Dave Bautista plays mercenary Scott Ward, leader a badass squad of soldiers of fortune who were among the few to escape a deadly outbreak of a zombie virus in the city of Las Vegas, enlisted to break into the vault of one of the Strip’s casinos by owner Bly Tanaka (a fantastically game turn from Hiroyuki Sanada) and rescue $200 million still locked away inside. So what’s the catch? Vegas remains ground zero for the outbreak, walled off from the outside world but still heavily infested within, and in less than three days the US military intends to sterilise the site with a tactical nuke. Simple premise, down and dirty, trashy flick, right? Wrong – Snyder has never believed in doing things small, having brought us unapologetically BIG cinema with the likes of 300, Watchmen, Man of Steel and, most notably, his version of Justice League, so this is another MASSIVE undertaking, every scene shot for maximum thrills or emotional impact, each set-piece executed with his characteristic militaristic precision and explosive predilection (a harrowing fight for survival against a freshly-awakened zombie horde in tightly packed casino corridors is the film’s undeniable highlight), and the gauzy, dreamlike cinematography gives even simple scenes an intriguing and evocative edge that really does make you feel like you’re watching something BIG. The characters all feel larger-than-life too – Bautista can seem somewhat cartoonish at times, and this role definitely plays that as a strength, making Scott a rock-hard alpha male in the classic Hollywood mould, but he’s such a great actor that of course he’s able to invest the character with real rewarding complexity beneath the surface; Ana de la Reguera (Eastbound & Down) and Nora Arnezeder (Zoo, Mozart in the Jungle), meanwhile, both bring a healthy dose of oestrogen-fuelled badassery to proceedings as, respectively, Scott’s regular second-in-command, Maria Cruz, and Lilly the Coyote, Power’s Omari Hardwick and Matthias Schweighofer (You Are Wanted) make for a fun odd-couple double act as circular-saw-wielding merc Vanderohe and Dieter, the nervous, nerdy German safecracker brought in to crack the vault, and Fear the Walking Dead’s Garrett Dillahunt channels spectacular scumbag energy as Tanaka’s sleazy former casino boss Martin, while latecomer Tig Notaro (Star Trek Discovery) effortlessly rises above her last-minute-casting controversy to deliver brilliantly as sassy and acerbic chopper pilot Peters. I think it goes without saying that Snyder can do this in his sleep, but he definitely wasn’t napping here – he pulled out all the stops on this one, delivering a thrilling, darkly comic and endearingly CRACKERS zombie flick that not only compares favourably to his own Dawn but is, undeniably, his best film for AGES. Netflix certainly seem to be pleased with the results – a spinoff prequel, Army of Thieves, starring Dieter in another heist thriller, is set to drop in October, with an animated series following in the Spring, and there’s already rumours of a sequel in development. I’m certainly up for more …

7. BLACK WIDOW – no major blockbuster property was hit harder by COVID than the MCU, which saw its ENTIRE SLATE for 2020 delayed for over a year in the face of Marvel Studios bowing to the inevitability of the Pandemic and unwilling to sacrifice those all-important box-office receipts by just sending their films straight to streaming. The most frustrating part for hardcore fans of the series was the delay of a standalone film that was already criminally overdue – the solo headlining vehicle of founding Avenger and bona fide female superhero ICON Natasha Romanoff, aka the Black Widow. Equally frustratingly, then, this film seems set to be overshadowed by real life controversy as star and producer Scarlett Johansson goes head-to-head with Disney in civil court over their breach-of-contract after they hedged their bets by releasing the film simultaneously in cinemas and on their own streaming platform, which has led to poor box office as many of the film’s potential audience chose to watch it at home instead of risk movie theatres with the virus still very much remaining a threat (and Disney have clearly reacted AGAIN, now backtracking on their release policy by instigating a new 45-day cinematic exclusivity window on all their big releases for the immediate future). But what of the film itself? Well Black Widow is an interesting piece of work, director Cate Shortland (Berlin Syndrome) and screenwriter Eric Pearson (Thor: Ragnarok) delivering a decidedly stripped-back, lean and intellectual beast that bears greater resemblance to the more cerebral work of the Russo Brothers on their Captain America films than the more classically bombastic likes of Iron Man, Thor or the Avengers flicks, concentrating on story and characters over action and spectacle as we wind back the clock to before the events of Infinity War and Endgame, when Romanoff was on the run after Civil War, hunted by the government-appointed forces of US Secretary of State “Thunderbolt” Ross (William Hurt) after violating the Sokovia Accords. Then a mysterious delivery throws her back into the fray as she finds herself targeted by a mysterious assassin, forcing her to team up with her estranged “sister” Yelena Belova (Midsommar’s Florence Pugh), another Black Widow who’s just gone rogue from the same Red Room Natasha escaped years ago, armed with a McGuffin capable of foiling a dastardly plot for world domination. The reluctant duo need help in this endeavour though, enlisting the aid of their former “parents”, veteran Widow and scientist Melina Vostokoff (Rachel Weisz) and Alexie Shostakov (Stranger Things’ David Harbour), aka the Red Guardian, a Russian super-soldier intended to be their counterpart to Captain America, who’s been languishing in a Siberian gulag for the last twenty years. After the Earth-shaking, universe-changing events of recent MCU events, this film certainly feels like a much more self-contained, modest affair, playing for much smaller stakes, but that doesn’t mean it’s any less worthy of our attention – this is as precision-crafted as anything we’ve seen from Marvel so far, but it also feels like a refreshing change of pace after all those enormous cosmic shenanigans, while the script is as tight as a drum, propelling a taut, suspense-filled thriller that certainly doesn’t scrimp on the action front. Sure, the set-pieces are very much in service of the story here, but they’re still the pre-requisite MCU rollercoaster rides, a selection of breathless chases and bone-crunching fights that really do play to the strengths of one of our favourite Avengers, but this is definitely one of those films where the real fireworks come when the film focuses on the characters – Johansson is so comfortable with her character she’s basically BECOME Natasha Romanoff, kickass and ruthless and complex and sassy and still just desperate for a family (though she hides it well throughout the film), while Weisz delivers one of her best performances in years as a peerless professional who keeps her emotions tightly reigned in but slowly comes to realise that she was never more happy than when she was pretending to be a simple mother, and Ray Winstone does a genuinely fantastic job of taking a character who could have been one of the MCU’s most disappointingly bland villains, General Dreykov, master of the Red Room, and investing him with enough oily charisma and intense presence to craft something truly memorable (frustratingly, the same cannot be said for the film’s supposed main physical threat, Taskmaster, who performs well in their frustratingly brief appearances but ultimately gets Darth Maul levels of short service). The true scene-stealers in the film, however, are Alexie and Yelena – Harbour’s clearly having the time of his life hamming it up as a self-important, puffed-up peacock of a superhero who never got his shot and is clearly (rightly) decidedly bitter about it, preferring to relive the life he SHOULD have had instead of remembering the good in the one he got; Pugh, meanwhile, is THE BEST THING IN THE WHOLE MOVIE, easily matching Johanssen scene-for-scene in the action stakes but frequently out-performing her when it comes to acting, investing Yelena with a sweet naivety and innocence and a certain amount of quirky geekiness that makes for one of the year’s most endearing female protagonists (certainly one who, if the character goes the way I think she will, is thoroughly capable of carrying the torch for the foreseeable future). In the end this is definitely one of the LEAST typical, by-the-numbers MCU films to date, and by delivering something a little different I think they’ve given us just the kind of leftfield swerve the series needs right now. It’s certainly one of their most fascinating and rewarding films so far, and since it seems to be Johansson’s final tour of duty as the Black Widow, it’s also a most fitting farewell indeed.

6. WRATH OF MAN – Guy Ritchie’s latest (regarded by many as a triumphant return to form, which I consider unfair since I don’t think he ever went away, especially after 2020’s spectacular The Gentlemen) is BY FAR his darkest film – let’s get this clear from the start. Anyone who knows his work knows that Ritchie consistently maintains a near flawless balance and humour and seriousness in his films that gives them a welcome quirkiness that is one of his most distinctive trademarks, so for him to suddenly deliver a film which takes itself SO SERIOUSLY is one hell of a departure. This is a film which almost REVELS in its darkness – Ritchie’s always loved bathing in man’s baser instincts, but Wrath of Man almost makes a kind of twisted VIRTUE out of wallowing in the genuine evils that men are capable of inflicting on each other. The film certainly kicks off as it means to go on – In a tour-de-force single-shot opening, we watch a daring armoured car robbery on the streets of Los Angeles that goes horrifically wrong, an event which will have devastating consequences in the future. Five months later, Fortico Security hires taciturn Brit Patrick Hill (Jason Statham) to work as a guard in one of their trucks, and on his first run he single-handedly foils another attempted robbery with genuinely uncanny combat skills. The company is thrilled, amazed by the sheer ability of their new hire, but Hill’s new colleagues are more concerned, wondering exactly what they’ve let themselves in for. After a second foiled robbery, it becomes clear that Hill’s reputation has grown, but fellow guard Haiden (Holt McCallany), aka “Bullet”, begins to suspect there might be something darker going on … Ritchie is firing on all cylinders here, delivering a PERFECT slow-burn suspense thriller which plays its cards close to its chest and cranks up its piano wire tension with artful skill as it builds to a devastating, knuckle-whitening explosive heist that acts as a cathartic release for everything that’s built up over the past hour and a half. In typical Ritchie style the narrative is non-linear, the story unfolding in four distinct parts told from clearly differentiated points of view, allowing the clues to be revealed at a trickle that effortlessly draws the viewer in as they fall deeper down the rabbit hole, leading to a harrowing but strangely poignant denouement which is perfectly in tune with everything that’s come before. It’s an immense pleasure finally getting to see Statham working with Ritchie again, and I don’t think he’s ever been better than he is here – he's always been a brilliantly understated actor, but there’s SO MUCH going on under Hill’s supposedly impenetrable calm that every little peek beneath the armour is a REVELATION; McCallany, meanwhile, has landed his best role since his short but VERY sweet supporting turn in Fight Club, seemingly likeable and fallible as the kind of easy-going co-worker anyone in the service industry would be THRILLED to have, but giving Bullet far more going on under the surface, while there are uniformly excellent performances from a top-shelf ensemble supporting cast which includes Josh Hartnett, Jeffrey Donovan (Burn Notice, Sicario), Andy Garcia, Laz Alonso (The Boys), Eddie Marsan, Niamh Algar (Raised By Wolves) and Darrell D’Silva (Informer, Domina), and a particularly edgy and intense turn from Scott Eastwood. This is one of THE BEST thrillers of the year, by far, a masterpiece of mood, pace and plot that ensnares the viewer from its gripping opening and hooks them right up to the close, a triumph of the genre and EASILY Guy Ritchie’s best film since Snatch. Regardless of whether or not it’s a RETURN to form, we can only hope he continues to deliver fare THIS GOOD in the future …

5. FEAR STREET (PARTS 1-3) – Netflix have gotten increasingly ambitious with their original filmmaking over the years, and some of this years’ offerings have reached new heights of epic intention. Their most exciting release of the summer was this adaptation of popular children’s horror author R.L. Stine’s popular book series, a truly gargantuan undertaking as the filmmakers set out to create an entire TRILOGY of films which were then released over three consecutive weekends. Interestingly, these films are most definitely NOT for kids – this is proper, no-holds-barred supernatural slasher horror, delivering highly calibrated shocks and precision jump scares, a pervading atmosphere of insidious dread and a series of inventively gruesome kills. The story revolves around two neighbouring small towns which have had vastly different fortunes over more than three centuries of existence – while the residents of Sunnyvale are unusually successful, living idyllic lives in peace and prosperity, luck has always been against the people of Shadyside, who languish in impoverishment, crime and misfortune, while the town has become known as the Murder Capital of the USA due to frequent spree killings. Some attribute this to the supposed curse of a local urban legend, Sarah Fier, who became known as the Fier Witch after her execution for witchcraft in 1668, but others dismiss this as simple superstition. Part 1 is set in 1994, as the latest outbreak of serial mayhem begins in Shadyside, dragging a small group of local teens – Deena Johnson (She Never Died’s Kiana Madeira) and Samantha Fraser (Olivia Scott Welch), a young lesbian couple going through a difficult breakup, Deena’s little brother Josh (The Haunted Hathaways’ Benjamin Flores Jr.), a nerdy history geek who spends most of his time playing video games or frequenting violent crime-buff online chatrooms, and their delinquent friends Simon (Eight Grade’s Fred Hechinger) and Kate (Julia Rehwald) – into the age-old ghostly conspiracy as they find themselves besieged by indestructible undead serial killers from the town’s past, reasoning that the only way they can escape with their lives is to solve the mystery and bring the Fier Witch some much needed closure. Part 2, meanwhile, flashes back to a previous outbreak in 1977, in which local sisters Ziggy (Stranger Things’ Sadie Sink) and Cindy Berman (Emily Rudd), together with future Sunnyvale sheriff Nick Goode (Ted Sutherland) were among the kids hunted by said killers during a summer camp “colour war”. As for Part 3, that goes all the way back to 1668 to tell the story of what REALLY happened to Sarah Fier, before wrapping up events in 1994, culminating in a terrifying, adrenaline-fuelled showdown in the Shadyside Mall. Throughout, the youthful cast are EXCEPTIONAL, Madeira, Welch, Flores Jr., Sink and Rudd particularly impressing, while there are equally strong turns from Ashley Zuckerman (The Code, Designated Survivor) and Community’s Gillian Jacobs as the grown-up versions of two key ’77 kids, and a fun cameo from Maya Hawke in Part 1. This is most definitely retro horror in the Stranger Things mould, perfectly executed period detail bringing fun nostalgic flavour to all three of the timelines while the peerless direction from Leigh Janiak (Honeymoon) and wire-tight, sharp-witted screenplays from Janiak, Kyle Killen (Lone Star, The Beaver), Phil Graziadel, Zak Olkewicz and Kate Trefry strike a perfect balance between knowing dark humour and knife-edged terror, as well as weaving an intriguingly complex narrative web that pulls the viewer in but never loses them to overcomplication. The design, meanwhile, is evocative, the cinematography (from Stanger Things’ Caleb Heymann) is daring and magnificently moody, and the killers and other supernatural elements of the film are handled with skill through largely physical effects. This is definitely not a standard, by-the-numbers slasher property, paying strong homage to the sub-genre’s rules but frequently subverting them with expert skill, and it’s as much fun as it is frightening. Give us some more like this please, Netflix!

4. THE SPARKS BROTHERS – those who’ve been following my reviews for a while will known that while I do sometimes shout about documentary films, they tend to show up in my runners-up lists – it’s a great rarity for one to land in one of my top tens. This lovingly crafted deep-dive homage to cult band Sparks, from self-confessed rabid fanboy Edgar Wright (Shaun of the Dead, Hot Fuzz, Scott Pilgrim), is something VERY SPECIAL INDEED, then … there’s a vague possibility some of you may have heard the name before, and many of you will know at least one or two of their biggest hits without knowing it was them (their greatest hit of all time, This Town Ain’t Big Enough for the Both of Us, immediately springs to mind), but unless you’re REALLY serious about music it’s quite likely you have no idea who they are, namely two brothers from California, Russell and Ronald Mael, who formed a very sophisticated pop-rock band in the late 60s and then never really went away, having moments of fame but mostly working away in the background and influencing some of the greatest bands and musical artists that followed them, even if many never even knew where that influence originally came from. Wright’s film is an engrossing joy from start to finish (despite clocking in at two hours and twenty minutes), following their eclectic career from obscure inception as Halfnelson, through their first real big break with third album Kimono My Place, subsequent success and then fall from popularity in the mid-70s, through several subsequent revitalisations, all the way up to the present day with their long-awaited cinematic breakthrough, revolutionary musical feature Annette – throughout Wright keeps the tone light and the pace breezy, allowing a strong and endearing sense of irreverence to rule the day as fans, friends and the brothers themselves offer up fun anecdotes and wax lyrical about what is frequently a larger-than-life tragicomic soap opera, utilising fun, crappy animation and idiosyncratic stock footage inserts alongside talking-head interviews that were made with a decidedly tongue-in-cheek style – Mike Myers good-naturedly rants about how we can see his “damned mole” while 80s New Romantic icons Nick Rhodes and John Taylor, while shot together, are each individually labelled as “Duran”. Ron and Russ themselves, meanwhile, are clearly having huge fun, gently ribbing each other and dropping some fun deadpan zingers throughout proceedings, easily playing to the band’s strong, idiosyncratic sense of hyper-intelligent humour, while the aforementioned celebrity talking-heads are just three amongst a whole wealth of famous faces that may surprise you – there’s even an appearance by Neil Gaiman, guys! Altogether this is 2+ hours of bright and breezy fun chock full of great music and fascinating information, and even hardcore Sparks fans are likely to learn more than a little over the course of the film, while for those who have never heard of Sparks before it’s a FANTASTIC introduction to one of the greatest ever bands that you’ve never heard of. With luck there might even be more than a few new fans before the year is out …

3. GUNPOWDER MILKSHAKE – Netflix’ BEST offering of the summer was this surprise hit from Israeli writer-director Navot Papushado (Rabies, Big Bad Wolves), a heavily stylised black comedy action thriller that passes the Bechdel Test with FLYING COLOURS. Playing like a female-centric John Wick, it follows ice-cold, on-top-of-her-game assassin Sam (Karen Gillan) as her latest assignment has some unfortunate side effects, leading her to take on a reparation job to retrieve some missing cash for the local branch of the Irish Mob. The only catch is that a group of thugs have kidnapped the original thief’s little girl, 12 year-old Emily (My Spy’s Chloe Coleman), and Sam, in an uncharacteristic moment of sympathy, decides to intervene, only for the money to be accidentally destroyed in the process. Now she’s got the Mob and her own employers coming after her, and she not only has to save her own skin but also Emily’s, leading her to seek help from the one person she thought she might never see again – her mother, Scarlet (Lena Headey), a master assassin in her own right who’s been hiding from the Mob herself for years. The plot may be simple but at times also a little over-the-top, but the film is never anything less than a pure, unadulterated pleasure, populated with fascinating, living and breathing characters of real complexity and nuance, while the script (co-written by relative newcomer Ehud Lavski) is tightly-reined and bursting with zingers. Most importantly, though, Papushado really delivers on the action front – these are some of the best set-pieces I’ve seen this year, Gillan, her co-stars and the various stunt-performers acquitting themselves admirably in a series of spectacular fights, gun battles and a particularly imaginative car chase that would be the envy of many larger, more expensive productions. Gillan and Coleman have a sweet, awkward chemistry, the MCU star particularly impressing in a subtly nuanced performance that also plays beautifully against Headey’s own tightly controlled turn, while there is awesome support from Angela Bassett, Michelle Yeoh and Carla Gugino as Sam’s adoptive aunts Anna May, Florence and Madeleine, a trio of “librarians” who run a fine side-line in illicit weaponry and are capable of unleashing some spectacular violence of their own; the film’s antagonists, on the other hand, are exclusively masculine – the mighty Ralph Inneson is quietly ruthless as Irish boss Jim McAlester, while The Terror’s Adam Nagaitis is considerably more mercurial as his mad dog nephew Virgil, and Paul Giamatti is the stately calm at the centre of the storm as Sam’s employer Nathan, the closest thing she has to a father. There’s so much to enjoy in this movie, not just the wonderful characters and amazing action but also the singularly engrossing and idiosyncratic style, deeply affecting themes of the bonds of found family and the healing power of forgiveness, and a rewarding through-line of strong women triumphing against the brutalities of toxic masculinity. I love this film, and I invite you to try it out, cuz I’m sure you will too.

2. THE SUICIDE SQUAD – the most fun I’ve had at the cinema so far this year is the long-awaited (thanks a bunch, COVID) redress of another frustrating imbalance from the decidedly hit and miss DCEU superhero franchise, in which Guardians of the Galaxy writer-director James Gunn has finally delivered a PROPER Suicide Squad movie after David Ayer’s painfully compromised first stab at the property back in 2016. That movie was enjoyable enough and had some great moments, but ultimately it was a clunky mess, and while some of the characters were done (quite) well, others were painfully botched, even ruined entirely. Thankfully Warner Bros. clearly learned their lesson, giving Gunn free reign to do whatever he wanted, and the end result is about as close to perfect as the DCEU has come to date. Once again the peerless Viola Davis plays US government official Amanda Waller, head of ARGUS and the undisputable most evil bitch in all the DC Universe, who presides over the metahuman prisoners of the notorious supermax Belle Reve Prison, cherry-picking inmates for her pet project Taskforce X, the titular Suicide Squad sent out to handle the kind of jobs nobody else wants, in exchange for years off their sentences but controlled by explosive implants injected into the base of their skulls. Their latest mission sees another motley crew of D-bags dispatched to the fictional South African island nation of Corto Maltese to infiltrate Jotunheim, a former Nazi facility in which a dangerous extra-terrestrial entity that’s being developed into a fearful bioweapon, with orders to destroy the project in order to keep it out of the hands of a hostile anti-American regime which has taken control of the island through a violent coup. Where the first Squad felt like a clumsily-arranged selection of stereotypes with a few genuinely promising characters unsuccessfully moulded into a decidedly forced found family, this new batch are convincingly organic – they may be dysfunctional and they’re all almost universally definitely BAD GUYS, but they WORK, the relationship dynamics that form between them feeling genuinely earned. Gunn has already proven himself a master of putting a bunch of A-holes together and forging them into band of “heroes”, and he’s certainly pulled the job off again here, dredging the bottom of the DC Rogues Gallery for its most ridiculous Z-listers and somehow managing to make them compelling. Sure, returning Squad-member Harley Quinn (the incomparable Margot Robbie, magnificent as ever) has already become a fully-realised character thanks to Birds of Prey, so there wasn’t much heavy-lifting to be done here, but Gunn genuinely seems to GET the character, so our favourite pixie-esque Agent of Chaos is an unbridled and thoroughly unpredictable joy here, while fellow veteran Colonel Rick Flagg (a particularly muscular and thoroughly game Joel Kinnaman) has this time received a much needed makeover, Gunn promoting him from being the first film’s sketchily-drawn “Captain Exposition” and turning him into a fully-ledged, well-thought-out human being with all the requisite baggage, including a newfound sense of humour; the newcomers, meanwhile, are a thoroughly fascinating bunch – reluctant “leader” Bloodsport/Robert DuBois (a typically robust and playful Idris Elba), unapologetic douchebag Peacemaker/Christopher Smith (probably the best performance I’ve EVER seen John Cena deliver), and socially awkward and seriously hard-done-by nerd (and by far the most idiotic DC villain of all time) the Polka-Dot Man/Abner Krill (a genuinely heart-breaking hangdog performance from Ant-Man’s David Dastmalchian); meanwhile there’s a fine trio of villainous turns from the film’s resident Big Bads, with Juan Diego Botta (Good Behaviour) and Joaquin Cosio (Quantum of Solace, Narcos: Mexico) making strong impressions as newly-installed dictator Silvio Luna and his corrupt right hand-man General Suarez, although both are EASILY eclipsed by the typically brilliant Peter Capaldi as louche and quietly deranged supervillain The Thinker/Gaius Greives (although the film’s ULTIMATE threat turns out to be something a whole lot bigger and more exotic). The film is ROUNDLY STOLEN, however, by a truly adorable double act (or TRIPLE act, if you want to get technical) – Daniella Melchior makes her breakthrough here in fine style as sweet, principled and kind-hearted narcoleptic second-generation supervillain Ratcatcher II/Cleo Cazo, who has the weird ability to control rats (and who has a pet rat named Sebastian who frequently steals scenes all on his own), while a particular fan-favourite B-lister makes his big screen debut here in the form of King Shark/Nanaue, a barely sentient anthropomorphic Great White “shark god” with an insatiable appetite for flesh and a naturally quizzical nature who was brilliantly mo-capped by Steve Agee (The Sarah Silverman Project, who also plays Waller’s hyperactive assistant John Economos) but then artfully completed with an ingenious vocal turn from Sylvester Stallone. James Gunn has crafted an absolute MASTERPIECE here, EASILY the best film he’s made to date, a riotous cavalcade of exquisitely observed and perfectly delivered dark humour and expertly wrangled narrative chaos that has great fun playing with the narrative flow, injects countless spot-on in-jokes and irreverent but utterly essential throwaway sight-gags, and totally endears us to this glorious gang of utter morons right from the start (in which Gunn delivers what has to be one of the most skilful deep-fakes in cinematic history). Sure, there’s also plenty of action, and it’s executed with the kind of consummate skill we’ve now come to expect from Gunn (the absolute highlight is a wonderfully bonkers sequence in which Harley expertly rescues herself from captivity), but like everything else it’s predominantly played for laughs, and there’s no getting away from the fact that this film is an absolute RIOT. By far the funniest thing I’ve seen so far this year, and if I’m honest this is the best of the DCEU offerings to date, too (for me, only the exceptional Birds of Prey can compare) – if Warner Bros. have any sense they’ll give Gunn more to do VERY SOON …

1. A QUIET PLACE, PART II – while UK cinemas finally reopened in early May, I was determined that my first trip back to the Big Screen for 2021 was gonna be something SPECIAL, and indeed I already knew what that was going to be. Thankfully I was not disappointed by my choice – 2018’s A Quiet Place was MY VERY FAVOURITE horror movie of the 2010s, an undeniable masterclass in suspense and sustained screen terror wrapped around a refreshingly original killer concept, and I was among the many fans hoping we’d see more in the future, especially after the film’s teasingly open ending. Against the odds (or perhaps not), writer-director/co-star John Krasinski has pulled off the seemingly impossible task of not only following up that high-wire act, but genuinely EQUALLING it in levels of quality – picking up RIGHT where the first film left off (at least after an AMAZING scene-setting opening in which we’re treated to the events of Day 1 of the downfall of humanity), rejoining the remnants of the Abbott family as they’re forced by circumstances to up-sticks from their idyllic farmhouse home and strike out into the outside world once more, painfully aware at all times that they must maintain perfect silence to avoid the ravenous attentions of the lethal blind alien beasties that now sit at the top of the food chain. Circumstances quickly become dire, however, and embattled mother Evelyn (Emily Blunt) is forced to ally herself with estranged family friend Emmett (Cillian Murphy), now a haunted, desperate vagrant eking out a perilous existence in an abandoned factory, in order to safeguard the future of her children Regan (Millicent Simmonds), Marcus (Noah Jupe) and their newborn baby brother. Regan, however, discovers evidence of more survivors, and with her newfound weapon against the aliens she recklessly decides to set off on her own in the hopes of aiding them before it’s too late … it may only be his second major blockbuster as a director, but Krasinski has once again proven he’s a true heavyweight talent, effortlessly carving out fresh ground in this already magnificently well-realised dystopian universe while also playing magnificently to the established strengths of what came before, delivering another peerless thrill-ride of unbearable tension and knuckle-whitening terror. The central principle of utilising sound at a very strict premium is once again strictly adhered to here, available sources of dialogue once again exploited with consummate skill while sound design and score (another moody triumph from Marco Beltrami) again become THE MOST IMPORTANT aspects of the whole production. The ruined world is once again realised beautifully throughout, most notably in the nightmarish environment of a wrecked commuter train, and Krasinski cranks up the tension before unleashing it in merciless explosions in a selection of harrowing encounters which guaranteed to leave viewers in a puddle of sweat. The director mostly stays behind the camera this time round, but he does (obviously) put in an appearance in the opening flashback as the late Lee Abbott, making a potent impression which leaves a haunting absence that’s keenly felt throughout the remainder of the film, while Blunt continues to display mother lion ferocity as she fights to keep her children safe and Jupe plays crippling fear magnificently but is now starting to show a hidden spine of steel as Marcus finally starts to find his courage; the film once again belongs, however, to Simmonds, the young deaf actress once and for all proving she’s a genuine star in the making as she invests Regan with fierce wilfulness and stubborn determination that remains unshakeable even in the face of unspeakable horrors, and the relationship she develops with Emmett, reluctant as it may be, provides a strong new emotional focus for the story, Murphy bringing an attractive wounded humanity to his role as a man who’s lost anything and is being forced to learn to care for something again. This is another triumph of the genre AND the artform in general, a masterpiece of atmosphere, performance and storytelling which builds magnificently on the skilful foundations laid by the first film, as well as setting things up perfectly for a third instalment which is all but certain to follow. I definitely can’t wait.

#movies 2021 #werewolves within #werewolves within movie #the tomorrow war #army of the dead #Black Widow #black widow movie #black widow mcu #wrath of man #fear street #fear street trilogy #fear street movies #The Sparks Brothers #gunpowder milkshake #the suicide squad #a quiet place part ii #a quiet place part 2 #awesome sauce

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imaginejamesandsirius · 4 years ago

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I love the way you write James and Sirius so much. I was wondering if you could write a soulmate au where you see bits and pieces of your soulmate in your dreams (fav color, hear their laugh, see things they like, etc) and James is pretty sure Sirius is his soulmate but isn’t completely sure. If not, don’t worry about it but if you can, thank you!💕💕

Soulmate dreams were different from regular dreams. Regular dreams were weird, often nonsensical, and evaporated the next day after being awake for long enough. Soulmate dreams lingered. There was still a dreamlike quality to soulmate visions that couldn't be shaken, but they were more memorable than normal dreams. Soulmate dreams were weird for a lot of reasons, but mostly it was because they were so random. You never knew what you were going to get from one or why. Sometimes it was stuff they saw or were thinking about, and other times it was them.

For example, James knew that his soulmate had hair that went down at least to their chin, probably a little bit longer. He knew that because that day at Hogwarts, they'd been playing with their hair, and that night, he dreamed about it. He'd been aware of the professor at the front of the classroom during the dream, but after he woke, the only detail that remained was the hair.

Obviously that was just an example of a single dream. The dreams didn't come every night, but James had been dreaming of his soulmate for his entire life. He had a few details of his soulmate and how he could identify them, but most of it was stuff that his soulmate liked.

That's why James thought that his soulmate was Sirius. Sirius had the long hair, he had a laugh that warmed James to his core, and he had deep grey eyes that James had caught glimmers of from time looking in a mirror.

Soulmate dreams never showed the full face or let your hear someone saying their name. Hearing a laugh was pretty good, as far as identifying features went. If James could actually remember how it sounded instead of the way it made him feel, he'd know for sure if it was Sirius.

Another reason that he wasn't one hundred percent about it being Sirius was that most of his soulmate dreams were about food. Sodding food. Sirius was his best mate and all, and he knew him better than anyone else in his entire life, but Sirius's appetite seemed to change based on the planet's position and how late he'd stayed up the night before. James couldn't make heads or tails of it. Sometimes, Sirius said that he couldn't stand scrambled eggs and how dare he have to smell them on an otherwise pleasant morning. Two days later, he was wolfing them down like there was no other food in existence. And he did that with everything. Shepherd's pies, treacle tarts, beans and toast, soup... everything. Absolutely everything.

So it didn't really mean anything that one night James dreamed of mashed potatoes, and the next week, he dreamed of candied plums. He tried to connect it to Sirius's eating habits, but it was no use. Half the shite James's soulmate dreamed about wasn't food that Hogwarts had, anyways.

"Hey, Sirius?" James asked. They were in the library, doing homework. History of Magic would be a lot easier to pass if the professor actually looked at them every once in a while, but it meant that when they had an essay they needed to write, they had to actually go to the library if they wanted good marks.

"I'm not done with this yet," Sirius said, assuming that James was going to ask to see the book he was currently reading.

"Not that. Just- do you know who your soulmate is?"

Surprised, Sirius glanced up at him. "Why are you asking?"

"Do you know?"

"What does it matter?"

"Why are you being so weirdly closed off about it?"

"I'm not being weirdly closed off; I'm being normal closed off, and it's because I don't think you'll like the answer you get."

"So you do know who your soulmate is," James said. There was no other reason why Sirius couldn't tell him. 'No' was an easy answer. Lots of people didn't have enough details to figure out who their soulmate was-- and even if they did have plenty of details, there was nothing they could do if they hadn't met them.

Sirius scowled at him.

"Who is it?"

"Are we really doing this?" Sirius asked. "Right here in the library? You've never asked about it before but you're going to try and squeeze if out of me while we're in public?"

"The library doesn't count as public; there's no one else in sight."

"Maybe it's not public, but it's definitely not private. Do we really want to have this blow up right here? It'll be fun-- everyone can hear it and call it a domestic."

"We're not going to have a domestic," James said, rolling his eyes. "Just tell me who your soulmate is."

"Why the hell would I do that?"

James glared at him. "Because I won't shut it and let you finish your essay otherwise."

"You won't let me finish it if I do tell you."

"I will."

"Liar," Sirius said. "You always think you'll be calm, but you never sodding are."

"When have I ever tried to claim that I'll be calm and not followed through?"

"Normally, you're calm because you don't give a shite. You'll care about this, which means you won't be calm about it."

"You're overthinking this," James said. "Unless your soulmate is buggering Snape or- it's not Snape is it?"

"Ew, no."

James relaxed again. "Then we're fine."

"Why do you even care? You haven't cared in the past six years."

"Not bothering you about it isn't the same as not caring."

"So why do you care?"

James didn't feel like admitting to something so revealing, especially when Sirius had already admitted that he knew who his soulmate was, so he shrugged.

"A shrug isn't gonna cut it, Prongs."

He hesitated. "How about this: I'll tell you why I want to know after you tell me who it is."

Sirius didn't accept right away, which was enough to make him nervous. Then he sighed. "Fine, but you don't get to freak out. We're not going to be able to finish this essay on time if you freak out."

"We've worked under tighter time constraints."

Sirius stared at him flatly.

"Fine, fine, I promise. No freaking out." If Sirius's soulmate was James, then he could just be happy-- no freaking out required. If it wasn't James, then he'd be too sad to move. He was going to sit here and mope until curfew, if that was the case. "So?" he prodded, raising an eyebrow expectantly.

"You shouldn't do that; it makes you look like your glasses are about to fall off."

With a huff, James let his face return to normal. "You're stalling."

"It's you."

"No, it's not. Do I look like I'm the one stalling?"

Sirius threw a quill at him. "You're my soulmate, you absolute arse."

"Oh." James blinked, then threw the quill back at him. "You could've told me that the first time I asked, tosser." Shaking his head at Sirius's particular brand of ridiculous, he turned back to his essay.

"That's it?" Sirius asked, so incredulous that James looked up at him again.

"Erm. Yes? I mean, obviously there's stuff I want to talk about, but I promised I'd let you finish your essay if you told me."

"Actually, I think what you promised was that you wouldn't freak out."

"I can do both."

Sirius stared at him for a long moment. "Did you already know that I was your soulmate?"

"I had my suspicions."

"How the hell did you only have suspicions? I knew it was you after we were dormmates for a week."

"Okay," James said, pointing a finger at him, "you don't get to judge me. I was only ever dreaming about food! You're so buggering weird; couldn't you have just picked two foods you liked and stuck with that? I dream about red curry, and then the next day, you refuse to eat it. Talk about mixed signals. I've been guessing at your favourite foods for sodding years."

"It's not my fault that sometimes I'm in the mood for something that stinks," Sirius muttered petulantly.

"So you're in the mood to eat it, but you refuse to because it smells bad?" James asked. He wasn't judging, but he couldn't really relate. He had a couple foods that he didn't like, but everything else was fair game. Comparatively, Sirius was the most picky eater in the world. Not that James really cared, except for the soulmate thing. "And you couldn't have explained that to me earlier?"

"I didn't realise your sanity was on the line," Sirius said dryly, but his expression was still that touch of vulnerable that he only got around James.

"My sanity is always on the line when you don't tell me things," James said, flashing him a grin that helped soothe Sirius's nerves. "Look, it won't take us that long to finish this, so let's get it done with and..."

"And?" Sirius asked, quirking a smile at him.

"Well," James said, trying to push down the warmth bubbling in him-- if he let it do its own thing, he'd never be able to focus on finishing this essay. "We can figure that out later."

The fond look on Sirius's face made it clear that he knew exactly what 'figure that out later' would end up meaning for them. They'd snog for a while, fall asleep, then wake up, snog some more, and then talk about it. That talk would probably go along the lines of 'soulmates? cool', but at least they would've done it. "Alright," Sirius said. He picked his quill back up and looked at the book he'd been reading before James interrupted him.

It would almost be like nothing had changed, except Sirius now had a faint smile on his face, and James couldn't ignore the happy butterflies in his chest if he tried. Without looking up, Sirius nudged his leg with one of his own feet. James glanced at him, and Sirius's smile widened, eyes still stuck to the page. James chuckled and turned his attention back to the essay, but he kept his leg where it was, pressed up against Sirius's.

#prongsfoot #marauders #fanfic #james potter #sirius black #filled #hogwarts time #getting together #no voldemort au #soulmates #siriuslystarbucks #Anonymous

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is-it-art-tho · 4 years ago

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Summary: Tim Drake gives his all for the city he loves.

“Some great people have worn this uniform. It’s more than a name—it’s a legacy. If you’re going to do this, you’re going to have to work hard,” Bruce said, holding a new Robin uniform in his hands. “I’ll accept your all. Nothing less.”

Young Tim Drake nodded. “Yes, sir.”

The Batplane dipped and swerved towards skyscrapers as Tim, now several years older, fought to keep it above the Gotham skyline. Beside him, Bruce, his cowl torn to shreds, worked to keep the other set of controls in line. A damaged wing on the left side threatened to break free from the rest of the craft. Sparks flew up from the panel as the cockpit filled with smoke. Tim glanced at the countdown on the control panel: 8 minutes.

“What’s this?” Tim asked turning a slender weapon over in his hands.

“I call it a batarang,” Bruce explained. “Give it time. This will become one of your best friends.”

“Tim, bail out!” Bruce yelled over the blare of the alarms going off in the cockpit. “Now!”

Tim leapt from the seat and ran to the back of the plane. “There aren’t any parachutes!” he shouted.

Bruce cursed, made sure the rest of the sky was clear, then hurried back to join him. He instantly found a dark backpack. “There’s one right—”

Tim slammed the button to open the doors and shoved Bruce toward them. Bruce, dangling halfway out of the plane, grabbed Tim’s arm.

“What the hell are you doing?!”

“I don’t understand!” Tim shouted, “Why are you so mad at me? I was just trying to help!”

“You were reckless— you could’ve gotten yourself killed. Never disobey my orders in the field like that again.”

“I thought we were supposed to look out for each other.”

“No, I look out for you. I protect you. Not the other way around. If I ever catch you putting yourself in danger like that for me again, you’re done. Is that clear?”

“…Yes, sir.”

“Tim!” Bruce barked, his voice being dragged away by the wind. “What are you doing?!”

Tim’s hand went to his belt. “I’m sorry,” he said, then whipped out a batarang and stabbed Bruce’s hand, forcing him to release. Tim peered out of the plane and breathed a sigh of relief when he saw the parachute open in the distance. A massive clang followed by the screech of metal signaled the loss of the left wing. The plane started to dive.

“Computer!” Tim yelled, leaping back into the pilot’s seat. “Emergency stabilizer! Left side!” A flimsier, secondary wing folded out of the plane, taking the other one’s place. Tim forced the aircraft back into the air.

A few moments later Bruce’s voice crackled over his earpiece, furious. “Tim! Get out of there now! That’s an order!”

“If I leave now it’ll never make it.”

“Tim--”

“Tell me I’m wrong.”

Silence. Then, “This wasn’t the plan. It was supposed to be me.”

“I know. But there can always be another Robin. There can never be another Batman.” Tim glanced over his shoulder at the payload of explosives at the back of the plane. The timer on the cockpit was at 3 minutes. He took a steadying breath as he soared over the city, headed towards the bay. “Bruce?” he asked, his voice lighter as he changed the subject suddenly.

“Yes.”

“You remember the first time we went on patrol together? My first night in the uniform.”

No response.

“Bruce?”

“I do.”

Tim laughed half-heartedly. “How many times did you have to show me which side my grapple was on?”

“It was a rough start, but you caught on quickly.”

“I had a good teacher.”

Another pause as the plane rumbled out over the water. “Do you remember what you said to me that night? When we got back?” Met with silence again, Tim continued, “It was almost dawn. I had taken a pretty good shot to the face and you were patching me up. I was upset because I thought it meant I wasn’t good enough. But you said—”

“‘Bleeding isn’t a sign of weakness. It’s a sign of strength. It means you’re willing to take the hit when it counts,’” Bruce finished. “I remember.”

“Yeah.” Tim swallowed hard, his heart pounding. Tears spilled down his cheeks. “I’m trying to be strong now, but I’m getting kind of scared.” His voice cracked, betraying his practiced calm.

“It’s okay to be scared,” Bruce urged. “It’s okay. I’m here. Just breathe.”

Tim nodded, taking a breath. “Yeah. Okay.” One minute. Tears continued to fall as he stared out towards the horizon.

“Focus on my voice,” Bruce continued. “You’re doing great. You’re a hero, Tim.”

The boy laughed wryly. “I don’t feel like one.”

“No one ever does. But it’s true. This city owes you everything.”

Tim didn’t know what to say to that. He pivoted again: “Tell Alfred I said goodbye. And that I’m sorry about the stain on the curtains.”

“I will.”

Thirty seconds. “Dick, too,” he added suddenly. “Tell him I…” Tim’s voice caught. He tried to clear it.

“I will,” Bruce said gently, understanding.

Tim nodded. Fifteen seconds. It was almost time; he felt like he was watching himself from outside of his body. Everything around him had begun to take on a surreal, almost dreamlike quality. Suddenly something occurred to him. He spoke quickly, “This wasn’t your fault, Bruce.”

“What?”

“I chose this, okay? Promise me you won’t blame yourself.”

Back in the city, Bruce was perched on a rooftop, watching the plane through high powered binoculars.

“Promise me!” Tim’s voice was panicked, almost desperate.

Bruce took a trembling breath. “I—” The line went dead as the small plane exploded in a sudden, dazzling display of fire and smoke miles from the harbor. When the black cloud cleared, there was hardly a trace left. Bruce lowered the binoculars slowly and slumped back, numb, his eyes fixed on the water yet seeing nothing. For the first time since he could remember, his mind was entirely blank.

Suddenly, his earpiece crackled back to life. “Bruce? I saw the explosion from here— are you okay? Why isn’t anyone answering?!” It was Dick, frantic with worry.

“I’m here,” Bruce said.

“Oh thank God. Where’s Tim? He isn’t responding. Bruce?” A beat. Then slowly, his voice pitching and cracking awkwardly, “Tell me he didn’t do what I think he did. Tell me I’m wrong, Bruce. Please.”

Bruce couldn't find the words. He let the silence fill in the gaps. Dick cursed violently. "God damn it--!"

“Hello?” the young voice was weak, but clear, cutting Dick's tirade short. Bruce froze. “Are you two talking about me again?”

A broad smile cut across Bruce’s face as a relieved chuckle escaped his lips, turning quickly into a full-throated laugh. Through the earpiece he could hear Tim Drake laughing along with him, the sound mixing with the splash of waves. “Little help out here?” he asked.

"I'm on my way," Bruce said, standing. He fired off his grapple and swung away.

Down below, Gotham trudged on, never once acknowledging the disturbance on the water and completely oblivious to the immense debt they had almost owed to a sixteen year-old boy who had been willing to pay the ultimate price for them -- a city of people who didn’t even know his name.

#tim drake #robin #batman #bruce wayne #tim drake fanfic #tim drake fic #batman fanfiction #batman fic #whump #tim drake whump

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readingbynight · 4 years ago

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"The Hole" is the latest release from author Hiroko Oyamada at New Directions Publishing.

Her previous novel "The Factory", set at a large and mysterious corporation where little is known about what they actually do, was celebrated for its surrealism. "The Hole" brings the reader a similar, dreamlike effect, speaking to the transitory nature of reality and the phenomena of the subconscious mind.

When I first approached this book, I thought it would be a spin on the classic fairy tale “Alice in Wonderland”. The summary on the back speaks of our protagonist, Asahi (Asa for short), following a “strange creature” to the embankment of a river and subsequently falling into a hole — one that “seems to have been made specifically for her”. However, I learned pretty quickly that this would not be the case. The story starts with introducing a major change to the main characters’ lives as Asa’s husband accepts a new job, which requires them to move to the neighborhood he grew up in. Asa quits her own job for the move and transitions into a slew of mundane days at home, repeating tedious tasks or running errands for her mother-in-law. During the merciless summer heat, in a neighborhood that seems nearly deserted, Asa tries and fails to find a job right away and does not seem to enjoy this new opportunity for excess leisure.

Enter stage left: the creature. The creature itself appears harmless, if not a little creepy. And Asa’s fascination with it, along with the fact that it seems like she is the only one who notices it, said a lot to me about Asa. On the surface she appears fairly passive and concerned with whether she is performing the duties of a wife the way she is meant to. Nevertheless, it is clear that she is tuned into her environment more deeply than those around her. And she acts on her impulses, no matter how strange they are. The creature’s appearance heightens the sense that something is not quite right about this neighborhood, that the nature of reality itself can be questioned.

The odd behavior of her husband’s elderly grandfather is another factor that contributes to the dreamlike quality of Asa’s experience. Asa’s in-laws live next door and whenever she leaves the house during the day or is staring out of the window at home, she sees him outside watering his garden — letting his hose flood the dirt around his feet. He does not speak to her when she walks by and greets him. He merely lifts his hand high in the air as a salute, with a wide un-moving grin on his face until she is out of his line of sight.

Oyamada is extremely skilled at illuminating our senses with her storytelling. The smell of decay, moss, earth, mildew and rust permeate the spaces Asa finds herself in. The incessant sound of cicadas and the blazing sun beating down on black asphalt create a feeling of containment and peculiarity. The reader is sometimes left questioning whether even the most “normal” occurrences are real or not.

“People always fail to notice things. Animals, cicadas, puddles of melted ice cream on the ground, the neighborhood shut-in. But what would you expect? It seems like most folks don’t see what they don’t want to see."

When I finished the novel and began to reflect on it, a concept appeared out of the tall grass of my consciousness: Bardo.

In Tibetan Buddhism, bardo in a literal sense means “interval” or “in-between” state. It is the experience of the present moment. To me this illustrates the sensation that "The Hole" provides and expresses. Within Asa’s wanderings and interactions with other residents of her neighborhood, the life/death/life cycles of nature and our human experiences are revealed. Asa’s adventure shows us a world just beyond our perception that exists alongside us, a world that affects our reality whether we like or not. Her travels through the liminal are similar to moving through portals. I don’t want to spoil anything, but ghosts and spirits abound within this novel.

At a slim 92 pages, Oyamada’s work contains multitudes.

#the hole #hiroko oyamada #book review

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dukeofonions · 5 years ago

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Puppet vs Video Games (The Gimmicks of Sanders Sides)

If you’ve followed me for awhile (meaning the short amount of time I’ve been running this blog) then you’ll probably be aware of what my opinions are of the “gimmicks” that have been making themselves prevalent in recent Sanders Sides episodes. Now just to make things clear, almost every episode of Sanders Sides uses some kind of gimmick.

Well, besides the first one, which consists entirely of talking with no added effects.

And I, being the faceless entity that sits behind a computer screen judging an online web series, am going to rant about that because this is my blog and I do what I want. So let’s begin…

The Prologue

As season one progresses we see things like location changes, a song, Thomas’ friends making several appearances, simple editing tricks (like putting text or pictures on a screen) minor costume changes (Logan and Patton dressing as Sherlock and Watson) split screen effects, and even an episode featuring an animated segment.

At the end of Season One we were introduced to the concept of “Rooms” which added a whole new layer to the story and got people excited to see what the other rooms would entail. Still, up to this point, the gimmicks remained mostly in the background as small ways to sprinkle in some extra storytelling while the dialogue continued to be the main thing carrying the series.

Then Season Two began with Fitting In, which featured a few more props that served to signify each of the Hogwarts houses. This made sense seeing as that was the focus of the video, and for fans of Harry Potter, it would be fun to see the characters wearing things from the different houses.

After Fitting In, we got Moving On which featured the introduction of Patton’s room. Like with Virgil’s, a lot went into designing his room. There is a lot to look at, who knows how long it took to find all the stuff they showcased in the background? On top of that they also had the filter they used to give the room a dreamlike quality, and my favorite detail, the pictures that continue to change throughout the episode depending on what the characters are talking about.

It remains one of my favorite set pieces from the series just from the amount of detail they put into it, and it felt like a step up from Virgil’s room (which I also love) and it makes me excited for the rest of the rooms that have yet to be revealed.

However! I am not here to discuss the rooms. Even though I already did…

After Moving On, however, is when things start to change with the series.

During the 12 Days of Christmas, the Sides are each given their own custom Christmas sweaters, but that’s only part of the gimmick. The centerpiece for this episode is, of course, the song sung by all four Sides. This moment is pretty significant as it marks the first time all four of them appeared on screen together at the same time.

This was just the tip of the iceberg for what was to come…

Immediately following 12 Days we get Can Lying Be Good? Which featured a new location where the video spent the majority in, using quick cuts with the cameras to give off the illusion of Roman pretending to be Joan (including clever uses of audio) and of course, Deceit himself. The makeup and costume was unlike anything we’d seen in the series yet. Throw in some more split screen to show two Sides on screen together, as well as some clever costume choices for character Thomas, makes this episode (in my opinion) the best at utilizing its effects and filming techniques to tell its story.

And then, things start to shift again….

The next episode we get is Why Do We Get Out Of Bed In The Morning? Which took some time to produce, coming out in April after CLBG? Was released in February. Still, good time considering what was to come.

This episode had some mixed reviews once it finally came out, but I plan on tackling that later. The reason this episode (which was really just a longer, drawn out version of Losing My Motivation but starring Logan and Roman) was the use of animations.

For Logan, his arguments were displayed via “Stop Motion” writings of graphs and charts which he used to explain his points. And from a short behind the scenes video, each of these were drawn by hand and took hours to make. From what I understand, all of Roman’s bits were animated on a computer, though I don’t have much info on how they were made.

Within the episode, these different types of animations were used to help Roman and Logan illustrate their points. And while on their own they’re quite adorable, they aren’t necessary for the telling of this story. One thing this episode was criticised for was how the writing felt off. Everything seemed rushed and none of the characters felt in character, and while I don’t recall anyone outright saying it, it’s likely that perhaps the team felt pressured to get this video out on time, and thus might have skipped out on other elements in order to make up for the time spent working on the animations.

Whether that was writing the script, filming, or editing, we don’t know. All I know is that the general consensus for this episode was that it was just okay. As a Logan and Roman fan though, it was kinda disappointing for their first episode with them taking the spotlight together to just be viewed as “okay” and isn’t a favorite of mine.

Things picked up a little after Crofters: The Musical was released only a few days after WDWGOOBITM (that title is a monster to type no matter how ya do it) and it featured a song as its gimmick. The mood was a bit lighter, we got to see Logan having fun, and hey we even got our first main Roman angst foreshadowing! Good thing that wouldn’t be dragged out for several episodes, right?

All in all, things were definitely looking up for Sanders Sides. From the looks of it, we were going to start getting more frequent updates!

Then the Drought happened and we had to wait almost six months for a new episode.

At least that would be the longest we ever had to wait for something.

Before I get into the beef of this post I wanna bring up three more episodes, Embarrassing Phases, Selfishness vs Selflessness, and Dealing With Intrusive Thoughts.

Like the other episodes throughout Season Two, each of these episodes have different gimmicks. In Embarrassing Phases, it’s the Halloween costumes. In SVS, it’s a location change plus costume change, and in DWIT we get the introduction of Remus along with a musical number and a few props.

I’d say each of these episodes does a good job at incorporating their gimmicks into the story. Embarrassing Phases involves them talking about Halloween and using costumes as metaphors or something like that (This may be one of the few times I say something positive about this episode don’t get used to it)

With SVS, thanks to some clever acting, we can see Janus get the idea of using the courtroom scenario to try and get his point across. He first does this by suggesting that Thomas may not be as innocent as he seems, and after Patton defends him, that’s when Janus switches to the courtroom in order to put Patton to the test and literally defend Thomas as a lawyer.

Then in DWIT, given that Remus is a very outgoing character, it makes sense that he’d use a song to explain who he is and make a dramatic entrance. Plus, the series has used songs before so it’s not surprising to see this here. And seeing as Remus is creativity, it’s only fitting that he’s able to conjure random things throughout the episode. Okay, that was a long prologue, onto the actual reason most of you probably clicked on this post. Part One: The Puppets

Learning New Things About Ourselves also does a good job of handling its gimmick and incorporating it into the story. Like the three I just mentioned, there’s a set up and a pay off. We get an idea of what’s to come with this moment:

“I don’t feel content,”

“With my content.”

Which is obviously a reference to some random children’s educational program (most likely Sesame Street) by showcasing how two words that are spelled the same can have different meanings. Great now I sound like some educational children’s program.

Then later on, we get the actual set up that comes from Thomas becoming frustrated that he can’t figure out what the problem is that’s causing this whole dilemma. He says, “We’ve got an issue. Something that I’m not aware of yet, something that may be unlocked with the right question. This is like... fundamental learning!”

After he says that, he gets an idea and asks the others how he used to learn things and each one responds accordingly:

Logan: Textbooks!

Roman and Virgil: Mistakes.

Patton: Puppets!

And of course, initially, Thomas questions this and no one really understands what Patton means by this. But he explains and makes a case for it, “Thomas used to learn all kinds of new and helpful things from puppets when he was younger! Like how to count and his ABCs. Maybe it’ll be easier to work through issues when puppets are involved.”

We see Thomas consider the idea, and then Logan sets up a joke with him saying Thomas has outgrown that kind of stuff only to have him express his love for the idea.

After that, the Sides (excluding Logan) change into their respective puppets and continue on the episode.

One important thing to note (which I will bring up later) is that this scene takes place around the 15 minute mark. At least by that point, everyone except Logan has changed into a puppet. With the video being 38 minutes long, this is about halfway through the episode, and by the 31 minute mark the Sides begin turning back to normal.

Which means the puppets roughly take up only about 15 minutes of the video, slightly longer if you count Logan’s puppet, but you get the idea.

Also I’m bad at math so if I got this wrong sue me. There’s a reason I’m sitting here writing this instead of doing something with my life.

From then on, the conversation continues with everyone still trying to figure out what the question they need to be asking is. Of course, plenty of references to other educational kid shows are thrown around, but that now makes sense seeing as they’re fully embracing the puppet idea. Patton furthers the conversation along by finally getting Thomas to start asking “Why” and uses another reference to do so, which starts the next part of the conversation and brings us the next major conflict in this episode, Logan.

He gives his opinion, stating that no one takes Thomas seriously and that he should switch careers in order to obtain that status instead of devoting his time to making silly videos.

This of course, causes dissension within the group, and leads to Roman once again insulting Logan before realizing that he’s been going too far. After being prompted to apologize, Roman attempts to express his feelings to Logan and say sorry, but it doesn’t exactly help him feel any better which is when Patton suggests he try a different way.

And, Roman being Roman, decides the best way to do this is through song. A song that’s reminiscent of those one might hear on Sesame Street (there’s probably others but I’m rolling with this one) so it fits with the puppet thing. Again, it’s justified.

The episode ends with Logan finally understanding where the others are coming from and Thomas finding the right question to ask, which he is able to answer and it solves the dilemma.

Logan turns into a puppet, there’s another Sesame Street reference, and Roman is finally gonna start addressing his issues!

Good thing that won’t be brushed under a rug by the other characters for three more episodes right?

All in all, in case you couldn’t tell, I adore this episode and it still remains one of my favorites to this day. It doesn’t beat you over the head with the references, which are used cleverly and in a fun way that also keeps the story moving along. The designs for the puppets are cute and match each of the characters, and the puppetry is amazing!

Plus the song is an absolute bop and it still makes me emotional sometimes.

Which begs the question, was the sixth month wait worth it? Well, after hearing all that went into making this episode and seeing the final result, I’d say it was worth it.

It’s also nice that we got a behind the scenes video where we got to see the full story on how this episode was made and all the difficulties Thomas, Joan, and Talyn faced when trying to make it a reality. Did they need to use puppets? No, but what matters is that they were able to take the idea and incorporate it into a story in a way that was fun and felt justified for existing.

Not saying this episode is perfect, there are a few problems here and there, but overall this remains one of my top Sanders Sides episodes and one I’ve watched repeatedly since it came out.

Now that all that positive stuff is out of the way, let’s get to the fun part….

Part Two: The Video Games

I’m gonna be blunt, Putting Others First does not do as good of a job with incorporating video games into its story like LNTAO does.

However, I can’t exactly talk about this episode without talking about the extremely long wait we had in between episodes. The last official episode (that follows the main storyline, so not Asides) came out on June 25, 2019. POF came out May 1st, 2020.

Almost 10 months, the longest we’ve ever had to wait for an episode. And if you wanna go further, remember that POF was meant to be the follow up to SVS, a part two if you will, SVS came out March 31st 2019, so by the time POF came out, it had already been a year since this set up the conflict for wedding vs callback.

By that point, some people were no longer interested or as excited about the new episode, but that changed briefly when a trailer for the episode dropped after a new Bloopers video was released a few months before POF was finally released.

Keep in mind that up until this point, we weren’t entirely sure what the hold up was for this episode. We’d only gotten the vague answer of “There’s a special sequence for this episode and we’re working with another artist in order to make it, which is why it’s taking so long.”

Okay, fair enough, and the trailer revealed what exactly that sequence was, animation!

Now I’ve already explained in another post why I have problems with how vague Thomas and co. are when it comes to giving information about upcoming videos, so I won’t get into that here.

What I am going to bring up since it relates to some of my points is this, remember when they said it was a “special sequence” they were working on? Well, after the video is released we find that it isn’t one, but 10.

I’m not counting each time a sequence was used (For example, the opening segment which is later followed by Roman imagining a different outcome in the same style or every single one of Logan’s low-down’s, and the two trolley problems are counted as one sequence for this post specifically) because I really don’t wanna go through and count every single time Logan popped up on screen, but tell me, why in the heckity heck did they feel it was necessary to include 10 of these animated segments?

And okay, there’s actually 12 (maybe 13? The Pokemon reference uses two different styles) but why are there so many? How are they necessary and what is their reason for being in this episode?

Remember earlier when I mentioned that the puppet stuff didn’t start until the 15 minute mark? Well, POF literally begins with a video game sequence, and then the game references just keep coming. The intro gets a retro remix along with the rest of the music, and once Thomas enters the picture his curse words are covered by a gold coin and the “mario coin” sound effect.

And then, not even three minutes in, we get yet another video game sequence recapping the last episode, after we already had a recap of the last episode less than a minute ago!

To be fair though Rhythm Redux is a bop and I’m not sure why they felt the need to include a “flashback” after the intro when they were going to include this song anyway since it does a better job at explaining things than the random shots and dialogue from SVS.

With LNTAO, none of the “puppet bits” began until after the Sides changed into puppets, besides that one bit of foreshadowing with the “Content with my content” line. There was no change to the intro’s music, nothing besides that one bit to foreshadow the puppets coming into play.

Another thing LNTAO does that POF doesn’t is establish a set up, and pay off for the video games. Right off the bat, we get the video games, then later we get Patton’s line about how “Life isn’t like one of your video games” just a few minutes before the next video game sequence takes place, which just felt out of place to me the first time I watched it and I felt like that line was put in there just to remind the audience “Oh yeah, this is a video game themed episode!”

Which, okay, there actually was some bit of set up before this back in SVS. Thomas mentions that he planned to spend his time at the wedding playing “Word Crush” on his phone, then as POF begins, that’s exactly what he’s doing.

And there are certain instances where the sequences work.

The beginning sequence ties back into Thomas’ comment from SVS and, in a way, sets up the video game thing (even if it does make me somewhat cringe but that’s mostly Lee and Mary Lee’s characters) and I wouldn’t have as much of a problem with how “Rhythm Redux” was incorporated if they hadn’t included the flash back after the intro. Again, why did they need two different recaps? They only needed one and it did a good job of explaining everything on its own.

I will also say the Trolley Segments work due to the discussions being held, they’re talking about “Morality” so why wouldn’t you bring up one of the oldest moral dilemmas out there? It also ties in with my favorite part of the video, the “Final Boss” fight with Lilypadton vs Janus. I was not expecting it, and adding Janus’ reveal on top of that just made everything even better. It was dramatic, and I loved how the health bars that were used for Patton and Janus changed to represent Thomas’ deteriorating mental health.

All in all, there was potential here with the video game theme, and there were scenes where it was used well. But all the others that I didn’t mention? They just felt forced and out of place to me and honestly, took me out of the moment.

Another episode I want to compare POF to is Logic vs Passion (I am not typing either the title or the acronym out again) where they both incorporate their gimmicks in a similar way.

Logan and Roman both use their respective animations to illustrate their points of view, and throughout POF all the characters use different video games to illustrate their own points.

The issues I have with these episodes is that these conversations could have been had without the use of any of these things. The Sides have had discussions and used examples to elaborate their points in the past without the use of visuals.

Now, can visuals help with storytelling? Yes, and I mentioned several instances where POF does this. But honestly, the whole video game theme seemed out of place for this particular video. Compare it to SVS which only had a location change, the episode focused almost entirely on its dialogue and still manages to be dramatic and engaging. You can easily follow along with the discussion without the need for fancy visuals.

With POF, it seems like they just try to rush from one video game reference to the next, leaving little room to breathe in between before another video game is thrown into your face. What could have been a simple discussion like in SVS (which still managed to balance humor with its more serious themes) we got a rather bloated middle section which, honestly, I don’t remember much about.

I’ve watched the video several times and without fail, I always find myself spacing out throughout a good chunk of the middle until the whole Lilypadton scene takes place. That’s when I became interested, especially when Janus entered the picture to bring in his points and act as a bit of an “anti-hero” in the whole thing.

I simply believe this video could have been a lot simpler, and probably more cohesive if they’d left a lot of the video game stuff out. The last thing I want to be when consuming any type of media is bored, and honestly if it wasn’t for me making all these analysis posts on the episode, I probably wouldn’t have watched it again save for my favorite parts.

Not only that, but we waited 10 months for this episode because of the video game sequences, and again you have to ask yourself, was the wait worth it?

I have to say, unlike with LNTAO, it wasn’t worth it to me. They could take the video game sequences out altogether (even my favorite ones) and I wouldn’t really care. This episode just doesn’t need them, they don’t justify their use in this episode. Whereas in LNTAO, I love the use of puppets and if they were to be taken out, I would miss them.

Now is this to say I hate the episode? No, there’s actually a lot I like about it. Patton’s development, Janus, and the ending with Roman are all amazing on their own. But really, who’s to say Janus couldn’t have confronted Patton in person instead of a video game world?

Logan didn’t need to appear via little “Pop ups” and could have been called upon by Patton for help only to be brushed aside when what he says doesn’t help his case at all. Then when things start getting out of hand, “Logan” comes back to try to fix things but it doesn’t work, which is when he reveals himself only this time everyone, including the audience, fell for it because Janus has stepped up his game when it comes to disguising himself.

Of course, the same could be said about LNTAO, they didn’t need to be puppets, right? Well, considering that the message of the episode was that you can use unconventional methods to express different ideas using different mediums, and Logan spent the whole time seeing the puppets at nothing but silly and childish only to come to this realization himself, it makes sense why puppets were used.

However, you can actually apply that same message to POF, where they used an unconventional method to get their points across.

The only problem, like with Logic vs Passion, was that the gimmicks alone couldn’t carry the episode.

Logic vs Passion wasn’t as good as other episodes (and I may do a full review of this in the future) and in POF, it just felt like there was too much being crammed into this one episode. We went from discussing different types of morality and why people do good things to Janus suddenly beginning his “acceptance arc” with Roman having a breakdown at the end. Honestly, the point where Janus enters the conversation feels like a completely separate episode from what we’ve had thus far. Not only that, I have my own issues with how Janus’ character seemed to suddenly do a 180 (which I already talked about in another post) so while I love the ending scenes on their own, I admit that maybe they should have been handled differently.

Of course, at the end of the day, all of this is just a matter of opinion. Lots of people loved the video game segments, and others didn’t like the puppets. Some people love all the gimmicks used in the videos, others wish for things to go back to the simpler formats of the older episodes and honestly, I agree.

It seems like with every new episode the team is trying to outdo themselves and take things up another level each time, which is something I can admire, but it is something that can be overdone. Just look at Sanders Asides, it was supposed to be this simple little thing, but it might as well just be another episode. There’s nothing to distinguish it from any of the other main episodes, and if the rest of Asides is going to be the same way, then what’s the point of making it a separate series at all?

Now, Thomas and Joan have said that after this episode, they’re going to start using more practical effects and make things simpler, which I take as a sign of them learning to step back from all the gimmicks they use and just let the characters shine on their own for a while. Which, if that is the case, good on them.

We don’t come to this series for the effects and flashy scenes, we come for the characters. They’re what we love and want to see more of. If you want more proof, just look at what people mostly took from POF, they took the character moments. It wasn’t the video game references that resonated the most with people, heck, people outright seemed to ignore the fact that Leslie Odom Jr. made a cameo.

What do you think that says?

Not saying people didn’t love the video game references, because a lot of people did, but it wasn’t the main thing people responded to.

It’s okay to explore different mediums for storytelling. But sometimes, as a creator, you have to stop and ask yourself, “Is this really necessary for the story?” And believe me the hardest thing to do is cut out something that I spent hours working on because, when I viewed the story as a whole, that particular thing just wasn’t necessary for the story. Maybe I enjoyed it, and perhaps others would too, but at the end of the day, I’d be glad that I made the decision for the betterment of the story.

Okay, now this got way longer than I meant for it to be (how ironic) but you’ve all been waiting for this post for awhile and I didn’t want to postpone it further.

I do hope you enjoyed reading this jumbled mess and, as always, feel free to let me know what your opinions were! Regardless of whether you agree or disagree, and I’ll see y’all next time!

#sanders sides #dukeofonions #episode criticism #patton sanders #logan sanders #roman sanders #virgil sanders #janus sanders #remus sanders

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cctinsleybaxter · 5 years ago

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One of the reasons I like Willo the Wisp so much is because most of its five-minute episodes are written in the way CHILDREN tell stories, with a solid starting point but then a confusing middle and no clear ending

Here’s an example that’s pretty standard fare for this show:

>Arthur’s friends each tell him where they’re going on vacation; Arthur feels bad because his own vacation plans are boring

Off to a great start! This is a basic inciting incident for a kids story, and you would then expect it to play out that

>Arthur changes his vacation plans and does something exciting, or

>Arthur has a fine time on his boring vacation and his friends respect him for it

The way it actually plays out is

>Arthur takes a nap, is suddenly jettisoned into outer space, and then gets a concussion and nearly dies

It’s not that other kids cartoons aren’t weird, but they’re also pretty logical. This one? Who the hell knows what’s going to happen or how relevant it will be to where we started. Most episodes just sort of worm off into space; they have such a dreamlike quality to them it’s fantastic

#willo the wisp #animation

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fandumbstuff · 6 years ago

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Favourite Films from 2018

1. Spider-Man: Into the Spider-Verse

Directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman

If this movie had absolutely no story, it would still be worth the price of admission. It's an astounding achievement in animation that brings to life a moving piece of pop art. It does have a story, however, and a particularly affective one. Into the Spider-Verse is a deep dive into the mythology of Spider-Man, taking over 60 years of storytelling and condensing it into a few concentrated attributes. It then introduces us to the variety of characters who share these attributes, and convinces us to care about them. It rises above most superhero films and tells a story that seems simultaneously sensational and incredibly personal. It does not overwhelm us with spectacle, but rather takes the time to offer quiet moments of emotional resonance. And then wows us with the spectacle.

2. If Beale Street Could Talk

Directed by Barry Jenkins

Films should be able to make you feel something. And it is every directors goal to convey an emotion through their visual conception. Barry Jenkins does this better than most of his contemporaries. Much like Moonlight, Beale Street is a film that warms your soul with overwhelming intimacy and sentiment. The beauty in James Laxton’s cinematography- soft lighting in close-ups and graceful camera waltzes through long shots convey a sense of dreamlike wonder. There are darker moments in the film as well, and Jenkins allows us to feel ever moment of injustice, desperation and despair in them. If Beale Street Could Talk is not just a love story, but a story of the most resilient kind of love.

3. Sorry to Bother You

Directed by Boots Riley

In terms of sheer originality this is the best film of the year. In his directorial debut, Boots Riley tells us a science fiction story that is funny, dark and deeply thought-provoking, in a way that most of Black Mirror dreams it was. Lakeith Stanfield leads with a stellar performance, presenting a frazzled sort of energy that is enough to make you laugh and/or feel pretty unsettled. He’s accompanied by Tessa Thompson’s effortless charm, and Armie Hammer’s effortless dickishness. Add to that some particularly clever voice-over performances and its already a standout film. But it’s the attention to detail from the production design, the make-up, hair, costuming, and music, that make this an incredibly well rounded, wholly enjoyable affair.

4. Black Panther

Directed by Ryan Coogler

This is the Marvel Cinematic Universe’s watershed moment. The care and attention that was paid in simply assembling the best team possible to work on this film pays off incredibly. Ryan Coogler and his dream team created a singular creative vision to inspire and entertain fans new and old. Wakanda feels like a living, breathing world, far more impressive than most of its comic book portrayals. Shot and lit by Rachel Morrison, costumed by Ruth E. Carter’s impeccable hand, and pulsing to Ludwig Goransson’s iconic score. And then there are the performances. Fierce moments between Danai Gurira and Lupita Nyongo, poignant exchanges between Chadwick Boseman and John Kani. And impassioned moments between Michael B. Jordan and pretty much everyone. Killmonger is the MCU’s best villain yet, but you already know that. Jordan’s performance is one that simply needs to be appreciated over and over again, his passionate command of Coogler’s screenplay stirs your heart, and may damn well bring some tears to your eyes, as it never fails to do so for me.

5. Roma

Directed by Alfonso Cuaron

Alfonso Cuaron wrote, directed, shot, and cut this film himself, and you can certainly believe his passion for this project shines through in all of those aspects. Roma seems like an incredibly personal film, and it’s the mark of any great filmmaker to make your audience empathetic to a personal project. Cuaron’s story is one deeply rooted in Mexican history and culture, but the themes of infidelity, chauvinism and female independence are ones that we can and should engage with. Cuaron’s cinematography is incredibly beautiful in this film. Under his own hand rather than his best pal Emmanuel Lubezki, Cuaron’s signature long takes are moments of deep emotion, allowing us as an audience to simply sit back and soak in the gravity of a scene- its beauty, sadness, and joy.

6. BlacKkKlansmen

A Spike Lee Joint

The film is upsetting, as it absolutely should be. That being said, this is the first time in a while I’ve seen Spike Lee have fun with a project. Ron Stallworth’s story is an incredible one, but it’s not without its moments of absurd levity. John David Washington and Adam Driver have incredible chemistry together, and they play off of each other as humorously as most buddy copy films. BlacKkKlansmen is a true story though, and ultimately an incredibly important one. How does one man fight racism in its most violent form, and do so with impeccable courage. Stallworth is one of history’s true heroes, but Spike Lee makes sure that we understand why this story is still relevant today, and why it is our responsibility to fight injustice with the same courage that Stallworth did.

7. Eighth Grade

Directed by Bo Burnham

Its understandable that the most accurate depiction of social media on screen yet comes from someone with a prolific background in social media like Bo Burnham. This is just one detail out of many that he gets so right in his film. He chooses to tell the story of a lead character that would traditionally get no attention in the field of coming-of-age movies. Watching Kayla win an award for “most quiet student” sums up how real and relatable her character is. Elsie Fisher’s performance sells this, and winds up being one of the strongest of the year. With Eighth Grade, Burnham has shown how incredibly in touch he is, and it’s a quality sorely lacking in most standard Hollywood fare.

8. Isle of Dogs

Directed by Wes Anderson

Obviously charming, as with any Wes Anderson film. Obviously cute, as with anything involving dogs. Throughout his filmography, Anderson has always managed to find the charm in adolescence, whether having children as lead or supporting characters, or telling a story that is young at heart. In Isle of Dogs, his story touches on that same charm. A child’s love for his dog is the main plot point, and his journey is one that touches on our intrinsic reminiscence of childhood adventure. All of this is accompanied by Alexandre Desplat's delightfully memorable score, which is worth listening to all on its own.

9. The Favourite

Directed by Yorgos Lanthimos

In comparison to Yorgos Lanthimos' other popular film The Lobster, it’s clear he's established a distinct voice in absurd humour. The Favourite is just as absurd, but far more darker. There are moments that are outright hilarious, but they are accompanied by moments of tragic sadness. Watching Olivia Colman's Queen Anne transition from cheerful to melancholic is heartbreaking. Supported by strong performances from Rachel Weisz and Emma Stone, and accompanied by assuredly strong production design and cinematography, The Favourite rounds out as one of the years finest films.

10. The Death of Stalin

Directed by Armando Ianucci

Armando Ianucci has never told a darker story than this one. As with most of his work, The Death of Stalin is uproariously funny. His knack for showing the silliest sides of politicians is at its best here, and the political climate that he deals with is the perfect vehicle for it. We watch these characters scramble for power, and watch them commit horrible atrocities in the process. A lot of it is funny in the darkest of fashions. But by the time we get to the end, we understand just how disturbing the story has been and are left to contemplate how humanity can slip so far into horror, and hope we can learn from it.

Honorable Mentions

Shoplifters (Directed by Haruomi Hasuno), Paddington 2 (Directed by Paul King), Christopher Robin (Directed by Marc Foster), Halloween (Directed by David Gordon Green), Incredibles 2 (Directed by Brad Bird), Crazy Rich Asians (Directed by John M. Chu), Avengers: Infinity War (Directed by Anthony and Joe Russo), First Man (Directed by Damien Chazelle), A Quiet Place (Directed by John Krasinski) Tag (Directed by Jeff Tomsic)

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