#a marvelous little short film and true classic

[dyingfad]

Cat Soup (2001)

[mixtapedoh]

Here me out: gunshot, cast bts as movie tropes?

come join my autumn celebration!

ꨄ — gunshot one shot, two shot, three shot, four, 더 견뎌낼 수 없어 나를 위해서라도 너의 gunshot

namjoon as opening a film with a poem (if you know what i mean it makes sense and if you don't it feel self explanatory nonetheless. either narration or text across a screen, if you're opening a film with ~related aesthetic poetry~ those are the vibes. think the opening to wind river. or even just a poetry reading in film in general. that's kim namjoon inspired, bby. if he were to direct a film, he'd start out with a related poem, you cannot convince me otherwise.)

jin as breaking the fourth wall (imo this works better when it's a tv trope and it's paired alongside confessional type humor, or the existence of the camera is baked into the plot so characters know they're being filmed and thus occasionally play to the camera, but i love a silly little self aware moment.)

yoongi as someone playing an instrument matched alongside Intense Plot and Intrigue (you know what i mean!!!!!!!!!!!! when there's something Intense and Plot Heavy happening, and we keep seeing short shots of the High Stakes right alongside a character absolutely pouring their heart and stress into playing the piano or violin (or usually some other string instrument) and the tension crescendos in the most beautiful and delectable batshit insane way, only for our character to abruptly end the song and we hear their laboured breathing and Oh Shit, The Tables Have Turned.)

j-hope as Intentional VHS quality film (sometimes utilized in flashbacks or ~indie films~, you know how sometimes movies will specifically use different quality of film to give something a nostalgic feeling? it doesn't always have to be VHS quality, lol, though i see that one used more, but they specifically go for a more grainy and subdued look for ~vibes~.)

jimin as prophetic dreams (different from a simply psychic character, it's when a character dreams of something vague that actually happens later in the plot and it carries more deja vu vibes than it does "oh, i saw this before and now i am #prepared'. do you get me?)

taehyung as nostalgic memory montage of someone now gone (a classic version is 'dead wife laughing while in bed or at the sea,' lol, but it can literally be anyone either dead or ambiguously gone. bonus points if it's because our main character is visiting home after having left at a young age, or because they're specifically Traveling™)

jungkook as funny one liners (listen,,,,,,,,,,, marvel studios abused this kind of humor, it is true, but occasionally a sarcastic and silly one liner is precisely what the situation calls for. timing is everything, and confidence is the other half of the equation.)

[mccraecook99]

Happy 100th Anniversary,Disney! 🏰 💫 ✨

Yesterday,100 years ago,Walt Disney and his brother,Roy launched a animation studio on October 16th,1923,after experimenting with a few projects,Walt had a dream that eventually all started with a mouse named Mickey,who became a cultural phenomenon thanks to Steamboat Willie when it was released on 1928 and was followed by other Disney cartoon icons such as Donald Duck and Goofy,then later would go on to create the world’s first fully animated feature,Snow White and The Seven Dwarves in 1937,which it’s success kickstarted Walt Disney Animation Studio as the true forefather of animated features and Walt and later,his studio after his death in 1966, would go on create so many timeless animated feature films all the way to this day with memorable classics like Pinocchio,Fantasia,Dumbo,Bambi,Cinderella,Alice In Wonderland,Peter Pan,101 Dalmations,The Jungle Book,The Little Mermaid,Beauty and The Beast,Aladdin,The Lion King,Mulan,Tarzan,Lilo and Stitch and modern ones like The Princess and The Frog,Tangled,Wreck-It-Ralph,Frozen,Big Hero 6,Zootopia,Moana,and Encanto,Disney would also experiment with movies combining both live-action and animation like the controversial Song of The South(1946) and Mary Poppins(1964) and even he begin to make the jump to live-action films started with Treasure Island(1950),which the company had also continued to this day. 

After Walt’s death in 1966,his company would grow to become not one of the biggest film companies in Hollywood,but the best in media with theme parks(such as Disneyland,the happiest place of earth that Walt opened in 1955 and Walt Disney World,which opened in theme parks),having several subsidiaries like Pixar(the studio that godfathered computer-animation thanks to Toy Story and created so many memorable computer-animated flicks like Monster’s Inc,Finding Nemo,The Incredibles,Cars,Ratatouille,Wall-E,Up,Inside Out,Coco,Soul,Luca,and Turning Red) and Marvel Studios(home of the Marvel Cinematic Universe),streaming services(Disney+ and Hulu),and television(ABC and Disney Channel). 

Despite Disney having been it’s up’s and downs in the entertainment industry recently(mostly due to it’s hit-or-miss trend of live-action remakes of their beloved animated films that was started by their live-action department thanks to Tim Burton’s Alice In Wonderland and Bob Chapek nearly bringing the company down to the ground during his short tenure as CEO from 2020-2022),they are still a beloved entertainment company who gives us magical storytelling(both animated and live-action),iconic and beloved characters(such as Mickey Mouse,Donald Duck,Goofy,Snow White,Buzz Lightyear,Jack Sparrow,Mary Poppins,Stitch,Elsa,Rapunzel,Cinderella,Ariel,Maleficent,Wreck-It-Ralph,and Moana),amazing theme parks and live stage shows,and great quality content(including Walt Disney Animation Studios,Pixar,Marvel Studios,Star Wars stuff,and Disney’s television animation unit,famous for giving us animated shows on the Disney Channel,Disney+,and Disney Junior). 

The new recent Walt Disney Animation Studios,Once Upon A Studio I’ve watched yesterday on ABC was truely a love-letter to the magical legacy that Walt Disney started 100 years ago and very happy seeing all of the Disney animated characters I’ve grown up with over the years getting together for a huge group photo really warms my heart and I really loved the emotional scene where Mickey thanks his old buddy,Walt for starting this 100-year old legacy that the studio continued to this day. 

Happy 100 Years of Wonder,Disney! Thank you for continuing Walt Disney’s magical legacy he brought to the studio that started out with a mouse 100 years ago and still continuing to make people’s dreams come true to this day and still keep moving forward to explore new ideas and try new things. ✨💫🏰

[fearsmagazine]

VIOLENT NIGHT - Review

DISTRIBUTOR: Universal Pictures

SYNOPSIS: It’s Christmas Eve and a now disillusioned Old Saint Nick is making one of his stops on his yuletide run with a gift for a true believer, little, but not so innocent, Trudy. As Santa is snacking on the treats Trudy made for him, a team of mercenaries breaks into this wealthy family’s compound, taking everyone inside hostage. When Santa is abandoned by his team of eight reindeers, he has little choice but to fight. The team isn’t prepared for a surprise combatant: Santa Claus is on the grounds, and his long forgotten past will rise up and show these villains why this Nick is no saint.

REVIEW: First off, this is my new favorite holiday movie. VIOLENT NIGHT channels the spirits of classic Christmas films, Quentin Tarantino, and author Joe Lansdale. It’s one hell of irreverent thrill ride that gives an audience a reason to go to the theater.

I enjoyed the script. The plot comes together as it weaves in satire and pokes fun at Christmas classics. One of my favorites is that young Trudy has recently discovered “Home Alone” and how that figures in later into the story. While there was a short film adaptation of Joe R. Lansdale’s short story “Christmas with the Dead” (seek it out), if you are a fan of his work, such as his “Hap and Leonard” series or his short genre fiction, you can’t help but feel an influence in the dialogue and monologues, as well as Santa Claus’ character arc. The key here, regardless of all the guts, gore, and off color jokes, is that the film never loses a sense of innocence and the magic and wonder of Christmas and the Santa Claus myth. There are some nice twists and turns in the tale and it’s wrapped up nicely with a not so happy ending.

Great cast! David Harbour creates this contemporary and complex Kris Kringle. There are moments when he channels John McClane, but this Kringle has a darker past and a relationship with a weapon of choice. He sells the hell out of the character and it makes the film a sheer delight to watch. John Leguizamo is such a versatile actor and creates an outstanding villain. AT one point n the film he has a monologue that fills in all the gaps as to his background story and why he loathe Christmas, that is reminiscent of Kat’s monologue about her father’s tragic death on Christmas, but Leguizamo delivers this passionate and tense speech that is captivating. Veteran actress Beverly D’Angelo of the National Lampoon Vacation franchise is wickedly wonderful as the matriarch of the Lightstone clan. I know D’Angelo has played darker characters, but I feel that her lighter screen moments are ingrained in our memories and that makes her performance here refreshing. Likewise, actress Edi Patterson brings some of the moxy from the character she created for the HBO series “The Mighty Gemstones.” Grounding the film is the performance by Leah Brady as Trudy Lightstone. She brings honesty and innocence to her performance that is marvelous to watch. She presents a contemporary kid that still believes in the magic of the holiday, yet she has this mischievous edge that is believable.

VIOLENT NIGHT contains breathtaking cinematography, production designs, and costume designs juxtaposed against the visual and special effects. There is enough blood and gore for the avid genre fan or gamer. There are some nicely edited and choreographed fight sequences that are enhanced by the score or holiday music choices. The “home Alone” homage is taken to new extremes. The action delivered a chorus of “ooos” and “aws” from the audience.

Director Tommy Wirkola, of the “Dead Snow” films, does an outstanding job of blending all the elements of this tale into an action packed holiday thriller ride that sustains that holiday feeling for all its blood soaked glory. Given Santa’s fantastical abilities of course it goes to extremes, but his background story adds to his skills and the bloodshed. I went in with no expectations and was entertained and thrilled. Considering how much I enjoy sick and twisted holiday novelty songs, it’s no wonder VIOLENT NIGHT is now on my list for holiday films along with “Anna & The Apocalypse,” “Gremlins,” “Die Hard,” and “Die Hard 2” to name a few. I sat through the credits to listen to the music choices and was surprised that they didn’t include the Dropkick Murphys "The Season's Upon Us." Well there’s always the sequel.

CAST: David Harbour, John Leguizamo, Cam Gigandet, Alex Hassell, Alexis Louder, Edi Patterson, Leah Brady and Beverly D’Angelo CREW: Director - Tommy Wirkola; Screenplay - Pat Casey & Josh Miller; Producers - Guy Danella, David Leitch & Kelly McCormick; Cinematographer - Matthew Weston; Score - Dominic Lewis; Editor - Jim Page; Production Designer - Roger Fires; Costume Designer - Laura DeLuca; Special Makeup Effects Artist - Nina Kvaternik; Prosthetic Makeup Designer - Doug Morrow; Visual Effects - Outback Post, Crafty Apes and Track VFX. OFFICIAL: www.violentnightmovie.com FACEBOOK: www.facebook.com/violentnight/ TWITTER: twitter.com/ViolentNight TRAILER: https://youtu.be/a53e4HHnx_s RELEASE DATE: In Theaters December 2nd, 2022

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or ���� (Dislike)

Reviewed by Joseph B Mauceri

[disneyplusdisney]

The Magic of Disney: A Journey Through the Enchanting World of Walt Disney

Walt Disney, a name synonymous with magic, imagination, and dreams, has left an indelible mark on the world of entertainment. From animated classics to theme parks, disneyplus.com/begin influence is felt globally. This article takes you on a captivating journey through the enchanting world of Disney, exploring its rich history, iconic characters, groundbreaking innovations, and the enduring legacy that continues to capture hearts around the globe.

The Birth of a Dream: Walt Disney's Vision

Early Life and Ambitions

Walt Disney's journey began in 1901 when he was born in Chicago, Illinois. From a young age, he demonstrated a keen interest in art and storytelling. After several business ventures, Walt co-founded the Disney Brothers Studio with his brother Roy in 1923. This marked the beginning of an extraordinary adventure that would revolutionize the entertainment industry.

Steamboat Willie and the Birth of Mickey Mouse

In 1928, Walt Disney introduced the world to Mickey Mouse, a cheerful, anthropomorphic character who quickly became a cultural phenomenon. "Steamboat Willie," Mickey's debut animated short, was the first cartoon to feature synchronized sound, marking a major milestone in the history of animation.

The Golden Age of Animation

Snow White and the Seven Dwarfs: A Cinematic Masterpiece

In 1937, Disney achieved another groundbreaking feat with the release of "Snow White and the Seven Dwarfs," the first-ever full-length animated feature film. This marked the beginning of Disney's Golden Age of Animation, during which classics like "Cinderella," "Sleeping Beauty," and "The Little Mermaid" were brought to life.

Technological Advancements in Animation

Disney continued to push the boundaries of animation technology. The introduction of Technicolor, the Multiplane Camera, and the first-ever feature film in CinemaScope ("Lady and the Tramp") showcased Disney's commitment to innovation, setting new standards for the animation industry.

Disneyland: The Happiest Place on Earth

H1: The Vision Comes to Life

In 1955, Walt Disney's dream extended beyond the screen with the opening of Disneyland, the first-ever theme park. Situated in Anaheim, California, Disneyland promised a magical escape where guests could immerse themselves in the enchanting worlds of Disney's stories.

Expansion and Evolution

Disneyland's success paved the way for further expansion, leading to the creation of Walt Disney World in Florida, Tokyo Disneyland, Disneyland Paris, Hong Kong Disneyland, and Shanghai Disney Resort. Each park offered unique experiences while staying true to the core values of magic and happiness.

Disney Parks and Attractions

From iconic attractions like Space Mountain and Pirates of the Caribbean to the enchanting Cinderella Castle, Disney parks have become synonymous with innovation and immersive storytelling. The attention to detail, immersive environments, and cutting-edge technology create an unparalleled experience for visitors of all ages.

The Disney Renaissance: A Cultural Resurgence

The Renaissance Era

In the late 1980s and early 1990s, Disney experienced a creative renaissance with a string of critically acclaimed and commercially successful animated films. "The Little Mermaid," "Beauty and the Beast," "Aladdin," and "The Lion King" captivated audiences worldwide, solidifying Disney's status as a cultural powerhouse.

Broadening Horizons: Disney's Expansion into Other Media

With the acquisition of Pixar Animation Studios in 2006, Disney further diversified its portfolio. The inclusion of Pixar's innovative storytelling and computer-generated animation prowess added a new dimension to Disney's creative output. The purchase of Marvel Entertainment in 2009 and Lucasfilm in 2012 expanded Disney's reach into the realms of superheroes and space operas.

Disney in the Digital Age

Embracing the Digital Frontier

As technology advanced, Disney embraced digital platforms to reach audiences in new ways. The launch of Disney+, the company's streaming service, in 2019 marked a significant shift in the entertainment landscape. Disney+ not only provided a vast library of classic and new content but also became a platform for original series, including those set in the Marvel and Star Wars universes.

The Changing Face of Animation

Advancements in computer-generated imagery (CGI) and 3D animation have transformed the way Disney creates animated films. Recent hits like "Frozen" and "Moana" showcase the seamless integration of traditional storytelling with cutting-edge animation techniques, ensuring that Disney's magic evolves with the times.

The Enduring Legacy

Cultural Impact and Iconic Characters

Disney's impact on popular culture is immeasurable. Characters like Mickey Mouse, Cinderella, and Simba have become cultural icons, transcending generations. The timeless appeal of these characters is a testament to Disney's ability to create stories that resonate with audiences of all ages.

Philanthropy and Social Responsibility

Beyond entertainment, Disney has also been actively involved in philanthropy and social responsibility. Through initiatives like Disney Conservation Fund and Disney VoluntEARS, the company strives to make a positive impact on environmental conservation, education, and community development.

The Future of Disney

As Disney continues to evolve, the future holds exciting possibilities. With a commitment to storytelling, innovation, and creating magical experiences, Disney is poised to captivate new audiences and generations to come.

Conclusion

From a small animation studio to a global entertainment powerhouse, Disney's journey has been nothing short of magical. The timeless stories, beloved characters, and innovative spirit continue to enchant audiences worldwide. As Disney looks to the future, the legacy of Walt Disney's dream lives on, promising more adventures, laughter, and magic for generations to come.

[annabelloki]

Current obsession? Werewolf by Night. The homage to the early days of black and white horror films had the heart of this lil classic Universal monster movie nerd soaring. Rekindled my hopes in the MCU’s future too. 🐺🖤

Like, seriously the pacing, the set (oh my gosh the set! I could write a whole essay about the inspiration of the set design alone and how it reminded me of macabre old Hollywood and “The Cabinet of Dr. Caligari”), the beautiful heartbreaking acting! Even the two part feel of it. The beginning is dramatic and atmospheric. Feeling almost like it could be performed on stage. And then the second half, when we see the classic style wolfman, is all out carnage (with highly tasteful cloak and dagger teasing of the monster and gore for extra spookiness. A la Hitchcock) This vibe. This vibe! Rings so true to the old movies. Even the fact that the crew of hunters are morally grey people. You can’t really root for them. There’s this feel that also reminds me of horror short stories like “The Most Dangerous Game” and some Twilight Zone episodes.

And there’s so much said without dialogue! It doesn’t spoon feed you anything. You discover the world as you go. And it is so strange and lived in. The fact that you can’t even place exactly when or where this is supposed to be.

And, of course, Jack is best boi and I am 100% obsessed with him. He is my new Marvel love and I need him in everything. Now. Gael did an amazing job fleshing out this character. Giving him little nuances that are fun to pick up on on a rewatch, a gentle softness, the multilayered facial expressions that say so much without needing to speak. That scene. You know the one. That other scene. Yeah that one too. Especially that one. The reveal. The ending when his hands are trembling…. So. Good.

I applaud Marvel for going for practical effects where possible. For escaping their green screen confines. For actually taking cinematic risks. My creative brain is so happy right now. I would adore having more projects like this take meaningful stylistic risks that feel so true to the story being told and make it even more wonderful. Embrace the variety Marvel, please. And please, please, please give us all more Werewolf by Night.

[amphxtrite]

sirius black x fem!reader

warnings: fingering, teasing, mentions of one night stand, alcohol.

do not read if you are uncomfortable.

summary: a movie night after hooking up with your crush.

word count: 1.9k

a/n: wrote this one for the lovely @le-weasley-simp sorry it’s late love, had work today :)

hope you enjoy!

———————————————————————————

Today was shaping up to be the worst day ever.

It all started when you woke up in Sirius Black’s bed, completely naked with him lying beside you, also wearing nothing but an elastic in his thick hair.

“Oh Godric…” You murmur, sitting up in the bed and holding your head as you try to recall what happened.

Memories of gryffindor winning the quidditch match, a party, shots of firewhiskey and a game of seven minutes in heaven begin trickling into your head. Your hands in someone's long hair, your tongue dancing with another, the feeling of being filled up over and over again and pleasure coursing all over you as you moaned out one name. ‘Sirius.’

“Fuck.” You sigh, holding your head in your hands. You managed to hook up with your best friend, and the worst part was, you liked it.

You knew you had a crush on Sirius for years, but you always thought of him as the one you could never have, now with him laying clad in nothing beside you, your emotions were all over the place, in your head, heart and the deepest part of your core.

“Y/n? Merlin, what time is it?” A low voice rasps from beside you.

“It’s only six am Sirius, you might as well go back to bed.” You mutter, trying your best not to focus on the gryffindor’s morning voice.

“What, no pet names today darling? You seemed to use them quite a bit last night.” Sirius teases, running his long digits up your arm.

“Haha, very funny Pads.” You breathe, spotting Sirius’s jumper below you and picking it up.

“No it’s true, I mean there was Padfoot, Sir, Daddy…” He drawls on, watching you playfully as you slip on his sweater.

Your face burns as the words leave his mouth and you couldn’t help but pray Sirius didn’t notice.

“Oh there’s nothing to be shy about, love.” Sirius chuckles, wrapping his arms around your waist and pulling you back down towards him.

“Siri!” You squeak, feeling the gryffindor’s chest nuzzle into your now clothed back.

“What?” He laughs back, trying to imitate you as you turn around and roll your eyes.

A silence falls over you and while you try to break it, Sirius decides to have a little fun. Using his hand, he pulls yours over to his abdomen and holds it there as he leans in closer.

He can’t help but smile as your eyes widen to the size of saucers and your breathing quickens along with your heartbeat, only for Sirius to whisper.

“I’m getting hungry, let’s go find everyone.”

Your breathing hitches and Sirius gleefully rolls off the bed to throw on the first shirt and pants he sees.

“Yeah- sounds good.” You mumble, staggering behind him as he rummages through his closet and throws you a pair of his boxers and shorts.

“Oh Sirius, it’s okay, I can just-” Sirius cuts you off as you catch them.

“Nonsense pup, you have to let me take care of you sometimes.” He chuckles, throwing a wink in your direction as he laces up his trainers.

You can feel your entire body heat up in a mix of embarrassment and shame, embarrassed Sirius had this effect on you, and shamed because you liked it, no, you loved it.

You do your best to distract yourself from the growing feeling of need pooling between your legs as you slip on his boxer and shorts and gently push your hair back to compose yourself.

The entire day, the little shit known as Sirius Black teased you, whispering his dirty thoughts into your ear if you sat too close to him, throwing his arm around your shoulder when you walked down the halls and purposefully going to his room to change into his loose white t-shirt that cut just enough to see the top of his chest. He knew exactly what he was doing as he pulled you from behind into him and rested his chin on your shoulder. He memorized that nervous look in your eyes that told him to sod off and continue at the same time, and by nightfall you were a mess of need, but you were far too conflicted to say anything.

As per tradition on weekends, you decide to head to the Marauder’s room that night to hang out with the guys and Lily, despite the fact you were having second thoughts on your decision.

You arrive just after the sunset to see James, Lily and Sirius. The couple were setting up Lily’s projector for a movie as Sirius lay on his bed. 

Hearing the door open, his ears prick up and a sneaky grin creeps up on his face.

“Y/n, sit by me tonight?” Sirius asks with a small pout, causing the red-head to roll her eyes.

“She sits with you every movie night Padfoot, there’s no need for that.”

“I guess you’re right Evans, but you know I like to have my fun.” He winks, pulling an exasperated sigh from Lily.

You smile at the exchange and make your way to Sirius who has now sat up and opened his arms for you.

“You look marvelous tonight, pup.” He teases as you nervously sit beside him on the bed.

“It's just a t-shirt and shorts Siri-”

“But you look absolutely ravishing in them.” He mumbles, leaning in close to your ear so the others wouldn’t hear him.

You gulp nervously and squeeze your legs together, partly because of nerves, but also because the heat between your legs was becoming too much to bear. 

Remus and Peter return with snacks and drinks as the movie begins to start, a classic action movie that the group had yet to see.

Halfway into the opening credits Sirius shifts his body so he is right against his headboards, before spreading his legs and pulling you into him by your waist.

You did your best not to yelp as you hit his back, but you couldn’t help but sigh in content as his lips trailed down your neck. On movie nights the boys moved their beds so there would be an empty wall for the projector to hit, Sirius almost always took the spot closest to the corner of the room, you never thought much of it, but when his hand moved to the drawstring of the curtain beside his bed, the two of you were hidden and now he could do whatever he pleased. 

Your breathing begins to pick up a bit and unconsciously you begin to squirm against his body.

Sirius grabs you by your hips to stop you.

“You better stop that, pup, or else I’m, gonna have to punish you for everyone to hear.” He murmurs, letting one of his hands trail up and down your body then further to caress your neck.

“Understood?” He smirks, bringing his lips back down to your shoulder.

You nod your head ‘yes.”

“Perfect.” He sighs, pulling the blanket over your legs and letting his fingers wander to the waistband of your shorts.

You nibble on your lip as Sirius bites the sensitive skin at the base of your neck before kissing it and teasing his tongue up your throat.

At the same time his fingers slip into your shorts and fidget with the cloth underneath.

“You’re still wearing my boxers, pup?” Sirius mumbles, letting his fingers move over your clothed folds.

“And so wet for me already? Such a good girl.” He continues, massaging his fingers in a circular movement around the damp fabric.

“Fuck-” You moan out silently as Sirius hits your clit perfectly.

“Feel good darling?” He chuckles, kissing your jaw.

“Y-Yeah… So good.” You whimper, moving your hand to your mouth to muffle your moans.

Sirius smirks and retrieves his fingers, you start to squirm in protest only for him to push his long digits into your folds.

“Mh-” You squeak.

Sirius doesn’t hesitate to move his fingers up and down your folds, teasing your clit with his fingers and swirling it around in soft circles.

Your legs spread further, begging him to keep going as you throw your head back onto his shoulder, choking back moans of ecstacy that begged to be let out.

His thick fingers slip in deeper and you arch your back needily. His fingers trace your slit teasingly for a couple seconds before he plunges two fingers in without hesitation.

A soft gasp escapes your lips, luckily masked by the sound from the film and Sirius begins pushing his fingers in and out of you.

Your vision clouds as his fingers curl and hit your g-spot over and over again, your toes curl as his other hand moves down you play with your clit as the feeling of a third finger being added to the mix has your heartbeat moving to your pussy and a coil tightening in your stomach.

“Siri-faster, p-please.” You beg, grinding your hips into his fingers as he obliges, pumping quicker and shifting between curling his fingers and thrusting deeper.

“O-Oh.” You murmur, clutching the bed sheets beside you tightly as Sirius’s hands work magic on your pussy, roughly playing with your sensitive clit and pumping his long fingers in and out of your slit.

“That’s it, pup.” Sirius chuckles, feeling you begin to squirm again. 

“I-I’m so close.” You pant, biting hard on your bottom lip as the tight feeling of your climax prods at your stomach.

“It’s alright, pup.” Sirius murmurs, pressing a kiss to your neck and picking up the pace one last time as the feeling of pure ecstasy floods your entire body, making your body go weak. You rush to cover your mouth as a moan of relief threatens to reveal you to your friends.

Sirius smirks as a small squeak of a whimper pushes past your fingers and he slows his digits into a slow massage to help you ride down your high.

“You did so well darling, absolutely perfect.” Sirius mutters, finally pulling his fingers out of your core and bringing them to his lips.

You watch in amazement with bated breath as Sirius drags his tongue along his fingers to clean up every drop.

Noticing your stare, the gryffindor smirks and leans in closer against your ear.

“Be good, pup, and next time, you’ll get my tongue.”

Blood rushes to your cheeks as you pull the blanket covering you over your face, ignoring the feeling of your release all over your shorts and you tuck your legs in and snuggle into Sirius’s chest.

“Here.” Sirius smiles, lifting his wand and muttering a short incantation.

In seconds, the feeling was gone, and you were left feeling cozy and warm cuddled up against his chest.

You were absolutely ecstatic to finally have your wish fulfilled, but there was still one question that had left to be answered.

“Something on your mind?” Sirius asks, feeling the silence grow.

“Yeah, it’s just…” You pause, shifting so now you are sitting, facing Sirius. “What- What are we Sirius? I mean you are my best friend and after last night, today and for years, I’ve known I’ve fancied you but-”

Sirius sighs playfully as you speak, but cuts you off mid sentence with a soft peck to your lips.

“Y/n, I’ve known I fancy you for the longest time, but it wasn’t until last night that I really got to show you. So… If you’d have me-” 

This time it was your time to cut Sirius off.

Your arms fly around the gryffindor’s neck and your lips crash happily into his.

Sirius’s hands move around your hips and pull you closer to him as you deepen the kiss and rest your forehead on his.

“So does this mean?” Sirius begins.

“Yes! Yes Pads, of course I’ll have you.” You murmur, locking your lips once more.

Maybe, today wasn’t so bad after all.

[uomo-accattivante]

This is so wild! Oscar Isaac is planning to act for Francis Ford Coppola in this film and play him in another film (Francis and the Godfather).

Coppola on Megalopolis: “It’s based on The Catiline Conspiracy, which comes to us from ancient Rome. This was a famous duel between a patrician, Catiline, and that part will be played by Oscar Isaac, and the famous Cicero, who will be Forest Whitaker.” Filming is planned for the Fall of 2022.

EXCLUSIVE: Breathtaking bets on his vision established him as one of the greatest living American filmmakers and a vineyard magnate. Now, Francis Coppola is ready to put a lot of his hard-won chips on the table one more time to make his epic dream project, Megalopolis.

While the financial configuration is still evolving, Coppola at 82 years young is betting big on himself once again, by sharing the financial risks of a film that will cost between $100 million-$120 million. He is in deep discussions with a stellar cast of actors eager to work with the director of The Godfather trilogy, Apocalypse Now!, The Conversation and other classics, on a seminal picture that is decades in the making.

While some conversations are further along then others, the actors Coppola is discussing roles with include Oscar Isaac, Forest Whitaker, Cate Blanchett and Jon Voight, with Zendaya, Michelle Pfeiffer and Jessica Lange also among those he is seeking. He will also reunite with James Caan, whose role as Sonny Corleone in Coppola’s The Godfather made Caan one of the biggest stars of that era. This for a big tapestry film that will have many other actors in the cast.

Deadline has written about Coppola’s Megalopolis hopes for several years – I’ve seen second-unit footage of Manhattan architecture and street sounds that was shot 20 years ago, a campaign that ended after 9/11 shook Manhattan to its core. Coppola’s enthusiasm never wavered.

Emboldened by the recent sale of a portion of his considerable vineyard holdings in Sonoma County to Delicato Family Wines, Coppola has fortified his resources to borrow against, and is ready to gamble once again on his vision to make a movie he feels can be a North Star for a younger audience, and society in general, searching for optimism in a moment where global warming is taking its toll, and polarizing politics and digital misinformation are so pronounced that half the country is resisting Covid vaccines that scientists honed in a remarkably short time to combat a global pandemic.

“It has become like a religious war, in that it’s not about anything logical,” Coppola told Deadline. “I think the big news here is that I am still the same as I was 20 years ago or 40 years ago. I’m still willing to do the dream picture, even if I have to put up my own money, and I am capable of putting up $100 million if I have to here. I don’t want to, but I will do it if I have to.

“I’m committed to making this movie, I’d like to make it in the fall of 2022,” Coppola revealed. “I don’t have all my cast approved, but I have enough of them to have confidence that it is going to be a very exciting cast. The picture’s going to cost between $100 million and $120 million. Needless to say, I hope it’s closer to $100 million. I’m prepared to match some outside financing, almost dollar for dollar. In other words, I’m willing to put my money where my mouth is. What’s interesting about that is, there was a documentary about my dream studio, when I owned Zoetrope Studios and I was unafraid to risk everything I had in order to make my dream come true. Well, I really haven’t changed my personality, at all.”

While waiting for this Megalopolis moment, Coppola has spent the last few years preparing himself. He has kept off the weight he shed several years ago, and his stamina is in evidence in the way he created new versions of some of his past films, most notably the final installment of The Godfather trilogy that he retitled The Godfather, Coda: The Death of Michael Corleone, Apocalypse Now and The Cotton Club. I hear he will be at Telluride this weekend to unveil restored versions of his films The Rain People, and The Outsiders: The Complete Novel. After doing the work and feeling at peace with those past great films, as Coppola holds court at that festival, I expect the dominant conversation will be about how he is looking forward, toward Megalopolis.

While few filmmakers would ever put their own money on the table, Coppola detailed to Deadline his big bets in the past when studios wouldn’t back him,; the musical One From the Heart plunged him into Chapter 11 back in the early ‘90s, and his risk-taking on Apocalypse Now once threated to cost him the vineyards whose revenues now dwarf his Hollywood earnings. Each time, Coppola found his way back from adversity. The classic Apocalypse Now continues to give him financial comfort.

“You know that I own the negative of Apocalypse Now, and do you know why I own it? Because nobody wanted it,” he said. “And Apocalypse Now these years earns almost as much as we get from The Godfather. Pictures like this [are difficult]; everyone wants to make the next Marvel movie, but no one wants to make a picture that really talks to young people in a hopeful way, that we are in a position to get together and solve any problem thrown at us. That is what I believe, and it is what the theme of the picture really is. Utopia is talking about how we can make the society we live in solve these problems. I believe it is an exciting change from the kinds of movies being offered to the public,” he said. “Mainly because it puts forward a fundamental message that it’s time for us to consider that the society we live in isn’t the only alternative available to us. And that utopia isn’t so much a little experimental place in the country; utopia is a discussion of people, asking the right questions on if the society we’re living in is the only alternative or, if for the sake of young people, there are better choices that should be discussed. That is the influence I dream of this movie having. And for that reason I am willing and capable of investing at a high number, to make it come true. I’m putting together the means of doing that.”

While Coppola set his script in a contemporary city and explores timely themes, the sprawling tale has its origins in ancient Rome.

“The concept of the film is a Roman epic, in the traditional Cecile B. DeMille or Ben-Hur way, but told as a modern counterpart focusing on America,” he said. “It’s based on The Catiline Conspiracy, which comes to us from ancient Rome. This was a famous duel between a patrician, Catiline, and that part will be played by Oscar Isaac, and the famous Cicero, who will be Forest Whitaker. He is now the beleaguered mayor of New York, during a financial crisis, close to the one that Mayor Dinkins had. This story takes place in a new Rome, a Roman epic sent in modern times. The time set is not a specific year in modern New York, it’s an impression of modern New York, which I call New Rome.”

Coppola realizes these serious themes leave him swimming against the tide in an industry fixated with franchises, high concepts and familiar formulas. But he’s been a maverick his whole life and would like to stake himself this one more time, hoping to prevail again.

“This film I want to make, I believe is an exciting change from the kinds of movies being offered to the public,” Coppola said. “Mainly because it puts forward a fundamental message that it’s time for us to consider that the society we live in isn’t the only alternative available to us. And that a utopia isn’t so much a little experimental place in the country; a utopia is a discussion of people asking the right questions on just that subject, and if the society we’re living in is the only alternative or, if for the sake of young people, there are better choices that should be discussed. Hopefully that is the influence I dream of this movie having. And for that reason I am willing and capable of investing at a high number, to make it come true. I’m putting together the means of doing that.

He also understands this turn of events brings him full circle, and it seems to energize him.

“I have some private financiers who want to come in on a partner basis, and I’m willing to match their funds, if I have to,” he said. “Obviously the more money I have to put up, the more complications it gives me, but I am capable of doing it. I am capable of going the whole distance if I really had to. It would be hard for me or anyone to put up $100 million to make a utopian dream of a film, but it is not impossible for that to happen. It has been in the news I just sold one of my wineries to another company. So I’m a position where I don’t have the money but I can borrow it. So basically I am the same position as I was in that Dream Studio period, where I want to see the dream come true and I am not afraid to risk my own money to make it happen.”

###

[fuckyeahwomenfilmdirectors]

20 Most Anticipated of 2020 Part 1: 1-10

20 films directed by women that will debut in 2020.

Part II HERE

DNA dir. Maïwenn

French actress/director/writer Maïwenn steps in front of and behind the camera once more with the semi-autobiographical DNA in which a woman from an abusive family reluctantly reunites with her toxic family members after her beloved grandfather dies.  Maïwenn has a stellar reputation among the French critical elite but it would be nice if one of her films could break out beyond that. Here’s hoping DNA is that film.  

Emma dir. Autumn de Wilde

Yes, I am a Janite, thank you for asking. Jane Austen has long been reverred, adored, propped up and consumed: mainly by women. So it makes sense that finally after a bajillion adaptations we’re getting one directed by a woman. Can’t wait to see how photographer turned director de Wilde interprets the classic tale and how it will measure up against other adaptations including Amy Hecklering’s genre bending modern adaptation of the tale, Clueless.

The Glorias dir. Julie Taymor

I don’t always love Taymor’s films but I am a huge admirer of all of them; it’s so clear watching each one that she’s a genius with incredible vision. The Glorias has her turn her remarkable eye on the life of American feminist Gloria Steinem played across several generations by several actresses including Alicia Vikander and Julianne Moore. Can’t wait.

The Half of It dir. Alice Wu

It’s been sixteen (!) years since Wu’s debut feature film, the lovely lesbian rom com Saving Face. Wu was a software designer before coming out of nowhere to direct Saving Face, and then disappearing just as abruptly. I was thrilled when Netflix announced that her latest film would be a loose adaptation of the play  Cyrano de Bergerac and would focus on a nerdy teenage girl who helps the school jock woo the girl they both have a crush on.  

Happiest Season dir. Clea Duvall

Actress turned director Duvall makes her transition to mainstream studio work with a romcom about a woman who plans to propose to her girlfriend at her girlfriend’s family’s annual Christmas party only to discover that her partner isn’t out to her parents. Kristen Stewart and Mackenzie Davis play the conflicted couple. 

Kajillonaire dir. Miranda July

It’s been nine years since the release of July’s last film which is sort of crazy given how consistently well reviewed and critically loved her films are. Kajillionaire has been in the works for a few years and stars Evan Rachel Wood as a young woman from a crime family who (falls in love? Unclear from the vague plot description) is shown another way of life by a woman who unwittingly is tangled up in her family’s latest schemes.    

Marry Me dir. Kat Coiro

Coiro burst onto the scene nearly a decade ago with a trio of easily consumable indies and then got swallowed up by TV. It’s nice to see her back and directing her first feature film in 7 (!) years. An adaptation of a graphic novel of the same name Marry Me is a romcom about a star who is jilted at the alter by her celeb boyfriend and then, to cover her humiliation, abruptly marries a random fan she picks from the crowd. Not only does the concept sound like the tooth achingly sweet premise needed to kick off a decent romcom but Jlo herself plays the star. Bring on the Jlo-naissance!

Mr. Malcom’s List dir. Emma Holly Jones

In 2019 Refinery 29 released the short film Mr. Malcolm’s List, a period piece romcom about a wealthy gentleman with ridiculous standards for what he wants in a wife and the woman who schemes to win his affections. The twist? This neo regency tale went full colour blind and cast poc (including Gemma Chan) in the lead roles. The short was so successful that it was announced that a full feature film would be developed with Jones and Chan returning.

Never Rarely Sometimes Always dir. Eliza Hittman

I remember Hittman talking about this film during the promo tour for Beach Rats, back when it was going under the title A. The film is about two teenage girls, one of whom is pregnant, and a day trip they take to NYC to experience the magic of the city and to access abortion services they can’t in their homestate. Hitman is a delicate and thoughtful director and this film promises to hit all the subjects I’m interested in including the power of female friendship and the importance of abortion rights.

Nomadland dir. Chloé Zhao

One of two films Zhao is releasing in 2020 (she’s also directing a little film for Marvel, maybe you’ve heard of it, called The Eternals). Nomadland cleaves closer to Zhao’s indie roots and stars Frances McDormand as a woman made homeless by the Great Recession who lives out of her van. As someone who was scared that Zhao’s work with Marvel would flatten out the lush and beautiful cinematic style she developed in her previous work I’m so glad that in 2020 their will be at least one Zhao indie that promises to stay true to her early vision. 

[whumpywhumper]

Home

Masterpost

Set sometime in the future

TW: graphic depiction of panic attack but mostly fluff

@misspelledwitch @insanitywishes @imagination1reality0 @castielamigos-whump-side-blog @voidwhump @just-a-whumping-racoon-with-wifi @captivity-whump @liliability @muumimafia @fanastywhump @elisabethrosewrites @unsure-but-alive-752 @jeverest00 @texdoeshalo @fanmanga1357-blog

Special thanks to: @0idril0 @rosesareviolentlyread @walkingchemicalfire @quirkykayleetam

V***V 

Markus was walking down the street slowly. Trying for all he was worth to make it look like a stroll rather than a limping lurch.

It was hard with the way his hip and thigh were aching, but he’d been an okay actor in high school. His Hamlet was to die for, or so he’d been told. 

He huffed, hitching up his jeans as they tried to slide down his hips again. The thick denim was loose around his waist, the weight he’d lost while still with Lucien and in the hospital absent from his lean frame. He hadn’t had the time, or the inclination, to go shopping for more clothes, and Illyn had brought what she could fit into a duffle bag from his wardrobe in Salem. 

It had been weeks since he’d been dressed in anything other than sweats and loose basketball shorts, and he wasn’t going to let the pain in his leg interfere with going out with Ben and Kincaid. They’d invited him along, pulling him away from the files they’d reluctantly allowed him to have so that the could help with the case. Claimed that a stupid rom-com was just what he needed to gain some perspective. 

Markus wasn’t sure that was true, but he was happy to be out now. 

Kincaid bumped into his shoulder, and Markus looked up at the slightly taller man, Kinciad’s eyebrow raising as he cocked his head, a silent question in his hazel eyes. You okay? 

Of course, his answering smile said. Why wouldn’t I be? His shoulders asked. 

Kincaid didn’t look completely convinced, but he held the door open for Markus and Ben, entertaining Ben’s enthusiastic rant about an upcoming release of a new Marvel movie. Markus liked the classics, wasn’t a huge movie fan in the first place, but he couldn’t help but watch how Ben lit up as he discussed what he hoped the film included from the comics. His eyes sparkled behind his glasses, the shifting green/blue of his eyes dancing under the muted lights as he made sure to engage Markus and Kincaid equally, pulling indulgent smiles from Kincaid even as he held the conversation one-sided. It was, in a word, adorable. 

Markus followed Kincaid’s hand as he placed it on Ben’s back, guiding the distracted man through the crowd. They moved so well together, a decade of friendship and partnership that baffled Markus with its easy beauty. He shook his head, trying to keep abreast of them despite his hidden limp as they made their way toward the concessions. They’d purchased their tickets online, but a lively discussion about appropriate movie candy and fare had taken up the walk on the way over. 

Markus liked twizzlers. Kincaid and Ben both liked popcorn. But that’s where the agreement ended. 

Kincaid liked buttered popcorn, whereas Ben thought that was an abomination of fake chemicals that didn’t deserve the salt that was blessed upon it. He, instead, liked plain, salted popcorn mixed with M&M’s of all things. It was a bitter, contested, and well-loved argument that, apparently, Markus was going to be the deciding vote on. 

He was going to have to disappoint them both. 

He didn’t like popcorn at all. It got stuck in his teeth. Ruining that for them before they got to the theater, however, wasn’t even an option. Having both Ben and Kincaid eagerly explaining the merits of their preferred snack to him, including him, laughing and egging each other on. It let Markus feel like he was part of them, even if it was just a little part, and he couldn’t help but crave it.  

The first hint of unease started bubbling in Markus’s gut as they stood in the back of the line. His eyes darted around, taking in the people, the families and little kids screaming and running around to the arcade. The bright posters heralding blockbusters that he hadn’t been around to see advertised. The screens overhead flashing with even more advertisements and commercials. It was a little. . . overwhelming. 

Markus stiffened when a hand brushed against his back, snapping his head around from where he’d been scrutinizing a couple of girls getting drinks from the in theater bar, meeting Ben’s concerned, questioning gaze with an automatic smile. “Sorry, I think I missed that?”  

Ben smiled back, but the worry didn’t completely go away. “I asked if you were alright?” 

Markus made his smile even brighter and consciously unclenched his hands from around his biceps, uncertain of when he’d even crossed his arms. “Of course, yeah,” he laughed, hoping it didn’t sound as forced as it felt, “just wondering if my alcohol tolerance has gone down. I used to be able to drink Clint under the table, ya know?” 

Ben and Kincaid both chuckled at that, shaking their heads. Kincaid slung an arm around Ben’s shoulders, gesturing for them both to move up in line. “I’m sure that he tells a different story.” 

“Well yeah,” Markus answered, relieved that they seemed to be accepting his distraction, “he’s got to keep the big, bad werewolf reputation intact.” 

“Thaaat’s the reason, sure,” Ben snorted, pointing at the different drink options. 

Markus blinked as Ben’s attention wavered, eyes flitting to the people that sidled up in the line next to them, watching how they interacted, their laughter or phone calls washing over him in a wave of sound. He swallowed, throat feeling tight, not recognizing that his arms were crossing back over his chest again. He knew that there was anxiety building, but he couldn’t accept that that’s what was happening. Not over something so simple as a trip to the movie theater. 

He shook himself, blinking hard, mind scrambling to make sense of what was going on in his own head, and he forcibly settled his shoulders as he realized it was the first time he’d been around so many people since he’d gotten away from Lucien. It was supposed to help, recognizing the trigger, right? 

“Hey, Markus?” 

Jumping a little at Kincaid’s voice, Markus forced an automatic, quizzical expression, like he hadn’t been a million miles away, and met the other man’s gaze. “Hmmm?” 

Kincaid’s mouth tilted in a knowing smile. “Can you go grab some straws?” he asked, eyebrows lifting meaningfully at the darker section of the atrium where the napkins, straws, and fake, powdered cheese lived. 

Markus nodded, smiling back, concealing his gratefulness and moved away from the crowded concession lines. 

But the further he got from Ben and Kincaid, the more his fear seemed to build. He stumbled as a little girl with two huge pig tails tripped in front of him, catching himself hard on his bad leg, barely hearing her high pitched apology as his heartbeat roared in his ears—the memory of being thrown, of being held down and stabbed—flashing in front of his eyes. He gasped raggedly, stumbling into the corner, eyes lowered to avoid the gaze of the other people there. Fuck, he thought, gasping tightly in the back of his throat, fuck. 

Markus’s heart was a rustling bird in his chest, thumping away at his breastbone in an effort to escape. The roar of air in his ears was deafening, the farther he plummeted downward, the harder the desperate flapping of the trapped bird became, his lungs expanding like fluttering wings, unable to collect enough air to keep him from crashing. Fuck, fuck, I can’t breathe. He grabbed ahold of the counter. Trying to keep from going to his knees in the middle of a goddamn movie theater. 

He was in a movie theater, right? His blinked, eyelids fluttering, gaze roving across the room, not quite seeing the garish posters, the advertisements for next year’s blockbusters. The milling crowd and arcade games turned into a bright blur, arching across his vision with a kaleidoscope of color. Like he was high, his pupils unfocused and dilated with the overhead lights. 

“Hey, are you okay?”  

Markus jerked, sucking in a short gasp as his muscles clamped down, not letting him move. Freezing him in place. He ducked his head, his shoulders drawing up around his ears, protecting the sides of his neck. 

A strong hand encircling his bicep made him choke down a whimper, and his gaze jerked to the person touching him, his breath completely stopping in his chest. Blond hair. Tall. Pale. 

No. Nononofuck. 

He tried to back away, shaking legs threatening to buckle as he tried to put more weight on his aching leg. Markus stumbled again, thudding into the counter, and his hand left its white knuckled grip on the counter to grab at the hot fury in his hip. 

“No need to be so jumpy there,” the other man laughed, his hand tightening as he steadied Markus. “You look like you’ve seen a ghost? Did you see that new Annabelle movie or something?” 

Markus shook his head, numb to what his expression was, eyes wide as he tried to pull himself from the panic. “N-no,” his mouth wouldn’t cooperate, lungs starving for oxygen even as he prepared himself to beg, “pl-ease.” 

Suddenly, Ben was there, shoving the other man’s hand away, pushing the blond back. “Back off.” The words were hollow, pounding drum notes, the echo wrong in Markus’s ears as his brain tried to keep up with the wild thud of his heartbeat. 

Ben, Ben don’t— He tried to reach for him, his hand leaving his hip with a flutter as he tried to get it to move past the electric, flashing pain in the joint. The fear Markus felt at the other human facing the Elder was instinctive, terrifying. He wouldn’t have a chance. Ben would die. Ben, please, not Ben. 

But then Kincaid was there too, his broad shoulders crowding in front of him, blocking his view, enveloping Markus in his warmth. “Easy, Markus, shhhh,” he ducked his head, honey hazel eyes meeting Markus’s, weaving to keep in Markus’s eye line as he tried to see Ben. “No, sweet guy, c’mon, look at me.” That tell-tale tingle of magic travelled down his spine when Kincaid’s hand wrapped around the back of his neck, his thumb brushing through the short hairs at his nape. 

Markus shuddered, gasping, ribs starting to ache with weight of his shaking breaths. There were angry murmurs, and Ben’s raised voice. Ben shouldn’t be confronting Lucien, no. “I-I c-can’t—Ben, can’t—“ he still couldn’t breathe, “Lucien—“ 

“No, Markus, shhhh,” Kincaid’s other hand cupped his cheek, forcing his gaze to stay on him, “Lucien isn’t here, okay? Ben’s fine. Look at me, breathe with me, c’mon.” He started taking a slow breath through his nose, letting it out through his pursed lips, demonstrating for Markus, trying to calm him down. 

He heaved in a heavy breath, not hearing the unsteady, short moan humming through his throat. “Kin—“ he panted, “Kin’, please, I—“ 

“Alright, no, I know,” Kincaid released the hold he had on his cheek, pulling Markus’s hand from the counter and to his chest. “You’re alright, grab hold, just like we practiced.” Markus felt the dangling charms of his grahm brushing against his fingers, and latched onto it, his fumbling grasp tightening as much as he could. “Breathe in,” Kincaid murmured softly, “One, two, three, four, hold—“ 

Kincaid took him all the way through the breathing exercise, murmuring softly to him the whole time, keeping their eyes locked together. His thumb didn’t stop its slow caress, brushing back and forth, back and forth, through his hair. “Good job,” he whispered, once Markus’s breath started to actually match his own, “good job, sweet guy, shhhh.” He brought their foreheads together, and Markus swayed into him, releasing the death grip on his hip to clutch at Kincaid’s t-shirt, clinging to him as the panic left him empty and aching. They were breathing the same air, and Markus could smell the popcorn and Coke on the other man’s breath. 

Markus’s eyelashes fluttered closed, and he let out another shaking breath. “—Kin’,” he whispered, not sure what he was wanting to say. 

“I’m right here, baby, shhhh,” Kincaid wound his free hand around Markus’s back, trapping Markus’s grahm and his hand between them, pulling him as tightly into his embrace as he could. Surrounding him, protecting him. His frantic heartbeat slowed, settling in his chest, letting Markus take a full, deep breath. 

When they pulled apart, Markus felt punch drunk. He staggered slightly, still in the circle of Kincaid’s arms, eyelids heavy and half-lidded. Kincaid took some of his weight, palm bracing his lower back, face still so very close to Markus’s. 

He jumped when someone else touched him, head sluggishly snapping toward toward the newcomer. It was Ben, and Markus’s breath left him again with both a sense of relief that the other man was okay and with fear, realizing just how close he was to Ben’s partner, the way that they were curled into each other. “Ben . . . “ he breathed, voice faint. 

The answering smile he received didn’t hold any of the anger that he’d expected, none of the territorial hostility that should have been there with Markus ensconced in an intimate embrace with the love of Ben’s life. Ben’s hand pressed against his shoulder blades, fingers spread wide and possessive, encouraging Markus to stay right were he was in Kincaid’s arms. “It’s okay, Bambi,”  he said softly, warmly, “It’s okay.” Ben had foregone his glasses, and his dusky, blue eyes were were sparkling, lines evident as his lips stretched into a welcoming smile. “Let’s go home, yeah?” 

Markus swallowed, still feeling dazed as he turned toward Ben, not capable of leaving the warmth that surrounded Kincaid. “But. . . the movie?” he asked, words slightly slurred with the oncoming fatigue. Nothing sounded better than going ho—going to Ben and Kincaid’s—and falling into an early sleep, but he didn’t want to ruin their night out. He could make it through a movie. 

Kincaid shook a head, his nose brushing Markus’s temple. “It doesn’t matter, Markus,” the hand still on the back of Markus’s neck swept up to cradle the back of his head, Kincaid’s thick, calloused fingers woven through his hair, “do you want to go home?” 

He let the weight of Kincaid’s hand pull him forward, so that he was pressed into the crook of the bigger man’s neck, hiding his face from the curious gazes he could see in the periphery of his vision. He nodded, curling his shoulders in, making himself smaller. 

“Okay, then let’s go home,” Kincaid whispered, pressing a kiss to his hair. 

Ben sidled up to his other side, free hand under Markus’s elbow, and between them, they took some of Markus’s weight so that he could follow their lead through the crowd, not letting himself acknowledge the people they passed. If his limp was more prominent now, it didn’t matter. 

He was going home. 

[lgbtkendricks]

Does Annie (1982) provide a good representation of women?

Like many PG-Rated movies of the 80s, Annie is about a young child. An orphan, to be exact. A little orphan girl named Annie. She is spritely, funny, kind, hard-working and intelligent. Even through all her hardships the beloved Annie sings and dances to her heart’s content, with a bright grin and sunny exposition, quite literally believing that no matter what happens ‘the sun will come out tomorrow’.

The 1982 film adaptation of Annie holds heart and positivity as the protagonist and her friends embark on adventures such as escaping the orphanage, visiting radio stations and the movies, tricking their spiteful and alcoholic carer Miss Hannigan and even meeting President Roosevelt. Annie is one of my favourite films of all time. In my most humble opinion, it’s a work of pure brilliance with a strong likeable ensemble and brilliant choreography. It is no wonder why it instantly became a sensation and a classic which was remade multiple times (none of which hold up to the original, although Audra MacDonald as Grace Farrell was a particularly enjoyable performance).

However, even I – who has probably watched Annie around 60 times and can recite the entire script – have to admit that there are certain faults in the adaptation. Of course, there are many questionable parts throughout: the Asian character Punjab was played by a black man and was understood to be strangely magic and only uttered about five lines throughout the entire film, and there was particularly problematic music and accompanying choreography for a Chinese man working at Oliver Warbucks’ mansion during ‘We Got Annie.’

But on a whole, the representation of women throughout Annie is both empowering and disheartening. In a way, the film is reminiscent of the wonderful 1939 film ‘The Women’, starring Joan Crawford, Rosalind Russell and Norma Shearer, in which the women are entirely dominant in driving the plot forward. The only man represented in the entire film is on the back of a newspaper one of the women read in an early scene. Whilst men are talked about and fought over, we never see a single male character, which was incredibly revolutionary then and even now, 81 years later, in terms of Hollywood. The fast-paced film is told entirely through the perspectives of several women of (supposed) high-society, and it is nothing short of a marvel.

Being in an all-girls orphanage, Annie is already surrounded by young girls throughout her childhood, who all share close relationships and confide with one another. It is heart-warming to watch and highlights the importance of friendship and positivity to its equally young audience. Scenes such as Annie fighting a group of boys within the first twenty minutes do well to strengthen the empowering nature of her character and the film as a whole. Conveying Annie’s bravery proves to the target audience that they can be a strong, gallant and determined individuals who don’t give up. Unfortunately, this message is debunked a few times throughout the film. Whilst the orphans remain as genuinely admirable and understandable as possible, the three main female adults in Annie waver between aggravating and powerful.

There is Miss Hannigan, played by the extraordinary Carol Burnett, whose personality seems to waver upon hating children (specifically ‘Little Girls’ – she spends about three minutes voicing her loathing through song), yearning for a male counterpart and an alcohol addiction. Whilst her character arc is impressive, due to her sudden protectiveness over Annie after realising her brother Rooster isn’t messing about, she isn’t a particularly good example of a person. Of course, this is the point: we as an audience are supposed to hate her after seeing how frightened the orphans are of Miss Hannigan upon her first entrance into the film, alongside the way she drags Annie and her friends around throughout the musical, aiming to discipline them as harshly as possible without breaking any laws. Still, her questionable morals and decisions do not change the fact that – as a character – she is portrayed well, and her actions and arc make perfect sense once we are given insight into how she feels about her situation.

On the other end of the spectrum, there is the character of Grace Farrell, played by Ann Reinking. She is the brilliant right-hand woman to influential billionaire Oliver Warbucks, carrying three solos throughout the film - the second-most after Annie herself. Arguably, by watching how well she manages both the mansion and the song ‘I Think I’m Gonna Like it Here’ simultaneously, it is clear that Grace’s resourcefulness contributes to her position in society, portraying her as an impressive example of a woman of the 1930s. However, as the film goes on it becomes clearer that she feels she needs Oliver’s constant approval and does everything in accordance to what he decides and desires. Before miraculously singing their way through dressing up in ‘Let’s Go To The Movies’, Annie tells her new motherly figure to wear her hair down as she looks “so pretty”, to which Grace immediately replied with “oh no, Annie, I couldn’t, I just couldn’t, no, no, no!” and Annie provides an off-comment about how miss Hannigan says “a man don’t look at your brains”. Moreover, Grace seems delighted when Oliver tells her “you’re awfully pretty when you argue with me.” and nearly rushes off to get her crooked teeth fixed once Oliver points them out before he reassures her that he likes them crooked. After this, Grace sings and dances through her most energetic and impressive solo, ‘We Got Annie’, seemingly happier than ever. Of course, it’s more than understandable for someone to feel excited if their romantic interest compliments them, but after witnessing Grace’s capabilities and strong sense of self – alongside how she is Annie’s role model and thus the woman all young children watching should strive to be – it is fairly demeaning to watch Grace’s sudden incapability and giddiness when being complimented by “Oliver Warbucks the billionaire.” In fairness, it is important to remember that the actual film is set in 1933 and Grace’s reactions would have been the general consensus, and I am now reading the film in light of our Me Too era, scrutinising it just as I would anything else. Even so, at the time the film adaptation was written in the early 1980s, there had already been feminist movements such as the introduction of the washing machine for women to have the time to work weekdays as men do, and there was a slow influx of feminist books beginning to be written and published. Thus, there was no good reason for script-writer Carol Sobieski to disregard Grace’s intelligence and accomplishments in light of her sudden attraction to Oliver Warbucks – notably, Grace becomes slightly more helpless after this scene. In a way, it’s fairly ironic that the respectable Grace’s portrayal is somehow worse than Miss Hannigan’s in accordance to staying true to their characters, but I suppose that reflects somewhat the way the media currently view women: think Meghan Markle vs. Cardi B.

It’s saddening to see that even now, scriptwriters are using this trope that women can be hard-working and empowering in their chosen job, or they can be in love and focus on nothing else but their romantic interest, unable to find the balance. Whilst this is improving, there are many tv shows and films that disregard the need for change and proper accurate representation of how normal people live and balance their personal life and work ethic. To name a few that do represent this: One Day at a Time, Daddy Day Care, and How I Met Your Mother. Whilst representation of women and minorities in the media is improving, I still would like to see a wider range of films and television that further tackle and question if a character’s original motive or super-objective needs to be drastically altered for their romantic interest.

[mostlymovieswithmax]

Movies I watched in September

I skipped a month again. But not to worry. This is a wrap-up of all the movies I watched in the month of September (2021). I think I maintained a steady ratio throughout but perhaps there’s not as much on the list this time because I wanted to get on with other things, be that work-wise or just trying to get out to the beach as much as possible and make the most of the last dregs of summertime. I went swimming in the sea a lot! But I also got to catch the new James Wan movie, Malignant (twice!) as well as the new James Bond, No Time To Die. Not to mention a couple of classics! My hope again with this list is to introduce people to new movies that they may otherwise not have seen or perhaps have never have heard of. These short reviews are my own subjective opinions on each individual movie. I’m thinking maybe a more informal approach to movie criticism can help include others who are just passing through. So here is every film I watched from the 1st to the 30th of September.

Fanny and Alexander (1982) - 8/10

Coming from Ingmar Bergman, I was surprised to see just how warm this was. I’m a big fan of the Swedish director and while this isn’t my favourite from him (perhaps due to it needing a second watch, or the fact I watched it in three chunks because it’s about three hours long and I overestimated how much time I had in the day) it’s still an interesting departure from what I’ve come to expect from him. Fanny and Alexander is a dreamy Christmassy movie that presents an overarching theme of love, spending a large portion of its runtime just hanging out with this big family on Christmas and showing how close they are. I would love to watch this again at some point in December and see how my opinion shifts but for now, while it could meandre in places, I can’t deny how unique a movie it is.

Another Round (2021) - 10/10

I had seen Thomas Vinterberg’s latest film before this point but this was the first time I got to see it in a cinema. Luckily for me my local independent cinema was showing it one night and while they had a few technical hiccups with setting everything up, the movie itself was still fantastic. Following a handful of school teachers who experiment with whether they can maintain a certain level of blood alcohol throughout the day, Another Round demonstrates a sense of unease and sadness throughout an otherwise comedic tone. These emotions are balanced perfectly, boosting an already intriguing concept that examines our relationship with alcohol from every angle.

Shang-Chi and the Legend of the Ten Rings (2021) - 4/10

Straight after Another Round, I made my way to the chain cinema to meet up with friends to see the new Marvel movie. At this point, having had my second dose of the Covid vaccine that morning, I was starting to feel the effects and I was not doing well. But I watched the movie anyway, all the while wanting to be in bed. Shang-Chi was massively underwhelming and I’d go as far as to say it was even incompetent. Truth be told,  I like the Marvel Cinematic Universe but from the get-go I already wasn’t hyped for this movie and I was expecting it to be about mediocre but what I got was something a lot worse. I won’t rehash what I’ve already said on this film so if you want to hear me rant about it a bit then I would recommend checking out episode 47 of my podcast, The Sunday Movie Marathon.

Your Name. (2016) - 6/10

Ultimately this was a fun little romance movie but I can’t say I understand why people adore it, nor do I understand why it needed to be animated. For what it’s worth, I found it cute and entertaining but nothing much jumped out to me.

Phil Wang: Philly Philly Wang Wang (2021) - 7/10

I’m always stumped on what to say about stand-up shows. It was good! I enjoyed Phil Wang talking about different things in a funny way and it got some laughs out of me. Admittedly I’m writing this a couple of weeks after watching it but it’s certainly a decent way to spend an hour if you’re looking for something light and fun.

The Lego Batman Movie (2017) - 6/10

I remember seeing this in the cinema with two of my friends and the theatre wasn’t exactly packed but those that were there were either children or parents. But I like The Lego Batman Movie! Clearly this was made by fans of the character as it’s packed with a lot of details and references from old comic runs but as someone who has never read the comics or seen those older movies, it still managed to be entertaining and while I won’t say it’s quite as good as The Lego Movie, the animation is still top notch and the voice actors are certainly giving it their all, especially Will Arnett as the titular character. It’s just a bit of fun!

Terminator 2: Judgment Day (1991) - 10/10

A friend of mine told me to go to the screening of Terminator 2 at my local because they themselves weren’t able to attend. The first Terminator movie is a real gem and one of the most 80’s-type movies I’ve ever seen. I was excited to watch T2, remembering next to nothing about what I watched of it when I was a child. So it was just me in this screening, with one person in a row in front of me, and one other person behind me. If I had it my way, I would have been the only person there because this is honestly one of the best movies I’ve ever seen and it was very hard not to yell out every time something incredible happened, especially when it’s so action-packed and basically goes all out at every opportunity to deliver some of the most jaw-dropping effects or choreography. Truly there is never a dull moment and I was grinning like a lunatic the entire time. This film rocks!

Mirror (1975) - 7/10

Andrei Tarkovsky is one of my favourite directors and the new Criterion release of his film, Mirror, had been on my shelf for a while. My friend and fellow podcast co-host, Chris, was also interested in watching this movie so we decided we’d give it a watch and review it on the podcast. But this is such a weirdly structured film that the entire way through, neither of us knew what on earth was happening. What we got from the experience is reflected in the episode we made and I would love to watch this again at some point, hopefully with more context and a better understanding of what I’m in for. But in the meantime, you can hear the discussion on episode 46 of the podcast.

The Night House (2021) - 6/10

The Night House is David Bruckner’s follow-up to his previous movie, The Ritual and while I’ll say I prefer The Ritual, this is still a decent watch, just don’t go in expecting horror. More of my thoughts can be found in episode 46 of the podcast.

The Ritual (2017) - 7/10

After watching The Night House, I decided to go back to the director’s previous film, The Ritual and I got a lot more out of it this time around. Themes of guilt and grief permeate the movie and the result is this weird and unnerving film about a group of guys who go hiking in Sweden after the death of one of their friends and encounter dark forces beyond their comprehension. It can be drawn out at times and probably could have been boosted with a better script but there are so many interesting and strange ideas presented that culminate in a haunting third act that it’s worth watching just to see what on earth they’re being hunted by.

Monty Python and the Holy Grail (1975) - 10/10

Straight after recording an episode about our favourite movies on the podcast, I returned to one of my all-time favourites. Holy Grail is such a fantastically funny movie with so many memorable lines and moments that it’s become a staple in the comedy genre. Setting it in Arthurian England is a surefire way to make sure it stands the test of time, making use of the budget in a way that heightens the comedy, for example: not being able to get horses and so resorting to having a man banging two coconut halves together as they skip through the grassy terrain. It’s the writing that really takes centre stage here; the guys from Monty Python were/are geniuses. A couple more points were made on my podcast so please do listen to that to hear more: Episode 46 of The Sunday Movie Marathon

Malignant (2021) - 7/10

The new James Wan movie was bonkers! I saw this one twice in quick succession without hesitation. To find out why I love it so much, listen to episode 47 of the podcast.

A Nightmare on Elm Street (1984) - 8/10

We got a marathon of the first three Nightmare on Elm Street movies on the podcast so we watched them in quick succession within a day. This first movie is a true masterpiece of its time. For more insight, listen to episode 47 of the podcast.

A Nightmare on Elm Street Part 2: Freddy’s Revenge (1985) - 2/10

Quite an embarrassing departure from the genius and fun of the original. Elm Street 2 is not only technically unfulfilling but a wholly unentertaining movie to boot. More thoughts in episode 47 of the podcast.

A Nightmare on Elm Street 3: Dream Warriors (1987) - 3/10

While only a few hairs better than its predecessor, Elm Street 3 is still a mere shadow of the original. All in all, these second and third instalments in the franchise have put me off watching any of the others. More thoughts in episode 47 of the podcast.

Her (2013) - 10/10

Her is at once a beautiful love story between a man and an AI, and a scarily accurate look at how technology is expanding and moving forward. It uses warm colours and smooth camera work to create something that feels homely and safe, juxtaposing the often cold and dark feeling of science-fiction films to tell an intrinsically human story. What would it be like to go through this and what are the hurdles that need to be overcome? Her is a masterpiece of filmmaking and it left me emotionally exhausted in all the right ways.

Alien (1979) - 10/10

First time I’ve seen Alien in the cinema (as I was too busy not being born yet to see it on an initial release) and it was amazing! This is cosmic horror at its best. With all the eerie sound design, slow and deliberate camera movement, and outstanding effects, there’s no wonder as to why this is considered one of the greats and seeing it on the big screen was enthralling.

Aliens (1986) - 8/10

I had never seen Aliens before so the opportunity to see it for the first time in a cinema was one I could not pass up, especially since I was able to see it straight after the first. This is more of an action movie than the first one and as that, it was really something to see. While I don’t think it quite measures up to the original, James Cameron does bring a style to it that makes it something completely different while still feeling in line with its predecessor. A problem I’ve found as time goes on is that I don’t find myself thinking much about Aliens whatsoever and that’s probably down to its characters who generally I found quite weak. I’m already not big on standard action flicks and this is a clear cut above those but it does still fall victim to the trappings. That being said, I would in no way call this bad or even mediocre because it was a lot fun and being able to see it in the cinema is an experience I’m very grateful for.

Gunpowder Milkshake (2021) - 6/10

Gunpowder Milkshake is trying very hard to be John Wick and although it never really manages it, there is still fun to be had with its action (because really that’s all this movie has to offer). There’s a very creative scene in which Karen Gillan has to fight some goons in a hospital with a gun taped to one hand and a scalpel taped to the other, with the caveat being that her arms don’t work. Despite that and a good enough performance from Gillan, the rest is very goofy, with a villain about as intriguing as an advert for life insurance and a story that to say the least, leaves much to be desired.

I Lost My Body (2019) - 10/10

Another one for the podcast, I Lost My Body is a glorious cerebral animated piece that hits every nerve in my body. Listen to episode 48 for more.

Alice In Wonderland (1951) - 10/10

Perhaps the best early Disney movie in my humble opinion. Alice In Wonderland is complete insanity, doing things simply for the sake of it in a beguiling dreamlike take on Lewis Carroll’s classic book. Listen to episode 48 of The Sunday Movie Marathon for more.

WALL-E (2008) - 9/10

WALL-E is one of Pixar’s best. It is a cautionary tale of where the world is headed wrapped in a sweet story about going to the ends of the solar system in order to help those you love. I do however have one big problem with this movie and you can find out more in episode 48 of the podcast.

Killing Them Softly (2012) - 6/10

A lot about America’s economy at the time, Killing Them Softly goes about showing the lengths people will go to for money and yes it is generally solid with a fantastic speech by Brad Pitt to cap it off, but it cannot avoid meandering scenes of listless dialogue that neither engage me nor make me care about the characters it presents.

The Dirties (2013) - 6/10

Funny! The Dirties is a mockumentary about two guys making a movie about bullies in their school. While often it was generally chugging along and making me laugh, it tended to err on the side of plain as regards its presentation. A lot of scenes happen for the sake of it and in a movie that’s around an hour and twenty, it’s amazing I still managed to dip out in the latter half. More thoughts in episode 49 of the podcast.

Telstar: The Joe Meek Story (2009) - 3/10

Ah, I really hated this. I don’t even want to talk about it anymore. Just listen to episode 49 of the podcast to hear what I had to say.

Blade Runner 2049 (2017) - 10/10

This is my favourite movie! I got to talk about it on my podcast! Listen to episode 49 of The Sunday Movie Marathon to hear what I have to say!

No Time To Die (2021) - 8/10

Best Bond movie? Perhaps. I’ve not seen every Bond movie but of the ones I have seen (which does include all of Daniel Craig’s run), this is as good as it gets. Despite a near three hour runtime, No Time To Die felt as though it wasted very little. I’ve always complained that I could never follow the plot to these movies because often I simply didn’t care about it; for me it’s more about the action and seeing Daniel Craig be James Bond. No Time To Die does not escape some of the general tropes that often don’t leave me thinking I’ve watched something masterful but what I will say in its favour is that it’s fucking fun! Don’t expect to love it if you already dislike these movies because generally it stays in the same vein as the others before it, but for Bond fans it’s something totally enjoyable. Captivating cinematography, biting fight choreography and action set-pieces, a core struggle for James who actually goes through relatable hardships his time round, coping with being part of a family and trying to keep them safe.

I was happy to see a bit more attention paid to female characters this go round; in a franchise that often glamorizes Bond’s sexual promiscuity and ability to woo any woman he likes, it was much more refreshing to see that he often did need help from a lot of badass, well written female characters.

No Time To Die has been waiting to be released for a long time now and now it’s actually out, I’m pleased it’s not hot garbage. In fact, quite the opposite is true. The final swan song for Craig’s fifteen-year tenure as one of cinema’s most recognisable heroes outdoes all that came before it. Bravo.

[aaronmaurer]

TV I Liked in 2020

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

Was there ever a year more unpredictably tailor-made for peak TV than 2020? Lockdowns/quarantines/stay-at-home orders meant a lot more time at home and the occasion to check out new and old favorites. (I recognize that if you’re lucky enough to have kids or roommates or a S.O., your amount of actual downtime may have been wildly different). While the pandemic resulted in production delays and truncated seasons for many shows, the continued streaming-era trends of limited series and 8-13 episode seasons mean that a lot of great and satisfying storytelling still made its way to the screen. As always, I in no way lay any claims to “best-ness” or completeness – this is just a list of the shows that brought me the most joy and escapism in a tough year and therefore might be worth putting on your radar.

10 Favorites

10. The Right Stuff: Season 1 (Disney+)

As a space program enthusiast, even I had to wonder, does the world really need another retelling of NASA’s early days? Especially since Tom Wolfe’s book has already been adapted as the riveting and iconoclastic Philip Kaufman film of the same name? While some may disagree, I find that this Disney+ series does justify its existence by focusing more on the relationships of the astronauts and their personal lives than the technical science (which may be partially attributable to budget limitations?). The series is kind of like Mad Men but with NASA instead of advertising (and real people, of course), so if that sounds intriguing, I encourage you to give it a whirl.

9. Fargo: Season 4 (FX)

As a big fan of Noah Hawley’s Coen Brothers pastiche/crime anthology series, I was somewhat let down by this latest season. Drawing its influence primarily from the likes of gangster drama Miller’s Crossing – one of the Coens’ least comedic/idiosyncratic efforts – this season is more straightforward than its predecessors and includes a lot of characters and plot-threads that never quite cohere. That said, it is still amongst the year’s most ambitious television with another stacked cast, and the (more-or-less) standalone episode “East/West” is enough to make the season worthwhile.

8. The Last Dance (ESPN)

Ostensibly a 10-episode documentary about the 1990s Chicago Bulls’ sixth and final NBA Championship run, The Last Dance actually broadens that scope to survey the entire history of Michael Jordan and coach Phil Jackson’s careers with the team. Cleverly structured with twin narratives that chart that final season as well as an earlier timeframe, each episode also shifts the spotlight to a different person, which provides focus and variety throughout the series. And frankly, it’s also just an incredible ride to relive the Jordan era and bask in his immeasurable talent and charisma – while also getting a snapshot of his outsized ego and vices (though he had sign-off on everything, so it’s not exactly a warts-and-all telling).

7. The Queen’s Gambit (Netflix)

This miniseries adaptation of the Walter Tevis coming-of-age novel about a chess prodigy and her various addictions is compulsively watchable and avoids the bloat of many other streaming series (both in running time and number of episodes). The 1960s production design is stunning and the performances, including Anya Taylor-Joy in the lead role, are convincing and compelling.

6. The Great: Season 1 (hulu)

Much like his screenplay for The Favourite, Tony McNamara’s series about Catherine the Great rewrites history with a thoroughly modern and irreverent sensibility (see also: Sofia Coppola’s Marie Antoinette). Elle Fanning brings a winning charm and strength to the title role and Nicholas Hoult is riotously entertaining as her absurdly clueless and ribald husband, Emperor Peter III. Its 10-episodes occasionally tilt into repetitiveness, but when the ride is this fun, why complain? Huzzah!

  5. Dispatches From Elsewhere (AMC)

A limited (but possibly anthology-to-be?) series from creator/writer/director/actor Jason Segal, Dispatches From Elsewhere is a beautiful and creative affirmation of life and celebration of humanity. The first 9 episodes form a fulfilling and complete arc, while the tenth branches into fourth wall-breaking meta territory, which may be a bridge too far for some (but is certainly ambitious if nothing else). Either way, it’s a movingly realized portrait of honesty, vulnerability and empathy, and I highly recommend visiting whenever it inevitably makes its way to Netflix, or elsewhere…

4. What We Do in the Shadows: Season 2 (FX)

The second season of WWDITS is more self-assured and expansive than the first, extending a premise I loved from its antecedent film – but was skeptical could be sustained – to new and reinvigorated (after)life. Each episode packs plenty of laughs, but for my money, there is no better encapsulation of the series’ potential and Matt Berry’s comic genius than “On The Run,” which guest-stars Mark Hamill and features Laszlo’s alter ego Jackie Daytona, regular human bartender.

3. Ted Lasso: Season 1 (AppleTV+)

Much more than your average fish-out-of-water comedy, Jason Sudeikis’ Ted Lasso is a brilliant tribute to humaneness, decency, emotional intelligence and good coaching – not just on the field. The fact that its backdrop is English Premier League Soccer is just gravy (even if that’s not necessarily represented 100% proficiently). A true surprise and gem of the year.

2. Mrs. America (hulu)

This FX miniseries explores the women’s liberation movement and fight for the Equal Rights Amendment in the 1970s and its opposition by conservative women including Phyllis Schlafly. One of the most ingenious aspects of the series is centering each episode on a different character, which rotates the point of view and helps things from getting same-y. With a slate of directors including Ryan Bowden and Anna Fleck (Half-Nelson, Sugar, Captain Marvel) and an A-List cast including Cate Blanchett, Rose Byrne, Uzo Aduba, Sarah Paulson, Margo Martindale, Tracey Ulman and Elizabeth Banks, its quality is right up there with anything on the big screen. And its message remains (sadly) relevant as ever in our current era.

1. The Good Place: Season 4 (NBC)

It was tempting to omit The Good Place this year or shunt it to a side category since only the final 4 episodes aired in 2020, but that would have been disingenuous. This show is one of my all-time favorites and it ended perfectly. The series finale is a representative mix of absurdist humor and tear-jerking emotion, built on themes of morality, self-improvement, community and humanity. (And this last run of eps also includes a pretty fantastic Timothy Olyphant/Justified quasi-crossover.) Now that the entire series is available to stream on Netflix (or purchase in a nice Blu-ray set), it’s a perfect time to revisit the Good Place, or check it out for the first time if you’ve never had the pleasure.

5 of the Best Things I Caught Up With

Anne With An E (Netflix/CBC)

Another example of classic literature I had no prior knowledge of (see also Little Women and Emma), this Netflix/CBC adaptation of Anne of Green Gables was strongly recommended by several friends so I finally gave it a shot. While this is apparently slightly more grown-up than the source material, it’s not overly grimdark or self-serious but rather humane and heartfelt, expanding the story’s scope to include Black and First Nations peoples in early 1800s Canada, among other identities and themes. It has sadly been canceled, but the three seasons that exist are heart-warming and life-affirming storytelling. Fingers crossed that someday we’ll be gifted with a follow-up movie or two to tie up some of the dangling threads.

Better Call Saul (AMC)

I liked Breaking Bad, but I didn’t have much interest in an extended “Breaking Bad Universe,” as much as I appreciate star Bob Odenkirk’s multitalents. Multiple recommendations and lockdown finally provided me the opportunity to catch up on this prequel series and I’m glad I did. Just as expertly plotted and acted as its predecessor, the series follows Jimmy McGill/Saul Goodman on his own journey to disrepute but really makes it hard not to root for his redemption (even as you know that’s not where this story ends).

Joe Pera Talks With You (Adult Swim)

It’s hard to really describe the deadpan and oddly soothing humor of comedian Joe Pera whose persona, in the series at least, combines something like the earnestness of Mr. Rogers with the calm enthusiasm of Bob Ross. Sharing his knowledge on the likes of how to get the best bite out of your breakfast combo, growing a bean arch and this amazing song “Baba O’Reilly” by the Who – have you heard it?!? – Pera provides arch comfort that remains solidly on the side of sincerity. The surprise special he released during lockdown, “Relaxing Old Footage with Joe Pera,” was a true gift in the middle of a strange and isolated year.

The Mandalorian (Disney+)

One of the few recent Star Wars properties that lives up to its potential, the adventures of Mando and Grogu is a real thrill-ride of a series with outstanding production values (you definitely want to check out the behind-the-scenes documentary series if you haven’t). I personally prefer the first season, appreciating its Western-influenced vibes and somewhat-more-siloed story. The back half of the second season veers a little too much into fan service and video game-y plotting IMHO but still has several excellent episodes on offer, especially the Timothy Olyphant-infused energy of premiere “The Marshall” and stunning cinematography of “The Jedi.” And, you know, Grogu.

The Tick (Amazon Prime)

I’ve been a fan of the Tick since the character’s Fox cartoon and indie comic book days and also loved the short-lived Patrick Warburton series from 2001. I was skeptical about this Amazon Prime reboot, especially upon seeing the pilot episode’s off-putting costumes. Finally gaining access to Prime this year, I decided to catch up and it gets quite good!, especially in Season 2. First, the costumes are upgraded; second, Peter Serafinowicz’s initially shaky characterization improves; and third, it begins to come into its own identity. The only real issue is yet another premature cancellation for the property, meaning Season 2’s tease of interdimensional alien Thrakkorzog will never be fulfilled. 😢

Bonus! 5 More Honorable Mentions:

City So Real (National Geographic)

The Good Lord Bird (Showtime)

How To with John Wilson: Season 1 (HBO)

Kidding: Season 2 (Showtime)

Unbreakable Kimmy Schmidt: Kimmy Vs The Reverend (Netflix)

[aion-rsa]

The Losers: Chris Evans, Idris Elba and Zoe Saldana’s Forgotten Superhero Movie

https://ift.tt/3CsNhNU

Even The Losers get lucky sometimes. Before the DCEU was formed to compete against the ever-expanding, cash cow that is the Marvel Cinematic Universe, the approach at Warner Bros. was far looser. With the booming business of comic book adaptations in full swing, the studio was throwing money at several eclectic comic book titles like Watchmen and Jonah Hex, trying to stay competitive and seemingly more adult than their rivals. Hence before leaving to create his own superhero project, Hancock, wrier-director Peter Berg started penning an adaptation of DC/Vertigo’s The Losers, bringing in French director Sylvain White to helm the picture.

Produced by Joel Silver, The Losers centered on a team of elite, black-ops Special Forces operatives betrayed by their handler. Director White connected with the material immediately. 

“What appealed to me about The Losers was that it wasn’t the typical superhero-with-superpowers thing,” White told MTV. “It was based on real characters—realistic characters—and based in reality, like a lot of the European graphic novels that I had grown up reading.” The director worked with creators Jock and Andy Diggle to refine the script and lend their expertise with design to give the film a distinct visual palette that changes with new locations.

Frequent Silver collaborator Idris Elba was cast as Captain William Roque, with the cast being rounded out by Jeffrey Dean Morgan, coming off his turn as The Comedian in the studio’s adaptation of Watchmen, Zoe Saldana, fresh off of starring in the highest-grossing film of all-time, Avatar, Chris Evans, still mainly known for playing the Human Torch in Fox’s early Fantastic Four films, and rising actor Columbus Short. While current audiences would go on to become intimately familiar with most of this cast, their names didn’t generate enough buzz in 2010 to get folks into the theater. The Losers only made about $30 million on a $25 million budget.

Of course a tepid response at the box office does not mean that a movie is destined for obscurity. Just recently hitting Netflix and ready to capitalize off its now A-list cast, The Losers is currently the most popular film on the streaming service. Besides the even greater interest in comic book properties, the cast of The Losers have gone on to such success that they revitalized interest in one of DC’s almost-forgotten adaptations. Let’s look at where the cast of The Losers have been since the film’s release in 2010 to explain the sudden spike in love.

Idris Elba

While Elba, a star of British television via Luther, had already made an impression with American audiences by 2010 thanks to 28 Weeks Later, Guy Ritchie’s RocknRolla, and a guest stint on The Office, Elba’s star would rise considerably after his appearance in The Losers. In 2011, Elba would join the MCU as Heimdall in Thor, who’s role in the Thor films would expand as the franchise progressed. Elba would also pop up in prominent roles in blockbusters like Prometheus, Pacific Rim, The Jungle Book, and Star Trek Beyond. Away from blockbusters though he really broke out with a SAG-winning performance in Beasts of No Nations, and starring in fare like Aaron Sorkin’s Molly’s Game.

More recently, Elba stole scenes away from Jason Statham and Dwayne “The Rock” Johnson as the villain in Fast & Furious: Hobbs and Shaw. Finally, things have come a bit full circle for Elba, as he’s set to appear in another DC adaptation over 10 years after The Losers, portraying Bloodsport in James Gunn’s The Suicide Squad.

Jeffrey Dean Morgan

In 2010, Jeffrey Dean Morgan was probably most well-known for his roles on television in series like Supernatural and Grey’s Anatomy. That all changed after Morgan was cast in an adaptation of the “unfilmable” graphic novel Watchmen as The Comedian. While his time onscreen in the Alan Moore and Dave Gibbons adaptation was minimal, bringing such an iconic comic book character to life earned Morgan a deeper cachet with the Comic-Con crowd. Morgan would work steadily in films like The Possession and the Red Dawn remake, but he arguably made a bigger impact on television portraying yet another iconic comic book character on AMC’s The Walking Dead, Negan.

Read more

Movies

Avatar Sequels Recruit Vin Diesel for Mystery Role

By Kirsten Howard

Movies

How The Suicide Squad is Different from Guardians of the Galaxy

By Mike Cecchini

Morgan received critical acclaim for his portrayal of the villainous Negan upon his debut, earning the Critics’ Choice Television Award for Best Guest Performer in a Drama Series, MTV Movie and TV Award for Best Villain, and Saturn Award for Best Guest Starring Role on Television. He’s been going steady as Negan since while doing other occasional comic-con friendly projects like Rampage.

Zoe Saldana

Zoe Saldana was on top of the world in 2010, and in the time since, she’s only become more successful. After appearing in the buzzy Star Trek reboot in 2009 and a little film called Avatar, the former Center Stage star would go on to headline her own action film Colombiana. However, that would seem like small potatoes compared to what would come in 2014. Saldana was cast as Gamora in Guardians of the Galaxy, Marvel’s riskiest adaptation to date. Would audiences get onboard with an off-beat space opera featuring C-tier Marvel characters? Turns out, yes. Gamora not only became the heart of the Guardians, but the character would feature prominently in the grand Phase 3 finales Avengers: Infinity War and Avengers: Endgame.

In the shadow of that, Saldana has starred in more Star Trek sequels, an ill-advised TV remake of Rosemary’s Baby, and as Nina Simone in in Nina, a performance did come under fire for due to the lightness of her skin. Still, Saldana now has leading roles in the two highest grossing films of all-time, and is still expected to star in Guardians and Avatar sequels. Not too shabby.

Chris Evans

Speaking of the MCU, Chris Evans wasn’t floundering in 2010, but he did seem to be stuck in a bit of a rut, typecast as handsome smart alecks prior to The Losers. In fact, his big mainstream break is probably the less than classic spoof comedy, Not Another Teen Movie (2001); afterward he played Johnny Storm in Tim Story’s lukewarm Fantastic Four movies in the mid-2000s; in fact, arguably his most amusing role up to 2010 was when he appeared as a douchebag movie star in Edgar Wright’s genre-bending comedy, Scott Pilgrim vs. the World (2010).

Read more

Movies

Knives Out: When Murder Makes You a Better Person

By Natalie Zutter

Movies

$400 Million Knives Out 2 Deal Gives Netflix Major Movie Franchise

By David Crow

That said, The Losers found him playing against type as an awkward tech expert. Perhaps his chance to show a different side of himself led to his life-changing role as Steve Rogers in the MCU’s Captain America. Anchoring the Avengers franchise for eight years, Chris Evans rose to the top of the A-list, and used that newfound celebrity to help get passion projects like Bong Joon-ho’s Snowpiercer and Rian Johnson’s Knives Out made. Evans is one of the most popular celebrities on social media right now and looks to continue his profitable relationship with Disney by voicing Buzz Lightyear in the animated origin film, Lightyear. 

Columbus Short

Perhaps the only member of the cast not to launch into the stratosphere after The Losers, Columbus Short has had a few issues that have prevented his rise. Short booked a role on the popular ABC series Scandal, but personal issues derailed his involvement in the show. In 2014, as part of a no-jail plea agreement, Short pled guilty to misdemeanor domestic violence and performed 30 hours of community service. Short also avoided jail by pleading no contest to a felony assault charge after throwing “a running punch” at his in-law during a family gathering at a bar.

In an interview with Access Hollywood Live, Short shared that substance abuse due to the stress of family issues and personal loss had led to his departure from Scandal. However, Short has appeared to move past his personal struggles and can next been seen portraying Martin Luther King Jr. in Remember Me: The Mahalia Jackson Storyand returning as Quadir Richards in True to the Game 3. 

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The post The Losers: Chris Evans, Idris Elba and Zoe Saldana’s Forgotten Superhero Movie appeared first on Den of Geek.

from Den of Geek https://ift.tt/3lwQGVL

[skidar]

Disney announces a ‘live action’ (hyper-realistic CGI animation) remake of Bambi

I’m sure most of the world is tired of the Disney remakes and sequels that have been plaguing the box offices as of recent years. With all the stories of the world that have yet to be told, Disney is opting to stay in the illusionary ‘safe lane’ and continue the hash out the same products it already knows will sell instead of trying to cobble together an original feature. It’s hard to believe that the animation company that backs amazing original tv show ideas like Gravity Falls, The Owl House and Amphibia cannot fathom how to make an original animated movie. Is Disney actually scared of risk? It shouldn’t be! Disney is literally too big. A massive media monopoly that could literally make flop after flop in the box office over and over in experimentation and not fail. So many indie studios do NOT have that luxury and yet still take crazy risks to tell us new stories in new ways. Disney used to be the animation pioneers but recently the only thing Disney seems to create are re-hashes of its classics that fall all too short. Disney is focusing on the visual realism in its films while seemingly ignoring the heart and soul that made the originals so successful. The most recent and best example was The Lion King remake. While the films boasts near-flawlessly realistic animals, their stoic expressions and restricted movement made them unappealing. The movie copied dialogue from the original word-for-word and nearly shot for shot but the focus on the realism cut the character’s charm completely out. The ‘I Just Can’t Wait To Be King’ number lost all its stylistic qualities that made the song bright and colorful and the character’s lip-syncing to the songs was emotionless and stale. The characters also no long moved with expressive freedom. Are they happy? Sad? Overjoyed? We wouldn’t know. The Lion King remake was devastatingly disappointing. A realistic skin stretched over the bones of a far better film while letting no charm or heart escape the cold, hyper realistic faces.

Surely Disney would realize the mistake and stop. Right? Surely they could dig around their submissions box and try to make something new with the skills they obviously have without resulting to re-hashing it’s already successful classics. Right? 

Wrong.

Disney now has Bambi on its chopping block of remakes and plans to do to it what it’s done to The Lion King. Virtually gut it.

Bambi cannot be remade successfully as a hyper realistic film today. You could tell the story, yes, based off the original book, Bambi: A Life in The Woods by Felix Salton, but it would not be the visual masterpiece of the original. Let me explain:

Bambi was the 5th animated feature by Walt Disney but it was MEANT to be one of the first. Walt wanted to make Bambi from the beginning but he wanted to make it ‘right.’ He wanted to stray away from the ‘toony’ simplified animals of Snow White and Pinocchio and instead focus on realism, anatomy and expression. He brought live animals into the studios and worked with animal artists to develop a healthy balance of realistic anatomy and exaggerated features. Ie: Bambi’s large forehead and eyes symbolized that of a toddler as a young deer. 

Bambi also pioneered new ways of technology, the early pan-shot of the forest in the beginning of the movie was made by painting trees on long panes of glass and then stacking the glass vertically and sliding the panes around to show depth. By sliding the camera on a track from left to right, the viewer was transported through a ‘3D’ forest that moved and shifted with them. Bambi also brought about the study of the art of water physics for the ‘Little April Shower’ scene. By filming and photographing drops of milk, the animators learned how to draw the intricate patterns of a splashing drop of water on a leaf or in a puddle. 

Speaking of animators, Bambi employed at least four of Walt Disney’s ‘Nine Old Men’ some of the most well-known character animators in history: Milt Kahl, Frank Johnson, Ollie Thomas and Marc Davis.  The iconic movements of Bambi and the other animals would not have been possible with them, but the biggest artistic influencer of Bambi was a young Chinese-American man name Tyrus Wong. Tyrus Wong had been an inbetweener animator on Pinocchio but expressed interest in Bambi by privately submitting some sketches to Walt. He was hired and became the lead production illustrator of the film. Tyrus Wong’s beautiful watercolor backgrounds were soft and simple, setting a film steeped in nostalgia, innocence and beauty of the natural world. Without Tyrus Wong, the film would have been completely different. 

Bambi was also the first Walt Disney film to recognize a woman in its screen credits. Traditionally, women often worked in the Disney Ink and Paint department coloring cels. Retta Scott was a storyboard artist that worked mostly on scenes with Bambi and his mother, but became well known for her savage hunting dogs sketches that caught the eye of Walt Disney during production. Many men were shocked at the ferocity of her dogs because ‘she was a women and shouldn’t have been able to draw something so vicious,’ but she became the lead animator for the hunting dogs that chased Faline during Man’s hunt. She was tutored by another member of the Nine Old Men, Eric Larson. Retta Scott’s continued yet under-appreciated success opened doors for many women in the animation industry.

Bambi was a film of massive risks and little payoff. It challenged style, it pushed animators to their limits, it experimented in technology, color and technique. It opened doors for marginalized people that usually had doors slammed in their face. It received backlash for its violence and the anguish of loss and its questionable suitability for children. Bambi broke boundaries… but wasn’t much a success until it’s future re-releases. 

Bringing us back to the present. Disney announces a Bambi remake similar to the failed ‘Lion King.’ There will be no luscious backgrounds of Tyrus Wong. There will be no jaunty gaited fawns crafted by the masterful Nine Old Men. There will be no ferocious hounds carved by the hand of Retta Scott to make a path for women. There will be a story of a deer in the woods. A ‘real deer’ in ‘real woods.’ It will be hollow and lifeless. It will be eye-candy at best, but it will not be better than the original. The original is a true masterpiece. It is not something that needs to be redone or retold. Bambi was a risk, a risk that didn’t pay off in the beginning but today it is a marvel. A true testament of art and love of the craft and it cannot be replaced. Disney should not remake Bambi, they should learn from it, they should learn that they are big enough to take risks and they can. They should learn to give marginalized creators a chance to shine because they have something amazing to share. They need to let go, move on, and embrace the fear of the untold story. I hope that in the years to come, the age of remakes and sequels will stop and we can look forward to a new era of wonderful stories that get to be told for the first time in animation.

--

Bambi is my favorite movie in the world. I have seen it well into the hundreds if not quad digits. I watch it when I’m happy, I watch it when I’m devastated. I watch it when I’m sick and I watch it when I wake up from a nightmare and can’t fall back asleep. Bambi is what made me want to become an artist and I have a lot of personal feelings about the movie as a work of art. I’m not looking forward to the remake, I can only hope and hope and hope that Disney learned from the Lion King and won’t make the same mistakes again. Until then, we just have to wait...

[knifeonmars]

Capsule Reviews, February 2021

Here's some things I've been reading.

The Curse of Brimstone 

DC's New Age of Heroes books, emerging from the beginning of Scott Snyder's creative-flameout-as-crossover-event Metal, mostly constituted riffs on Marvel heroes like the Fantastic Four (in The Terrifics) or the Hulk (in Damage). The Curse of Brimstone is a riff on Ghost Rider. It's... uneven. The first volume is generally pretty good, and when Phillip Tan is drawing it, as he does the first three and a half issues, it's gorgeous and unique, when he departs though, the quality takes a nose dive. None of the replacement artists, including the great Denis Cowan, can quite fill his shoes, and the story gets old fast. Guy makes a deal with the devil (or rather, a devil-like inhabitant of the "Dark Multiverse" as a not horribly handled tie-in to the conceits of Metal), realizes it's a raw deal, and rebels. The characters are flat, lots of time is spent with the main character's sister haranguing him to not use his powers (it is, in my humble opinion, something of a cardinal sin to have a character whose primary role is telling other characters to stop doing interesting things), too many potboiler "I know you're still in there!/I can feel this power consuming me!" exchanges, a couple of underwhelming guest spots (including a genuinely pointless appearance by the old, white, boring Doctor Fate) too many flashbacks, and not enough of the action. There's potential in the classic demonic hero rebelling plotline and its link to the liminal spaces of the DC universe, forgotten towns and economic depression, but the wheels come off this series pretty much as soon as Tan leaves. The really disappointing this is that the series is clearly built as an artistic showcase, so after Tan's shockingly early departure, the main appeal of the series is gone and there's nothing left but the playing out of an obviously threadbare story.

Star Wars - Boba Fett: Death, Lies, and Treachery

I don't care much about Star Wars these days, and I think that most of the old Expanded Universe was, as evidenced by Crimson Empire, pretty bad. Death, Lies, and Treachery, is that rare Star Wars EU comic which is actually good. John Wagner writes and he's in full-on 2000 AD mode, writing Boba Fett as a slightly more unpleasant Johnny Alpha (who is like a mercenary Judge Dredd, for those unfamiliar) right on down to the appearance of a funny alien sidekick for one of the characters. The main attraction is Cam Kennedy's art though, along with his inimitable colors: this might be the best looking Star Wars comic ever. The designs are all weird and chunky, with an almost kitbashed feeling that captures the lived in aesthetic of classic Star Wars, and the colors are one of a kind. Natural, neutral white light does not exist in this comic, everything is always bathed at all times in lurid greens or yellows, occasionally reds, and it looks incredible. In terms of "Expanded Universe" material for Star Wars, this hits the sweet spot of looking and feeling of a piece, but exploring the edges of the concept with a unique voice. It's great. I read this digitally, but I'd consider it a must-buy in print if I ever get the chance at a deal.

Zaroff

Zaroff is a French comic (novel? novella?). It's like 90 pages and it delivers exactly on its premise of "Die Hard starring the bad guy from The Most Dangerous Game." It's pretty good. Count Zaroff, he of the habitual hunting of humans, turns out to have killed a mafia don at some point, and after miraculously escaping his own seeming death at the end of the original story, finds himself hunted by the irate associates of this gangster, who have brought along Zaroff's sister and her kids to spice things up. Zaroff not only finds himself the hunt, but he also has to protect his estranged family as they struggle to survive. Nothing about this book or its twists and turns is likely to surprise you, but I don't think being surprised is always necessary for quality. Zaroff delivers on pulpy, early-20th century jungle action, is gorgeously rendered, and the fact that Zaroff himself is an unrepentant villain adds just enough of an unexpected element to the proceedings and character dynamics that it doesn't feel rote. There's a couple of points, ones typical of Eurocomics, which spark a slight sour note, such as some "period appropriate" racism and flashes of the male gaze, but for the most part these are relatively contained. It's good.

Batman: Gothic

Long before Grant Morrison did their Bat-epic, they wrote Batman: Gothic, an entirely different, but then again maybe not so different, kind of thing. It starts off with what must be called a riff on Fritz Lang's film, M, only where that story ends with a crew of gangsters deciding they cannot pass moral judgment on a deranged child-murderer, in Morrison's story they go ahead and kill him, only for the killer to return years later to rather horribly murder all of them as a warmup for a grandiose scheme involving unleashing a weaponized form of the bubonic plague on Gotham City as an offering to Satan. Along the way it turns out that said villain, one Mr. Whisper, is a former schoolmaster of Bruce Wayne's, who terrified the young Batman in the days before his parent's deaths. It's an earlier Morrison story and it shows. Certain elements presage their later Batman work; Mr. Whisper as a satanic enemy recalls the later Doctor Hurt, and the cathedral Mr. Whisper built to harvest souls recalls what writers like Morrison, Milligan, and Snyder would do concerning Gotham as a whole years later.The art, by Klaus Janson, is spectacular. If you're familiar at all with his work collaborating with Frank Miller you'll see him continuing in a similar vein and it's all quite good, even when he stretches beyond the street milieu which most readers might know him from. There's one particular sequence where Janson renders a needlessly complicated Rube Goldberg machine in motion that manages to work despite being static images. The writing by Morrison though, is not their finest. The M riff doesn't last as long as it could, and Mr. Whisper's turn in the latter half of the story from delicious creepy wraith to a cackling mass murderer who puts Batman in an easily escaped death trap feels like something of a letdown from the promise of the first half of the book. Gothic is good, but not, in my opinion, great. It's certainly worth checking out for Morrison fans however, and I imagine that someone well-versed in his latter Batman stuff might be able to find some real resonance between the two.

Green Arrow: The Longbow Hunters

For a long, long time, Longbow Hunters was THE Green Arrow story. It is to Green Arrow as TDKR is to Batman, deliberately so. Mike Grell wrote and drew the reinvention of the character from his role as the Justice League's resident limousine liberal to a gritty urban vigilante operating in Seattle over the course of these three issues, which he'd follow up with a subsequent ongoing. Going back to it, it certainly merits its reputation, but its far from timeless. Grell's art is unimpeachable absolutely incredible, with great splashes and spreads, subtle colors, and really great figure work. The narrative is almost so 80's it hurts though, revolving around West Coast serial killers, cocaine, the CIA and the Iran-Contra scandal, and the Yakuza, and it's hard to look back at some of this stuff without smirking. The story begins with a teenager strung out on tainted coke sprinting through a window in a scene that's right out of Reefer Madness. In the cold light of a day 30+ years later, parts of it look more than a little silly. The 80's-ness of it all doesn't stop with that stuff though, even the superhero elements smack of it. Green Arrow realizes that he's lost a step and has be to be shown a way forward by an Asian woman skilled in the martial arts (recalling Vic Sage's reinvention in the pages of The Question), and Black Canary gets captured and torture off-panel for the sake of showing that this is real crime now, not the superhero silliness they've dealt with before. The treatment of Black Canary here is pretty markedly heinous, it's a classic fridging and Grell's claims that he didn't intentionally imply sexual assault in his depiction of her torture is probably true, but still feels more than a little weak considering how he chose to render it.The final analysis is that this book is good, but it exists strictly in the frame of the 1980's. If you're a fan of Green Arrow, there are worse books to pick up, or if you're interested in that era of DC Comics it's more than worth it, but as a matter of general interest I wouldn't recommend it very highly.

SHIELD by Steranko

Jim Steranko is sort of the prodigy of the early Marvel years, a young guy who came up through the system, blossomed into an incredible talent, and then left the company, and by and large the industry, behind. He would go on to dabble in publishing, work in other mediums, and generally kick around as the prodigal son of Marvel Comics. This collection, of both his Nick Fury shorts in the pages of Strange Tales and the four issues he drew of the original Nick Fury solo series, charts Steranko's growth as an artist. The book starts off with Steranko working from Jack Kirby's layouts with Stan Lee's dialogue and writing, and Steranko might be the one guy in history for whom working off of Kirby's blueprints is clearly holding him back. The first third or so of this collection really isn't much to write home about, as Steranko is obviously constrained by someone else's style, and at the end of the day those early stories still read as somewhat uninspired pulp compared to the highlights of early Marvel. There are flashes though, of techniques and ideas, which foreshadow what Steranko is capable of, and when he finally takes over as solo writer/artist it's like he's been unleashed. He immediately has Nick Fury tear off his shirt and start throwing guys around over psychedelic effects. He writes out most of Kirby and Lee's frankly uninspired boys' club supporting cast, he makes Fury visibly older, wearier, but also so much cooler. It's the birth of Nick Fury as a distinctly comic book super spy.By the time he finishes wrapping up the previous writers' plotline with Hydra and Baron von Strucker, Steranko is firing on all cylinders. By the time it gets to Steranko's Fury solo series, he's somehow surpassed himself, turning in effects, panel structures, and weird stories which make the earlier installment about a suit-wearing Man from UNCLE knockoff and its strict six-panel layouts look absolutely fossilized.I can't recommend this collection highly enough for any fan of the artform, even if the stories themselves might not be everyone's cup of tear. It's truly incredible to watch Steranko emerge as an artist over the course of this single collection. The book itself has a few problems, it's not the most elegantly designed in its supporting materials and index, but the content of it more than outweighs that. It's great stuff.