#actor director writer composer

[cry4thenightbird]

Even more Viggo Mortensen ♡♡♡

[mysticaltastemakerwitch]

Viggo Mortensen, my love ❤️

[headache-central]

Disney's Aladdin lead Hollywood to its current position.

Robin Williams didn't want to overshadow the crew that worked on the film, but Disney's thirst for commercialising celebrity actors was out of his hands.

Then there was an onslaught of animated films suddenly having well-known actors voicing characters, overshadowing the already working stage actors who'd been known for voice work.

Now, Hollywood's figured out how to short-change their celebrities too.

Direct line? Maybe not.

But I'm perceiving a circle in the sand.

Keep fighting with the same spite bosses are handing you.

[daveinediting]

Of course I'm writing about this after the fact and posting it to the day. 

What's already occurred is Seattle's 48-Hour Film Project. 

FRIDAY 730PM I was actually on my way home from work and tried to dial into the Livestream of the kickoff during which representatives from each production team draw two genres of which they can pick one. 

We drew Thriller/Suspense and Social Media/Influencer.

Oof. 

Neither of those genres hold passionate interest on our team. I tracked some of the conversation surrounding our choice on Discord, where it was eventually suggested to mash the genres we drew. Don't pick one or the other. Choose both.

Which is how our short film "Killer Content" was born.

A day or so after filming was complete, someone suggested the following log line to capture the essence of what our story's about—

"A social influencer will generate the biggest following, even if it kills her."

—but I'm getting ahead of myself.

SATURDAY 3AM Our writers wrapped the script coming up on three Saturday morning. Eight AM the crew's assembled at a theater on Capitol Hill to begin production. Three PM they're filming in a home in Wallingford. Fully wrapped between six and six-thirty.

As for me, I'm not on the clock 'til footage arrives at my place. So, nothing Friday night (of course). Nothing during the morning's and early afternoon's filming (of course) until filming at the first location wraps and a courier is sent my way, arriving at three thirty with the one camera card used so far.

After a selfie of the two of us doing the hand-off for photos posted to our Discord channel, I plug the card in, transfer all the footage to my workstation and now...

I'm on the clock.

The goal is to finish a first cut before I go to bed so that the producer and director can assess it first thing Sunday morning which they always do.

So. 

How long did that first cut take me?

Thirteen-and-a-half hours.

Yeah. I went to bed coming up on 5AM Sunday morning. The director watched it an hour fifteen minutes later, shot me an email a few minutes after that whilst I was still asleep, and I was up to feed our cats/shower/dress/make coffee for my wife/review my edit and begin the process of endless tweaking before the producer and director arrived a little after ten, five hours after completion of the first cut.

I actually went to bed at 445AM after exporting the cut, uploading to Dropbox, and sending copies to the composer, graphic designer, and sound designer. It was only after I was comfortably in bed next to my wife that I realized to whom I had yet to share the product of my work.

Yeah.

The producer.

And the director.

Woops.

So I got up, crafted a quick email to them including the Dropbox link, sent it, confirmed it was sent, and then went back to bed.

For real this time.

Okay. Let's rewind thirteen hours so I can point out something I think editors of old would've, I dunno... bristled at? Found confounding? Confusing? Distracting?

They definitely would've marveled at how the job's changed. And I'm not even talking about the computing workstations and the software for editing, graphic design, and sound mixing. Let alone the AI-powered tools. We'll file that all under the job of "editing" whether it's done today, ten years ago, or fifty years ago. Somehow the job of editing was completed with the tools at hand. So no. I'm not talking about how the craft has changed. What I'm talking about is what it takes to make a short film in 48 hours.

Of course for those of us engaged in post-production, that number's somewhere close to 24 hours. I don't, for example, start my work 'til the footage arrives. The composer can start as soon as the script is finished and they speak with the producer first thing Saturday. They can't really finish, though, until picture's locked. Same deal for the graphic designer, although since the script was 90% about YouTube streamers, most of the work can be assumed right from the pages of the script. They can't be done done, though, until the producer says they're done because, in this case, we were all still assessing what the film needed after my work was done, after my cut was locked. And again same deal for the sound designer whose work really does depend on my timing. They can get a head start... but they can't finish without my final cut.

So. 

What time did I finish my final cut?

Well, that was coming up on five Sunday morning. After that, say from ten that same morning, it was the producer's and director's cut as facilitated by me. The first of those subsequent cuts finished around twenty minutes after eleven. The second and final of those cuts finished at ten minutes after noon. Leaving about five hours for graphics and sound design to complete the film.

Earlier, I mentioned how editors of old would've been gobsmacked by how their profession's changed.

Here's what I mean.

Even though there are three professionals whose work cannot be completed until mine's complete, there's also no way, no way against a deadline that would otherwise impose a five-hour turnaround on them in this case... no way any of us would fully buy into that. 

So.

As I'm editing I'm also communicating with those other departments.

How?

On my phone through Discord, texting, and email. Any assets that would otherwise need to be couriered are sent almost instantaneously through Dropbox and Google Drive.

So that happened.

Right off the bat, soon as I start ingesting footage, music assets arrive from the composer. Assets called for by the producer as well as assets to cover likely contingencies.

We stay in contact until midnight, tail end of Saturday, regarding a further contingency I identified just as soon as I began laying down Scene 1.

I'm also in contact with the graphic designer until 2 Sunday morning coordinating a number of issues including the first of three element bundles he's sending me, including discussions of how to best take advantage of the opportunities presented by the fact that, in this scripted universe, three of the main characters are YouTube streamers so branding, branding, branding! Also, how are we sending assets back 'n forth? Google Drive. And then he lamented not having set photos of the lead actor so I sent some screencaps his way.

And so on.

Back and forth throughout the night. Not relentlessly, of course, but sometimes a full-blown text conversation would erupt momentarily as we coordinated, as I cut deeper into the script and had questions related to the use of graphics and animations.

I mention the sound designer last here because we had the most involved conversations on Discord regarding, ultimately, four scenes demanding his help. Actually three scenes. I was just curious what ideas he might have for the scene that was already pretty good to go. 

Okay but "demand"? What's that all about?

Well, the choice was made to not use music during any of the streaming segments... which is pretty much everything between titles and credits. One of the four scenes literally has no sound to propel it. Two more need the tension amped up on a mood pivot. And the last is pretty good...

But could be better I'm thinking.

In each case, the emotion of the scene pivots on a dime and we don't want to lose our audience in those moments, so...

Sound design.

It's the first time in this short film challenge across the years that I realize  I'm not the one who'll get this film across the finish line. Sound design's what's gonna get us there in our film's most important moments.

So.

As I work my way through the first cut, I'm communicating with the sound designer, sending him two of the four scenes for his consideration ASAP.

It's how we're gonna get through this together. So because all three departments are waiting on me... I'm gonna communicate as much as I can on the fly as the film takes shape.

That way, they're absolutely not gonna have to start from scratch with five hours to go on a hard deadline.

😐

[the-party-bus]

“Wait, there are people blaming the writers?”

Are you surprised? Fandoms have become notorious anti-writer spaces. Studios love you guys. They can cut the budgets, cut the number of writers, cut the wages of the writers, and you guys always blame the writers. “The writers ruined the show!” It’s never “the studios ruined the show.”

I hate to break it to you: more than half the shows you complain were “ruined by the writers”, were ruined by the studios. Studios cut the scenes and arcs you were excited for. Studios cut the budget of the show, or even raise the budget of the show and force a “bigger, louder, bolder” tone on shows that were unexpected hits (this is where we get “the Netflix look” on every show post-Stranger Things and Queen’s Gambit).

You guys do not do your research. Half your fanfics are tagged with bad faith digs at the writers, when a few searches would reveal how strapped that show was and how poorly the writers were treated. Writers are being given a 10 weeks to write 10 episodes. How are good arcs and scenes supposed to happen under that time limit, with a max of only four writers?

Tumblr, the self-proclaimed “pro-union, pro-worker, pro-artist” site is also a major fandom site. You guys rarely practice good faith consumer etiquette for television and film writers, because your fandom salt always turns you against writers. And studios love you for it.

Yeah, individual writers do create bad writing from time to time. But so do painters, chefs, and musicians. Directors and actors sometimes refuse to film certain scenes or follow a show’s projected style and arc, and the writers always get the crap for a bad performance or a poorly directed episode. This isn’t to blame actors or directors; it’s to point out that you guys have one villain, and it’s always the writers. You guys never give writers the same grace you give animators, designers, directors, actors, composers, and editors.

Studios love you every time you say “the writers ruined the show.” Every single popular fandom is guilty of this. View any of the “why did the writers cut this scene, they hate my characters” talk when leaked scenes hit the internet. Writers barely get paid for what they do write. You think they’re writing scenes and then happily throwing them in the shredder? You guys just eat the talk that studios put out. Always have.

[doyoulikethissong-poll]

Bright Light Bright Light featuring Mark Gatiss - Next To You 2020

Rod Thomas is a Welsh independent singer-songwriter, based in New York. He incorporates many elements of nu-disco into his music, also branching into synthpop, dance and house music. Two of his albums have reached the top 20 on the UK Independent Albums Chart. Thomas chose the stage name Bright Light Bright Light from a quote spoken by the character Gizmo in the 1984 movie Gremlins.

His fourth album Fun City was a number 1 UK Dance Album hit on its release in September 2020 receiving widespread critical acclaim, and it features a slew of LGBTQ+ talent adding their vocals. Actor/director/writer Mark Gatiss (known from Sherlock) added a spoken word piece on "Next To You". Thomas had previously worked with Gatiss by composing the theme tune for Gatiss's BBC4 series Queers, and appearing as an extra in Gatiss's tv series The League of Gentlemen.

"Next To You" received a total of 38,5% yes votes.

[ninja-knox-ur-sox-off]

Song: Mr AHF - Wake Up

Show: LEGO Monkie kid

congrats tumblr you get this one early o7 <3

made this just thinking about all the work that goes into this show i'm grateful to the crew the artists animators storyboard artists the musicians and composers the singers and the voice actors directors and writers who make this show into what it is. luv u guys <3

link to watch on youtube

[its-kapi-wara]

I was "today-years old" when discovered that Les Misérables was adapted into a Brazilian soap opera in 1967. Not only that, but it was also the FIRST soap opera to premiere on that television channel - the channel having been inaugurated on May 13, 1967, the same day that the 1st chapter premiered.

To my surprise, the cast of the soap opera had actors who are quite prestigious in Brazil today, I'm serious about this, the actress who played Fantine must have more than fifty credits to her name - and that's just in other soap operas - she has also participated in films, plays and even voice acting (she voiced Betty Rumble in The Simpsons, from 1963 to 1966)

The sad part is that it's very unlikely that I'll be able to find much information about this adaptation. I mean, it was the 60s, televisions were new, and basically luxury items...

So...is someone going to do a remake at some point, or am I going to have to become writer, director, and producer and do the whole thing myself?

Not-so-funny historical fact: At the time this soap opera was on air (May 13, 1967 – August 25, 1967), Brazil was going through a period of military dictatorship, which would only end in 1985. It was a very difficult period in the country's history, in addition to the persecution of those who opposed it, there was also a lot of censorship in films, music and other types of media.

It was during this period that some Student Movements emerged. As the name suggests, they're composed mainly of college students. They protested, held marches, distributed pamphlets and fought against the situation in which the country found itself. Many were persecuted, tortured and killed (as were the families of some of them)

[companion-showdown]

Anniversary Tournament

Last year for Doctor Who's anniversary I ran a tournament between Doctor Who stories, and I wanted to so something different again this year. A tournament between real people important to the history of Doctor Who, actors, writers, producers, directors, composers, production designers. Technically it'll be a tournament for the most infuential person to Doctor Who and its development over the years, but really I want it to be a celebration of all of these people, and not just the winner.

To that end, the nomination form, you can also submit nominations normally, ie sending me an ask or replying to this post, however I won't be accepting propaganda through those methods.

I'm thinking I'll close nominations on the 18th of November, that might change but probably not by much

Current Nominations:

if green then at least one person has submitted propaganda for them

Actors

Arthur Darvil

Billie Piper

Carole Ann Ford

Christopher Eccleston

Colin Baker

David Graham and Peter Hawkins

David Tennant

Frazer Hines

Freema Agyeman

India Fisher

Jacqueline Hill

Jodie Whittaker

John Simm

Jon Pertwee

Lisa Bowerman

Liz Sladen

Matt Smith

Ncuti Gatwa

Nicholas Courtney

Pat Gorman

Patrick Troughton

Paul McGann

Peter Capaldi

Peter Davison

Rodger Delgado

Sean Carlsen

Sophie Aldred

Stuart Fell

Sylvester McCoy

Tom Baker

William Hartnell

William Russell

Composer

Delia Derbyshire

Dudley Simpson

Murray Gold

Paddy Kingsland

Peter Howell

Rob Harvey

Ron Grainer

Segun Akinola

The BBC Radiophonic Workshop

Designers

June Hudson

Peter Brachacki

Raymond Cusic

Directors

Christopher Barry

Graeme Harper

Paddy Russell

Rachel Talalay

Richard Martin

Waris Hussein

Fandom

Marnal Gate

TARDIS wiki creator

The Audience

Craig Ferguson

Producers

Barry Letts

Graham Williams

John Nathan Turner

Philip Hinchcliffe

Verity Lambert

Julie Gardner

Writers (including script editors and showrunners)

Alan Moore

Anthony Coburn

Chris Chibnall

David Whittaker

Donald Wilson

Douglas Adams

Eric Saward

Gerry Davis

Grant Morrison

John Lucarotti

Johnathan Blum

Justine Richards

Kate Orman

Kit Pedler

Lance Parkin

Lawrence Miles

Marc Platt

Paul Cornell

Robert Holmes

Robert Shearman

Rona Munro

Russell T Davies

Steven Moffatt

Terrance Dicks

Terry Nation

Other/impossible to categorise

all the thousands of people who've worked behind the scenes

Michael Grade (BBC higherup who hated doctor who so so much)

Peter Cregeen (actually cancelled Doctor Who)

Sydney Newman

Nicholas Briggs

Gary Russell

John F Kennedy

Sue from Catering

The real historical figures who've appeared in the show

Shakespeare

[romanceyourdemons]

how does one become a movie guy

think of a movie you like. look up its director. watch some of the other movies they’ve directed. think about what the film is arguing, how it’s arguing it, and what it assumes the audience already thinks. look for connections between films: what themes is the director drawn to? what styles? what biases do they exhibit, and are these more directly addressed with in any of their other films? look for frequent collaborations (with actors, writers, cinematographers, producers, composers, etc) and watch some of their other films. pay attention to what elements of the initial films may have been this person’s artistic contribution/vision rather than the director’s. look into what movements the director is a part of, or what genres they tend to work in. watch other films by other directors within those movements and genres, once again looking for connections—themes, styles, biases, exceptions. what movements or genres inspire this one? which ones derive from it? what real-world movements or pressures does it interact with? think about what styles and genres you like, and why you’re drawn to them. look for films that follow these styles, and films that subvert or push against them. watch the classics. watch films no one has heard of. you’ll watch a lot of bad movies, and maybe some movies by bad people, but think about what they’re saying or implying. look for relevant criticism and theory. try to articulate your thoughts on paper, even if you just delete it afterwards. engage in critical discussion. maybe pursue a graduate degree and eventual tenured professorship idk anything’s possible. or just watch a movie or two a week. but the most important part is that you do it on purpose, and that you take something—whatever it is—away

[cosmicjoke]

Alright... okay... I just... need a moment.

Fuck, I'm emotional. I'm trying to gather my thoughts, but it's difficult. So I'm going to try my best.

First, I just want to say thank you, thank you, thank you to everyone involved in the creation of this anime, of this story, of this masterful, masterful piece of art. The animators, the composers, the writers, the voice actors, the directors, the producers, just, everyone. And most especially, to Hajim Isayama, who, without doubt, has created one of the greatest stories ever told.

And with that said, I'm just going to say this. "Attack on Titan" is, in my opinion, the greatest show ever made. I mean that, sincerely, and with all my heart. It's the greatest show, and one of the greatest stories, of all time. It's truly a masterpiece. A pillar of great art. I don't think that's hyperbole. I think that's absolutely true.

I don't even know where to start.

I'm just blown away. Completely blown away.

Ahh, well, I guess I'll just start by talking about some of the changes that were made, and what wasn't, and how much I appreciate both. I knew they would stick with the overall story and not change the ending, and I'm so glad they didn't, because it was always the right ending. I don't care what anyone says, what anyone's criticisms are. This was always, always, always the right ending.

The obviously biggest change was the conversation between Armin and Eren near the end, and I think, given the controversy caused by this particular moment in the manga, I'm not surprised, and I think they did an excellent job of clarifying what Armin actually meant, and most importantly, that he wasn't ever condoning Eren's actions. That they had Armin instead take on and shoulder the responsibility of Eren's actions, in a show of love and friendship to Eren, was incredibly moving and gut-wrenching at the same time. That Armin blamed himself for what Eren did as much as Eren himself, and said that they would be together again someday, in hell, was actually incredibly shocking to me. But then, it makes perfect sense for Armin's character. Armin, who from the very beginning understood and accepted the bleak reality of war, of having to abandon one's humanity in order to accomplish victory. Armin's never shied away from who he really is, or what he's capable of, or tried to console himself with an idealized self-image. It doesn't surprise me that he blames himself for Eren's actions, or takes on as much responsibility for them as he places on Eren. Though one could argue all day against Armin's self-condemnation, I think it makes perfect sense for his character. I also adore how they really clarified and left no room for doubt as to the motivation behind Eren's actions. He just flat out admits at the end that it was because he wanted to "see this sight", meaning a world completely devoid of humanity, of life. He admits to Armin that he's a "slave to freedom", that this outcome came about because of who he is and for no other reason. Not to make the alliance into heroes, not to save Paradis. It was because Eren couldn't accept a concept of freedom beyond what he'd seen in Armin's book. Because, as he says of himself, he was an idiot who came into power. 80% of the world's population died because of that. But as Historia also admits in the end, it's also a result of ALL their choices. I always have maintained that AoT is a cautionary tale of what happens when we blame and persecute and hold accountable people for the sins of the past. Eren, an idiot, only came into that power to begin with because of Marley's persecution of the Eldian's, continuing to punish the Eldian people for the crimes of their ancestors. Indeed, Historia was correct. It was a culmination of all of their choices. Violence begetting more violence, and on and on the cycle continues.

The Jeagerist's created an army out of fear of reprisals from what remains of the outside world, but in doing so, they sealed their own fate. In becoming so hostile to begin with, they ensured those reprisals. That's the great irony. They formed an army to protect themselves, they became a hostile nation, an isolationist nation, and in the end, it lead directly to them being destroyed. As Armin tells Eren, his violence and desire to see a world wiped clean of humanity leaves them with nothing but the lesson of kill or be killed. It leaves nothing but a legacy of continued violence. That's the whole point of this story, of course. That violence only ever leads to more violence. Even when we don't have a choice, even when we're backed into a corner and there's no way out but to fight, even when it's the right and only choice. That's the tragedy of violence. That's the tragedy of the world. That's the tragedy of humanity. It's not that violence is always wrong. Violence isn't always wrong, but it's always tragic, and it always only leads to tragedy. Armin's condemnation of Eren and his actions here, telling him that he's robbed the world of even the small hope of one day understanding one another, that's the condemnation of Eren's violence, the condemnation of the cycle of violence. He pushed Paradis toward armament through his actions, but so did the rest of the world. People will always fight one another. There will always be war as long as there are people. The only way there won't be war is if there are no people, as Armin says, and that's the biggest joke of all. There's no such thing as lasting peace. Paradis meets its demise in the very end because it falls to the same trap, the same cycle of violence, the same cycle of continued hate that drives all war and that, saddest of all, is intrinsic to the human condition. Violence is intrinsic to the human condition, and to nature itself. In the end, Paradis brings about it's own demise, just as, in the end, Marley and all those who persecuted the Eldian's, brought about theirs. This is an anti-war story. That's what it's always been. Anyone who says otherwise is a fool. But it's also a story about the tragedy of humanity and the inescapability of our nature as a species.

So, okay, now, because I'm primarily a blog which talks about Levi, and because Levi is probably, far and away, my favorite character of all time, I have to talk about him.

What can I say?

Levi was the hero of this final episode. Of this final bow of what, again I repeat, is the greatest show I've ever seen, and one of the greatest stories ever told.

Levi is a hero.

First, if anyone, if I see anyone ever, ever, ever question Levi's commitment to humanity and to saving it ever again, after watching this episode, I will come down on them like a fucking bomb myself.

Levi saved humanity.

They all did, of course. They all contributed.

But Levi... Levi was the leader that saved humanity. He became the leader in that moment that humanity needed. For all the talk and accusations thrown Levi's way, of robbing humanity of it's greatest chance at survival in Erwin, by letting Erwin die, it was in a time of humanities greatest need that Levi stepped up and took the reigns and didn't let humanity fall.

Levi wasn't the strongest in this battle. He wasn't humanities strongest soldier anymore. He wasn't the most affective in battle, or able to single-handedly turn the tide of the battle, like he might once have been able to. But he didn't let anyone give up. He didn't let anyone give in. He didn't let anyone lose hope.

I've been saying this since the manga ended, but seeing it brought to life like this only drives it home all the more.

Levi rallied and organized and held together his soldiers when they were all ready to give up and give in. When his own body was ready to give in and give up, Levi's heart and will wouldn't. It was Levi who enabled Mikasa to deliver the final, killing blow to Eren by not giving in to despair or fear or grief when it became clear that everyone on the ground was going to turn into a pure titan. It was Levi who, in the end, fulfilled the dream of his fallen comrades of a world without titans, by keeping it together and giving out orders, by abandoning his own driving need to save lives, like he's always done, since the beginning, in order save more, in order to save the lives of people who had done nothing, in fact, but condemn and persecute him his whole life.

Levi is a hero. He's a pure hero. He has the purest heart of anyone. He's the best of them all.

And I think the change they made to Levi's final scene just drives that truth home all the more.

I'm not gonna' lie, I nearly burst into tears seeing what they did in Levi's last scene. To have him sitting there in his wheelchair, his body not even a fraction of what it had once been, but still finding a way to help people, to help, especially, children, again, it drives home without doubt what Levi is. A hero. To see him handing out candy to children, to see the happiness he finds in that simple act... Jesus Christ, I really don't even know what to say about this. It was maybe the most beautiful moment in the entire series. Shit, I'm gonna start crying just talking about it. To see him smile, again, at last, to see him truly at peace. He found a way to be a hero, even with his strength gone. He found a way to be a hero without having to be a weapon, because Levi's heroism was never in his strength. It was never because he was physically strong, or a weapon. It was never because being a hero was easy for him. It was because of his heart. Because his heart is the heart of a hero. His heart is the heart of someone who has only ever wanted to help and protect others. That he still wants to and does help people, despite already having given everything...

Yeah, don't nobody ever, EVER say to me again that Levi doesn't care about humanity. He helps even when he doesn't have to. Even when he deserves to be selfish.

He cares more than anyone.

Man, that's all I have for now. I'm pretty speechless about this episode. I'm just beyond words.

Greatest show ever. Not anime. Just any show, ever. One of the greatest pieces of cinema ever made. One of the greatest stories ever told, with some of the greatest characters to ever exist.

Thank you Hajime Isayama, for giving this gift to the world.

[mysticaltastemakerwitch]

Viggo Mortensen my love 🥰, the movie poster for *the Dead Don't Hurt "

[traceytonight]

Tracey rambles about Tron Ares again

Tron Ares fills me with so much dread, each passing day is like a countdown to the death of a franchise I care so much about.

The producer, title & main character, is literally Joker Morbius alleged pedophile since the early 2000s himself Jared Leto. That alone ruins the movie for me, and yet every following bullet point makes everything about and around it so much worse.

-Premise is explicitly "What if the Grid came to the real world".

NO, the interesting part of the series is THE GRID, where all of the deeply meditative commentary about our world and visually interesting splendor is supposed to be! Yes we had the lingering plot thread of Quorra coming to our world, however;

-Nothing directly tied to Tron Legacy is specifically being followed up

So no seeing where Sam Flynn could have taken Encom, no Quorra adjusting to our world, No Edward Dillinger Jr scheming with the resurrected MCP; But most disrespectfully of all, they didn't even bother to get Bruce Boxleitnter back, THE GUY WHO PLAYS TRON (and Alan Bradly & Rinzler). The one guy who actively loved this series and campaigned for a Third Tron film for over a decade, and previously Tron Legacy for even longer. But you know who they are bringing back?

-Kevin Flynn is back

THE GUY WHO FUCKING DIED IN THE LAST MOVIE. Undermining the noble sacrifice that was integral to the core themes of the film.

And just today we got this:

This is so far from an advancement design wise of the Light Cycle from either film. None of the simple shape language of the original. None of the sleek visual melding of human & technology of Legacy. While the light cycle was always cool for being a futuristic video game-ass motorcycle, its was just one of the multitude of visual elements that served the thematic purposes of Tron flawlessly.

Meanwhile, this not only physically separates the driver from the cycle, they further emphasize it through all the little gaps where there were none on either prior design. They so easily could've had the red line on Ares connect into the obviously aligned part of the bike.

Even if this is meant to show the separation of the programs from the grid for some thematic element we're unaware of at the moment, we're already going to be getting a lot of that considering the movie takes place in an average ass city.

Also, to be truly nitpicky, it looks really uncomfortable to sit in & I don't like all the added greebles.

To circle back around, what I really hate about the cast, besides the obvious one, is that there are a lot of actors who I think will work extremely well in the world of Tron. Greta Lee, Gillian Anderson, Evan Peters? Inspired casting choices.

Meanwhile production wise we're literally taking David Fincher's collaborator trifecta. Jeff Cronenweth (Cinematographer), Tyler Nelson (Editor), and Trent Reznor (Composer, backed up by Nine Inch Nails) all worked on The Social Network, another one of my favorite films. Jeff is literally the son of Blade Runner's cinematographer, Nelson was co-editor on The Batman, a film with incredible pacing thanks to their hardwork, and while I'm not the most familiar with Reznor's full body of work, I've sincerely liked everything I've heard and think in conjunction with Jeff & Tyler he will make something fantastic and fitting for the tone of this film.

However, the screenplay is done by the writer of Harry Potter & the Cursed Child, and is being handled by the director of Pirates of the Caribbean 5. Choices that feel at odds with the prestige praise I was just handing out a paragraph ago.

Theres so many good elements that are eclipsed by its central glaring protagonist, seeming lack of the interesting setting/designs or integral thematic elements that I look for in Tron, and lack of expectation regarding the choice of director & writers.

Because my two greatest fears are not about if the movie is awful and destroys the franchise as I'm expecting it could, it's either:

What if the movie is genuinely good? Well acted and performed, somehow actually has the same level of philosophical inquiry that Legacy & Identity have? How am I gonna face that reality with the enormous horrific issue starring in it?

What if the movie is bad in everyway that I think it will be, but does financially and/or critically better than the first two? The franchise is not killed again, but revives and bases everything going forward around this awful outlier in the series?

Unless this movie fails so horrifically that Disney wants to scrub it from existence, as they tend to do, the future of any Tron media will undeniably be forced to cohere itself to the existence of Ares.

If you want something that actually expands on the musings and universe of Tron, play Tron Identity. A game so lovingly crafted for fans of those elements of Tron as a connected series. And I know this factually, as the writer of the game itself (who also created Thomas Was Alone) watched my twitch stream of it and confirmed my ramblings about the deep seeded lore and intent of design of the TREES that appear in the game. Only one example of the incredible attention to detail the game delivers on. Plus its also getting a sequel that unlike Ares, I'm awaiting with bated breath.

[inkmonster21]

Sing for Me

3. A Choice for the Damned

Cooper Howard x Fem!Reader / The Ghoul x Fem!Reader

She's a singer the nation adores. He's the actor everyone respects. What happens when these two get entangled in a heated affair? Passion, regret, rage, and even murder will commence. From before the bombs drop to the vast wasteland, these two souls live for one another.

Previous Chapter

Series Masterlist

Tagged: @fallout-girl219 @harmfulb1tch

The sheriff leans over the antagonist with a glare. He backs away, groaning, the first gunshot bleeding out. The damsel is strapped to the fence, a bandana gag around her mouth, and tears in her eyes, “Help me!”

The sheriff nods to her, eyes determined. “Now you just stay calm, honey.” He towers over the injured man. “Please, sir. Please, sir, please.”

The sheriff holds his gun up, “There's an old Mexican eulogy. Feo fuerte y formal. Means he was ugly, strong, and had dignity. Well, Joey, I'll give you two out of three on that front.” Waiting in anticipation for him to pull the trigger, the damsel turns away whimpering.

“Do I really have to kill him?” Cooper’s voice rings out with an unsteady tone. I look up at him, as the loose rope is being pulled off of my frame by an assistant.

“Cut!”

Cooper motions for the director, “Emil, can you come over here? I got to talk to you for a second.” Cooper turns to me, lending me a hand to rise to my feet. “You were amazing, sweetheart. Just like always.” I smile, giving his hand a light squeeze. He had been very open about his concerns with this individual film. He didn’t want to be seen as the enemy. Cooper had a good heart and a strong grasp of the reputation of his characters. He held them dear.

As Emil nears I remove my hand and avert to my set chair. “Listen, I got to talk to you about these, these new pages, you know? I mean, I-I'm the sheriff, right? Well, why can't I just arrest the guy like I normally do? That's what I do.” Emil nods in understanding, “The... The audience, Coop, yeah? They already know you're a good man. They want to see that even a good man as yourself can be driven too far sometimes.” “Yeah, I understand that. But that's not really my thing, you know, Emil, that's not what I do. I mean, Bob, is Bob around here anywhere?”

I pipe up from my chair, where an assistant brushed makeup on my cheeks. “Bob's been fired, Coop.” He turns to me shocked. “What?” “The Studio fired him.” “Why?” Emil sighs, “See, turns out... Bob's a bit of a communist.”

Cooper's eyes widen, “A communist? Cadillac Bob?” Emil nods, hands on his hips, “Cadillac Bob! The very one.”

Cooper shakes his head, frustration clear in his eyes. “Well, what a shame, he was such a great writer. Terrible shame.” “One of the best, but he had to go. Which is why this movie is so important. You see, it's a new kind of western.

The power of the individual when the chips are down. The new America, it's why I'm telling you, so... that's why it'd be really great if you could just... shoot Jorge in the fսck¡ng head, yeah?” Coop lets his head fall at the director's words. The fight was clearly not worth the time for either of them. “Right.”

I sit silently, watching the exchange. Cooper really stressed this change for his role and reputation. He would always be the good guy in my eyes.

“He causing drama again?” I look over my shoulder to see Barb. I suck in a breath composing myself. I smile lightly pretending to now just look towards Cooper. “He’s not too keen on the new ending.” Barb furrows her brow. “They’ve changed it? He didn’t mention that.” My heart tinged in the most sinful way. He shares his thoughts and troubles with me instead of her. Just time was all he needed. He said so.

Cooper stiffened at the sight of the two of us speaking. He excuses himself from the director, “Uh, hey, let's, uh, let's pick this up after lunch, all right?”

He arrives placing his hand on the arm of my chair, force of habit. “I’m just going to have to do it.” His sigh of defeat reflects in his eyes. I frown, patting his hand in support, “it will be fine, Coop.” Barn watches the exchange, brows furrowed, lips in a tight forced smile.

Cooper makes himself drift away from my chair, wrapping an arm around Barb. “Are we about ready to do this thing?” She nods, bilking away any doubt in her mind. “I have both of your clothes right here.” She hands a box to Cooper and a bag to me. The lavish tissue makes it appear as a gift. What a joke.

“They’re both in Cooper's signature colors. Your dress will be the trademark of the bots. If you have any jewelry you’d like to add just slip it on before the shoot.” I smile at her sweetly, “Thank you, Barb. I’ll go change right now.”

As I leave I don't miss the glare Barb sends in Cooper’s direction. She says something causing him to roll his eyes and pat her shoulder. She brushes him off and walks away. My heart feels for her, truly, but in no way was I willing to end my addiction.

I spin in the blue fabric, the skirt of the dress flowing around delicately. The gold piping at the edge of the skirt, waist, and neckline added some extra dimension. It was likely hand-crafted just for me. I looked at my table, seeing the pearls Cooper gifted me poking out from the bottom of my bag. I bite my lip in hesitation before grasping the expensive earrings and necklace and adding them to the outfit before exiting my trailer.

I walk up to the studio doors, meeting Barb and Cooper. Cooper rakes his gaze over my frame with a smile. His eyes lasted a second longer on my jewelry; his smile widened. Barb clears her throat, “Are you two ready to meet the suits?” I nod with a smile, ready to charm and look pretty for the billionaire bastards.

Cooper nods, “I'll try not to embarrass you. No promises, though.” The three of us walk in meeting a man and a woman. “Mr. Howard, Ms. (L/n). It is great to meet you.” I shake the gentleman’s hand with a smile, “it’s a pleasure.” The man proceeds to kiss my knuckle. “I’m a big fan. Saw you in Vegas last year.” Before I could respond, Cooper pushed his hand forward, a fake smile plastered on his face, “Hey, nice to meet you.”

The woman speaks, “On behalf of the whole Vault-Tec family, we wanted to say how delighted we are that Barb could use her connections to get to you and Ms. (L/n).”

Cooper nods, “You know, I've never done an advertisement before in my life.” I lean into his side, prodding my elbow into his side lightly. “Don’t you worry, Cowboy. I’ll show you how it’s done.” Everyone laughs, everyone but Barb.

“Over here?” I ask gesturing to the large Vault Tech backdrop. My heels clicked with each step. “Yeah. Let’s get America’s sweetheart wrapped up first, then Coop can have a shot. Sound good?” The male member spoke. I couldn’t help but look towards Cooper as he called me sweetheart. I was not disappointed to find him burning a glare into the man’s frame.

I stand like a poised housewife, hand on hips and a pearly white smile. “Beautiful!” I turn around, the skirt flowing, placing my hand behind my back. “She’s such a beauty!” They had me pretend to vacuum, hold an apple pie, and eat a fucking cherry like some porn star! Cooper wasn’t wrong about what he had said, they would do some shady shit.

“That’s a wrap on Ms. (Y/n)!” A roar of applause and howls from the men coursed through the set. I bowed slightly, the cheeky smile of a performer shone on my face. “You know what would make this even better?” I stare at the man in confusion, “now how could I possibly make this any better?” Please don’t say more pictures with fruit, I silently beg.

The male smiles widely, hope in his eyes. “If you’d sing.” Several of the men nod in agreement. “Yeah, come on.”

I look over to Cooper and with a nod he tips the final persuasion in my decision. I wave my hand at the group of people, “Any chance one of you might play the piano?” They hurriedly push a skinny man out. He gulps with a smile. “I-I do miss.” I smile at him extending a hand. “(Y/n), nice to meet you,” I drag on with a friendly smile. “Henry. Henry MacLean.”

I motion to the grand piano so conveniently set right next to the backdrop, “if you wouldn’t mind.” Henry’s cheeks turn rosy, “yes, of course. It would be an honor.” He sits down composing his jitters. I lean down in a hushed manner, “It would be perfect if you knew how to play, I’m the one you’re looking for.” If even possible, his smile grows wider and he begins the tune on the piano softly. I pat the top of the piano to the tune beginning to perform.

“I see you lookin' 'round the corner

Come on inside and pull up a chair

No need to feel like a stranger

Cause we're all a little strange in here.”

Cooper smiles as he watches me, he is under my spell. I felt the power of having him at my will with his wife so near.

“Have you got a history that needs erasing?

Did you come in just for the beer and cigarettes?

A broken down dream you're tired of chasing

Oh, well I'm just the girl to make you forget.”

And I was the one to make him forget everything that pledged him. He told me his troubles big and small. We shared a heart of the same soul.

“So sit down your pretty face

You came to the right place

Oh, where every night it starts once more

I'm telling you, friend, your search is at an end

Cause I'm the one you're lookin' for.”

I spin around the piano with grace. Lifting myself on top of it. I dramatically cross my legs and lay down flat on the black surface.

Louder applause erupted. You would think it was an actual bought-out concert. I sit up with my hand over my heart and a killer smile.

A hand reaches out to assist. I grab it not bothering to look. “That was remarkable, (y/n),” Henry whispered in my ear. As my feet hit the ground I back away from him. “Thank you, thank you everyone.” Cooper claps with a flat smile, his eyes bore into Henry’s back, watching his every move.

I take a bow before moving off the floor. “Looks like I warmed them up for ya.” I laugh standing next to Cooper and Barb, whose face is fighting to break her picture-perfect smile.

Cooper makes his way into the backdrop. “Hell, I don’t know if I’ll top that.” Cooper begins his work, striking pose after pose. He puts his hands on his hips, and before I stop myself I whistle at him playfully.

Barb chuckles beside me, very gently, loud enough for only my ears. I can feel her eyes burn into my side. I turn to her with a smile. She returns it, her eyes sending silent daggers. Her eyes graze over the necklace. “That is so lovely.” I touch the pearls in devotion, “thank you.” “Where’d you get them?” I look at her without a beat, “it was a gift.” She hums with a sharp nod. I feel the back of my neck heat up as we continue to watch Cooper in silence.

~

Barb and I sat in the car, silent on the drive home. I knew she was angry with me. It wasn’t very discreet how I acted towards (y/n). I just needed time to sort everything out. Sadly distancing myself from Barb was part of the mission.

“Henry and (y/n) would make a cute couple.”

“What?” I almost swerved out of my lane. “That guy who played the piano?” She nods, “They had chemistry.” I grip the wheel, I can feel jealousy in the pit of my chest, rotting from the inside out. “I don’t think so, Barb. He’s not her type.” “And what is her type?” I roll my eyes S we roll up to a red light, taking a minute to look at her. Her arms are crossed and her face looking at me wildly. “I see what you’re doing.” “Then it shouldn’t be difficult for you to admit.” I huff, “admit what?”

The red light makes the car appear in a rose hue as if I’m on fire. I am definitely in the hot seat. “That you have feelings for her.”

The light turns green and Barb begins her accusations. “You look at her like she’s a prize. You’re constantly talking about her. You barely come home at a reasonable hour, and when you are free you make plans with her!” I shake my head, “We’re close Barb, what do you want me to do?” She slumps, crossing her arms, mumbling, “Too damn close.”

I ran a hand over my face, thankful I was pulling in the driveway. “I think you need some rest, Barb. I know I do.” I exit the car not even waiting for her. I didn’t know if I could do it. I knew I had settled on it, but now seeing the consequences at bay I feel torn.

I love Barb. She supported me in my career through the good and bad. She has been a wonderful mother to Janey. She’s a beautiful woman who I care for in my heart. She is my wife, and I should be able to surpass desires, but (y/n)… my fire, my muse, my reason for waking every morning. She is who keeps me alive. I can picture our lives together. I’d purchase that ranch, buy a big diamond for her finger, and fill the house with any furniture she wanted. Janey would stay with us, on a set schedule arranged with Barb. It could be so perfect, and it should be easy to tell her, but that isn’t true.

I pour myself a whisky, going to rest on the couch. Barb slams the door, causing me to look back with a glare. “Janey is asleep.” “What do you care, Cooper?” Barb slams the everlasting files down with force. “I work my ass off to try and get us a spot in these vaults to be safe, and you think you can go sleeping around with that whore?” I sit up, my face growing red. “She’s not a whore, Barb. I think you should go to bed before you say something you regret.”

She smirks, laughing, “You really think I’m that stupid? Do you think I don’t know who comes and goes in my own house? Did you think our neighbors wouldn’t tell me you fucked her in our hot tub?” My face pales as her words cut me down. I sink into the sofa, a shriveled shameful man. “I watched her walk her ass down the street and get into her car. Jone from two houses down has a photograph. Wouldn’t it just be awful for that to be shown to the tabloids?” Barb stands in front of me, arms crossed and her foot tapping. “It’s me or it’s her, Cooper. You make your choice tonight and that is it.” She leaves with a stomp, going up the stairs and into the bedroom.

I sit there for I don’t know how long. Barb was really threatening her career she worked so hard for. I couldn’t let her dreams die because of me. I run a hand over my face with a groan. I only look up from my now-empty glass to see Janey taking a seat next to me. “What are you doing up, pumpkin? It’s late.” Janey has tear streaks painting her cheeks, she sniffles quietly. “Mommy was yelling.” I hug her close, resting my chin on her head. “It’s okay, Janey.”

“Are you going to leave us, Daddy?”

Fuck. There it was. The only reason for staying. I could have her, I could have the life in the hills, relaxing with my two favorite people. Janey would love (y/n).

Janey leans further into me, sobbing now. “Daddy please don’t leave me.” I hug her tightly. I can see the fantasy slipping away, more and more as I sink into the couch.

“No, baby, Daddy’s not going anywhere.” I pick her up carrying her to her room. “Let’s get you back to bed.”

After settling Janey down, I enter the lion's den, my bedroom with the awaiting wrath. Barb lay under the covers in the bed unmoving. I stare at her with sorrow. I had caused much pain, but my heart could never be closed off from feeling the constant ache for her. I lay down with Barb, wrapping an arm around her. “I choose you, Barb,” I whisper before closing my eyes and averting to my only pleasure, my fantasy of her. My mind is now the only freedom I have to picture her in such a manner. Remembering her soft moans and the arch of her back as she released. It was all just a memory now.

[agatharkn3ss]

I'll see you at the end.

I can't believe we are here already. I'm excited and sad in equal measure.

This show has been such a delightful surprise. I went into it without expecting anything in particular - I loved Wandavision and I loved Kathryn Hahn and that was that. I didn't expect to be literally bewitched by the magic I saw on the screen.

Put simply, the power of AAA is that it is clearly a product of love - from Jac Schaeffer, the actors, the writers, the directors, the set and costume designers, the composers (and THE GODDAMN LOPEZES!), the producers... I could go on.

That level of dedication shines despite (or maybe BECAUSE) the low budget, and it has two massive effects: 1) it creates a truly compelling and stunning story; 2) it sends a very loud, clear message that representation not only matters, but is NEEDED.

Of course it's not the first show that does this, but I cannot tell you how refreshing it is to me to watch something in mainstream media that is centred around sapphic women where their sexuality is NOT the plot of a show. It is not something anyone ever needs to ask about or question. They don't pretend to be younger characters either, they are all 38+ and proud of it, as they should. Instead they focus on what actually matters - their rich, complex stories.

But the diversity is also within the creators - of the producers, half of them were women, headed by superb Mary Livanos (a queer woman herself), costume designer Daniel Selon (also queer), all of the directors were women and there is also of course a diversity of ethnicities. I am a big believer of the power of diversity as it allows you to go places you wouldn't normally consider, and really round the story. And I love this quote from Jac Schaeffer who states "My prerequisites for writers who work with me are first, they have to be kind, respectful humans."

And what stories the writers tell! In the limited time they had, they managed to create these seven multidimensional characters that were all different, yet similar in a lot of ways. My only criticism would be that we really could do with longer episodes to actually allow some more meaningful conversations and connections. All beautifully complemented by the visuals - the practical sets as well as the costumes. I love how the costume designer took his time to consult with the actors for their interpretations, before even starting to create every single design.

And on top of the great character stories and visual , we then have an engaging plot with mysteries to solve on the way. I cannot emphasise enough how fantastic it felt to follow the breadcrumbs. To spot all those little details that would foreshadow what's to come. The different ways they appeared - through dialogue, visual clues, music themes, lore symbolism and so so many art and literature references. The knowledge and confidence that they were left there on purpose too, because the creators took the show seriously - it literally felt like finding little personal messages!

This is why I've decided I need to pick them up and then try to piece them all together - just to see if I could make my sense of it, since the creators clearly put so much love and effort. No other show has ever made me do it to this extent. And it's been so much fun! I loved I wasn't alone with this and that I could discuss and read others' theories too. It's like we've formed this awesome coven.

So in my post-AAA blues, I don't think I will have it in me to just take my "murder board" down. I feel there is still so much to explore so I will probably keep looking for any more cool details to cheer me up.

I've not been actually particularly precious about whether or not my theories could be right or wrong. If some of them are - great, bonus! If not, also great, I am looking forward to being surprised!

Although we haven't seen the ending yet, I have ultimate trust in Jac. After all, she once said:

"I believe so strongly in sticking the landing and it's always up to the audience whether or not you truly stick the landing. But I believe that you have to put all your energy toward that. It's your job to try the best you absolutely can to stick the landing. You have to plot your mysteries, figure out what they are. It’s like a good murder mystery. The feeling that you want at the end of a murder mystery is you want to be surprised, but not. It still needs to feel within the realm of possibility, right? It needs to make sense and still surprise you." 

So I trust we will have a solid ending, wherever it lands. And afterwards - I will always remember the time when a show has made me feel this way. Thank you!

[simple-smiles-no-lies]

Battle of writers

🌸Sensuality and impressions have been my key factors while enjoying queer media. The actors have really done a great job to set both on the right registers. Sensuality is one of the most liberating form of self actualisation and agency to me. Not everyone pulls it off with such subtle pride as did Yim. Tutor and Yim really didn’t hold back. I was blushing so bad.

🌸Writers entering into their fictional world is so exhilarating and embodying that in the show was thrilling to watch. Also how do you beat the pleasures of substitution that writers enjoy? Writers enjoy the same thing from multiple perspectives and this series really captured it well. Which is why i would ask all writers to watch it too. Purely for the meta-aesthetics of it all if nothing else. Also did anybody keep count of the number of genres and tropes we have witnessed in this series? It was a feast!!

🌸Collective writing is an ideal dream because most writers have distinct ideas but dont really know much social skills to pull it off- being together with other writers, i mean. Most writers i know keep their friends and writing life separately. It was a soothing dream-like experience to see both worlds working out together in the show. Writers understanding fellow writers is a communion on a whole other level. I love the “community of writers” dream. And to keep the dynamic functioning so smoothly without a hiccup was amazing. 

🌸 The confession scene between Ozone and Pie was top-notch. We’re all suckers for angst but to see the steady stream of thoughts vocalised by both characters while holding that level of composure while delivering all the angst was a beautiful treat!! Most angst scenes are a little too overwhelming because different storylines have to deliver something along with that angst like upset, sad, temper or frustration. But here we have proper breakdown of characters because of angst.

The character of Pie had already synthesised all his emotions prior to the confession but was crying because the confession will bring change to their dynamic now.

Whereas the character of Ozone was only beginning to be overwhelmed by all the new oncoming feelings because of that confession and though he cried his eyes held steady solemnity of accepting that his feelings had changed. 

Their emotions are playing the most perfect story in this scene you have to watch it again! Which is why I would say it was a very well synchronised and composed scene. Kudos to the writers, directors and characters. Real life can never beat this shit, i love it, i don’t care if it is scripted. Their confession scene exactly embodies the performance art of how love changes you as a person.

🌸The simultaneous love scenes between writers and their characters really got me so high I think it’ll be my favourite love scene ever. The love scene between the fictional characters was amazing for me as nonbinary because of their features being accentuated but also enclosed gently by the long, flowing hair. Also Yim i love you sm when you’re on top but seriously you have done so well my love 🫰🏻