#Tom is the embodiment of will over skill

[away-ward]

i cannot for the life of me make a decision about this, so do you have any headcanons on opinions on what banks would've been like if she had gone to high school ?? what tropes or clichés she would've been closest to embodying ?? because we know em was a nerd, that winter struggled for the obvious reasons but ultimately was fine in hs and fairly normal, rika was decently popular but far from the cheerleader level... but banks, i can't place what she would've been like if she'd gone to high school. we know she's very smart, but i can't see her as someone holed up in a library. then, we can also probably deduce that if she had gone to high school, damon would've been crazy protective but i still can't really make a set decision on much else regarding how banks' storyline/personality would've gone if she did indeed attend Thunder Bay prep or some other high school, minus these small details.

i do think she & emory would've got on like a house on fire if she attended TBP as they would've been in the same grade and probably had similar opinions on high school hierarchy and the horsemen and general thunder bay weirdness and extravagancy. they would've dissed people so thoroughly and easily with their quips and banter, for sure.

Ohh I have thought about this.

It can go so many ways, because as same with Emory, the debate is "was she naturally someone different and the circumstances made her this way? Or is it that she survived the circumstances because this is who she is naturally?"

Did Banks do so well in Gabriel's house because that's who she is, or did being in that house make her that way. In Hideaway, she mentions that she never cut her long hair because it was the last part of "Nikova." Additionally, her struggle with Damon is wanting to be her own person and to experience things other teenagers - normal teenagers - experience. But if she were a normal teenager, would she still value those experiences, or would they be mundane and expected?

I chose to think High School AU Banks would fall somewhere in the middle. She'd still be a bit of a tom-boy, and a bit of a rebel. In my AUs, she still lives with Lucinda, but Damon wants her close, so Gabriel pays for her to attend TBP. She's smart, but not without effort. She's not afraid to get involved throw down if she sees something she doesn't like. She's careful, though, and never throws the first punch, so she can always claim self-defense. It's helpful that she's a bit of a sarcastic smart ass and naturally skilled at goading people.

In school, she'd appear to be generally nonchalant about stuff, but she actually has a lot of opinions. It comes as a surprise to the teachers, who were not expecting Damon Torrance's younger sister to be so... outspoken. And argumentative.

Having a bit more freedom, and hopefully a healthy relationship with her brother, she’d probably be known for fighting with Damon in the halls over how protective he is. Like, he can’t even let her project partner talk to her without going all big brother on her.

Seriously, get a life, dude. Maybe if you had as much confidence talking to your little dancer friend as you do telling me what to do, you’d actually have a girlfriend. Newsflash, bro, there are certain things I can’t and won’t do for you.

I don’t see her wanting to participate in any extracurricular activities, but with a school like Thunder Bay Prep, it would probably be expected. I can’t see her wanting to be on a team, so Girl’s Basketball probably isn’t a good match…

Oh. You know, with her being a bit of a sleuth in Hideaway and tailing Kai to get his routine, she’d probably make a good Yearbook photographer. Or maybe working on their school paper. Maybe something along those lines that keeps her out of the spotlight. Though, I don't know what Banks would want to do growing up. Maybe she does go into student government, wanting to make changes that actually make sense and benefit the students, instead of planting a tree as the senior gift for the fifth year in a row (do these people even know what they could do with this much money, or do they only know how to add when it's involving cases of beer and tits?). Maybe she does it because she's tired of seeing Chloe get everything and wanted to challenge her, and then sort of accidentally ended up class president.

Actually, I like that...Emory makes fun of her for it all the time.

Speaking of Emory, they are best friends. Both come from more humble backgrounds, which would naturally make them targets for bullies, but not this time. Because the whole school knows wherever Emory goes, Banks is close by. And wherever Banks is, Damon is close by. And wherever Damon is, the Horsemen are close by. Not to mention, Will is a horseman, and he’s always close to wherever Emory is…

Not that Banks and Em need them. They're pretty good with the tongue lashings, themselves.

Without a doubt, Banks goes to every single one of Emmy’s activities to show support. She hangs out when Emmy’s working on her projects, and helps when she needs a hand. They both have a crush on a Horseman, but they only talk (read: tease each other) about that when they can guarantee no one can hear them.

I headcanon Banks, Emmy, and Elle are a pretty solid trio. Emmy's smart and artsy, Elle's a soft-hearted romantic, always talking about dating but never taking her own advice, and Banks plays the rebel without a cause who loves her two friends.

Anyway, have some pics that would definitely be in Banks' friend's (so Emmy and Elle) camera roll.

that last one's from Banks of will and emmy. (i've never seen love, rosie, so I don't know context. but I know in a willemmy high school au that has yet to be written, this scene will happen)

Let me know what you think! Or if my headcanons helped inspire some of yours. This was really fun, thanks for the ask.

[californiastatelibrary]

Biddy Mason's journey embodies #blackgirlmagic. Born into slavery in 1818, she later became a free person, nurse, and esteemed citizen of Los Angeles. In 1848, she traveled from Mississippi to Utah with Robert Smith's wagon train, eventually settling in San Bernardino, CA. When Smith attempted to take her back to Texas, a slave state, she and her family were rescued by local authorities after a raid on Smith's camp. In 1856, Biddy won her freedom in court despite facing challenges as a woman and a black person. Utilizing her nursing skills, she worked for Dr. John S. Griffin in LA, saving diligently to purchase land and build a home for her family. Over time, she became one of the wealthiest black women in LA, known for her generosity and community contributions. Biddy played a pivotal role in establishing one of the city's first African American churches in 1872. Despite being buried in an unmarked grave upon her death in 1891, her legacy was later honored with a tombstone in 1988, and a monument near her home in 1989, under Mayor Tom Bradley's administration.

Biddy Mason: Becoming a Leader, a book in our collection, was used for research in this post. The picture is in the public domain.

[sleepanonymous]

im trying to get into sleeptoken - one of my friends is dragging me into it and i love it - can you just give me like a huge timeline and lore overlook? im looking around your feed, and im SO confused but also SO intrigued !! would love to hear from you :)

Hi! New fans always make me so happy! I’m glad you’ve been shown Sleep Token and you like what you’ve heard so far! I always recommend this video and this article regarding Sleep Token lore, but… yeah, I will take a stab at a complete timeline for you. I’ll be honest: I never was very into the lore of “Sleep” as much as I was curious about the band itself (which is typically why I recommend the two above sources for lore purposes). I know that much of the lore is from fans’ deep analyses of Sleep Token’s lyrics and not anything official from the band or Vessel. Almost everything is fan-made, so there are a lot of differing opinions—anything official or stated by Vessel and the band in interviews I included. If anyone is interested in my take on the lore, I might make a separate post about that.

This ended up becoming a massive post. Take what you think is massive and then double or even triple it. Fun fact: I aggressively fact-checked this and actually learned some new things about the band myself. I have marked any unverifiable statements and opinions in this post with an asterisk. Due to the band’s secrecy, the sentences with an asterisk are either heavily opinion-based or my best guess at what might have happened during a specific time period. Take them with a grain of salt.

Anyway! I have a problem; below the cut, I am making it everybody else’s problem.

In September of 2016, a video was posted to YouTube. The video was a black-and-white depiction, through short clips and flashing images, of what appeared to be a lone masked man, Vessel, performing a ritual by candlelight. The music over the video, a hauntingly beautiful mixture of indie pop and prog metal, was met with heavy praise from commenters. The description had three links to a new band’s social media and a Bandcamp account. Below the links was the following description:

Sleep Token are a masked, anonymous collective of musicians; united by their worship of an ancient deity crudely dubbed “Sleep”, since no modern tongue can properly express it’s name. This being once held great power, bestowing ancient civilisations with the gift of dreams, and the curse of nightmares. Even today, though faded from prominence, ‘Sleep’ yet lurks in the subconscious minds of man, woman, and child alike. Fragments of beauty, horror, anguish, pain, happiness, joy, anger, disgust, and fear coalesce to create expansive, emotionally textured music that simultaneously embodies the darkest, and the brightest abstract thoughts. He has seen them. He has felt them. He is everywhere. Sleep Token, led by the perpetually tormented, supremely talented Vessel, creates music that brings to the fore our most submerged thoughts and feelings, coaxing them from the desolate, terrifying caves of our subconscious mind.

The band officially formed in April 2016 (The YouTube channel, for reference, was created on April 14, 2016), but things had already been in the works for nearly a year before the uploaded Thread the Needle music video. In July 2015, Vessel came into contact with a talent scout/independent project manager by the name of Tom (I won’t provide his full name since Googling him brings up biased, embellished, and most likely false information about the band and its members).* In 2015, Vessel was already a skilled, trained, and experienced musician with the ability to play several instruments, including the piano, guitar, and bass, and the knowledge to compose and produce his own music. That being the case, Tom introduced Vessel to a drummer, dubbed II, as well as a skilled producer by the name of George Lever.*

On November 10, 2016, a second video was posted to Sleep Token’s YouTube channel, a music video for the masked collective’s second release, Fields of Elation. Much like Thread the Needle, Fields of Elation was met with enthusiasm and praise by Sleep Token’s growing fanbase.

Finally, on December 2, 2016, Sleep Token independently released their first EP, aptly titled “One”, on their Bandcamp page. The EP included Thread the Needle, Fields of Elation, and a new song: When the Bough Breaks. Accompanying the three songs, the band also included piano renditions of all three songs, performed solely by Vessel.

On the last day of February 2017, Sleep Token posted another video to their YouTube channel, a sombre piano cover of Outkast’s Hey Ya. Following the release of “One” and the cover of Hey Ya, Tom, now acting as Sleep Token’s manager, got the band signed to a label called Basick Records.* By May 2017, the band had another three-song EP, dubbed “Two”, already written and set to release that summer. This was announced via the release of Sleep Token’s third music video, Calcutta. By this time, Sleep Token’s manager had gotten a stand-in bassist and guitarist, dubbed III and IV, respectively, for the band’s first live Ritual. This was mentioned at the end of Sleep Token’s first-ever published interview with Louder. You can read it and the accompanying short article here.

On June 17, 2017, less than one month after the release of the Calcutta music video, Sleep Token took the stage for their first Ritual at The Black Heart in London. The band played seven songs live, including the three songs from “One”, Calcutta, two unreleased songs, Nazareth and Jericho from their upcoming EP “Two”, and their cover of Hey Ya. Very little is known about this Ritual. Most online sources seem to not know of its existence at all. The only concrete facts known about Ritual I are that doors opened at 7 pm, it was 18+, and tickets were £8.00 each. It is unclear how many people attended the Ritual; no footage or pictures have surfaced from that evening.

Sleep Token’s second and third rituals were performed in London in October and November 2017. The band opened for Motorpsycho and Perturbator, respectively. Because they were openers, any visual or audio documentation is nearly non-existent, but the band did appear in a few online articles reviewing the concerts.

In this article, author Roger Trenwith wrote the following about Sleep Token’s Ritual II:

“The support act Sleep Token was an odd mix of metal and pure pop, played by a band in horror masks and cloaks. Musically they were somewhat formulaic, in the tried and trusted quiet-loud-quiet-F’KIN LOUD nature of most of the songs, and accompanying theatrics by rote. When they diverted from the formula, they showed some promise, mostly down to the singer, whose extraordinary range made them just about bearable.”

Ritual III was met with similar criticism. This article, written by a much more helpful and open-minded Chris Keith-Wright, stated the following*:

“Remarkably, by the time Sleep Token take to the stage to start the evening off, there’s a very respectable amount of people front and centre to check them out. Perhaps this is due to the up-swell of media attention on the band since their signing to Basick Records and the release of their second EP, cleverly titled Two, that landed this summer. [...] The conceit surrounding the group is that the band are representatives of an ancient deity known only as “Sleep”, and that their frontman is an appointed-one dubbed ‘Vessel’. Whatever one makes of that, the fact is that Sleep Token’s Vessel has a most extraordinary set of pipes. [...] With a lighting show in time with their music and Vessel’s strong, soulful melodic voice featuring some impressive falsetto, they quickly engaged the audience. With the amount of vocal harmonies and extra musical depth that came over the sound system, I have to admit that it felt throughout their set that they were missing a band member, someone who could control and wield the keyboards, samples and electronics in a live setting. Donned with the obligatory cloaks the band produce a strong performance with their points of difference, clearly thought out prior to their live debut only a few weeks before. Their odd masks obscure their faces and during the quiet, vocal-led passages the guitar and bass players stood stock still. It’s simple, understated, but effective, producing quite the spectacle. Sleep Token’s transition between soulful, repetitive vocal melodies and brutal Meshuggah-esque riffery, and after a few songs this formula felt well-trodden. This is unfortunate as on record these transitions between the two disparate styles are far better executed – live there was far too much juxtaposition. Despite this, I and the majority of the growing crowd were transfixed by their performance.”

In March 2018, Sleep Token opened for two Holding Absence/Loathe shows, two bands with which Vessel would later collaborate. By April 2018, Sleep Token had parted ways with their manager and the Basick Records label.* It is unclear if both of these departures were related or amicable. As a once again independent artist, Sleep Token released the single, Jaws, on June 3, 2018, using footage filmed for their Nazareth music video that their previous label did not utilise. Through the spring and summer of 2018, Sleep Token performed their rituals at UK music festivals, further growing their fanbase.

In August of 2018, Vessel gave his second interview to Kerrang! UK. Interestingly, the article refers to the frontman not as Vessel but simply as Him. The main focus is on Sleep Token’s music and the single Jaws, released two months prior. A transcribed version of the article can be found in my Google Drive

Following these successful rituals and the Jaws interview, the band released another single, The Way That You Were, on October 8, 2018, along with its music video on YouTube.

This release preceded the last Ritual the band would perform that year. On October 11, 2018, Ritual XI was held at St Pancras Old Church in London, dubbed the band’s Inaugural Headline Ritual. It’s rumoured that all 120 tickets to the Ritual sold out in seconds. The band performed ten songs in total, including the live debut of the song Blood Sport. It is also worth noting that this is the first ritual Sleep Token performed with an opener being a band called Exploring Birdsong, which would become a staple opener for later ritual dates. Several members of Exploring Birdsong would also later become touring members of Sleep Token as the Choir.

At an unknown date in 2019, Sleep Token signed with a new label, Spinefarm Records. Together, the band and label began releasing music from Sleep Token’s first full-length album, “Sundowning.” Starting with The Night Does Not Belong to God on June 20, 2019, the band methodically released a new song bi-weekly at sundown BST until the record’s full release on November 21, 2019.

Interestingly, Sleep Token’s biography on Spinefarm differs from what the band had previously had in the description of their first two music videos. It is as follows:

Beneath the Sleep Token banner, lies the unique, broad-based vision of one individual – anonymous, silent, masked, armed with a staggering vocal range, a deft touch on the keyboards, plus a live approach that is never less than fully engaged.

While all factual statements to Vessel’s capabilities and talents, it appears that the band and their new label had retconned the lore surrounding them, granting the creation credits solely to Vessel himself. This is further evident by the Kerrang! Interview Vessel had previously given, which was removed from the internet, as well as the band’s Facebook page getting scrubbed of all posts prior to April 2019. Replacing them is a video of Vessel sitting at a piano and removing his mask, reminiscent of what would later happen at The Room Below Ritual in 2022.

Sleep Token would return to the stage on July 2, 2019. During this Ritual, Sleep Token opened for Amaranth and headliner Babymetal. This Ritual is notable because two key stage members, the guitarist IV and the Keyboardist, were replaced. The new guitarist took on the same moniker of IV, and the Keyboardist was replaced with three women from Exploring Birdsong, forming the Choir (or, as fans have dubbed them, the Vesselettes). The Choir was not yet a ritual staple, and there were several festivals and rituals where they did not accompany the band on stage, such as Sleep Token’s first US tour from November 7 to December 15, supporting Issues on the Beautiful Oblivion tour. The replacement for IV, however, did accompany Sleep Token on this tour.

With the release of “Sundowning,” Sleep Token once again gave an interview to Kerrang! UK to accompany an article reviewing the album. The article can be found online here, but no longer has the accompanying interview section. A photo of the original magazine review + interview, and a transcription can be found in my Google Drive.

Returning to the UK, Sleep Token performed several more rituals in late January 2020. Due to COVID-19 and subsequent lockdowns, they did not conduct another ritual that year. Nearly one year after the release of Sundowning, the band released a deluxe version, including new covers of Whitney Houston’s I Wanna Dance With Somebody and Billie Eilish’s When The Party’s Over, a piano version of Blood Sport, and a new original song titled Shelter.

Sleep Token would not perform another Ritual until the Download Pilot festival on June 18, 2021. Despite being Sleep Token’s first Ritual in over a year, this festival also had IV replaced again by another guitarist donning the same moniker. The Choir also returned to the stage with Sleep Token, completing the lineup that we know today. This festival was the same day that Sleep Token dropped their new single from their upcoming second album, Alkaline, along with a music video on YouTube.

Another reason the Download Pilot ritual was significant is that it was the first time a spoken message had been given to the attendees of a Sleep Token ritual, not by a band member but by a prerecorded, AI-generated voice. The following text was the message:

Let’s not deceive ourselves There is a reason we are here It follows us wherever we go We were in love We are in love It is what floats above us as we try to sleep It is what stands beside us as we gaze into nothingness It is drowning us It is eating us alive A million outstretched arms in complete darkness They will reach forever Remind me We’re both dying to find out what happens when we die We’re both scared of being We’re both stolen pieces of each other We’re both exploring our own frontiers of grief We’re both just strangers We’re both just particles We’re both so lost in what it means to be lost We’re both a house that remained unoccupied for too long Let’s not deceive ourselves.

Sleep Token released another music video for their upcoming album’s second single, The Love You Want, on August 6, 2021. Sleep Token played the same spoken message before taking the stage at the 2021 Heavy Music Awards on September 2, 2021. On stage, they performed several staple songs from “Sundowning” along with new singles Alkaline and The Love You Want, with the latter including the same dancers from the music video.

Two weeks later, on September 17, 2021, Sleep Token released their third and final single from their upcoming album, Fall For Me. Unlike the previous music videos for the band, this video focused on a single man, whom keen-eyed fans had identified as Vessel, though he was maskless, paintless, and in street clothing. Over the video, words will flash across the screen. When strung together, they give the following message:

The truth is I am due a harsh lesson In truth itself and how bitter it can be  Will you teach me? The truth is, I am ugly, I am inadequate, I am lost, I am no god The truth is, I want to want to live And so do you I just can’t do this any longer I am afraid Are you afraid? I want to understand what it is to let go So for now let me serve as a living drama of your pain If we are to be submerged let us be submerged  Together

One week later, On September 24, 2021, Sleep Token released their second full-length album with Spinefarm Records, titled “This Place Will Become Your Tomb.” This album was the first to find a spot on the UK music charts, reaching #39 for UK Albums.

That following November, Sleep Token had their first multi-date headline tour supporting their second album. They toured with another of their staple openers, AA Williams, and played eight rituals in total throughout the UK.

On November 26, 2021, an instrumental version of “This Place Will Become Your Tomb” was released, stripping all songs of Vessel’s vocals, except for Missing Limbs, which was not included. Surprising fans, just over one month later, on January 2, 2022, Sleep Token released a cover of Loathe’s song Is It Really You? The cover is listed as a collaboration between both bands but is simply (though still beautiful and enrapturing) Vessel singing alongside a piano rendition of the original song.* A year later later, the vocalist of Holding Absence, Lucas Woodland, would also announce that his band had collaborated with Vessel on an unreleased song on his Twitter.

This unofficial announcement accompanies another that was made in March of 2019 by Lucas, who stated in an interview that Vessel assisted Holding Absence with playing the piano in the song Purge.

On March 30, 2022, Sleep Token released an instrumental version of their first album, Sundowning. Nearly a month later, on April 29, 2022, Sleep Token, or rather Vessel and the Choir, performed an intimate ritual at the Lafayette in London. The Ritual was dubbed “From the Room Below.” This performance is one of the most significant rituals for two reasons. Vessel sang and played guitar for the first several songs, then removed his mask and played the rest of the set while sitting at a piano with his back to the audience. The second reason is that Vessel, once again, played an AI-generated message to the crowd of 600 people while he openly sobbed on the piano bench. His full message to the audience was this:

We are here to silently connect. To project ourselves onto one another. We are here to remember. We are here to forget. We are here to worship. Some time ago, I was given a message. It was a message that originated from one of you. Someone possessed by a strong desire to tell me something. The message read very simply: You saved me. I have thought about this message a great deal since. It left me with a feeling that I have somehow been mistaken for someone else. I did not save anyone. I do not believe I have the capacity to save anyone. All I have ever given anyone was a small window into the emotional waiting room of my mind. I do so whilst doing everything in my power to minimise my own vulnerability. In this way, I am selfish. I chose not to give what others can, and yet I am the benefactor of this thankful praise. I experience a great deal of pain in my life. However, I do not believe I have suffered as you have suffered. Perhaps that is another reason why we are here. At the very least, we have all suffered. I would also like to take this chance to tell you something. To love oneself is not the easy task we are sometimes told it is. We are all limited by something. We are all guilty of something. My own path towards a place of greater self-acceptance is paved with the art that I create. It is a path that I continue to stumble down at the expense of everything else. I am nothing without this music. I am nothing without this mask. So, in this sense, the message I received was true, but only in an inverse sense. The truth is I did not save anybody. You saved me.

After this first Ritual of 2022, Sleep Token had a busy year of touring, performing rituals in the UK, for the first time in Australia, and returning to the United States. In all, fifty-four rituals were performed, making 2022 Sleep Token’s busiest year— until 2023.

On January 4, 2023, Sleep Token dropped a new YouTube video, a visualiser for a new song, Chokehold, from their upcoming third studio album, “Take Me Back to Eden.” One day later, on January 5, Sleep Token posted another visualiser to YouTube, this time for the song The Summoning. This song is specifically responsible for Sleep Token’s sudden skyrocketing into the spotlight of modern music. To date (late November 2023), the visualiser has over 13 million views on YouTube, and the song has over 80 million streams on Spotify.

Around the same time as Chokehold and The Summoning were released, Sleep Token also added new merchandise to their store. Among the new “Take Me Back to Eden” themed shirts and pullovers was a crewneck sweater with a poem written in runes. The poem read as follows:

I am hunting something, and in turn, that same thing is hunting me. The beholder, the void beyond. I am the line between. I am the teeth of God.

Sleep Token released six singles for their third studio album: Granite on January 19, Aqua Regia on January 20, Vore on February 15, and DYWTYLM on April 19. “Take Me Back to Eden” was released on May 19. Dubbed the end to a trilogy, Sleep Token’s third album reached a peak point of #3 for UK Albums and #16 for the US Billboard 200. With this success, Sleep Token and Vessel were featured on several magazine covers, but the accompanying articles lacked an interview by the band or their servants.

Sleep Token spent the time between single releases touring Europe, the UK, and Australia. In September of 2023, the band returned to the US, for the first time with the Choir, for a headline tour, using AA Williams as their opener. At every date on this headline tour, a series of interludes were played between songs. All four interludes are below.

Interlude I Mask: They think you fake it Vessel: What do you mean? Mask: When you cry on stage, they don’t think it’s real. Vessel: That’s a reasonable assumption. Mask: Do you fake it? Vessel: No, I don’t. But it is something I do consistently, so if I was a member of the audience, I would probably assume that it wasn’t real. Mask: Do you ever see them crying? Vessel: No, I can only ever see them smiling. That’s good. I want them to smile. Mask: Do you think they want you to cry? Do you think they like it? Vessel: Not as such; I think they just want to know that I am feeling something, feeling what they are feeling, perhaps. Mask: Do you think that this amount of crying is healthy for you? Vessel: I don’t know. But at least I feel something; if I don’t feel anything, then why would I even do this?

Interlude II Mask: Why am I here? What is my purpose in all of this? Vessel: Your purpose is twofold. You protect me from them, and you also protect them from me. Mask: How is it that I serve to protect anyone from anything? That makes no sense. Vessel: In order for all of this to work, there has to be a certain boundary in place. They need to be able to project themselves onto this without anyone else’s identity getting in the way. In turn, I need to be able to show my true self to them in a way that does not compromise their ability to connect. Mask: So that’s what I am? A boundary?  Vessel: Yes. Mask: I don’t believe you. I believe there is more to it than that. I believe you are afraid of something.  Vessel: We are all afraid of something, are we not?  Mask: What is it you are so afraid they will see? Vessel: That I am exactly like everyone else.

Interlude III Mask: Are you afraid of me? Vessel: Sometimes. Mask: Why? Vessel: I think I am afraid of becoming you. Mask: What does that even mean? Vessel: My life is becoming gradually consumed by you. Before long, all that I am will be contained within you. Then, one day, when I no longer wish to wear you, there will be nothing else left. Mask: It seems you have forgotten who you are. Before you had me, you were nothing. All of this artifice, all this pathetic conjecture about your identity, it is nothing but a manifestation of how short-sighted and solipsistic you have become. I lifted you from misery and obscurity. You would be better to become me. You are nothing without me. You always were nothing without me.

Interlude IV Vessel: You. Are. Wrong. In the end, my fractured sense of self was only another piece of fuel for the fire that burns in the eyes of these people before us. They, too, are pained. They, too, do not know who they truly are. They are each stood alone on a stage of their own. And yet, they are here. United by that sense of never truly belonging. They see something beyond their own bleak horizons. And they reach for it. Together. So let us join now. To reflect their joy and to serve as a conduit for their anguish. To swallow their fear.

Though only one month remains in 2023, Sleep Token still has a set of rituals to complete in Germany, as well as their largest venue as a headliner: OVO Wembley Arena, with a staggering 12,500 capacity—tickets sold out in ten minutes when they went on sale earlier this year in June. With the band’s continuous and foreboding statement of “nothing lasts forever,” many fans worried that this would be the last we ever saw of Sleep Token, with everything starting from “One” and culminating to a peak with “Take Me Back to Eden,” only to evaporate into nothing come the new year. Fortunately, several 2024 tour dates have already been announced for Sleep Token, including a tour in Australia where the band will be supporting Bring Me the Horizon and a festival date for the USA in April. Though all we can do is speculate what may come next for Sleep Token, one thing is for certain: This is only the beginning for our favourite band.

[rebornrosess]

going to be terrifyingly sincere about greg for a moment here sorry but the dynamics between greg, logan & ewan are so fascinating to me and even if they can’t explicitly explore it anymore due to obvious reasons, this one short sequence from the funeral is soo catered to me specifically. even in death, logan overshadows ewan in greg’s eyes. and yet greg didn’t need to tell ewan that he gave a good speech. he could’ve given him the cold shoulder after he cost him his deal with roman. but he doesn’t. and either greg is in too deep that he doesn’t realize what ewan said about logan closing men’s hearts and feeding the dark, hard, mean, hard-relenting flame in them (that melts their wax wings in the end) was most likely pointedly directed at him (thus proving his point)—or maybe greg did a little bit. he still goes to mencken at the wake but he still tells his grandpa he did a good job. it was a good hard take that he gave.

i think of this a lot but something that truly sets him apart from everyone else is that HE’S at the intersection of the brothers’ decade old feud over family, betrayal, ambition, integrity, and greed—central themes of the show but also, crucially, to his arc over the last few seasons. he has that dual connection to the past that the others don’t. a past that has stayed nebulous for so long until ewan’s eulogy. in previous seasons, we’ve gotten some really interesting scenes with him in which ewan sees the danger of power and ambition for greg because he’s seen it in logan, but it would have been so interesting to explore it more between greg and logan too (like in 2x08 when greg tells logan ewan is cutting him out of the will. i like you greg). i do think that ewan’s point about logan and masculinity and meagerness in his eulogy is particularly relevant though. maybe ewan was saying “men” in the way old history books use “man” as the default, but the performance of masculinity at ATN is one best embodied by tom, which trickles down to greg, but is evidently shown in roman too. and he fed a certain kind of meagerness in men. perhaps he had to. because he had a meagerness about him. (and maybe i do about me too. i don’t know. i try. i try.) i selfishly wish greg and logan could have had more than just one scene together this season (even though logan attempting to emasculate greg by pointing out his lack of a traditionally masculine father figure as a final interaction is very funny). i don’t think my threshold for second-hand embarrassment could have survived an on-camera take of greg trying to explain the whole rummaging situation from ep.1 to logan but logan being oddly chill about it is. interesting???????? what greg wants, greg must have.

but before s4 at least, logan’s awareness of greg’s connection to ewan, his estranged brother, has informed their interactions and it’s always fascinated me because logan doesn’t quite treat greg like his own kid but he’s still a kid that he’s trying to win over by being “uncle fun” rather than “grandpa grumps.” logan last saw his mother at age 4 and greg has been on his own for some time now too. marianne made her first appearance since the PILOT in the before last episode of the fourth season. i’ve found his interactions with ewan reaaally interesting because the brothers didn’t come from wealth and, when compared to the siblings, greg didn’t either. the hirsch’s financial situation is never fully delved into but i’ve always found it a bit peculiar given greg’s inheritance is like. 250 mil he’s sleeping in a youth hostel and a chapel in s1 and tells his mom while on his flip phone that shiv took his last $20. at the beginning of s3 he’s helping his mom get a new credit card because she maxed out the last one. i feel like ewan did the celebrity parents thing where they don’t spoil their kids so they learn real world skills or something, which iirc is something logan regrets not doing. yet ewan also seems to regret his use of his wealth, which he voices in his eulogy when he states maybe he has a meagerness about himself too, but he tries, and is disappointed in men who do not try harder (and the camera pans to the siblings. ouch.) i sometimes wonder if ewan hadn’t withheld his wealth, would his daughter and grandson have become so desperate that they turned to his brother? or would they have turned out like the siblings too if they had enjoyed wealth since birth? are the throes of capitalism inevitable? marianne is the sibs’ first cousin but they never really acknowledge that. if anyone has thoughts on her absence and/or exclusion from the family tree, i’d love to hear them.

anyways. i could 100% be overanalyzing this but i do love how much information succession packs into each of their shots. greg will forever be seeking approval from both sides of a broken brotherhood and will never receive it from either. you beautiful ichabod crane fuck you. what greg wants, greg must have. i don’t want to see you hurt. one big happy family. “greg?” he’s an addendum of miscellaneous matters in pencil with a question mark.

[pricetobepaid]

I’ve been on a really weird HP kick the past few days (and by HP I mean Bellamort) and one of the scenes which has been ruminating in my head is when Bellatrix dies and Voldemort’s rage explodes like a bomb. Beyond the obviously visceral emotional reaction, what makes this scene so interesting is that his rage is embodied in a blast of magic. The way I’ve always interpreted this is that for a brief moment he was so enraged that he lost control of his magic. This is particularly notable for several reasons.

Magic can be volatile. Hard to control. Wizards and witches specifically use wands because it always much more control over their magic. Particularly talented wizards are able to eventually use wandless magic, although the use of a wand still seems to be preferred for various reasons. 

Due to the unpredictability of magic children are often sent to a magical boarding school in order to learn and hone their power. However, as shown throughout the books because kids are kids they can be prone to magical outburst when dealing with intense emotions (eg. Harry ballooning up a relative for being a bitch). 

That said, Tom Riddle Jr was observed to be particularly proficient in controlling his magic, even at a young age. He’s shown to be one of the few (only?) wizards to use wandless magic regularly as well. My point is his magical abilities were extraordinary and his embracing of those abilities only served to perfect his skills far beyond other wizards. 

Yet

When Bellatrix dies his internal reaction is so great that his magic explodes outward. 

There’s no other point to this ramble other than to say what a powerful moment it is in the books. 

[secondjulia]

The Weight of Sand

Rated: G | Warnings: None | Ao3 link

He’d lost it! The pouch of sand was gone.

They were going to kill him! Neil was going to kill him!

A small, lucid part of Tom’s sleeping brain knew that the pouch of sand was not exactly the most expensive or valuable prop he’d ever worked with. It’s not like he'd stolen the elaborate battle robes he'd worn in Hell. Or Destiny’s book, which probably took ages to assemble, each of its carefully worn pages stitched together by hand and filled with the secrets of the universe, even though they were very unlikely to appear on screen. The pouch of sand was simple leather. The props wizards could probably sew up a new one in an afternoon.

But he had lost it!

Tom had been taking such good care of it — not because it was a valuable, delicate prop, but because it was Morpheus’ sand! Of everything he'd touched and held over these last months, all the dark fabrics that had weighed against his skin, his tools, even the ravens, everything that had turned him into the King of Dreams, this was his essence. This was Morpheus. It would be instantly recognizable to the fans. One of those small, iconic identifiers, so important for them to get right. The fans would never forgive him if it disappeared under his care.

And — the slice of Tom's lucid mind rolled its eyes — it felt important for Lord Morpheus, too. It is a part of me. 

Tom had now spent two years looking for the King of Dreams, but night after night, he woke disappointed. In his darker moments, in the longest, most exhausting days on set when take after take had gone wrong, Tom wondered if this absence was a bad sign. A sign that he had not truly been accepted as the embodiment of the Prince of Stories on Netflix. That he was inadequate. A poor choice for the task, as judged by the collective unconscious itself. The thought had driven him to work harder than ever, to reject any sub-par work on his part, to rehearse, to reach out and support his fellow cast members so they could all make the best possible adaptation of the best story, to try and try and try again. And, always, every night, to search for Dream.

But still, nothing. The absolute least he could do was find this fucking pouch of sand!

Even a couple of years into working on Sandman, Tom’s lucid dreaming skills hadn’t exactly taken off the way he’d wanted. So, while a small part of his brain knew he was being foolish, (the pouch of sand was still tucked safely into his bookcase on top of his Sandman box set — in the waking world), most of him was panicking. There was a lump in his throat, and his hands were shaking. Tears began to itch at his eyes. 

He tore apart the cupboards in his bathroom, which was actually the bathroom in his middle school that somehow had all his grown up stuff in it. (All his stuff except the sand!) When the cupboards were empty and he’d ripped back the shower curtain, looked into the soap dish on the wall, checked behind his shampoo, and lifted up the lid of the toilet tank, Tom stormed out of the bathroom and onto the rolling meadows of Fiddler’s Green — a place he had frequently found ever since he’d seen it rendered gorgeously in episode ten. It was usually a comforting place.

Not tonight.

Tears were now burning his cheeks. Tom sniffed.

“It is a heavy task,” a deep, quiet voice behind him said. A voice he recognized instantly.

Tom didn’t even turn around. He looked at his feet. “Where have you been?” 

He felt rude, but in a way that his sleeping self couldn’t seem to control. The air that stirred suddenly around him dried the tear tracks on his cheeks, but he still felt lost. As the tall shadow fell over him and he sensed the heavy presence close over his right shoulder, Tom felt like a child demanding answers from a parent who said they’d only be gone for a sec but had then disappeared for hours.

“I have many responsibilities,” Lord Morpheus said.

Tom turned and faced him.

The King of Dreams was taller than he was. His hair was wild, his eyes black with the infinite depths of the universe. Stars glinted deep within. Looking into this vast space struck Tom with vertigo, and he looked down quickly. But that was no better — flames licked at the edges of the Dream King’s long black cloak as if he had stepped out of the fiery core of the universe, the red hot engine of creation, and was dragging some of it with him.  

Tom shivered.

“I lost my sand,” he said, because this seemed like the most important thing to confess in the moment and because he could not seem to lie, not even by omission, not here where his fears were laid bare, and not to an Endless force that looked into the very sparks of his being. “Your sand.”

Dream nodded. “It isn’t you.”

Tom looked up sullenly.  “I know that.”

Oh, did he know that!

As he looked into the eyes of the collective unconscious of humanity — and so much more — Tom felt like a tiny speck. He watch galaxies rotate and meteors shower on distant worlds and great depths of endless void extend forever, all contained within a paper pale face above cheekbones that made him look like a chubby cherub.

How could he have ever thought he could capture such a force in his own form? His arms wrapped around himself, clutching at the soft terrycloth of the black bathrobe he’d fallen asleep in. His shoulders hunched and he pulled the robe tight as if trying to burrow away, to hide himself from the one he'd spent years searching for. His mind flashed suddenly to cold glass where he’d lain naked, feeling entirely like a trapped creature, exposed and defenseless. Here in the presence of the Lord Shaper, Prince of Stories, King of Dreams and the Nightmare Realms, Lord Morpheus, Dream of the Endless, Tom felt like he’d been stripped of all his pretense and hurled down, alone, powerless, and exposed.

Dream watched him for a long moment. “It is not you,” he said again. “But you have taken on a great responsibility. I wonder if you know how great, how important a task you have undertaken. To be the Prince of Stories, even a pale reflection in the waking world.”

“I know!” Tom said, and now he looked eagerly into those dizzying eyes and felt all traces of sullenness vanish. “I love Sandman! I know how important it is to everyone!”

“Perhaps.”

“I do!” he persisted. “I’ve read it all. Do you know how long casting takes? Well, this one took ages! I’ve had time to study. I know this material.” 

The Dream King smiled. “You are dedicated to your work.”

Tom tried to put on his most serious face to cover the giddy smile that was trying to creep onto his lips. Dream’s praise, spoken in a lulling voice that he could not possibly resist, filled him with warm glee. “I am,” he said. “I wanted to get it right.”

“That has always been important to you,” Dream said. He began to walk, clutching his spectacular robes to his thin body as if he were cold.

“This is especially important,” Tom said, walking with the King of Dreams.

"It is. And I must thank you for taking on the responsibility. "

"So did you…" Tom trailed off, feeling like he was peaking back stage to see a magician's trick set up. It seemed rude, but the question poured out anyway. "Did you give the story to Neil? Was that his responsibility? To help you bring your story into the real—I mean, the waking world to begin with?"

"All stories are highly collaborative. They are the work of lives and worlds before they are the work of words."

It wasn't really an answer, and Tom felt a bit of the sullenness creeping back up. He of all people should've known better than to expect a simple answer from Dream. 

"But is really your story," he pressed.

A harsh rumbling sound shivered in the air around him. Dream's laugh was a sad, broken thing. "I am Prince of Stories but I have no story of my own. Nor shall I ever. Not even this one."

“That's not true!" Tom protested. "Everybody knows your story! We're very popular, and we’re getting another season!” 

“I congratulate you," Dream said. "You did well at what you set out to achieve.”

“Do you know how many shows Netflix has cancelled? How many good shows Netflix has cancelled? We did really well! We had to have done.”

“Perhaps." 

"So… so everyone knows your story," he ended helplessly. For some reason, he felt responsible for this ancient eldritch being. Though he was tall and scary here in the Dreaming and spoke with the gravitas of universes, something about Dream made Tom want to bundle him up on the couch and bring him a cup of tea. 

They walked for what seemed like weeks on the soft grass of Fiddler’s Green.

"What you  have wrought with your labor is far more than a story about me,” Dream said.

"Yeah," said Tom. "It's a story about stories."

“Even those which you say are mine are not me. They are the world’s articulation of me. A dream shared among many. It is an important thing.”

“Yeah, I know. A thousand dreamers with the same dream can change the world.”

“But you do not need to rewrite the history of the universe to affect it," Dream said. "Your work is more important than a story about any being. I am only one part of the Dreaming — the part that can speak to you, that can think and put the realm in order. Dreams are much more. The sand is much more. It is the heaviest of my tools, and the story is even greater, a living connection within the universe. Everything else is a tool for telling it.”

Tom lowered his eyes again. He had lost one of his most important things. “I'm sorry I lost the sand.”

They passed a cottage that might have been the one his parents had taken him to as a child on summer holiday, except this one was overgrown and deeply shaded by dense forest. Then on his right there was the stage where he had first performed; shadows lapped at the edges and reached out dark tongues to ensnare him, and a thousand disarticulated eyeballs watched from the darkness. Tom shivered, and they walked on. They passed a supermarket and his high school and the scarlet set of Desire's threshold.

"You are also more than your tools," Dream said. "You must take care not to lose too much of yourself in them. Or to your labors."

Tom nodded. He wasn't sure he could do that. He wasn't even sure Dream could do that. Tom had, after all, read the entire series. Multiple times.

"The story that you tell is far more than yours," Dream said. "But you are the life and the world that precedes the story. The raw material before it is poured into the mould. You must care for yourself and your own dreams in order to do your work."

"I will try," Tom said. "I promise."

"I have tried to do my part, though you have not seen it. Much of the Dreaming flows beneath the surface."

"I… I think I could feel you there," Tom admitted. "Thank you."

"Hold out your hand," Dream said. 

Tom obeyed. 

Dream withdrew a pouch of sand, twin to the lost one. He took a small handful and let the grains fall over Tom’s palm. And though it looked like little more than weightless twinkles of light, the sand felt heavy in his hand. 

Tom's head swam, and he blinked hard. But the glittering sand and the figure beside him were both fading. And then his eyes shut all the way. Even in the darkness, he could feel the weight of sand falling against his skin.

When Tom woke, his eyes immediately went to the black pouch on top of his box set nestled safely in his bookcase. He breathed a sigh of relief. 

He was a bit annoyed by the sand in between his sheets, though. Had he spilled it? Oh, somebodywas going to be angry with him!

Or… maybe not, Tom thought as he got out of bed and grabbed the pouch just to make sure it was real. Maybe it was all going to be fine. It wasn't, after all, really about the sand. It was about the story.

[clementine-kesh]

oh fuck yeah harry kim meta for the win!! if it's alright, can you elaborate on harry being 'as starfleet as they come'? (maybe even comparing him to *picard's* idea of what starfleet is and should be? i think they're interesting individuals to put side by side.) thanks!

hell yeah i’m always down to talk meta! by “as starfleet as they come” i was mostly referring to him being the picture perfect model ensign type. you know, top of his class, did a ton of extracurriculars, someone who was happy and thriving within the system. a system i doubt he ever questioned pre-voyager, either. plus, he’s ambitious and has the skills to match. see: non sequitur, where in the alternate timeline he was less than a year out of the academy and already presenting the first update to starfleet’s shuttles in 50 years. it’s not a stretch to say he’d have worked his way up the ladder pretty quickly were he not trapped on voyager.

but of course starfleet is more than just academic performance or scientific knowledge. it’s about people, seeking out new life and learning from it, and harry’s a great example of someone who embodies that. he’s a character who doesn’t assume things about other people and does his best to meet them at their level. there are two scenes that illustrate this really well, the first is when he and tom are eating dinner and he wants to invite janeway to eat with them and tom thinks it’s a bad idea to which harry’s like well who else is she gonna eat with, and the second is when he expresses interest in seven and tom’s like ew wtf dude she’s a borg and harry retorts with well there’s a woman in there, too. in both cases you have someone making assumptions about someone else and harry pushing back on it by being like no they’re a person just like us and we should do our best to connect with them. see also warhead when harry’s like “we’re not transporting this mysterious ai device on board” and the doctor’s like “but it’s just like me 🥺” and that’s what convinces harry. harry might be an engineer by training but his real superpower lies in diplomacy.

contrast that with picard, who is also a very skilled diplomat, but the key difference is that picard is loyal to institutions and harry is loyal to people. harry’s out there pulling shit like staging a mutiny and violating the temporal prime directive just to save his friends. stuff that goes directly against every rule in starfleet’s book. picard could NEVER. he’s a needs of the many kinda guy whereas harry says fuck that everyone matters!! shit hits the fan and harry will always choose to help people over any perceived moral high ground or sense of duty. maybe if harry hadn’t been thrown into the psychological maelstrom of voyager he would’ve turned out more like picard but thank god he didn’t because let’s be real, he’s way more interesting of a character because he’s a little messed up and has some moral ambiguity to him.

i think picard’s vision of starfleet is very much one that exemplifies a lofty sense of enlightenment, of being the pinnacle of civilization. whereas harry’s is way more about actually helping people no matter who they are. see: picard’s reaction to members of the maquis vs. harry’s. picard gets all high and mighty and pissed about them betraying the federation while harry takes a step back and tries to find common ground. if picard were on voyager he probably would’ve been a lot more like lieutenant carey and bitched about the maquis instead of actually trying to work with. becoming best friends with one? again, picard could NEVER

[benjaminxmikaelsonxx]

☆ﾟ.*・ ◞tom holland / male / british white / he/him ——— is that charlie mikaelson on bourbon street ? the 20 year old Vampire who stay in the neighborhood ? i heard their biological parents are elijah mikaleson and hayley marshall. they are notoriously known for being organised and trustworthy , but also stubborn & hot-tempered . which is probably why they are considered the party boy around town.  i wonder if they had their tarot cards reading, yet? either way, the cards on the table will reveal their fate soon enough // ooc TK, 31, he/him, GMT

𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑 𝐏𝐑𝐎𝐅𝐈𝐋𝐄:

𝐅𝐔𝐋𝐋 𝐍𝐀𝐌𝐄: Charlie mikaelson 𝐍𝐈𝐂𝐊𝐍𝐀𝐌𝐄: Chucky, Chaz 𝐀𝐆𝐄: 20 𝐁𝐈𝐑𝐓𝐇𝐃𝐀𝐓𝐄: November 23rd 𝐇𝐎𝐌𝐄𝐓𝐎𝐖𝐍: new orleans 𝐂𝐔𝐑𝐑𝐄𝐍𝐓 𝐑𝐄𝐒𝐈𝐃𝐄𝐍𝐂𝐄: new orleans 𝐎𝐂𝐂𝐔𝐏𝐀𝐓𝐈𝐎𝐍: student 𝐀𝐋𝐈𝐆𝐍𝐌𝐄𝐍𝐓: neutral 𝐓𝐑𝐈𝐆𝐆𝐄𝐑 𝐖𝐀𝐑𝐍𝐈𝐍𝐆𝐒: tba.

P E R S O N A L I T Y

traits:  (+)Organised & Trustworthy, (-) Hot-tempered & Stubborn

B A C K G R O U N D

Charlie Mikaelson, son of Hayley Marshal and Elijah Mikaelson, embodies a complex blend of traits. Despite his love for photography and his pursuit of a college degree in the field, Charlie's temperament is a mix of hot-headedness and stubbornness, juxtaposed by trustworthiness and organizational skills. Known as the life of the party, he exudes a magnetic charm that draws people to him, ensuring he's always present at every social gathering in town. With a striking resemblance to Tom Holland's Spider-Man, Charlie's protective nature extends to his siblings and parents, showcasing a deep love and loyalty towards his family. While excelling in social scenes, his academic responsibilities falter as he finds himself entangled in the allure of the party lifestyle. Despite his shortcomings, Charlie's dedication to his loved ones and his passion for photography form the intricate layers of his captivating persona. Despite his inclination towards partying and socializing, there are moments of introspection when Charlie's thoughts drift towards his family. His love for his siblings and parents is a steadfast anchor in the stormy seas of his life, grounding him in moments of uncertainty and providing him with a sense of purpose and direction. In their presence, his protective instincts awaken, and a sense of responsibility settles over him like a comforting cloak. As Charlie navigates the complexities of college life, his emotions ebb and flow like the tides, shaping his experiences and melding his character into a multidimensional tapestry of passion, loyalty, and love. Though despite all that, his stubbornness and hot-tempted does get him into quite a bit of the trouble in town.

[adamwatchesmovies]

Broadcast News (1987)

It never dawned on me that you might feel anxious during a romantic comedy until I watched Broadcast News. This film has strong opinions about what reporting should be, along with rich characters, big laughs, wonderful dialogue and a love triangle that keeps you wondering. It’s over 2 hours long but when it ends you’ll find yourself wishing for a director’s cut, or a sequel - anything to get even a little bit more.

At a news station in Washington, D.C., handsome and charismatic - but not particularly bright - Tom Grunick (William Hurt) is hired as a new anchorman. He’s the opposite of Aaron Altman (Albert Brooks), a talented writer-reporter who melts when placed in front of the camera. Aaron's best friend is Jane Craig (Holly Hunter), the station's intense and passionate news producer. She consistently manages to get things done just in the nick of time - but just barely. There’s always been a sort of unspoken agreement between Jane and Aaron but Tom's arrival - and her attraction to him - threatens to disrupt it.

In so many films, the characters have a job but their careers are little more than a way to move us from one gag to another or a backdrop. Writer, director, and producer James L. Brooks cares about broadcast news as much as he does the people in this film. He cares so much that Broadcast News can even be a little off-putting to audiences. While Aaron might admire Tom for his telegenic qualities and willingness to coach him, they're rivals. Not because both are attracted to Jane; because in Aaron’s eyes, Tom embodies everything wrong with “today’s news”. Tom is likable but as far as Aaron’s concerned, the news is about the news. The facts are all that matter, not the person(s) delivering them or how emotional the stories might be. He’s particularly critical of a story that Tom presents on date rape - to Aaron, it's soft news that's manipulative and beneath the station's attention. This is where the film started to lose me and might you as well. It’s a tearjerker of a story, and it’s well told… but it’s no report on the Sandinista rebels in Nicaragua. You can see Aaron's point but he seems so harsh about it that you just stop liking him altogether. I'd also argue that someone you might bump into on the street - no matter how “banal” their story might be - is much more likely to impact your existence than people living in a faraway country you will never visit, no matter what the political repercussions might be. Or maybe I'm just a dumb-dumb. There’s A LOT to unpack in that moment alone, that's for sure.

Broadcast News is filled with great dialogue. Tom may not be as sharp as his fellow reporters but he isn’t comedically stupid. There aren’t any scenes where he blunders lines like a doofus. We see that he isn’t the brightest bulb in the drawer because he can't answer the tough questions. We don’t need to be told that Aaron is smart or that Jane is talented. We see it, we hear it. They feel real, which makes you interested in them. Their emotions are amplified by the romance that thread together all of the insights into this professional world.

You might not like Aaron very much because he’s kind of a jerk with an inflated ego but to be fair, he’s extremely talented and it’s hard not to feel your heart break a bit when you see him disappointed - a testament to Albert Brooks' skill as a performer. Holly Hunter has excellent chemistry with both her co-stars. Even on her own, she’s great and often funny in the most unexpected ways. Her first emotional breakdown is so offputting you’re not sure how you should feel. By the time we get to the third, you can’t help but laugh. Do these happen every day?! As for William Hurt, he's charismatic but there's a part of him that's slightly... not quite sinister, not quite slimy, but off-putting. You want to see more. When these people open up their hearts, you have no idea who Jane is going to end up with because you’re not sure who you like best - the mark of a great love triangle.

Although I can’t say that I immediately fell in love with Broadcast News, it intrigues me. I'm still trying to figure out how I feel about these people and these situations. I don’t think one viewing is enough, and I mean that in a good way. (May 20, 2022)

[buzzdixonwriter]

Doc Savage

For two generations of young readers — the original pulp fans of the 1930s and 40s followed by the reprint fans of the 1960s and 70s — Doc Savage remains not only an iconic figure but a template for all adventure heroes who came after.

Doc and his team — the ape-like chemist Monk Mayfair, his rival attorney Ham Brooks, construction engineer Renny Renwick, electrical engineer Long Tom Roberts, archeologist / geologist Johnny Littlejohn — inspired such diverse teams as Captain Future and his crew, the Challengers of the Unknown, the Fantastic Four, the crew of the Enterprise, Buckeroo Banzai’s Hong Kong Cavaliers (many of whom, we must be fair to observe, executed the formula fair more successfully than Doc and his crew), and Team Venture.

Doc also proved a direct inspiration (read “rip off”) of several key concepts later popularized by Superman, including “the man of bronze” vs “the man of steel” and first use of an arctic Fortress of Solitude for those times when he just needed a break from adventuring.

There have been radio serials, comic books, movies (one by producer George Pal, another by teen fans in the 1970s), and a heart-breaking number of announced but never made media projects, including a serial (eventually rewritten as Fighting Devil Dogs) and abortive TV projects (including a proposed animated series by Ruby-Spears that went so far afield of the original concept that it’s a blessing it got shelved after early development).

So what makes the character so fascinating?

He represents an ideal embodiment of the ultimate of humanity abilities.  Unlike Superman (born or another planet) or other superheroes (either mutants or enhanced by some form of magic or super-science), Doc’s abilities are the result of his father’s relentless training regimen for him since birth.  He’s a brilliant polymath in all sciences (a legit doctor with and MD plus a plethora of PhDs), a fluent linguist in virtually all languages including ancient Mayan and American Sign Language, a skilled mimic and disguise artist, an expert martial artist and judo master (this at a time when martial arts were virtually unknown in America), plus a pilot / sailing master as well as a world renown philanthropist.

The only thing he isn’t is genuinely human, and from the very beginning there’s an unspoken yet nonetheless present undercurrent in all his adventures that his frantic activity is pretty much a defense against admitting he really has no inner personal life.

Over the next several months (probably years) I’m going to recap the Doc Savage novels as re-published by Bantam Books in the 1960s. Their covers by James Bama probably did more to cement Doc’s iconic appeal than the stories themselves, creating the look that every succeeding interpretation has followed. While Bantam eventually reprinted all the original pulp stories, they didn’t do so in order of publication; I will add that to help you understand the development of the character and series.

© Buzz Dixon

[ethanhuntfemmefatale]

Thank you for being so kind! I’m always a little self conscious taking film thoughts directly to someone because they uh…Go Hard. But I also just can’t ever shut up, and it’s got to go somewhere 🙈

Your point on voyeurism is interesting. I’ve never really thought about it from that angle but it’s funny, because one of my favourite shots in the movie is when the camera moves to over Max’s shoulder when they’re watching the coyotes, and Tom Cruise’s eyes are doing something unknowable but devastating as Vincent cracks open a little, and it’s obscured by the partition glass of Max’s cab. I’ve always found that obscuring to be impactful and significant and I’ve never really thought about why, or why Mann blocked it like that. In terms of the gaze, I wonder if part of the emotional power of that shot is to do with the obscuring of Vincent from ours.

In terms of ‘doomed to death for a neat narrative’ I can see how that would be the likely case for lots of films, but I’m more doubtful of it in a film made by Michael Mann. I do think watching Mann’s filmography is enriching to all of his work in a way that is different from most other filmmakers - Mann is so consistent and so preoccupied by the same themes and questions that his entire career has been a return to the same conversation. I think you can feel his respect for Vincent - He values ethics, integrity and skill, and he gives Vincent heaps of it. Even Vincent’s backstory (or lie, depending on what parts you believe) is something he shares elements of with Mann’s other protagonists who are his special little dudes who get to wear well tailored expensive grey suits (honestly this guy, Michael Mann the mind that you are). And I do think Mann is deliberate not to pit Vincent and Max against each other in terms of classical good vs bad. In another life Vincent is Max’s life coach and Max is Vincent’s therapist, and you feel that potential in them. I love their genuine, cosmic chance connection but I also love that they don’t want to kill each other - they might have to, to fulfill their own sense of duty, but it’s not their motivation. And I think Mann is careful to emphasise the luck involved in the outcome. It keeps Vincents death from being a condemnation. In a way Vincent’s death is a fulfilment of his pure dedication to his ethical structure, and in that way his integrity remains intact. Max not leaving him to die alone and unnoticed is Max coming into a fulfilment of his own, and it’s a less nihilistic ethics than Vincent’s that he embodies. In doing that, he shows up the falsity of Vincent’s belief that there is no human connection in the world, because there he sits sharing one with Max in his last moments. And genuinely, I think it’s a feeling of missed potential between them that really lingers. There’s a real loss to it.

Ok I am back to answer this ask now that I’ve seen a couple other Mann movies, I still cannot boast of anything like Mannderstanding but I stg the coffee scene of Heat alone puts collateral in an entirely new light. Also……Heat…..what a film holy shit

I love the points you make here. I started a rewatch of collateral last night and I have some thoughts, also responses to your ideas, mostly just a kinda meandering rant as a thank you for your ask

First of all…I definitely see what you mean about special little guys in grey suits. So iconic mr mann. Second of all definitely I strongly see your point about the two of them being driven to kill each other, but ultimately not wanting to at all, and that’s presented so strongly in Heat too. Their sense of ethics, and the people (or in Vincent’s case, jobs/systems) they’re responsible for, make conflict inevitable, and there’s respect and intimacy/kinship and regret that comes with being equals and opponents.

Heat to me felt like it set up a lot of ideas about the near-omnipresent conflict of love and duty, and how in a sense, love ends up always being love Despite. And people who care about each other are set against each other constantly in a thousand ways by the systems that they are beholden to. I can’t help but see that strongly in this movie too. There’s a constellation of people with character traits in common, who have a capacity for connection, to help each other or care about each other, and most of those possibilities are cut short before they can even begin. Not just Vincent and Max’s connection, but the jazz trumpeter Vincent kills (the affinity between them is pretty devastating) and there’s a lot of similarity between Vincent and Annie, too, even though they never really interact! And Fanny, whose death is shockingly sudden, feels like a Mann protagonist, and has a brief but important connection with Max.

On the topic of Annie-Vincent affinity, I really love the juxtaposition of their initial conversations with Max, because there’s so many parallels. The two of them react to Max in pretty similar ways, although Vincent’s bluntness and cynicism rubs Max the wrong way. The song choices even feel similar, the one for Vincent’s conversation in particular is striking to me, the gentleness and intimacy it gives that scene that lends it an almost meet-cute quality despite the fact that Max is a bit put off by Vincent, and Vincent misreads him (you’re a guy who does things instead of talking about them…ironically by the end of the movie that becomes true). When I first watched the film I took the similar conversation beats as a measurestick for understanding that Max didn’t like Vincent too much—but on rewatch it’s more complicated, the three of them are tied together in a way. And Vincent is close to being the kind of person Max could really like.

It’s interesting that you mention that Vincent’s backstory isn’t unique to him in the Mann filmography. I’m interested to see the other examples of it because that moment hit me so hard. The backstory itself, and the particular sequence of it, is so evocative of Vincent’s relationship with his past. It’s interesting to me how readily he confesses it—both his mom’s death and his father’s abuse—especially in combination with “I like to think of myself as his friend” in the hospital, Max’s mom talking about Max not having friends, really everything about his interactions with Max’s mom and with Max about his mom. There’s complicated emotion happening there, identification, discomfort, probably envy, a sense of connection that is unusual and overwhelming for someone as isolated as Vincent. All of that makes it simultaneously more likely for him to admit to his own past, and more difficult. (Vincent is pretty forthright. But it still surprised me that he talked about it.) And then when he says he murdered his father…that’s the crux of it, when he says he killed him, specifies that he was twelve, and then says he was kidding. That to me represents the fixation, simultaneously a fantasy and a source of horror, on killing his dad, and also an unwillingness to commit to it entirely, even to commit to the lie. The way he invokes the specter of patricide, arguably a more “monstrous” sin than anything he does in the movie, not to mention a personal murder—then walks it back. It speaks to how much he increasingly is invested in Max’s perception of him, wanting to prove his own viciousness and also disown it. It’s a devastating scene ngl. Then Max saying “I’m sorry,” Vincent saying “no you’re not”—a mixture of defensiveness and honesty. It’s also a cracking of Vincent’s persona, which has been almost disconcertingly pleasant so far despite the violent threats. Anyway I fucking love that bit

It’s interesting to me to compare the Vincent/Neil dynamic in Heat to the Vincent/Max dynamic here. They seem like they’re in conversation with each other. Definitely the final scenes are directly evocative of each other. Vincent and Neil have an immediate affinity Despite—a lot of interchanging shots where the two of them are in the exact same position, with the same expression—not to mention everything about the coffee scene. They’re very similar men with a lot of professional respect for one another, and so despite the very few direct interactions they have their connection is obvious. Vincent and Max are different men who don’t connect immediately, which works well for a movie that pairs them so often, keeping their relationship exciting and dynamic. Like we’ve talked about before, they have important aspects in common, mostly their situations as invisible outsiders with no support network, highly effective silent cogs in a wheel. And you can see in their initial conversation that idea you mention—Vincent as life coach, Max as therapist—that these are two people who maybe could grow to care about each other a lot, help each other a lot, given time. Then Vincent’s job throws a massive wrench in the works. Still they get shoved together and they grow to care for each other despite themselves, in a way that goes against both of their instincts. And they cause each other to develop in ways that ultimately set them as opponents, equals like Vincent and Neil. interestingly, through that process the kind of metaphorical “positioning” of the characters change—through most of Collateral, Vincent is behind Max, and there’s a divider between them, but in the end, the two of them are face to face.

(Incidentally I am also fascinated by the way Vincent is obscured in the coyote scene. To me it adds to this sense that we, like Max, are witnessing something we maybe aren’t supposed to.)

Max is an unusual Mann protagonist in the beginning of the film (says guy who has seen only three Mann films) until Vincent pushes him increasingly towards the commitment, drive and sheer gutsiness of Mann’s idea of the masculine hero. To your point about Max’s code of ethics, the one you describe that he develops through the movie and fulfills by shooting Vincent and then staying with him while he dies….his ethical structure in the end seems to me to be the movie’s response to Vincent’s own code, which relies on detachment, the idea that no one cares about random death, so neither should he. The care Max holds for Vincent (like the care the audience holds for Vincent) happens against all odds, but it is there, and it proves something that’s inherently contradictory to Vincent’s ethical structure. Which is why that structure has to unravel in the end. Heck, Vincent only is set against Max because Max cares so much about a woman who rode in his cab once that he is prepared to risk his life—even kill—to save her. I love your point about Vincent fulfilling his own ethical code in the end. It’s hard to say that he failed when his job wasn’t about survival in the first place.

Anyway those are some scattered thoughts and I would be very interested to hear more of yours but also completely understand if you are tired of back-and-forth ranting lol. I deeply relate to the idea of having Thoughts and nowhere to put them and would like to say that I love getting your thoughts! And love to discuss. Pretty much always.

[erindrifter]

Ok. I'm going to say my part here.

Chris Pratt as Mario.

I understand the hatred for Chris Pratt. I would never be his friend. But, I don't hate Chris Pratt. Neither do I like him. He's some popular guy who I will never meet, so it's a waste of effort to hate him. I think he's funny on some occasions, but beyond that, I honestly don't care. Yes, I know that he's homophobic as hell, and yet as a trans bi woman, I don't care enough to hate him. It's like Tom Cruise. I like the Mission Impossible movies and will still watch them, even though Tom Cruise seemingly isn't really that great of a person.

Now. His casting as Mario. His voice isn't the worst thing possible. It's exactly what I expected, which doesn't make it better, it's just not as bad as it could have been. I'd prefer that over Chris Pratt trying to do a Mario impression.

But let's be honest. The ONLY reason he was cast was because Chris Pratt puts butts in seats. People will buy the movie because it has Chris Pratt in it. I would much prefer to see someone who is fit for the part voice Mario. Someone like Charles Martinet, yes, or even someone who can do a good imitation if Charles Martinet isn't available.

The issue I have with the casting isn't WHO was cast. I'd be fine if Chris Pratt were voicing someone else in the movie. The problem is that the star character isn't voiced by someone skilled enough to carry it. There's that post going around with the montage of Mario screaming, and it's being called "the worst comedic screaming ever". The screaming isn't actually the issue here. The screaming is basic comedic screaming. But, the screaming doesn't fit with what we are being shown. Chris Pratt doesn't embody the role as he should. The Mario we see on screen will likely have a different energy than Chris Pratt in the recording booth, which will throw off his performance. THATS the skill of a good voice actor. A good voice actor can be in a small room with nothing but the script and a mic, and they'll embody the character so well that they might as well be the actual character in the actual environment.

Basically, Chris Pratt isn't skilled enough as a voice actor to carry this movie as the main character.

[anthonybialy]

Buffalo Bills Keep Going As Is

Back-to-back-to-back-to-back wins tops even Tom Emanski.  Fred McGriff thinks this is the team that gets results.  A Buffalo Bills home playoff game seems both like a fitting result and improbable occurrence.  The club embodied humanity while winning a fourth consecutive divisional title by not changing who they are for the regular finale.  Accept underachieving during victory as the best possible result.

This is Sean McDermott’s team, all right.  Winning while infuriating is a signature like Marv turning on faucets.  Workers who sort-of get the job done are not going to alter their approach to finishing their assigned tasks now.  It’d still be nice if they’d show up from the start of their shift in lieu of doing twice the work in half the time.

Figuring out where the end zone is and how clocks work would be productive uses of playoff preparation time.  The first half’s end and second half’s start combined to be as productive as the time in between.  Buffalo also scored zero points in the locker room.  A coach’s dream felt like a real one where they slept while having no control over events.

I hope they’re spending this week seeing how Leonard Fournette’s catching skills are, too.  Ronnie Harmon thinks James Cook’s drop was bad.  I wish George Lucas weren’t correct about history rhyming.  There was a James Cook glass, but he dropped it.

A punt returned for a touchdown just like McDermott planned proved to be the difference.  Points count no matter how you get them and affect what happens next, which should assuage guilt about lack of productivity.  That was some nice work by Deonte Harty, even though players need to stop celebrating before getting to the end zone.  Not dropping the ball is like avoiding an accident despite driving while texting: you won’t get away with it forever.

Convoluted cheering offered a distraction until prime time.  Trevor Lawrence finally inspires.  Let’s all give to his foundation.  A fourth down throw which still hasn’t landed reduced the magnitude of the league’s regular-season coda.  But settling for seventh would’ve reflected a lack of ambition.  The divisional winners spent much of the outing shaking a wild card mentality.

Making the tournament was not an excuse to look nonchalant.  The Jaguars melting down into the new year removed a good deal of potential stress.  But that was no time to coast.  Will those presented with an opportunity react by seeking more or dodging it?  A chance to win the division again was thrilling precisely because it’s simple.  We still had to learn who gets to patronize the New Era Flagship Store.  The home team’s fans had to travel back from Miami.

Finding a new way every game to keep results close is not the best approach to maintaining an interesting life.  But the Bills weren’t about to change their routine of not having one.  Unpredictability is predictable.  Everyone has an exhausting relative who’ll tantrum over trivial matters; some of us have more than one.  The particulars of any nasty outburst may differ, but the one consistency is that they’re lamentably bound to happen.  Self-improvement means not being the same any longer, which may be a good outcome and is certainly a near impossibility.

Josh Allen strives to overcome Sean McDermott and Josh Allen.  The single-handed hope doesn’t have to keep acting recklessly to prove something psychologically demented Hank Schrader-style.  Foolishness doesn’t have to be included in the package.  Presuming insane risks are intrinsic to a bold quarterback is like thinking rock stars live too intensely to live long, and meanwhile Keith Richards has had more birthdays than you.

A miscommunication with Gabe Davis is a tradition to abandon like spending Christmas wading in your contaminated gene pool.  Getting Eli Apple an interception is the best way to avoid cockiness.  Knowing he was out of position worse than Larry Brown just makes the attempt that much more regrettable.  Don’t aim at the trash receptacle.  This isn’t Kan-Jam.  

Throw to Stefon Diggs instead.  He and his quarterback occasionally act like they’re suddenly not soulmates.  The lack of chemistry is particularly frustrating given that they’ve previously had the relationship to which all aspired.  Watching them reunited like a Hallmark movie was satisfying even if they could’ve skipped anticipated drama.

Bounces go your way if fate’s on your side.  Or maybe fate takes your side if you’re acting with effective aggression.  After we’re done debating the universe’s nature, we can enjoy success from chaos.  Turning “What a drag” into a compliment is the result of Trent Sherfield's Divine performance.  A deflection going Buffalo’s way may mean existence’s sole purpose is not to crush us.

Doing as they please shows the Bills at their most successful.  Defenders know the call and the offense makes it anyway.  Daring them to stop you smirks at deception.  Josh is going to dive leftward like he can see the televised line, so go ahead and try to shove back.

Griping about the 11th win is a unique way of maintaining high standards.  Avoiding taking success for granted is a challenge for which we beg.  Make sure to never grow tired of adding to a divisional champions hat collection.  It’s remarkable how ordinary success has become despite this roster’s confounding tendency to complicate goals.

A playoff team that’s inspired an alarming lack of confidence finished as conference runner-up in spite of themselves.  The best choice entering the playoffs is to make a deal to continue enjoying wins no matter how aggravatingly they may unfold.  Regular practice creates routines.  The Bills established one during the regular season that worked, at least in the end.

[weeblyteblog]

Tom & Jerry's: Experience 20+ Years of Restaurant Expertise

Tom & Jerry’s Beach Club Bar & Grill: A great option for those looking for a dining experience that is both affordable and enjoyable

Tom and Jerry’s Beach Club Bar & Grill, a culinary haven established in 1996 and now residing at 3212 Padre Blvd. in South Padre Island, Texas, has cemented its reputation as a beloved family-friendly bar and grill since its founding in McAllen, Texas, by the renowned restaurateur Cody Pace. Under Pace’s direction, Tom and Jerry’s legacy expanded, blossoming into a chain with additional locations in McAllen and Mission, Texas. The enduring appeal of the establishment is exemplified by the unwavering popularity of the South Padre Island location, which has been in continuous operation since 2008.

Cody Pace, a native of the Rio Grande Valley with over 20 years of restaurant experience, leads Tom and Jerry’s with expertise, a role he fulfills with dedication. As the operator who interacts directly with guests, Pace cultivates a personal bond, ensuring their satisfaction and becoming a familiar face, a part of the neighborhood fabric. His active participation in diverse humanitarian organizations, a testament to his unwavering dedication, extends the pursuit of exceptional dining beyond the restaurant’s walls. Tom and Jerry’s becomes more than just a place to eat; it is a culinary adventure, crafted by a passionate proprietor, a leader deeply committed to both the community and his craft.

A menu that is sure to please

One embarks on a delightful culinary journey at Tom and Jerry's Beach Club Bar & Grill, where flavors and textures unite in a captivating tasting experience. Showcasing South Padre Island's maritime influences, the menu offers a diverse array of Texan cuisine, each dish prepared with skill and passion. From the luscious seafood platters, reflecting the energy of the nearby Gulf, to the sizzling fajitas, a burst of flavor on the tongue, every dish celebrates the region's culinary heritage.

The menu's undisputed star is the diverse collection of signature dishes, a testament to Cody Pace's, the visionary behind Tom and Jerry's, vast experience and unwavering dedication to quality. Pace has curated a menu, a symphony of flavors, that caters to every palate, offering a spectrum of choices, from hearty burgers, a tribute to Texan tradition, to refreshing salads, an embodiment of the island's vibrant energy. The restaurant's commitment to utilizing premium ingredients and crafting innovative recipes has transcended its role as simply a place to eat, transforming it into a culinary sanctuary, a haven where each bite tells a captivating story of culinary artistry.

A fun and festive atmosphere

Tom and Jerry’s Beach Club Bar & Grill, more than just a restaurant but an immersive experience into a beachy paradise nestled amidst the sands of South Padre Island, invites guests to escape the ordinary and experience the island’s carefree spirit. A laid-back vibe, a skillful blend of Texan hospitality and seaside elegance, welcomes guests. Tom and Jerry’s stunning beachfront location, a haven boasting panoramic views of the Gulf of Mexico, sets the perfect stage for an enchanting meal where the sound of the waves, a calming background melody, accompanies the delectable cuisine.

The bright environment, a haven of nautical accents, and the open-air patio, a space inviting relaxation and camaraderie, provide the perfect setting for a memorable dining experience. As the sun sets, the combination of ambient lighting and the sea air, a mesmerizing spectacle, creates an unforgettable atmosphere. Tom and Jerry’s, more than just a restaurant, is a sanctuary where the ambiance, an echo of the surrounding natural beauty, transforms every meal into a tranquil seaside escape, leaving guests with memories as soothing as the gentle caress of the Gulf waves upon the nearby shore.

A place to enjoy a delicious meal in a comfortable setting

Tom and Jerry's Beach Club Bar & Grill, a multifaceted oasis offering a diverse array of culinary delights, welcomes guests with its warm ambiance. This haven for groups seeking exhilarating shared experiences, a comfortable setting conducive to families enjoying meals together, and a popular choice for satiating lunchtime cravings, boasts an extensive menu and delectable cuisine, featuring options to tantalize any palate. As the sun sets over the Gulf of Mexico, the restaurant's oceanfront atmosphere, a picture-perfect backdrop for dinner, further elevates the dining experience. For those with a sweet tooth, the dessert options, a delightful symphony of flavors leaving taste buds yearning for more, offer the ideal culmination to any meal. However, the diversity extends beyond mere menu offerings. Tom and Jerry's Beach Club Bar & Grill, a haven catering to groups, families, and individuals seeking an exceptional dining experience encompassing lunch through dinner and culminating in a sweet flourish, is a culinary haven with an ambiance adaptable to any occasion.

Contact Information

Address: 3212 Padre Blvd, South Padre Island, TX 78597, United States

Phone number: +1 956 761 8999

Website: https://tom-and-jerrys.club/

[influencermagazineuk]

Mission Impossible: The Unstoppable Rise of a Cinematic Phenomenon

In the realm of action-packed espionage thrillers, one franchise has stood the test of time and consistently pushed the boundaries of cinematic excellence: "Mission: Impossible." What began as a television series in the 1960s transformed into a global cinematic phenomenon, captivating audiences with its adrenaline-pumping stunts, intricate plots, and charismatic lead, Tom Cruise. Origins and Evolution: "Mission: Impossible" found its cinematic footing in 1996 when the first movie hit the screens, directed by Brian De Palma. Based on the 1960s TV series of the same name, the film introduced audiences to Ethan Hunt, a skilled operative of the Impossible Mission Force (IMF). Over the years, the franchise has evolved, introducing new characters, complex narratives, and breathtaking action sequences that have become synonymous with the series. Tom Cruise: The Driving Force: At the heart of the franchise's success is Tom Cruise, who not only portrays Ethan Hunt but also serves as a producer. Cruise's dedication to performing his own stunts, no matter how dangerous, has become a hallmark of the series. His commitment to authenticity has elevated the franchise, earning him respect and admiration from fans and critics alike. Innovation in Action: "Mission: Impossible" is renowned for its jaw-dropping action sequences. From scaling towering skyscrapers to clinging to the exterior of a speeding plane, the franchise continually raises the bar for action cinema. The meticulous planning and execution of these stunts have set new standards, inspiring filmmakers and thrilling audiences worldwide. Global Appeal and Impact: The franchise's appeal knows no bounds, transcending geographical and cultural barriers. Its international settings, diverse cast, and universal themes of heroism and espionage have resonated with audiences from diverse backgrounds. Each installment's box office success and critical acclaim have solidified "Mission: Impossible" as a cinematic powerhouse. Legacy and Future: With multiple sequels, including the highly anticipated "Mission: Impossible 7" and "Mission: Impossible 8," in the pipeline, the franchise shows no signs of slowing down. Its ability to reinvent itself with each installment, coupled with the unwavering commitment of its star and crew, ensures that the legacy of "Mission: Impossible" will continue to thrive in the years to come. The rise of "Mission: Impossible" represents more than just a successful film series; it embodies the spirit of innovation, dedication, and timeless storytelling. As the franchise continues to captivate audiences with its audacious missions and charismatic characters, it cements its place in cinematic history, leaving an indelible mark on the action genre and inspiring generations of filmmakers and fans alike. Read the full article