#Tina's favourite film of hers

[tina-aumont]

Tina Aumont and Massimo Ranieri in Mauro Bolognini's Metello (1970).

Low quality pics found by @signorinaclaudiacardinale!!

🌟thank you so much sweetie for thiese rare findings🤩🤩!!🌟

I hope one day we will find them with better quality, but this is better than anything!! :D

[mariocki]

Infinite list of favourite lyrics: 223/?

Tina Turner - GoldenEye (1995)

"You'll never know

How I watched you from the shadows as a child,

You'll never know

How it feels to be the one who's left behind.

You'll never know the days,

The nights, the tears, the tears I've cried;

But now my time has come

And time, time is not on your side!"

[lovelytsunoda]

better be good to me // nyck de vries

summary: he's trying to hide that he's famous. she thinks she's finally met a normal man. one weekend trip is enough to knock every perception of him on it's side.

pairing: nyck de vries x reader

warnings: takes place before nyck got fired, nyck's kind of shifty about who he is, very brief mention of a piss k*nk, allusions to sexual activities, happy ending because I beleive in happy ever afters.

Oh, you better be good to me That's how it's gotta be now 'Cause I don't have no use You loosely call the truth You better be good to me

“there’s no way he can afford this if he is who he says he is, you do know that, right?”

“you used to work for red bull and you turned out fine.” she laughed at her roommate, pulling a few dresses out of her closet and throwing them into her suitcase.

“I worked on college campuses and made minimum wage.” eleanor rolled her eyes. “I could not afford to whisk my lover away for a weekend in austria.”

y/n rolled her eyes, flopping down on the double bed. “you worked for minimum wage hocking energy drinks on campus. nyck works in advertising.”

just under eight months ago, y/n y/l/n Met the man of her dreams. nyck de vries was sweet and funny and gentle and best of all, he was normal. he wasn’t a macho frat bro athlete or a film bro who’s favourite movie was ��scarface’. he didn’t have a hidden piss kink. he was just nyck.

“I’m just saying that I don’t think he’s being totally honest about who he is. maybe he’s some dutch nepo baby burning daddys money.”

“and would that be so bad?” y/n laughed, tossing a floral skirt at her roommate in retaliation. “I finally meet a normal guy, someone who makes me feel incredible about myself, and you’re questioning it?”

eleanor sighed, looking over at her best friend. “I’m just looking out for you. I want you to be safe, even if you are choosing to go to a whole new country with a man you barely know.”

“we live in a small continent, ellie. it’s a six hour drive across the border, i can come home at any time.”

y/n never has any reason to doubt that nyck was exactly who he said he was. sure, he dressed a little too nicely for a twenty-seven year old and he drove a car so expensive that she could only dream of owning one like it, but she took one as a sign of maturity, and the other as a sign of a healthy work ethic.

“just be safe. and tell me all the gory details. i wanna know what the little man gets up to in bed.”

“eleanor!”

two days later, she was in the passenger seat of nycks toyota supra, speeding down a one-lane road on the way to spielberg, not a care in the world or another car in sight as she rolled the window all the way down, hair flying around her face as she sang along to the radio, a classic rock station that she knew nyck couldn’t stand but had put on just for her.

his hand rested comfortably in her bare thigh, rubbing reassuring circles as he looked over, a grin on his face as he watched her intently.

if only she knew what he was hiding. would they still be able to have moments like this, he wondered to himself, car hugging the curve of the road as he turned.

as he pulled up the hilton suites he’d booked for the weekend, a sprawling lodge located in the hills, behind a wrought iron gate only accessible with a confirmation code from your booking receipt, y/n felt her heart contract in her chest as she saw the hordes of people surrounding the gates.

“nyck, why are all these people here?”

“they must just be in town for the race.” nyck hummed, trying to steer through the crowd without running over any fans dressed in red bull regalia, thankful that he had sprung to buy the tinted windows.

“race?” she raised her eyes, pushing her sunglasses up on her head. “what race?”

“formula one at the red bull ring this weekend.” nyck said, finally steering the supra through the barely open iron gate, security officers pushing back the fans as he made his way up the winding driveway. “they gave me some paddock passes at work for the weekend. i remembered how you said you used to love racing in school and I thought you might want to see it up close and personal.”

y/n smiled, reaching to clutch his hand in hers. “babe, that was five years ago. i drove a stock car for my university’s shitty team around a homemade dirt track because we lived in a town that was so far away from everything that there was nothing else to do. it was a glorified demolition derby.”

“and you still haven’t shown me any videos of it.”

she laughed as nyck pulled into a parking space. “it never came up in conversation!”

“you can’t just tell me that you were once a stock car driver and not back it up with photographic evidence!”

they headed inside the hotel, walking hand in hand. they only brought in one suitcase each, the rest of the bags hidden in nycks trunk. all his racing gear was still in the car, a pit in his stomach as he though about confessing, about explaining who he truly was.

but in his defence, everything could have easily been found by googling his name.

he unlocked the suite door, ditching his suitcase and his shoes by the mirrored closet door. to nyck, this was just another hotel room paid for by management. but to y/n? she felt like she was sitting in the lap of luxury as she buried her bare feet in the carpet, walking towards the french balcony doors.

“nicky, this place is incredible!” she laughed, twirling around and trying not to hit the tv as she laughed, gesturing to the large tub in the corner of the room. “is that a jacuzzi?”

and nyck looked at her in pure adoration, laughing as he pulled her into his arms, kissing her softly. “only the best. you and me are going to have lots of fun in there tonight.”

“why wait?” she grinned roguishly, leaning over to turn the taps on the tub, brushing up against her lovers crotch. “we could have fun now.”

nyck was a goner before she had even taken her shirt off.

the next morning, he was running through all the ways that he could tell her who he was before he got to the track. by the time he was done his shower and drinking his kale smoothie, he had exactly no ideas.

by the time they got to the track, he had admitted defeat. he’d let the massive motif of his face in the side of the alphatauri building do all of the talking.

they walked through the paddock hand in hand, and as nyck stopped to wave at everyone, confusion started to well in her stomach.

why did everyone in the paddock know who her boyfriend was?

“um, babe, we just walked past the red bull building.” she pointed out, gesturing with her thumb towards the large navy building emblazoned with the face of sergio perez.

“just trust me, sweetheart. it will all make sense.” nyck reassured, kissing her knuckles as he turned towards the alphatauri building.

“oi, de vries!” someone shouted from a balcony “nice to see you, big guy!”

and that’s when she saw it, freezing in her path and dropping nycks hand. he didn’t notice as first, only turning back to look for her once he stood in the doorway. he found her standing at the edge of the patio, staring up at the flag fluttering in the breeze. it had her boyfriends face on it, and he was dressed a nomex racing suit, a much more expensive version of the tags she wore in college.

nyck sighed, taking a few steps forward as he tried to think of something to say. something, anything that could explain why his face was on the side of a building inside a formula one paddock.

“y/n, please, just let me explain.”

“eleanor was right.” she shook her head, not even looking at nyck before she skipped down the patio steps, running as far away from the alpahtauri building as she could.

how could nyck have lied to her for so long? did he take her for a fool? did he think she’d think any different of him if he knew the truth?

or, did. he not tell her because she didn’t mean anything to him?

nyck would find her sitting on a picnic bench in the paddock, reading her boyfriends wikipedia page. if he had lied about being a formula e championship winner, what else has nyck de vries lied to her about?

“hey, y/n…” nyck sighed, sliding his hands into the pockets of his chinos. “can we talk?”

“i don’t know, nyck. if that even is your real name.” she scoffed, dropping her phone into her bag. “you know how many people have stopped me and asked if I’m your girlfriend because you’ve told them so much about me? yet you’ve told me nothing about any of this.”

“well, im going to start by admitting that nyck isn’t even my real name.”

“i know.” she crossed her arms over her chest, growing at her lover. “I’ve read your wikipedia page, hendrik nicasius.”

nyck sighed, taking a seat next to her on the bench. “i guess I deserve that. can I at least explain?”

“you can do whatever you want. but please, give me one good reason to stay here with your lying ass instead of calling a rental car and driving back to eleanor, who will then say ‘I told you so’.”

“i didn’t tell you because when I was with you, I didn’t feel like i had the weight of the entire sport on my shoulders. you’ve read my wiki page, so you know how I got here. and you know how difficult it has been this season.” nyck started, half reaching for his hand before clenching his fingers into a fist and withdrawing the action. “you didn’t look at me and see nyck de vries, f1 rookie. you looked at me and saw hendrik, a normal guy who wants to enjoy a normal life.”

she nodded, anger evaporating from her bones when she thought about the situation from nycks perspective. yes, he had lied, but he did it out of the goodness of his heart. he had done it for the right reasons.

“i get it. you didn’t want me to see you any differently.”

“I just wanted you to see me for who i was.”

y/n frowned, reaching for nycks hand. “I’m still pissed at you for lying to me. but I understand. nicky, this is a fever dream. if you told the nineteen year old stock car driver i used to be that I’d be here with you right now, i wouldn’t have believed you.”

nyck nodded, leaning forward to place a kiss on her hairline. “I love you. and I hope this doesn’t change anything between us.”

“never. let’s go get you on track, car boy.”

TAGS

@magnummagnussen @scuderiamh @libraryofloveletters @lorarri @sidcrosbyspuck @diorleclerc @scuderiasundays @thatsdemko @oconso @silverstonesainz @clemswrld @love4lando @httpiastri

[artemistalkstoomuch]

All of My Opinions on the Mean Girls Musical Movie

Firstly, loved all the original film references. Of course the obvious ones like having the same lines, the thing about fetch being slang from an old movie, but also!!

. Janis' suit being purple for spring fling!! and omg let's not even talk about how pretty Aul'il Cravalho was throughout the entire film. Her eye make-up was so impressive

. that part in Sexy where they're cycling through potential outfits and one of them is the white shirt with the purple bra holes cut out !!

Slightly upset about the fact they cut out Meet the Plastics and it ended up being more like, Meet Regina, but I get that. On the topic of songs, I understand a lot of them were cut out because they were "too theatrical" but I can still miss em!! Truthfully when I heard the new Stupid With Love I was devastated because it's one of my favourite songs and they fucking tiktokified it, but I actually think it works really well in the film- it gets the "cringy first proper love" aspect across, which is its purpose, so I'm happy.

THEY GOT RID OF "WHO HERE HAS EVER FELT PERSONALLY VICTIMISED BY REGINA GEORGE" which was absolutely criminal

AND THE PRINCIPAL AND MS NORBURY ARE TOGETHER which was actually adorable, and I didn't think about the fact that could be something that happened, but I'm very happy it did.

The bus at the end of Rather Be Me was such a jumpscare but also so funny. THEY MISSED OUT THE DIALOGUE TO DO IT THOUGH SADD. Plus she was so goofy that entire song?? Why was she running in and out of all of those random rooms.

The rumours spreading via phones looked half cool, but it's dated the film imo, which is what Tina Fey originally set out to avoid! Like "fetch" was made up slang so in years to come the film wouldn't seem cringy for having slang teens actually used to use at the time.

Big drum-roll: We did not see enough of Regina's meanness to actually justify her being a mean girl. A lot of it got filtered out through songs, and the majority of stuff was just her, like, responding badly to sexism?? Also tell me how I'm gonna villanise Renee Rapp she fucking SLAYED what a queen.

Also WHERE IS COACH CARR'S SEXUAL ASSAULT. THAT'S THE WHOLE REASON MS NORBURY GETS ARRESTED!!?? That, to me, is one of the biggest indicators in the original film of just how powerful the "Mean Girls" are, they know about this, and the other teachers don't. Not only that, but it highlights just how immature they are, because they don't do anything about it. They're girls who run the school, without having any sympathy or context to do something about bad stuff they know happens. It's just "a funny thing to write". Not having that made me sad tbh.

Changing the line to "you wrote this" in World Burn was clever but I wish we got to see more of the girls turning on each other, rather than direct fighting.

KEVIN G BEST SONG IN THE MUSICAL

Where was the 4 way phone call, DEVASTATING. We literally did not see the plastics actually interact with each other. There was no meanness, no impact, all we got were the "events" when OTHER THINGS HAPPEN. You could say it lost a lot of filler, but the filler was actually context! And part of what makes the film so good!

Devastated she doesn't say "damn you're mine" in Someone Gets Hurt. I do think it's hilarious they just didn't make the actor guy for Aaron sing at all lol

"That filter you use looks just like me" WHY. I appreciate the change from the line about weight but like, this DOES NOT MAKE SENSE. at least say "that filter you use has nothing on me" THE WHOLE POINT IS SHE'S ABOVE IT

I didn't like the extended version of Revenge Party, sorry, too used to the old version

And I did not like the girlbossification of Sexy. I get it's supposed to be powerful like "watch me as I run the world in shoes I cannot walk in" but I feel like the whole point of "I expect to run the world in shoes I cannot walk in" is supposed to point out the irony, like, being slightly critical of "modern feminism". I will say though that the wobble from avantika as she says that is superb.

Overall I thought the film was enjoyable and a nice blend of the original film and the musical, but I think both ended up losing individual meaning because of how much they intersect. You don't have time to appreciate the lyrics and power of the musical because you don't hear them all, and some of them get cut, and you can't follow the plot in a meaningful way because the songs are happening, and they skip a lot of context to fit them in.

Would totally watch it again though, if only to see Renee Rapp say "get in loser" cos she actually nailed that

[justforbooks]

When Tina Turner, who has died aged 83, walked out on her abusive husband Ike in Dallas, Texas, she feared it would spell the end of her showbusiness career. It was 1976, and she had been performing with Ike for two decades, since she had first jumped onstage and sang with his band at the Manhattan club in East St Louis, Missouri. Yet, although she was desperate and had only 36 cents in her pocket, she was on her way to a renaissance as one of the most successful performers in popular music during the 1980s and 90s.

She had to endure several lean years, but a turning point came in 1983, when David Bowie told Capitol Records that she was his favourite singer. A version of Al Green’s Let’s Stay Together followed. Produced by the electro-poppers Martyn Ware and Ian Craig Marsh from Heaven 17, the track went to No 6 in the UK, then cracked the US Top 30 the following year.

Turner cemented the upturn in her fortunes with the album Private Dancer (1984). Driven by the huge hit What’s Love Got to Do With It? (her first American No 1), the album became a phenomenon, lodging itself in the American Top 10 for nine months and going on to sell more than 10m copies. Suddenly Turner was one of the biggest acts in an era of stadium superstars such as Michael Jackson, Dire Straits and Phil Collins.

In 1985 she was recruited to play Aunt Entity in the film Mad Max: Beyond Thunderdome, for which she recorded another international chartbuster, We Don’t Need Another Hero. A second Thunderdome single, One of the Living, won her a Grammy award, and she was an automatic choice to join the Live Aid benefit concert in that year, as well as to participate in its American theme song, We Are the World.

Her follow-up album, Break Every Rule (1986), launched Turner on a global touring campaign, during which a crowd of 184,000 watched her in Rio de Janeiro. The tour spun off a double album, Tina Live in Europe (1988).

The album Foreign Affair (1989) sold 6m copies and generated another trademark anthem, The Best, which was subsequently used to add oomph to numerous TV commercials and adopted both by the tennis ace Martina Navratilova and the racing driver Ayrton Senna. The subsequent Foreign Affair tour ended in Rotterdam in 1990, after which she duetted with Rod Stewart on the old Tammi Terrell/Marvin Gaye hit It Takes Two. Designed as the theme for a Pepsi advert, the track was a chart hit across Europe.

Turner was born Anna Mae Bullock in Nutbush, Tennessee, to Zelma Currie, a factory worker, and her husband, Floyd Bullock, a Baptist deacon. Abandoned by their father and temporarily by their mother, in 1956 Annie and her elder sister, Alline, moved to St Louis, Missouri, where they encountered Ike Turner and his band the Rhythm Kings. After Annie had talked the initially reluctant Ike into letting her sing with the band, he recruited her as one of his backing singers.

It was in 1960 that Tina – who had by then changed her name because it reminded Ike of the cartoon character Sheena, Queen of the Jungle – first sang a lead vocal with Ike’s band. A session singer failed to turn up, and Tina’s stand-in performance of A Fool in Love was a hit on both the pop and R&B charts. Ike immediately rebuilt his act around Tina, and christened it the Ike and Tina Turner Revue. They married in 1962.

Featuring nine musicians and a trio of skimpily dressed backing singers, the Ikettes, the Revue took the R&B circuit by storm. Tina rapidly developed into a mesmerising performer, radiating raw sexuality and bludgeoning audiences with the unvarnished force of her voice. They began to pepper the charts with hits, including I Idolise You, Poor Fool and Tra La La La La, and even if they only intermittently crossed over from the R&B charts to the pop mainstream, the band’s performing reputation was second to none. Evidence of their stage prowess was preserved on the 1965 album Live! The Ike and Tina Turner Show, recorded on tour in Texas.

However, the seeds of the couple’s destruction were being sown in their successful but intense lifestyle. Ike was a habitual womaniser, and also developed a destructive cocaine habit. This provoked violent outbursts against Tina, who, as she later revealed in her 1986 autobiography, I, Tina, was beaten, burned with cigarettes and scalded with hot coffee. She gained a glimpse of what life beyond Ike’s intimidating orbit might be like when she worked with the “Wall of Sound” producer Phil Spector in 1966. To Ike’s frustration, Spector refused to allow him in the studio while he worked on the single River Deep, Mountain High, which subsequently became regarded as a high point of both Spector’s and Turner’s careers.

The Turners’ work won them the admiration of many of their peers, not least the Rolling Stones, who invited them to open a UK tour for them in 1966, then to join them on their American tour in 1969. Mick Jagger was regularly spotted at the side of the stage during Tina’s performances, fascinated by her stage presence and dance routines. One of the high points of Live Aid in 1985 was Tina and Jagger performing together at JFK Stadium in Philadelphia.

Working with the Stones prompted the Turners to import a rock-orientated edge into their work, a ploy that worked most successfully when they recorded John Fogerty’s Proud Mary in 1971. It was their first million-selling single and a Top five hit on the American pop charts. In 1973 they notched up another landmark with Tina’s feisty composition Nutbush City Limits, inspired by her Tennessee origins. She took the role of the Acid Queen in Ken Russell’s film of The Who’s rock opera, Tommy (1975): her performance was one of its few critically acclaimed moments, though her spin-off solo album, The Acid Queen, made little impression on the charts.

After her split from Ike, Tina stayed with friends and was forced to survive on food stamps. When their divorce was finalised in 1978, she preferred to take no money or property from the settlement, to establish a complete break from her husband. She earned cash from TV guest appearances on the Donny & Marie and the Sonny & Cher shows, but her late-70s albums Rough and Love Explosion sold poorly.

In 1980 she signed a management deal with Roger Davies, an Australian promoter working in the US, who secured some lucrative engagements in Las Vegas. The following year the Rolling Stones galloped to the rescue once again by booking her as the opening act on their Tattoo You tour of the US, and she also appeared with Stewart in a California concert broadcast internationally by satellite.

By the time she was inducted (with Ike, though he was then in jail) into the Rock and Roll Hall of Fame in 1991, Turner had little left to prove. She was able to spend more time at the homes in Switzerland and the Cote d’Azur that she now shared with the German record executive Erwin Bach. A singles collection, Simply the Best (1991), reeled in more platinum discs as Turner entered the senior stateswoman phase of her career.

In 1993, as she launched her first US tour in six years, her film biography, What’s Love Got to Do With It, based on I, Tina, was released, starring Angela Bassett as Turner. The film brought forth a bestselling soundtrack album and another hit single with its opening track, I Don’t Wanna Fight.

A three-disc anthology, The Collected Recordings – Sixties to Nineties, appeared in 1994, and the following year came Turner’s recording of GoldenEye, the theme tune of the eponymous James Bond movie. The tour that accompanied her eighth studio album, Wildest Dreams (1996), became another record-breaker, grossing more than $100m in Europe alone. Twenty Four Seven (1999) teed up what Turner announced would be her last major arena and stadium tour. She had intended to tour with Elton John, but the idea was scrapped after she argued with him about the piano arrangement for Proud Mary during rehearsals for a TV special, Divas Live ’99. Her subsequent solo dates became the top-grossing tour of 2000.

A quiet period ensued, during which Turner confined herself to hand-picked events, such as a 2005 performance on the Oprah Winfrey Show. She contributed a version of Edith and the Kingpin to River: The Joni Letters (2007), a tribute album produced by Herbie Hancock. She performed alongside Beyoncé at the Grammy awards in 2008.

That October she went back on the road with the Tina! 50th Anniversary Tour, synchronised with the compilation album Tina: The Platinum Collection. In 2010 she became the first female artist to score top 40 hits in the UK in six consecutive decades (1960s-2010s) when The Best bounced back into the UK Top 10. Her Love Songs compilation appeared in 2014, and her remix of What’s Love Got to Do With It with the Norwegian DJ Kygo in 2020 made for a seventh decade containing UK hits.

Between 2009 and 2014 Turner appeared on four albums by Beyond, an all-woman group formed with her neighbours in Küsnacht, near Zürich. The music reflected the spiritual and religious beliefs of the participants, with Turner considering herself a Baptist-Buddhist (she was raised as a Baptist, but began practising Nichiren Buddhism in 1973).

In 2013 she married Bach and gave up her American citizenship to become a Swiss citizen. Three weeks after the marriage she suffered a stroke, and in 2016 she was diagnosed with intestinal cancer, then suffered kidney failure when “the toxins in my body had started taking over”, as she put it in her second autobiography, Tina Turner: My Love Story (2018). Her husband volunteered to give her one of his kidneys and a transplant operation was carried out successfully in 2017.

The following year, the biographical stage musical Tina opened at Aldwych theatre in London, directed by Phyllida Lloyd and starring Adrienne Warren in the title role. Turner received a Grammy lifetime achievement award, to go with her existing tally of eight Grammy awards and three Grammy Hall of Fame awards. Among her vast collection of honours, Turner also had five American Music awards, two World Music awards and three MTV Video Music awards.

In 2021 she joined the Rock and Roll Hall of Fame as an outright solo performer and sold the rights to her music catalogue to the publishing company BMG for an estimated $50m. Ready to retire fully, she bade farewell to her fans with the two-part HBO documentary Tina.

Alline died in 2010. Tina’s eldest son, Craig, from a relationship with the saxophonist Raymond Hill, took his own life in 2018. Ronnie, her son with Ike, died in 2022.

She is survived by Erwin and two sons, Ike Jr and Michael, from Ike’s first marriage.

🔔 Tina Turner (Anna Mae Bullock), singer and songwriter, born 26 November 1939; died 24 May 2023

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[charlierosewriting]

This viewing of Stop Making Sense, in a cinema I went to alone, did two things: it ruined every other time I'll ever try to watch this film again in my life, and revealed itself to be what it has been this whole time. Anti-performance anxiety propaganda. It also cracked me wide open.

I've always seen Stop Making Sense in one of two modes - communally on a TV through it's built-in speakers, or on my phone alone with my big chunky noise-cancelling headphones. I pick whether I want to hear it with others but sacrifice the sound quality, or to hear it at its most beautiful but by myself. In a mostly empty cinema, Stop Making Sense becomes both at once. I can't be sure if it's the A24 remaster or just hearing it on a capital everything SOUND SYSTEM, but the entire experience feels warmer and human this way. Tina Weymouth's bass playing is clearer than ever before, the synths taking a bit more of a backseat to its rumble, and the percussion of both Chris Frantz's drums, David Byrne's boombox and (most transformatively) Steve Scale's set-up hit almost with the force of actual, unshielded, live drumming. After each song, the couple behind me cheered and whooped (half-ironically), and after the midway point I joined in (completely earnestly). It's still not perfectly analogous to a live concert, even then. The audience noise is near immersive in surround sound, but it still feels as distant as the band does all the way over up on that stage. When the songs end and the crowd noise begins, the cinema experience feels strange and hollow and disconnected. I love this way more than a perfect Disneyland imagineered recreation of a Talking Heads concert.

That last point is actually where the most magic is found in seeing Stop Making Sense in a cinema, and what really started to pierce into me; the craftsmanship is more visible. These are small chips in the paintwork you can't see until you get your nose right up to the masterpiece, and every one of them adds more texture and beauty to the whole.

It's easy to be swept away by the sheer magic of Stop Making Sense in any of my usual viewings, because it's already perfect. In Crosseyed and Painless, the camera pans between Alex and David as they trade absolutely cracked guitar solos, and it is a frontrunner for my favourite shot in any film. The whole thing feels effortless and fluid from beginning to end, a document of a band in their peak, beautiful moments of improvisation and genius popping up from both the performers and the cameramen, something divinely ordained.

But when Tina Weymouth is 20ft tall, you notice her lips don't quite match the audio track on Genius of Love, and remember that the film was shot over four nights, not one continuous concert. It isn't a gift from the goddess of music, it's a team of creatives sweating in a studio with probably not great A/C to make something that feels cohesive. When David dances with Ednah and Lynn on Burning Down The House, they perfectly match his strange movements and mimic the guitar playing, and when they're 20ft tall you remember that there must-have been a rehearsal. You remember that the physical CD of Stop Making Sense you own includes a booklet, in which every movement and stage direction is documented, and you wonder if that was written before or after the performance.

One I noticed long before I saw it in the cinema was during the objective pick for best Talking Heads song, This Must Be The Place (Naive Melody), when David enjoys watching the lamp he dances with wobble back into place for just long enough that he misses his cue to sing, and is back at the microphone just half a beat AFTER he starts singing on the audio track.

This is not nitpicking. This is revelatory, this is beautiful, this is the best the film has ever been. This is the autism of Stop Making Sense.

Like Stop Making Sense, I am profoundly autistic. I have been autistic all my life, and I will continue to be autistic. If you asked me if I'm proud to be autistic, I'd say yes, but at the same time I'm sadly not sure if that's true. I have masked so thoroughly and for so long that removing the veneer isn't freeing. Taking it off doesn't let my skin breathe, it exposes raw flesh so tender that it is stung by the air. Some people never have experience with air, tell you not to worry about it, but I think that David Byrne has.

He writes more songs about buildings and food, he dances either like a marionette or like a panic attack, he sings like he is bearing his soul or like he's having a panic attack, the polyrhythms the band finds are joyous grooves or they are panic attacks. Talking Heads is sensory overload about sensory overload, confusing music about being confused, failing radio transmissions about badly communicated emotions.

The difference is, Talking Heads will express that feeling, that disconnect, that hellish radio static in the back of my mind, and make it listenable and funky and fun. When I'm overwhelmed, I'll storm out and cry alone, when David Byrne is overwhelmed, he writes Born Under Punches. When I'm happy, I smile and, if around no-one but my girlfriend, maybe giggle and flap like I wish I could more often - before regaining control and putting the mask back on. When David Byrne is happy, he releases Don't Worry About The Government and the world listens to it.

I want to write songs about buildings and food! I want to write songs about Garak and Power! About the career of Ahmed Johnson! Let me! But I won't, and I don't. I don't think I can right now. But then there's Stop Making Sense.

Stop Making Sense takes every complicated, negative emotion in the discography of Talking Heads, and does something amazing with it; it makes it a party. In its original studio form, Life During Wartime is midtempo and reverby and distressing. The groove is there, but feels intentionally shot in the shin, only allowed to lope in a way that brings out the tension and danger of the lyricism. Then it Stop Making Sense it SKYROCKETS!!! The panic is still there, that essential tender skin of autism, but it is transformed into one of the most bracing and captivating performances of the whole film. Rather than monotonal, almost krautrocky guitar solos, it is given ecstatic synths and almost double the tempo. The studio version of David feels cramped in his situation, the film David runs in place! He wriggles! He sprints laps around the entire stage! The crowd claps and screams! I clap and scream!

This is Stop Making Sense in minutia. The tension and overload of autism is constant, it is pervasive, but what is present is the joy and not the pain. When I stim around my girlfriend I feel completely free momentarily, Talking Heads in Stop Making Sense feel completely free for eighty-eight minutes, and it's infectious.

Masking, at least for me, is performance anxiety. I have an ideal self in my head and, despite my constant trying to change this, she doesn't openly present as autistic yet. I want to perform my best, ideal self, and I need my autism to be part of that, but revealing myself that much to the world is terrifying.

But, once again, here's Stop Making Sense, and its perfect flaws.

The version of Tina we see sing Genius of Love isn't the version we're hearing, but she is beautiful, and I love her. David misses the cue to go back to the microphone, but I still hear his wolf howls and I smile. Chris beams like a headlight at all times, he's having the time of his life. Ednah and Lynn are always so ON that they feel more like Energizer Bunnies than people sometimes, and I wish I could be more like either of them. Jerry is consistently serious looking and kinda wooden, and he's doing so damn well up there. Alex seems to only know one dance move, it's to kick about as high as his chest and look to the right, and it's the coolest thing I've ever seen every time. Bernie looks so self serious at all times, which makes his basic ass solos on Making Flippy Floppy so much funnier and better. Steve Scales, on top of having the best name ever, keeps looking at the crowd like a kid whose parents have come to see him in the school play, and I love him. I love them all.

They are and were real people with interiority and darkness that I'll never know or comprehend, they all did bad things to good people at some point in their lives, and the version of themselves that was captured across these four nights and painted into this eighty-eight minute gasp of euphoria are my family and they are my friends.

David gets to the microphone too late and I hear the wolf howl and I smile, they all continue the song together and I clap, and then I squeal and then I shake and I flap my hands and the mask falls to the ground, and there are two people behind me who can definitely see me right now and they can definitely tell, they can so definitely tell, but this must be the place (naive melody) is the best song ever so I dont really care and the song ends and i find there are tears in my eyes and they dont fall, and before i can reach to pick up what i dropped the synth arpeggios of once in a lifetime start and i no longer have time so i sit theere and i watch and i listen and david dances and now hes wearing glasses and I'm just an animal looking for a home and, share the space for a minute or two! And I'll love you 'til my heart stops! Love you until I'm dead. Eyes that light up, eyes that look through you. Cover up my blind spots, hit me on the head! Awoo!

Postscript:

I tried writing this once on my phone, but the app crashed and deleted my progress and I almost had a panic attack lol. Glad I rewrote it, I want to put this somewhere, but it is somewhat more masked and less raw than the original version. Oh well, it's probably better written.

The one concert movie I've seen that REALLY goes into exposing how it's a construction over different nights is Beyoncé's Homecoming which is a masterpiece in its own right. The way it blatantly shifts outfits and colour schemes across shots is wonderful, people need to talk about that more. Probably shouldn't be me though lol.

[popcornforone]

Mistletoe and Whine

A Max Phillips Fan Fic

I have too much in draft everywhere. Film reviews, notes, fics & I did actually have a very predicative Sunday playing catch up. However very randomly after watching an alternative Christmas film on Saturday night & my head still thinking about it, my mind stumbled into this festive Fic idea for Max Phillips. So here we are writing about our favourite vampire over the festive season. & it’s going to get sexy.

Synopsis:- Chance encounters with Max have lead you to your 5th anniversary, & he wants to make sure that you whine as he celebrates with you.

Word count:2750

Warnings:- DO NOT READ IF YOU ARE UNDER 18! PIV Sex, established relationship, vampire lore so biting, feasting & blood drinking, lack of consent, alcohol, drugs, swearing. Innuendo, intense orgasms. Basically like most couples they get steamy in their special day, it just so happens they are vampires.

Thanks as always for the read peoples. All feed back is always welcome. I hope you enjoy.

It’s your fourth espresso martini of the night. You & the girls are at an adults only winter wonderland. Candy canes have secret ingredients to make you extra happy, the chatter is loud, the games are intense but fun & the music is belting.

“Okay” Frankie says “who’s ready for us to go & play the next thing”

“Oooh im not sure I can move” Tina says. “And look” she waves her hands in front of her face “there’s 6 hands on my two arms” clearly the special sweets were effecting her more.

“Well I’m just gonna go sort myself out, but I’ll come find you in about 5minutes” you say. You need some water & to use the toilet. Your the mum of the group, your always the most sensible. You check with Lucy that she’s okay to hold the fort & make sure no one does anything crazy as you nip to the bathroom. It’s not that far away & you know it will take your friends in a sober undrugged state at least 10mins to pick what they want to do next, but with them high on everything, they won’t budge. You’ve got plenty of time.

As you walk past the Christmas trees you turn a corner & accidentally walk into someone.

“Oooh im sorry” you say as your shoulders clash. You look up & make eye contact. Your frozen. Two deep brown eyes make contact with you. If you knew any better you were being hypnotised. The red tie. The Santa hat. The broad shoulders. The dark suit. A smile like the devil.

“Ho Ho Ho… merry Christmas to you, my victim” you hear this deep voice & it arouses you. You giggle back. Suddenly his large hand is around your neck. He’s pushes you against the wall of the little hut that’s selling pretzels behind you. You gasp for air.

“Am I a Christmas treat?” You ask. You then feel your scarf be tugged off. His tongue licks up your neck. He always loves the taste of fresh meet, be it consensual or not.

“More, your my grand feast. The Satan Clause wants you all to himself.” He says. He makes eye contact once more making sure all his hypnosis, mixed with the drink & drugs you’ve had tonight, mean you won’t remember a thing. He licks his lips. “I’m famished” Those beautiful brown eyes turn to red & you feel the sharp pain as those fangs dig into your neck & your body jolts & you scream.

“MAX!!!!!”

You jolt awake. A sweaty sticky mess. Panting gasping for air. You check the clock, it’s 7pm & you lie back down onto the bed. Desperate to get air into your body. The bedroom door flings open & there stands Max. Two cups of warmed blood for you both on this winters evening. The perfect way to wake up.

“You okay baby” he asks. He walked over to you in his long white dressing gown & hands you your mug. Just by the smell you can tell it’s AB positive.

“Nightmare, that’s all” you say & you sip your blood. You make a small mmm sound as it hits your taste buds. The iron sinking into your system. This is your favourite blood type.

“What was it today?” He asks as max rubs your back. Your undead skin is always cold, but even he can tell despite you sweating & being in a panic that it’s very icy.

“The day we met…” you start “… but no consent, you just had your way with me & sunk your teeth inside me”

“We both know that’s not how it went down” Max says as he shakes his head. Vampires only have nightmares when things aren’t certain. You’ve only been a vampire 3 years. You’re almost at your vampire potential, but you do still sometimes forget you aren’t human.

“No you were very shy about it, didn’t want to interrupt the game me & my friends were playing” you smile & reminisce.

*

It wasn’t a winter wonderland you & your friends were at. It was your local pub. It was board game night, & you & your friends were a little tipsy but no drugs, other than cigarettes. You were playing articulate with them all & smiling.

“Royal family, not the ginger one” Tina says.

“Prince William”

“Diana”

“Prince Andrew” Tina collected her card

“High trouser”

“SIMON COWELL” you all shout at once & Tina collects another.

“Doctor Who”

“Ooh god there’s 14 of them” you roll your eyes & then the buzzer goes off. “Times up” Lucy counts Tina cards.

“She got 8”

“Which doctor was it”

“John Hurt”

“Seriously of all the clues you went for doctor who? Not alien or…” you scoff & down your drink.

“Sorry I’ve binged it all again recently” she say. You all laugh, Tina loves her scifi.

“Well I’m gonna nip to the toilet before the next round” you say & you wobble in your heels as you get up from the table.

“How many drinks have you had tonight” Frankie asks.

“Not that many, I blame the shoes.”

You walk to the bathroom use the facilities & then as you leave to rejoin the group , you lose your balance as your heel slips. You can see the Christmas tree in front of you, that your about to face plant & break as you fall forward. But then you stop mid fall.

“It’s okay I gotcha” says a very deep voice. Two arms are wrapped around you & pull you up. You turn your head to say thank you but all that glances back is this man’s beautiful handsome face. So perfect. So divine. It’s love at first sight.

“Wow” you say & then realise what you’ve said as you see him blush a little “did I say that outloud?”

“Yes you did” he helps you to your feet. “It’s okay, I think your rather wow too” you giggle & turn red.

“Ha your funny”

“I’m serious” he says “I’ve searched everywhere for the person I’m meant to be with, but I never thought they would actually really stumble upon me” he smiles. You’re now standing up & you both look at each other up & down. You say your name & he takes your hand & shakes it “Im Max” he’s clearly a charmer. You bet he says this to all the girls.

“Well Mr Max can I buy you a drink, as a thank you” you say.

“I think we’ve both had enough to drink” he says saying that he thinks that’s why you fell.

“No it’s the heels, I don’t normally wear them. Special occasion.”

“Oooh you’re the lot in the corner, on your girls night aren’t you”

“Are we that loud & obnoxious?” You ask feeling ashamed.

“Never apologise for who you are, always be you” his thumb graces over your chin. His eyes make contact. “Where have you been all my life?” He asks.

“I don’t know, where have you been” you lips are inches away.

“Searching, yet I didnt realise it would be someone like you” these word are soft. His lips part. You look at him & see there’s mistletoe behind him on the wall. He sees you looking past him & turns around. “Well it’s bad luck if we don’t, don’t want to ruin the Christmas spirit.”

You go for it & lean in. Kissing deeply a man you met 4 minutes ago. His lips are plump. You easily slip your tongue inside as your deep kiss gets more passionate. His hand is up in your hair. Yours caress his clean shaven face & his shoulders. It may only be for a few seconds but it’s something that you want to do with this man for the rest of your life.

From behind you, you hear your girls all cheer. You never do this on a night out. You are the careful one of the group. Your break the kiss & turn around & go shhhh, before facing Max again.

“They seem happy for you” he smoulders

“It’s never me who gets the guy” you say & you beam, you miss the feel of those lips already.

“Why don’t you introduce me?” Max says as his eyes dazzle.

“Do you think you’re gonna be sticking around Max?”

“Ooh beautiful you have no idea.”

*

You smile at Max back in the now, as you finnish sipping your mug of blood on the bed. His hand is still slowly stroking your back.

“Nice memory trip?” He asks. He finds it so cute when you glaze over to remember past memories in such detail. He wishes he could go back to some of his memories in such detail as you do.You put your empty mug down.

“Your lips still taste as good as our first kiss 5 years ago”

“Are you sure?” Max raises an eyebrow. You never need to be encouraged to take advantage of your man. He then reaches into his gown pocket & produces a little bundle of mistletoe. “It’s actually today, Happy anniversary baby” you practically pounce on him. Lips that always ignite your undead soul. A touch as he caresses you, that fills you with joy & glee, the noises you both make are sweet songs to each other.

Max hand lets go of its mug & it crashes to the floor. A small amount of blood that was left in his mug spills across the floor. The mistletoe follows. He loves how passionate you are in the mornings. Morning sex with you is delight, even if your morning is 7pm. You straddle him & undo the cord to his gown, hoping he’s got nothing on underneath. His hands are grasping your bum. Squeezing it as your lips continue to lock & your dead hearts feel like they are pulsing, filled with adrenaline. Your body already rolling into his lap ready for pleasure grinding on his thigh.

“Maxie” you exhale when you lips part. It’s drawn out a long whine. But one where you can feel how excited he is.

“Ooh baby” you help his shoulders & you both remove his dressing gown. You initial instincts were right. He’s naked beneath. His length hard & leaking & you smile. His hands leave your bum & find the bottom of your red silk night dress & free you from it. Your breast look extra perky today in the cold winter air in your bedroom & you feel sexy.

“Happy anniversary my forever” you say as you adjust yourself to take him all. He’s also sat up & he’s so beguiled. He moans deeply, as he slips his penis through your slick.

“Ooh you’re drenching me already” he states.

“Can you blame me?”

“No, never”

“Oooh fuck” he is slow as he pushes through your entrance & makes sure his shaft is fully inside you. Be it alive or undead he loves it when you whine & moan as he fills you up each time.

“You good baby” still after all these years max still asks you.

“On cloud 9” you whimper. Your earlier grinding on his thigh now means his penis glides around you. Your walls feeling every inch of his thrusts. He always feels so good. That’s why you fell for him. He may have used some vampire tricks on you to make things move quicker but you always realised & he then didn’t need to persuade you in that way.

“Let me pleasure you” his hand slips between your two naked bodies as you match each other’s rhythms to make sure this is sweaty hot & passionate. He strums you like a double base, your clit quivering quickly.

“Max” you moan.

“Whine baby” he mumbles & he pulls you towards him & licks a stripe up from between your breasts up your chest & then your neck. The salt & sweatiness makes him smile & the way his tongue feels as it leaves its own moistness across your skin gives you goosebumps.

“Oooh Maxie” you feel like you are being spread wider than before. Each roll forward as you take him as you finger nails dig into his shoulders bring you closer to euphoria. Each ooooh noise escaping your mouth has his finger work faster.

“So good, so sexy” he moans before his lips latch back to your nipple. Your tummy flush to his, sweat dripping everywhere.

“Mmm mmmm mmmaxxxx oh fuck oh fuck yes don’t stop baby mmmm fuckkkkkk” he giggles the more you moan & whine, desperate for more. Being undead hasnt decreased your thirst for your man.

“So tight & it will always be this tight” he manages to muster his thrust are pounding away. Each motion he’s closer. This was never going to be a long session. That can wait for later. This is two soul mates fucking away their bleary eyed start to their night lost in lust & desire. Your cunt quivers in pleasure. He’s never pleasured you like this before. You need more & you dig your hands in his shoulder & he jolts.

“Fuck max oh fuck fuck fuck yes oh fuck yes” you sink your own teeth into his shoulders. He’s taking you on a night you’ve never experienced before & you let go & scream his name. “MAX!” You clamp hard & cum. His own body judders as he feels you lick him in. He’s never had you sink your teeth into him before & the way you whined, has his mind spinning out of control. It may not be your fangs but it felt good.

“Baby fuck baby oh shit shit fuckkkkk” having vampiric speed is useful. Your clit is on fire from the friction & the way the thrusts into you as your orgasm continues is relentless. & soon it’s his turn & you feel the ejaculation inside you. “Fuck this pussy” hit lashings of cum fill your insides. Max snarls, his eyes at the point of pleasure always turn dark red. Yours don’t but it always makes you smile that he gets that much into the zone.

“Fuck Max”

“Fuck in deed” he pants. You’re both resting your head on the other shoulders, your movements minimal. You peck up his neck until you reach his face & you use two fingers to turn his face towards you. The sweaty state that is your forever slowly opens his eyes to look at you, his vampire bride looking so sexy covered in sweat, filled with him cum. You’re all his, no one can match you. You’re bound together by destiny.

Eventually you properly speak, the rocking has stoped & Max slowly slips his penis out of you as it softens but you don’t want to move. You like sitting in his lap naked. Taking your time to kiss each part of his face.

“So 5 years of knowing you” you giggle.

“Yep” he smiles “& I brought the mistletoe too” you look at the floor & so does Max. The broken mug with the blood spilled on the floor, the white berry’s of the plant now turning crimson.

“That you did baby” & you face to turn him again. “So what would you like to do for our 5th anniversary?”

“You, I want to fuck you all evening, until the sun rises”

“Hmmmm” you smirk as you think “but I’ve not come wrapped up”

“Don’t care” Maxs strength still impresses you. He lifts you off his lap so you’re lying on your back on the bed & he hoovers above you hardening again. “I’ve provided the mistletoe” he lifts his head so he whispers the next sentence into your ear seductively. “& you are more than providing the whine”

“Fuuuucckkkkk Maxie” you moan & gasp as his large hand goes around your throat & he slowly pushes his penis in side you again. Still sensitive from your session that just ended. “What did I do to deserve this” you ask & look up at his beaming satisfied face.

“Nothing,” he hits the spot first time & you moan. “Can I not treat my forever on our day” & that’s all it takes. You never have to worry about Maxs desire & lust for you. The night of your 5th anniversary is rampant & the whines you make as he makes you cum all night, well they will stay with Max until next years anniversary.

[magicalhideoutengineer]

Newt & Tina: Fantastic Beasts and Where to Find Them

Eddie Redmayne: What was kind of wonderful about what J.K. Rowling's written is that the way in which they met, they're almost antagonists to begin with. It's definitely not love at first sight.

Katherine Waterston: There's something. I mean, he catches my eye right away and I'm instantly suspicious of him.

Eddie Redmayne: Suspicion. Attraction.

Katherine Waterston: It's a fine line. Yeah, so, I mean, obviously that's an indication of my amazing instincts as an Auror, but also I think you do it with attraction. You notice right away something about someone, but they are not aware of it, but it's nice that the audience gets to be able to watch it from that perspective, knowing that these people will...

- Entertainment Weekly

Katherine Waterston: It’s wonderful how, throughout the film, they reveal little bits of their past and certainly reveal a great deal of their character to each other. As things are when you first meet someone, you get a very general sense of who they are. My sense of who Newt is at the beginning is that he’s dangerous and untrustworthy, and kind of cute, too. Part of what I love about Tina is she's flawed and often doesn't achieve what she is pursuing or things don't work out for her [like] she hopes. But she is good at her job and the moment she sees Newt she knows something is going on, even though she doesn't exactly know what. And that, to me, was the first clue that she's not a total disaster.

- Fantastic Beasts and Where to Find Them: Movie-Making News & The Case of Beasts: Explore the Film Wizardry of Fantastic Beasts and Where to Find Them

Katherine Waterstob: One of my favourite messages of the film: that there's so much more to people than initially meets the eye. I think it's one of the great discoveries in the film, at least for Tina as she gets to know Newt. At the beginning, he's not very engaged; he's prickly; he really wishes she'd probably fuzz off. She thinks he's got an interest in a ridiculous subject, and one that's dangerous and a nuisance. But it's through getting to know him better that she comes to understand what these creatures really mean and what they can be. And through seeing his relationship with the creatures, she comes to see there's so much more to him than just the prickly, standoffish and disinterested outsider she meets at the beginning of the film.

- HMV

Eddie Redmayne: Certainly at the beginning of the film when he meets Katherine's character, there's a great antagonism between them, and they're both quite sort of knotty characters. We sort of know that ultimately those two in the Potter lore get together, and there's this sort of central build of these two people who are outsiders finding each other.

- Entertainment Weekly

Eddie Redmayne: One of the things I loved about this script when I first read it is, I think JK Rowling had always seen it as telling a larger story, but the film is it's own thing. Actually the relationships that you see arrive in the film, they stand together as one sort of whole piece. But What I love is that the relationship starts kind of...

Katherine Waterston: Combative.

Eddie Redmayne: Yeah, it's not love at first sight put it that way. Maybe there's a bit chemistry at first sight, but it's quite combative. But what was lovely was to play a slow build, to be able to play this kind of — these characters are thrown into a world, this quartet together. They're all outsiders in some ways, and yet they have really heroic qualities within them. So it's kind of lovely for us to not rush that and be able to play it slow.

Katherine Waterston: You know that eventually you know these two people end up together. So you can see and look for when they start to notice each other, you know what I mean? Because you're in on it in a way that I think is really fun. I feel like there's a lot in this movie of us kind of like, oh, that tragic stuff where you look at someone and they're not looking at you, and then you look away and then they look at you. So there's like all of that sort of stuff going on.

- Entertainment Weekly

Katherine Waterston: I think the biggest distinction is actually the way witches and wizards interact with the muggles, or as we call them "No-Majs" in America, because we're forbidden to engage with them at all. We were persecuted during the very real Salem Witch Trials and went into hiding. There's just a lot more secrecy aroud witchcraft in America. When Newt shows up, he's very casual about things we are very, very strict about.

Eddie Redmayne: I feel like Newt doesn't really care about rules that much anyway.

Katherine Waterston: No, he doesnt. It's quite shocking to me.

Eddie Redmayne: It really irks her.Katherine Waterston: It stresses me out a bit, but also I find him really charming and engaging. So you know...

- Entertainment Weekly Binge Dec 07 2016

Katherine Waterston: With Newt and his case, the main problem is that it's a lot easier for witches and wizards to hide from the No-Maj world than to hide magical creatures, especially ones that are on the loose in the community. So that's the number one threat. It would be disatrous. They plough things over, they break things, they could harm people. For most of the film, Tina is just imagining the worst-case scenario. In Amercian, as it's established in the film, we've been taught that magical creatures is a bad thing. We should not have them at all, not in America and certainly not on the loose. She's almost panicked to get them back. In her interaction with the beasts as the're tracked down and recovered, Tina galves a better appreciation for Newt. So when push comes to shove, she again abandons the rule book and helps someone in trouble.

- Fantastic Beasts and Where to Find Them: Movie-Making News

David Yates: She had done something really bad. Like Newt, she is a wee bit of an outsider.'

- Inside the Magic: The Making of Fantastic Beasts and Where to Find Them

Katherine Waterston: Her relationship with Newt? I think if you're peculiar, it's nice to meet other peculiar people. Whether it's romantic or not, it's lonely when you feel like you're the only peculiar person out there. I think Newt and Tina are both kinda offbeat and have a lot of qualities that have often been attributed to geeks. I don't really think of them as geeks, just a little bit unusual.

- Yahoo UK

Katherine Waterson: There’s pieces of it that are very true to life, the cultural clash, we use different words, we have different ways of engaging, she’s an New Yorker, she’s kind of loud and aggressive.

Eddie Redmayne: He’s an introvert. He hates people.

Katherine Waterston: Yeah, and polite. Maybe not polite. There’s a different way of interacting that you certainly notice, Iike I notice goning from New York, as I'm from New York, to England to shoot the movie and sometimes there's a real...

Eddie Redmayn: Even in press, there are things. Sometimes I'll say a word and Katherine will be like, "What does that mean?" Or I'll say the other way around.Katherine Waterston: I'll have to translate it or the other way. Yeah, so, there was so much that I think that JK Rowling noticed about the differences and the cultures that she used in the story. But then at the same time, there are these beautiful parallels between Newt and Tina, and I think once they get to know each other better, they notice the similarities, and the connection there builds. But at the beginning, I think all they see is differences.

- Netease

Katherine Waterston: I think she felt more like a fish put of water in the first film, and I think maybe she and Newt recognised the similarity in one another. They both were in a situation where things weren't quite familiar or right for them.

- SFX Magazine

Katherine Waterston: Actually this is a point of connection between Newt and Tina is that they both had an aspect of their lives that really makes sense to them that in which they are highly functional, and then these other aspects of their lives are not so much. She also struggles with communication. She was orphaned as a child and had to take on a lot of responsibility at home, and as a result, didn't really socialise and develop like the average teenager might. So there are these aspects of her that are a bit stunted, but like all JK Rowling characters, utimately, whatever the guards are, whatever the barriers are, she has this huge heart.

- Kermodeandmayo

Katherine Waterston: What was great at the beginning, you see this slight clash of cultures. He's the outsider in New York. It's her town. She says things he doesn't understand, like No-Maj. He doesn't know what she's talking about. And they started off having this combative relationship. And I think they probably think that they are quite different from one another, but as they get to know each other, they see that there's a lot of points of connection that they had actually quite a lot in common, that they are both really passionate about their work, that they are both a little bit awkward in social interactions. That part of their lives has been sort of neglected and underdeveloped. And they both have a tenderness to them and big-heartedness to them that is quite covered by the way that they present themselves to the world. So it's fun to find the moment where they recognise each other.  

- Tencent

Eddie Redmayne: They're both really passionate people. Newt is absolutely, he's sort of slightly awkward amongst sort of human beings and wizards, but with his creatures he's like hugely passionate, and similarly Tina is pretty formidable at what she does. She's fallen from fame at the beginning of the film, but she is deeply, deeply sort of obssessed with her work in a brilliant way.

Katherine Waterston: Yeah, actually in our world, we both kind of come alive, and in the rest of the world, we haven't quite figure out how to be complete people. Also what's so nice about that is that there's so much room for us, I think, as actors, for us to grow. I think these characters will, when push comes to shove, I'm imagining in the future films, be challenged to rise more to occasions and stuff and I think it'll be really fun to, you know, it's more interesting and exciting to see someone who doesn't know if they're gonna able to pull something off and attempted and than someone who's like, "That's right and no problem. I got this." There's no tension there. So I think there'll be lots of fun. Feats ahead.

- Entertainment Weekly

Katherine Waterston: She has good instincts. She knows she has a lot of potential, but can't seem to convince people of it. I think Newt sees that potential in her. That's a lot of what falling in love is, you feel someone else recognizing what you have to offer. As the relationship evolves, she sees what’s motivating him and why he is the way he is. They are both very passionate about what they do. They are both a little stunted, not very good at expressing themselves. And then you start to see the reason why they have become that way. He’s very isolated in his work. She’s become the parent to her sister, Queenie, because they lost their parents when they were young. So they’re these two people who really haven’t had much time to have a good time. In contrast to Jacob and Queenie who are much freer, and it’s in that contrast that you see how trapped they are. The moments where a little bit of who they really are gets to come out, it’s really exciting. And as the film goes on, that starts to happen more and more.

- Fantastic Beasts and Where to Find Them: Movie-Making News & The Case of Beasts: Explore the Film Wizardry of Fantastic Beasts and Where to Find Them

Katherine Waterston: I think what you see there are two characters who are confronted with their own social limitations. That the areas in their lives where they really thrive. If he’s with his animals, he’s confident and he knows just what to do. And although we don’t really see her thriving at work in this film, at work – that’s the place where the world makes sense to her. It’s what she’s poured all of her energy into in her life. In a sense, by mistake they’ve missed out on developing the parts of themselves that would allow them to just simply enjoy a dinner. I think in that moment they’re both confronted with their own inadequacies and their shyness, so they’re recognizing something similar in one another, but also totally too limited to do anything about the fact that they’re realizing that they’re similar. Then it’s almost made more embarrassing by the fact that the two people right next to them have no difficulty in this area. But, I think that the whole quartet tells a story of oddballs coming together and feel understood by one another. The same thing is happening for both couples in that moment. The ones that are having an easy time talking are finding that they have things in common and a connection, and the ones that are struggling are also finding a connection in that moment.

- Snitchseeker

Katherine Waterston: I think they really kind of are actually kindred spirits. They recognize a similarity in the other. He has an area of his life that makes sense to him when he's with his creatures, and that's the safe place in the world he understands. In the broader world, it's challenging in many ways. Human interactions are challenging. Tina, her work makes sense to her. That's the world in which she thrives, and beyond that interpersonal relationships are quite difficult. You see it when Queenie and Jacob are at the dinner table in the first one. I always thought that scene told so much about these two. Just with the little quick glances and stuff, they were observing a great deal about the trap they are both in a little bit in human interactions, while these other two are so freely engaging with each other, but that's a comfort for them, and I also think I really don't have to act. It's a wonderful gift. Tina loves his relationship to the creatures and I, Katherine, I think it's so beautiful to watch Eddie work with them in the way he does. I feel like that's something that's very easy to perform, but that I think makes her feel like, "This is a really, really special wizard."

- FilmsNow Bloopers & Extras

Katherine Waterston: Part of what causes the wonderful connection to happen in the first film is that they recognise that similarity in each other. She also has a world that makes sense to her, and the greater world is a challenge and those personal relationships, she just doesn't... I think a little bit differently. She just maybe hasn't allowed herself that. There hasn't been time for that part in her life, because she's had a responsibility to care for her sister and focus on her work. But also that's the kind of thing people say when they're like justifying being single or something.

- Wizarding World

Katherine Waterston: When I first read the script, I really loved her journey that at the beginning she's really uneducated about fantastical beasts and maybe even a little bigoted and judgemental of what she doesn't fully understand and through the process of being exposed to them and seeing what they are through Eddie's eyes, she comes to a greater understanding and I loved that journey and that growth.

- Fantastic Beasts and Where to Find Them Interview

Katherine Waterston: And I love Tina because – and I think we can all relate to this. She’s very complicated. She has that aspect where you can feel incredibly confident in yourself, but also be filled with self-doubt and insecurity. She’s got all this hope for herself, but every time she tries to do something right, it goes wrong. So she’s wondering if she is as hopeless as other people perceive her to be. She’s living with that question when Eddie’s character comes along. He lets her try magic and it galvanises her. It can be lonely being an oddball until you find other oddballs. Their friendship is not a mere byproduct of the extreme set of circumstances they go through together; it is their common experience as outsiders that draws them to one another.

- Hot Press

Katherine Waterston: Tina is a very serious, hard-working, also awkward, damaged person. They share some traits. Both are very passionate about their work and thrive in that enviroment, but are little stunted developmentally in other ways. What I loved about Tina was that she loves her work. She's so proud of it and has a sense that she has great potential as a witch, as an Auror, but also at the same exact time, harbours a real anxiety and fear that she won't reach her potential, that she isn't good enough, and so I love that kind of internal struggle she has. It is when she too bonds together with these other three... It's kind of strength in numbers thing. They, especially Newt, I think, starts to encourage her to performe magic more than she's been doing recently because she's been demoted at work and she starts to kind of get her groove back because of that support.

- Filmsnow Movie Bloopers & Extras

Katherine Waterston: It just occurred to me now that both Newt and Tina are kind of rebels. He got kicked of Hogwarts at the beginning of the film. She is been demoted at work, so she's like a career gal without a career when you first meet her and is sort of struggling between both, feeling courageous, outgoing and confident and also vulnerable and insecure, so she's a bit of jumble. It is through joining together with, well, particulary Newt, but with the main four, or the other three I should say, that she kind of gets her groove back.

- MoviemaniacsDE

Katherine Waterston: Yeah, I mean it's one of the lovely things that I think Newt and Tina have in common is that both are really passionate about their work and their interests. It's where they kind of come alive. So for her, to have the place where she's most comfortable taken from her is very uncomfortable for her. So she wants to be a great Auror, but she also really wants to get back in the swing of things, because that's where she feels the best. She's really striving to kind of undo the damage she's done, but she has so much heart, and sometimes there are situations that compelled her to maybe bend or break the rules, even though all she wants is to get back in good graces at work. So she's kind of got this internal struggle going on there. But what's also amazing in the couse of the film is that because... I think that Newt sees her potential and kind of encourages her to get back into doing some pretty badass witchcraft.

- Entertainment Weekly Binge Dec 07 2016

Eddie Redmayne: With Katherine's character, it is sort of a slow-build connection. these two people, who are outsiders yet passionate people, begins to glimpse things in one another.

- Inside the Magic: The Making of Fantastic Beasts and Where to Find Them

Eddie Redmayne: It was one of the things that I loved – the idiosyncrasies within these characters, as you say. Tina was someone that presents as incredibly strong, and yet she has the fragility as well. And similarly, Newt has a seeming awkwardness and shyness, and a complete incapacity to relate to other people. One gets a sense that that stems from some sort of damage. It's also because he is someone who has grown up with these creatures, so he has great empathy for them. And he's his own person. J.K. Rowling writes about these characters who all appear to be misunderstood or outsiders in some way, but when they find each other, they bring qualities out in each other. Both Newt and Tina have a certain pre-judgmental notion, and yet when they really look and listen, I feel that they see each other.

- HMV

Eddie Redmayne: He does have a vulnerability but it's not like he's striving for a connection with humans. At the beginning of the film, he's very happy in himself. He's seemingly completely content in his skin, but it's only when he realises that he can have a connection, that he sort of begins to fall for Tina. He connects with Tina and it's very slow burn but it's been wonderful to play. They start as antagonists, finding each other deeply frustrating, but by the end there's a kind of sense of something.

- Yahoo UK

Katherine Waterston: I don’t think it’s too theatrical a notion that Newt and Tina could bond so quickly, because a lot happens. When you’re thrown together with someone in a high-stakes environment, you tend to feel quite close to them even after a little bit of time. Sometimes you know someone for three days and it’s amazing and you think, “Hey I actually know you. You don’t, ladies! You don’t know them yet, but you can feel like you do.

- Wizarding World

Katherine Waterston: As Tina gets to know Newt, she sees more of him when she sees him interact with the animals because at first she does see him as uncomfortabe and guarded, but she's not seeing him interacting with the creatures, and I think it's part of where the love story begins at least for her is when she sees him the side that he kind of hides from other humans and it's very moving to her. 

- Adorocinema

Katherine Waterston: She really has a journey there to understand so much that she's never explored before. She took her job very seriously and she has great pride in being a part of MACUSA, but there's also a bigger world out there. There might be something a little bit narrow-minded about her—her perspective in the beginning of the film. This is why diversity is a good thing and understanding other cultures is an important thing. As she gets to know Eddie's character, she also comes to understand there's lots of different kinds of points of view about things that she had sort of been a little bit more rigid about... rigid-minded about before.

- KUTV

Katherine Waterston: My character in the beginning of the film, has been raised and taught to fear the other in the case of the fantastic beasts. And through education and through understanding and being exposed to it…Eddie Redmayne: And empathy.Katherine Waterston: Yeah, and being presented with a different perspective on it, she comes to understand that there's no reason for her to fear what she's been taught to fear. So those messages have a solution in them, too, which I think is fucking useful.

- Mugglenet

Katherine Waterston: In another interview I was talking about Tina's journey: she has a fear of the other, she's been educated to fear these magical creatures, and through exposure to them and exposure to a person who has a different perspective on them, her perspective changes. There's hope for growth so long as we open ourselves up to it.

- Leaky Cauldron

Eddie Redmayne: At the beginning, I think Newt has sort of no interest in Jacob. He's just about getting the creatures back. But there's one moment early on when Newt takes him down into the case and Newt doesn't take many people down, if anyone down to the case and he shows Jacob the Occamy, the little and he watches the way. Because these creatures are hated by the wizarding world. Everyone hates these creatures. He watches the way that Jacob looks at this creature and he suddenly sees someone who sees what he sees. And I think that's the first moment that Newt kind of falls a bit for Jacob and I love that progression. And similarly with Tina, when she comes down later and begins to understand these creatures for what they are and I think he can put his defense down a bit.

- Star

David Yates: There's another scene where Alison and Katherine, in the case, sing the Ilvermorny song, the school song. I asked Alison would she write it, and she wrote this beautiful Ilvermorny school song. And they sing it together and the two boys, Jacob and Newt, they sit there and they watch. And as the girls perform this song, this ode to Ilvermorny, they slowly fall in love.

- Slashfilm

Eddie Redmayne: In order to surprise him, Newt has to appear entirely relaxed and unpredictable, but the Demiguise knows him; he already has a sense of what he’s going to do. So Newt encourages Tina to just be casual. That it’s going to be up to her to catch the Demiguise, because he knows less about her. I think that not only is Newt trying to find the Demiguise, but subconsciously he’s beginning to enjoy the proximity with Tina.

- Fantastic Beasts and Where to Find Them: Movie-Making News

Katherine Waterston: Perhaps my favorite day on set was a scene with Tina and Newt on a dock. We were on location in an enormous hanger originally used to build zeppelins. It’s the biggest single storey building I’ve ever seen in my life, and had this incredible energy to it. We only shot a few takes of that scene, but that was one of my best memories. It was just one of those days that felt electric.

- Female First

Katherine Waterston: I loved the scene between us at the end of the movie. Because we’ve been doing all these action and stunts and working with the magical creatures, and this was just a very simple scene, two actors just communicating together, and we shot it with two cameras as well. So it was like sometimes you shoot one side and then the other, but we were really in the moment together. So what you see in the movie isn’t cut together between like many hours of shooting. It’s kind of more in real time. That felt magical.

- Tencent

Eddie Redmayne: What do I enjoy most about the work? It's the tiny moments when things feel real and they happen very, very rarely. You're very lucky if it you have one in an entire job and it happened for me on this job when, in the last scene between Tina and Newt, when they're leaving to go away, she wishes him and says, "Good luck on the book." And then she says the title of the book, 'Fantastic Beasts and Where to Find Them.' Newt can't believe that someone's seen him, and in that moment, whenever Katherine said that, I got goosebumps. I was like got the tingles, "Wow!" Like being seen. And It's a weird moment. You can't really quite describe it and that's why you never talk about it in acting, but it's like something feels true for a minute or a second, and you don't feel like you're putting it on. It's just a natural reaction that happens to you.

- Snitchseeker

David Yates: In the course of the story Tina and Newt have this unrequited, quite tender, quite funny journey together.

- Inside the Magic: The Making of Fantastic Beasts and Where to Find Them

Katherine Waterston: I suppose in the beginning of the first film, she's a survivor and she sort of developed a kind of hardness in order to get by in the world and I think when she encounters Newt, it does soften her in a way.

- Cinemark Argentina

Eddie Redmayne: One of the things I love about Newt is that he's completely his own person. He's learned to be content with that - or he thinks he's content with it. In the last movie, he connected with the [principal] trio, and particularly with Tina, who saw elements in him which other people had never seen. Probably one of the only other people in his life who had seen that was Dumbledore.

- SFX Magazine

Eddie Redmayne: In the last movie, getting to meet Queenie and Jacob, and particularly Tina, like his heart has been opened. So his world has always been his creatures and his case, and through meeting Tina, his heart's kind of exploded, and so I would say he is out for being much more open

- iQIYI

Eddie Redmayne: What is it that he doesn't like about Tina? I think Tina is an extraordinary character. She is formidable, she is vulnerable, she is incredibly caring, she sort of looked after her sister in this extraordinary way despite a tricky upbringing. Even though she's created in the first film this sort of exoskeleton through damage, he can see into her and I think it's just a magnetic connection between them.

- FilmsNow Bloopers & Extras

[wheelin-after-midnight]

48.

:: Favourites ::

Part One

Accent:

I love a lot of accents. One of the top ones though is Irish. Specifically the light lilt Pa picked up from his parents growing up. I always used to feel grounded and calm listening to him talk, no matter how terrible things got. I miss him so much. I wish I had recordings of his voice.

Aesthetic:

Minimalist, but like.. Homey and personal with touches of myself everywhere. Art on the walls that my Nan did, my musical influences wall that I put together, just like, you walk in and there's pieces of who I am everywhere, but not in a terribly messy, cluttered, or over stated way.

Age you’ve been so far:

There isn't one.

Artist:

I have a lot.

A handful of the top ones, speaking specifically of soloists:

Whitney Houston

Tina Turner

Jennifer Nettles

Patsy Cline

Selena Quintanilla

Kelly Clarkson

Ball game:

I don't have a favourite.

Band:

Sugarland, Zac Brown Band, Shalamar, The Temptations, ACDC, Evanescence, Steve Miller Band.. Once again, there are a lot.

Body part on preferred sex:

This sometimes depends on the person, and often someone I'm attracted to will have several features that are my favourite, but we're a shameless supporter of the All Kinds of Titties Committee ™️ over here. Eyes I can get lost in draw me to someone also.

Book series:

So many! I don't read as voraciously as I once did, but the Heartland series, Dear Canada series and A Series of Unfortunate Events books are a few I really loved when I was younger.

Brand of clothes:

I don't care about this kind of thing at all.

Brand of drink:

Same here. I'm not really staunchly brand loyal with much of anything, usually. There are a few exceptions. I do prefer Pepsi over Coke these days. Used to be the opposite on that.

Brand of food:

Brand of jewellery:

Brand of perfume/cologne:

Brand of shoe:

Budget store:

Dollarama

Candle scent:

Apple cinnamon/pumpkin spice, sometimes vanilla scents.

Candy (bar)

Several varieties of KitKat, but definitely the Espresso Biscuit and Ganache one or whatever it's called. I think that's the name. I haven't gotten one in a while.

Candy (non bar):

The little sticks of winter apple chocolates in the merci winter collection box or Reese Stix from the Reese Lovers Collection.

Car brand:

I don't really care cause I can't drive, but I love mustangs. I would want a white one.

Celebrity (male):

Don't have one.

Celebrity (female):

All of the ones I listed in the favourite artists question could apply here.

Character in a book:

Too many to choose one favourite right now.

Character in a movie:

I loved how Kate Winslet played her character in The Reader, but she wasn't necessarily likeable or to be sympathized with through the entire film.

Character in a tv show:

Once again, Kate Winslet's role in Mare of Easttown is one of them. She's definitely one on the top of my short list when it comes to favourite/best actresses.

Chat app:

Facebook's Messenger app and TextNow are my most used.

Children’s game:

I can't think of anything.

Children’s tv show:

Franklin is one of them.

Chocolate type:

Pretty much any of them, except orange chocolate. I find it kind of.. Meh.

Class subject:

Any language classes, Sociology, Drama, Law.

Clothing item:

Leggings, graphic sweaters and tees.

Coffee brand:

McDonald's, though I'm not brand loyal to it when I pick up packages of grounds to make at home unless it's on sale because it's gotten so expensive.

Coffee type:

Light or medium roast.

Coffee syrup:

I don't use syrups often but I guess vanilla bean or hazelnut.

Colour:

Blue. Most shades.

Colour to wear:

Black, white, grey, blue, pink, purple.

Comic:

I don't have a favourite now, but I read a lot of Archie comics during extensive hospitalizations and used to like those. I got into Riverdale when it first came out because of that.

Comedy show:

I loved all Jo Koy's Netflix specials. He really makes me laugh.

Comedian:

Jo Koy, Robin Williams, Wanda Sykes, Kevin Hart.

Condiment:

Sour cream, mayo, sirracha mayo, soya sauce.

Cuisine:

Italian, Mexican, Asian, Greek.

Dance:

I love watching people who are skilled hip hop dancers, and I love the salsa.

Day of the Week:

Don't care.

Design/Pattern:

I love plaid and hounds tooth, but there are a lot of others too.

Dinner/Meal:

Pizza, homemade mac and cheese.

Dog breed:

Golden Retrievers forever! I love all dogs, but I've always wanted a Golden soooo much. Such beautiful sweet babies 🥰😍🥹

Drink (alcoholic):

Hard seltzers that aren't super sweet or artificial tasting, preferably made with vodka, dry wines, sometimes whiskey mixed with something.

Drink (non alcoholic):

Sparkling waters, peachy flavoured things occasionally.

Drink (hot):

Coffee.

Fandom:

I'm not heavy into any right now.

Fast food restaurant:

It changes depending on what I'm feeling. I don't get to go out often.

Filling for cake:

I'm not a big fan of cake at all except for carrot cake. I do like the pudding and jam fillings in a good English trifle, but that's something I don't get to eat very often.

Filling for doughnut:

I don't like doughnuts with filling in them.

Flag:

I feel like I gotta say my own. So Canadian. I do have others I like, though. Jamaican, Ukrainian, the pride flag, the lesbian flag.

Flavour biscuit:

The plain homemade ones Nan always used to make for strawberry shortcake! God I miss those! I miss her with my whole heart. :(

Flavour: cake:

Carrot.

Flavour soda/fizzy:

Pepsi or Dr. Pepper.

Flavour Icecream:

I don't really have a favourite. I'm not big on ice cream. I really have to be in the mood to want to eat it. If that happens, I'll choose something on a whim at the time. I do much prefer soft serve, though.

Flower:

White roses, peonies, and lilacs

Food (non meal):

Sourdough or pumpernickel breads or crackers or chips with really good dips.

Foreign / non native language:

Spanish.

Fruit:

Raspberry, strawberry, pineapple.

Fun activity:

Movies or concerts or drives or whatever with Brittany.

Gadget:

Tablets.

Game (online)

Game (console):

Game (board):

Cards Against Humanity.

Game (other):

AIR HOCKEY! So fun!

Gemstone:

My birthstone, so Aquamarine. Also Amethyst.

Gift received:

Babe's ring.

Gift given:

I've enjoyed giving gifts every time I've done it but I don't feel the need to list the things I've gifted or ways I've helped anyone.

Gig / concert been to:

The second time out of the three that I've seen Jann Arden was my favourite, in terms of live ones. But if I can count the theatre showing of Whitney's Durban South Africa show, since that's the only way I've gotten to see her, that would top all of them.

Grade been in:

None.

Hobby:

Theatre acting, though I've not had opportunity to in ages since I was in school. Singing, writing.

Holiday:

None.

House lived in:

THIS ONE. I JUST WANNA BE ABLE TO STAY HERE FUCK MY LIFE. fgytftyyffyygfy 😭

[fanaticsnail]

ooooh, sounds like a fun day! I'll leave you to it......but off the top of your head:

https://imgflip.com/i/8wizl9

I'll give you one too, promise 😉

-♡♡

I'M DYING AT THIS 💀💀💀

Okay, okay, okay. So my movie taste is a little bit everywhere - so I'm not sure what you like. Let me give you a couple with a brief summary to give you a sense of what I like.

Suck: 2009 (M)

A struggling troup of musicians travel around Canada and USA. It's only when the bassist of the group is turned into a vampire that they finally meet success. Now they have to deal with the consequences of a rise in fame: hunters, groupies, and an insatiable hunger that they need to satisfy to keep up their success. Dark comedy, gore, cameos from musicians, musical.

I don't know why I like this movie, but I do. I think it's the vampires, the miniature models, the muso references, the makeup, and the gore. Could also be Alice Cooper and Iggy Pop.

Calamity Jane: 1955 (PG)

A firecracker gunslinger with a boisterous attitude seeks out actress Adelaide Adams to bring back to her town of Deadwood to win a bet. She finds a friend in the actress, and finds love along the way. Musical, wild west, angst, comedy, romance.

This was my bisexual awakening. This movie has a special place in my heart. I love Doris Day and Allyn Ann McLerie. Howard Keel's voice is also just 🫠. Costumes 👌👌👌. A man in drag singing 🤌.

Overboard: 1987 (PG)

A spoilt heiress decides to snub a single father, widower carpenter she hired after being "dissatisfied" with his services. She cheats him out of his wage, and he is left to fend for himself with little funds to back him up. When that heiress falls overboard and is diagnosed with amnesia, the carpenter decides to get her back and claim to be her husband: working her to the bone as his "wife" to have her earn back the wage she'd lost him. Comedy, romance, Goldie Hawn, Kurt Russell.

THIS IS MY ULTIMATE COMFORT MOVIE. I will watch this movie on repeat. The chemistry between Goldie Hawn and Kurt Russell is absolutely gorgeous - and it's before they ended up getting married in real life. I just AAAAAAAAAAA at this movie. It has all of my favourite tropes, and I love it. Amnesia, enemies to lovers, payback, revenge, and it also is so validating for the often unseen role of being the "at home" parent.

Van Helsing: 2004 (M)

The legendary monster hunter travels to Transylvania to aid in the hunt of the vampire responsible for destroying the town. When the princess of an ancient Romani family becomes the vampire's target, he stops at nothing to end her torment. Hugh Jackman, Kate Beckinsale, David Wenham, Richard Roxburgh. Horror themes, action, romance, monsters.

This movie copped a lot of hate when it was released, but it's another one of my comfort films. It's got the Aussie Hugh in it, and a vampire masquerade dance scene that I just AAAAAAAAAA each time. I love it. It's romance, and I am a sucker for monsters.

Kill Bill: 1 & 2 (R+)

A woman betrayed seeks out her revenge on those who attempted to kill her on her wedding day. Blood, gore, angst, dark, violence, a beautiful soundtrack, multilingual, Uma Thurman, Lucy Liu, fighting.

Another comfort movie. I love this entire plot so much. Tarantino has a few good ones, but this one, Dusk Till Dawn and Planet Terror are my favourites. I love the switch up to Japanese in there.

I am very much enjoying Day 1 of my holiday. Dreamworld is the destination today. Last time I was here was during the night festivals and I may have gotten a little wild and did 'the nutbush' (Australian dance to Tina Turner) with a bunch of children. Reminded me of the good ol' days of being an entertainer 💀. I should do a rollercoaster or a slide POV for you when I'm there 🖤.

Hoping the movies off the top of my head/heart serve you well, my beautiful ♡♡ Anon. I need some more of your gorgeous recs for when I get back home again in 2 weeks.

[spatial-jump]

AB / spatial-jump / thetempscommission

“That’s one badass stapler!” — Five Hargreeves, the Umbrella Academy

ABOUT ME:

Name: AB (she/her)

Birthday: 17th March 2007 (18); Pisces

Ethnicity: Asian British, of Indian descent

Hobbies: Reading, writing, procrastinating, netball, badminton, swimming

Favourite colour(s): Aquamarine, royal purple

Height: 5’2”

A-Level Subjects: Maths, Economics, Classical Civilisations

Likes: Flapjacks, books, the rain, thunderstorms, lightning, chocolate, broccoli, the night sky, space, cats, monkeys, volcanoes, oceans, Greek and Roman mythology, Spring, my favourite fandoms and characters

Other: INTP/INTJ, Gryffindor, daughter of Poseidon, incredibly stubborn, grammar freak, angsty writer, sarcastic, mix of introvert and ambivert

SOCIALS:

Tumblr: Writing Account

Quotev: Main, Writing Account

Wattpad: Main

AO3: Main

Pinterest: Main

Discord: ABADA17

FANDOMS:

(Favourites are in italics.)

Primary: Harry Potter, Marauders Era, Fantastic Beasts, AVPM Trilogy, Percy Jackson and the Olympians, TLT Musical, Heroes of Olympus, The Maze Runner, The Hunger Games, The Umbrella Academy, Stranger Things, Divergent, Once Upon a Time, Anne With an E, Dead Poets Society

Secondary: A Good Girl’s Guide to Murder, Chronicles of Narnia, Miss. Peregrine’s Home for Peculiar Children, Murder Most Unladylike, How to Train Your Dragon (books and films), Noughts & Crosses, Enola Holmes

Other books: Five Survive, Yellowface, Love You to Death, Anne of Green Gables, Black Beauty, Swallows and Amazons, Pride and Prejudice, The Secret Garden, Malory Towers, Famous Five, THUG, the Midnight Game, This Book Kills, The Odyssey, The Aeneid, War Horse, Arc of a Scythe, Nancy Drew, A Series of Unfortunate Events, The Atlas Six (first book only)

Other films/TV shows: Line of Duty, The Bill, Red Eye, The Capture, Trigger Point, The Green Mile, The Shawshank Redemption, The Hurt Locker, Terminator, James Bond, The Bay, Whitechapel, The Tourist, Barbie, Troy, Cruella, Ghosts UK, the Apprentice, Dragons’ Den, The Traitors, Kaos, Pirates of the Caribbean

Currently reading: The Maze Cutter, Little Women, 1984, Lord of the Flies

Currently watching: Teen Wolf (S3), Runaways (S1), The Big Bang Theory (S7)

Future: Supernatural, Bridgerton, Good Omens, The Kane Chronicles, the Mortal Instruments, The Matrix, The Shining, Star Wars, Lord of the Rings, The Godfather, Outer Banks, The Reappearance of Rachel Price, Sunrise on the Reaping

CHARACTERS:

Comfort kins: Five Hargreeves (TUA), James Potter (HP), Reyna Avila Ramírez-Arellano (Hoo), Henry Mills (OUaT), Thomas (TMR)

Kins: Ron Weasley (HP), Lee Jordan (HP), Dustin Henderson (ST), Charlie/Nuwanda Dalton (DPS), Severus Snape (HP), Percy Jackson (PJO), Hazel Levesque (HoO), Tina Goldstein (FB)

Comforts: Teddy the Niffler (FB), Pickett the Bowtruckle (FB), Kreacher (HP), Newt Scamander (FB), Regulus Black (HP), Newt (TMR), Eleven (ST), Steve Harrington (ST), Leo Valdez (HoO), Sadie Kane (TKC), Killian Jones (OUaT), Mulan (OUaT), Gilbert Blythe (AWaE), Jerry Baynard (AWaE)

[independentartistbuzz]

7 FROM THE WOMEN: HEIDI VINCENT

Hailing from Vancouver, singer-songwriter Heidi Vincent is making a definite comeback with her new single “Dear ADHD.” 

After dedicating years to raising her daughter and finding healthy love, Heidi is back in the music spotlight with true purpose and a newfound clarity.

“Dear ADHD” explores the often conflicting emotions of grief, rage, frustration, also liberation and freedom. It’s about enjoying the journey of healing and returning to wholeness:

“I was diagnosed with ADHD very late in life. And when I was finally diagnosed, I literally felt so much grief and rage. I understood in that moment that the years of negativity delivered to me by so many people & institutions were not true. Everything I believed about myself & who I was from these extraordinarily negative messages, from those I trusted implicitly, were not my fault. I lived much of my life feeling like I didn’t belong & wasn’t valuable. ADHD wasn’t understood while I was growing up, not by society, not by my family.”

This pop-country track is her first in a series of singles to be released early this year, all of which mark Heidi’s return to music. Each song tells a story of strength, authenticity and compassion, with upcoming singles “What Love Can Do” and “Criminal” due out soon.

Heidi has had a diverse and successful career in the music industry, with live performances throughout various venues and festivals as well as on-screen placements of her music in film and TV shows. One early career highlight includes being featured as a guest on local TV station City TV and the talk show “Breakfast Television” in Vancouver, BC

These appearances have contributed to a growing fanbase and gained her further credibility in music.

We caught up with Heidi Vincent for an Exclusive Interview below:

What have you been working to promote lately? 

I have been really focused on promoting my recent single “Dear ADHD.” It’s about “life-ing” with ADHD in a neuro-typical world. 

2. Please tell us about your favourite song written, recorded or produced by another woman and why it’s meaningful to you.

I love “Thank U” by Alanis Morissette because she is expressing such heartfelt gratitude throughout the song. 

3. What does it mean to you to be a woman making music in the music business today and do you feel a responsibility to other women to create messages and themes in your music? 

It’s a wonderful time to be a woman in the music industry right now. There are so many opportunities to speak out and not be censored, by anyone. The numerous platforms to express art and creativity is extraordinary. In the 1990’s, you had to have had an Agent, Label, AR a Manager etc. 

Now? You are your own company, you are free to do your own business, making your own art and decisions. Room for all! 

4. What is the most personal thing you have shared in your music or in your artist brand as it relates to being female? 

My late diagnosis of ADHD and the symptoms I live with. 

5. What female artists have inspired you and influenced you? 

Annie, Aretha, Shania, Whitney, Adele, Ella, Tina, Cher, Stevie, Joni, Janis … the list doesn’t end. 

6. Who was the first female artist that made you want to create music / be in the business? 

Patsy Cline. 

7. Who’s your favourite female icon? (Dead or alive) and why? 

Aretha Franklin. She was literally the “hive” of soul, range and empowered woman with her messages. For example, “Respect” a request for respect from her man and society too. 

Finally, where can we find you online? 

Website | Facebook | Instagram | Tiktok | YouTube | Spotify

[stevesaxetogrind]

I have a plot bunny, it’s been done before but Stephanie Harrington is in my head. Consider, Season 4, trying to convince Robin that Vickie is also a tits girl:

“I feel it! Vickie likes boobies, she’s like me!”

“I’m not taking my ex’s advice on which girls like-”

“Boobies?”

“Ew stop saying it!”

“What? I’m a girl. You’re a girl. Vickie’s a girl. We all have boobies. We all like boobies Robin! Boobies, boo-”

“Shut up!”

“Don’t say that to your favourite ex.”

“You’re my only ex.”

“Well then as your ex turned bff- which Robin we didn’t even date- I say I have a great feeling. Fast Times doesn’t lie!”

“Fast Times isn’t even that good a film.”

“Don’t let Vickie hear you say that. Phoebe Cates would never. Take it back!”

“Nope.” Robin grinned that stupid smile of hers.

“How can you ever touch Vickie’s boobies is you don’t even take an interest in her interests?”

“Oh my god, stop saying boobies!”

“You said it too this time.” Steph smirked, “its funnier this way.”

“I give up on you.” Robin sighed, leaning against the door as they rolled into the school parking lot.

People milled about, completely uninterested in former Queen Bee Steph Harrington dropping off band geek Robin Buckley. Which was good. Robin liked it better that way.

She turned to Steph, tentative. “I’ll see you tonight. Are you going to take a date?”

Steph shrugged noncommittedly. “I’m giving Nance a life, she’s covering it for the paper so hopefully I don’t have to look like a total loner. But I got to support my best friend and her future girlfriend.”

Robing could only laugh when Steph started nudging her, enthusiastic to the end.

“High school is so last year for you, stop caring about popularity. Who cares if you go alone?”

Steph shook her head, “You can take the popularity out of the girl- violently and with monster goo from another dimension, but is it a crime to care what other people think? I’ve got to live in this town, shop here, talk to people- I’m not like you Robin, I’m not going to go to college… do you think I like little old lady Paulson giving me pitying looks about ‘ruining my face’ in the mall fire?”

Robin gave her a withering look. It didn’t stop her.

“Also Rob, I’m taking a break from men. Most girls think I’m some kind of disabled skank, and any girl who used to be able to tolerate me is either away at college or is caught between cheer loyalty and social suicide. I’m the one who couldn’t even make it into Tech as Head Cheerleader- you think they’d want supports but no-”

“Steffie honey, I don’t know your weird sports terms.”

“Okay point. Emily and Chrissy, maybe Tina S, are the only tolerable members of the Hawkins student body left and they’re all cheering tonight. I’m going to sit behind the band with you and cheer on Lucas. It’ll be fine.” She sounded like she was assuring herself more than Robin.

“Okay loser, you’re allowed to make new friends.”

“Or I could focus on the ones I already have. I don’t want Lucas to think the only reason I’m there is because some guy dragged me there to get laid.:

“Oh yeah. Huh, maybe you could sit with the kids. Everyone knows you babysat Henderson.”

“Yeah maybe. I know they don’t like sports, but it’s the Championship. I’m sure they’d grab some good seats at least.” Steph looks considering at which might be worse. At least she’d have someone to talk to, even if they were her freshmen friends. Especially since Nancy would be busy for most of the game.

“Maybe they’ll even let Lucas play. It’d be good for you all to cheer together! Little supporters’ section.” Robin suggested.

“God, I hope so, he’s been practicing a lot. I know he’ll do so well if they just give him a chance.” Steph smiled. She’d have played basketball for the school team if they’d scraped together enough girls for an inter-murals league, but it was just her and Laura C. No one else wanted to do anything that close to tomboy material. So, it’d been a lot of fun playing with Lucas when she’d drop Dustin off to their little summer game nights.

Robin gestured up at the school, bell about to ring. “Well, this is me dingus. Love you Steph. Wave to me tonight.”

“Love you too, see you Robbie.”

[edwin--artifex]

"FEUERBLUME – DIE ZWEI LEBEN DER MARISA MELL"

Ö 2023 – 64 Minuten – deutsche Fassung R: Markus Mörth D: Marisa Mell, Erika Pluhar, Helmut Berger

Wer war Marisa Mell? Die Personae der berühmten Grazer Schauspielerin und Privatperson Marlis Moitzi werden im Dokumentarfilm Feuerblume – Die zwei Leben der Marisa Mell einander gegenübergestellt. Weggefährt:innen wie Christine Kaufmann und Erika Pluhar erinnern sich.

Der Film versucht, mit aktuellem Blick und vor dem Hintergrund der #MeToo-Bewegung die Rolle der Frau im Filmbusiness der 1960er- bis 1980er-Jahre zu hinterfragen.

"Feuerblume - Die zwei Leben der Marisa Mell" ("Fireflower: The Two Lives of Marisa Mell") Documentary (2022-2023) Portrait / Directed & written by Markus Mörth/ Production Markus Mörth Filmproduktion GmbH/ ORF - Österreichischer Rundfunk /

Production Designer & Art Director: Burkhard Stulecker

locations/fixer: Roma: Edwin Alexander Francis

SPECIAL THANX TO: Annamode for letting us film Marisa Mell's beautiful costumes inside their workshop and to VPI Voice Professionals Italy for letting us film in their 'office' on Piazza Vittorio, Rome

local crew: from left to right: Edwin, Burkhard (Art), Astrid (DOP), Markus (Director/Producer) and 'X' our Sound-stand-in

...and here's a 'historical' snapshot featuring Marisa (centre left) (c) Burkhard Stulecker (second from the right) and Helmut Berger (on the right) ->

Marisa M. & Marcello M. starring in 'Casanova 70 ->

a brief bio ->

Marisa Mell was born in 1939 in Graz, Austria. Her film debut was in 1954 in “Das licht der Liebe”. She went on to make “Dr”, “City of Fear”, “French Dressing”, “Masqurade” and “Danger Diabolik”. In 1967 she was on Broadway as “Mata Hari” a musical with Pernell Roberts. It was not a success. Marisa Mell died in 1992 in Vienna.

....and a brief portrait (c) Tina Aumont (from an article published in the series: Tina Aumont’s Eyes)

Beautiful and exiting, the stunning Marisa Mell appeared in an array of cult classics and exploitation favourites, from both Italy and abroad. Never shy with nudity, she is also remembered for her glamorous pictorials that featured in many glossy publications during her long and varied career.

Born in Austria on February 24th 1939, Marisa Mell’s life was nearly over before her career even took off. In 1963, after having appeared in only a handful of European movies, Marisa was involved in a serious traffic accident while in France. She nearly lost her right eye and would spend the next two years having plastic surgery, which resulted in a slight curl to her upper lip. During this time though, she continued to make films both home and abroad. In 1964 Marisa played a French movie star in Ken Russell’s film debut ‘French Dressing’, a fun comedy with James Booth and Roy Kinnear. Staying in the UK, she was a femme fatale in Basil Deardon’s spy spoof ‘Masquerade’ (’65), with Cliff Robertson. Back in Italy, Marisa was one of Marcello Mastroianni’s conquests, along with Michèle Mercier and Virna Lisi, in the entertaining romp ‘Casanova ‘70’ (’65).

Marisa is perhaps best known for Mario Bava’s stylish 1968 caper ‘Danger: Diabolik’, as the sexy girlfriend of John Phillip Law’s slick criminal; Diabolik. A big hit in Europe, it’s a fun if dated tongue-in-cheek romp that’s developed quite a cult over the years. Also in 1968, Marisa co-starred in the corny sex farce ‘Anyone Can Play’, alongside Virna Lisi and former Bond Girls Ursula Andress and Claudine Auger. The following year she gave a good performance in Lucio Fulci’s first giallo ‘One on Top of the Other’ (’69), looking sexy and dangerous in dual roles. Marisa would again have a double role in the Spanish thriller ‘Marta’, co-starring Stephen Boyd. An interesting though sometimes frustrating movie, it had Marisa play a murderess who resembles the estranged wife of a wealthy man (Boyd), who has murdered his own mother. More of a character study with added intrigue, than the usual giallo, both Boyd and Mell are very good and there are a few surprises along the way.

The following year Marisa would yet again play two roles, this time as twins, in exploitation king Umberto Lenzi’s pretty good giallo ‘Seven Blood-Stained Orchids’ (’72). Marisa looked stunning as a honeymooning bride who’s attacked on a train by a mysterious figure dressed in black. A rare Hollywood film came in 1975 when she had a small role in the Diana Ross fashion drama ‘Mahogany’, as the owner of an Italian modelling agency. It did little to help her career, but at least she got to work with her early crush; Anthony Perkins. Back in Europe Marisa was brutalized by a psychotic Helmut Berger in the sleaze-filled exploitation flick ‘Mad Dog Killer’ (’77), a typically grimy revenge picture from Italy, filled with rape, murder and car chases. In 1979 Mell appeared in ‘Ring of Darkness’, an Italian late entry in the whole ‘Exorcist’ rip-off cycle. A bit of a mess and hard to follow, it at least had a respectable cast including Frank Finlay, Ian Bannen and Anne Heywood. A silly but fun actioner followed with the terrorist-themed ‘Hostages!’ (’80), an international co-production with Stuart Whitman and Mexican favourite; Hugo Stiglitz.

Like many cult stars of the sixties and seventies, Marisa’s career had waned considerably by the 80’s, with only small roles in a few TV shows and Z-grade movies (including a guest spot in the 1983 porn flick ‘Nude Strike’), coming her way. After the dire Joe D’Amato fantasy ‘The Hobgoblin’ (’90), Mell’s final appearance was in the obscure 1991 comedy ‘I Love Vienna’. Married briefly to director Henri Tucci (’59-63) Marisa Mell sadly died in Vienna from throat cancer, on May 16th, 1992, aged just 53. A very good actress and a B-movie favourite, Marisa added charm and sex appeal to many European movies, and her legacy continues to be rediscovered by cult movie fans worldwide.

So, the "Feuerblume - Die zwei Leben der Marisa Mell" (Fireflower: The Two Lives of Marisa Mell) documentary directed & written by Markus Mörth is a must! The film tries to question the role of women in the film business between the 1960s to 80s while opening on current perspectives against the background of the #MeToo movement.

below: setting for the interview with Karin Aicardi (née Moitzi, Marlies Theresa Moitzi, aka Marisa Mell's cousin)

...and here are a few filmposters, just as reminder ->

......and ->

[lesbianwithchainsaws]

ive got horror asks for days so. what’s a single shot in a horror film that has stuck with you?

I've got horror answers for days! So:

In Hereditary, the shot of Charlie's head. Didn't expect any of it at all and her death in general has stuck with me ever since I watched the movie.

In Lake Mungo, the shot of Alice's dead body in front of her. I feel like I've mentioned Lake Mungo a lot recently, but it's very quickly become one of my favourite horror movies!

The ending is Spoorloos (the vanishing in english). Okay technically this isn't horror, but whatever, it's terrifying imo (idk if you've seen it so I'm not gonna spoil it)

That scene in Hellraiser where Frank is all chained from every side and there's a close up of his face as he says "Jesus wept"!

I've got two from the Ju-On movies: first, Kayako coming down the stairs in Ju-On: The Grudge. Just the way she looks and doesn't blink at all, it works so well!!! And second, from Ju-On: The Curse, there's a scene where it's revealed that one of the characters has her jaw completely ripped off and that also has weirdly stuck with me.

In We're All Going to the World's Fair, there's a scene where the main character moves while she's asleep and has this creepy smile on.

Any shot where a character is buried in the ground with only their head out. That concept weirdly terrifies me, but I've seen it in I think two movies (Motel Hell and Creepshow)

Like every shot from Suspiria (the original one at least. I haven't seen the remake yet.)

It's been a while since I've watched Hell House LLC so maybe I'm remembering a bit wrong, but there's this scene where what everyone thinks is a prop creepy clown is basically in one shot and then suddenly not in the other. And I loved that shot! Should rewatch the movie sometime soon

Tina on the ceiling in A Nightmare on Elm Street! Also the blood coming out of the bed. This movie just has so many amazing shots!

And the close ups of Sally's eyes in the original Texas Chainsaw Massacre. But honestly every single thing about this movie has stuck with me forever

Sorry this ended up so long lmao. Would love to hear what yours are!!! Also I really should send you horror asks more too, I just can never think of many good ones

[chaoticwholesome]

11. favourite native writer/poet?

I'm gonna be sadly honest with you here, South African literature is a bit of a blindspot for me and one i'm hoping to do better in terms of my reading! A lot of local literature we were assigned in school was unmemorable at best and Really Bad at worst and i Don't consider that representative of our media landscape.

So i'm gonna pull recommendations from other media forms instead!

Mary Sibande: one of my favourite fine artists!!!! She did a fantastic series of sculptures using her own body as a mold - pulling from her heritage of being the first woman in her family to have access to education while her mother and grandmother had both been domestic cleaning workers, Sibande casts herself in maid's uniform with a twist: the long maid dresses are cut like a wealthy Victorian woman's gown, and all the statues show her in traditional visual poses of power, such as on horseback as the horse rears up, or in other regal poses! These works are lifesize and incredibly powerful in person!! I love coming across them by surprise in different galleries i've been to!

Leroy Le Roux: Animated filmmaker! His and Tina Obo'a short film The Sugarcane Man is amazing, and Le Roux himself just graduated from Gobelins in France!

Brenda Fassie: a bisexual musician and anti-Aparheid activist! From the bits and pieces I've read about her life, she seems so cool!!!

Nadia Darries: Director of the "Aau's Song" Episode of Star Wars visions! She's a musician and animator who brought a lot of Herself into that episode, from her Khoisan heritage being depicted in the visuals and in a character designed after her Shaman cousin, to her musical background coming in centrally to the plot of the story, it's just.... so fucking good man. Deft combination of frame rates, beautiful textures and look developent, and absolutely insane sound design. Go watch Aau's Song if you can.

There are probably plenty more I can't remember offhand, but I'll edit this to mention them when i do!!