#also the narrators actor in the film. don't like him.

[writterings]

ngl the fight club book was a lot more...real? than the movie? like more grounded. which honestly made it feel MORE "unhinged" or whatever fincher was going for. like it's the difference of something trying to be weird (the movie) versus something just naturally being weird (the book). like people on tiktok forcing themselves to be weird by dancing when they get their food while people on here have actually stolen bones.

[ofstarsandvibranium]

A Day in the Life...

Fandom: Marvel (Actor AU)

Pairing: Bucky Barnes x GN!Reader

Summary: You're hired to be famous actor, Bucky Barnes' social media manager. This is probably the best and worst job you've ever gotten because Bucky gives you free reign of his social media but also...you may or may not be crushing on Bucky aka your boss. Based off my imagine here.

A/N: this is 3,180 words because i refused to break it up into parts. anyway, ENJOY!

You press record and begin to narrate, "A Day in the Life of a Social Media Manager for a Super Big and Popular Actor *Working Title*"

You face the camera to you and continue to speak, "Bucky had some morning meetings but I wasn't allowed to film. So now here he is doing his daily workout."

You pan the camera to him and he says, "Hi," with a shy smile.

You snort, stopping the recording, "What?"

"This is..." he gestures to you and your work phone, "awkward."

"Then don't make it awkward! And hey, you said I had free reign! I asked your followers what they'd like to see and they say they want a glimpse of your daily life."

His brows furrow, "Didn't you just say this is a day in the life of a social media manager?"

You shrug, "The poll was tied to seeing your daily life and my daily life working for you. So I just decided to put the two together. Anyway, the title is a work in progress. We'll see how this does and go from there. Anyway, just ignore me. I'm not even here."

Bucky gets back to his work out. He has an outdoor and indoor set up. Because the weather was nice, he decided to do his workout outside...shirtless.

He goes to the lifting station, picking up some weights. You begin to narrate again, but this time in a Steve Irwin impression, "Right. Now watch as the esteemed actor gets ready to work out his arms in preparation for an awesome movie that I'm not allowed to mention."

Bucky lets out a chuckle, dropping the weights and looking back at you, "You filming a nature documentary now?" he rests his hands on his hips and smirks at you in a way that makes you want to melt.

You give a playful yet dramatic sigh, dropping your filming arm down, "Are you this difficult with your directors, Barnes?"

He shakes his head, "Nah. None of my directors have been as dorky as you."

You stick your tongue out at him, "Fine. I'll leave you to your workout."

"No, hey, I was joking! Don't leave me!"

You shake your head, "It's fine, Bucky. I'll leave you to it. I'll chalk up some other videos we could do. Also, the getty images from last night's premiere are up. Did you want to look through them before I post?"

He shakes his head, "I trust your judgement." he turns around, his bare back facing you. You stay and watch as he do a few arm curls and immediately rush back into his home.

"Get it together, Y/N," you mumble to yourself, leaving your boss to his workout.

________________________

During Bucky's fitting for New York's Fashion Week, you were allowed to take some behind the scenes pictures. You have a few candid ones of Bucky standing in front of a mirror, his stylist fixing his collar, and him looking at the different shoe options.

Then you included some goofy ones where he copies a pose of a mannequin, a selfie of you two showing of your shoe choices (his being very fancy and yours being your regular sneakers), and then a selfie of him wearing a pair of sunglasses without a lens.

You posted all of them after fashion week was over and his Instagram followers were LOVING it.

bbarnesfan: STAHP. he's so adorable.

xbucky-muncher: he went from serious to dork. get you a man who can do both.

notyouraveragebuckyfan: ok but him and his social media manager are so cute together???

bbarnesfan replies: they're literally bucky's employee. don't be weird.

notyouraveragebuckyfan replies: i'm just saying! they seem like they have great chemistry! have you seen the tiktoks and reels of them together?

"How come you put the candids and the selfies all in one post?" Bucky asks as he looks through the latest post you made.

You're scrolling through the analytics of the last tiktok you two made, one where he guesses if one of his characters said a specific line or it's made up.

You take note of the demographics, the comments, etc. to be mindful of for the next posts you make.

Without looking up from your laptop, you answer, "It shows people the different sides of you. How you take things seriously but you can also have fun with it."

He hums, "Lots of people think we look cute together." He says this in hopes of getting some sort of reaction from you.

You continue to work, not looking back at them, "Don't pay attention to those comments. The internet will make up all kinds of stuff."

Bucky's shoulders sag a bit as he replies, "Yeah. You're right."

You'd been working for him for almost a year now. He doesn't see you every day like he did when you first were hired on. Now you only come over twice a week to go over analytics with his team and to shoot some content. Most of the time, you work from your place and Bucky's been feeling more lonely ever since.

Your presence brightened his day and you provided a breath of fresh air on his busier days. He genuinely enjoyed your company and liked making content with you. He liked learning more about you, having meals together, and just being with you. He thought that maybe there was something there between you, but then he'd be reminded that you're his employee and he's your boss. It can't work out.

But there were some glimpsed of hope. You'd look at Bucky a certain way or make a comment that seemed a little more flirty. It had to mean something, right? But whenever Bucky tried to push a little more, you'd pull away and he hated it. It was so complicated.

He wanted you as more than an employee but his team clocked him on his feelings and told him not to fuck it up because you've helped Bucky's image immensely.

He can't fuck this up, not matter how much his heart yearns for more.

___________________________

"Hello, hello!" you greet Bucky, handing him his coffee as he lets you into his home. You've been working for him for over a year. It's one out of the two days you come over to do work with him.

His stylist, Michael, was nice enough to bring some clothes over for a TikTok video that you had which was "My Social Media Manager Picks Out My Next Event Outfit".

The next event that Bucky needs to make an appearance in is his friend, Nat's, movie premiere. The dress code is very formal so it's no surprise to see various kinds of formal wear.

What does surprise you is that you see a rack of clothes that you know wouldn't be for Bucky.

"Um...what's this?"

He grins widely at you, "Clothes for you to choose from."

Your brows shoot up in surprise, "Excuse me?"

"You said you've always wanted to go to one right? You're coming with me."

"As your social media manager?"

"You're not working the event. You're going as my plus one."

"Uuuuhhh..."

"You don't have to, but I was hoping to bring you as, ya know, a thank you for all the amazing work you've done for me this past year."

You can't help but snort, "Bucky, c'mon, did all of your usuals reject you or something?"

"You're the only person I've asked right now. Come on, Y/N, please?"

You want to. You really, really want to. But these past few months, you and Bucky have been toeing the line between a work relationship and something more. You're not sure if going as his plus one to the premiere is a good idea, especially since even more people have been commenting on your chemistry.

But Bucky's looking at you with those gorgeous blue eyes and he's pouting and he looks so cute, so how could you say no?

"I'll think about it," you reply and it seems to appease Bucky because he smiles again and says, "Okay. But I really do hope you'll go. It'll be fun, plus you've met Nat. She thinks you're cool."

You scoff, "There's no way Natasha Romanoff, the hottest and most popular actress right now, thinks I'm cool."

He shrugs, "Everyone thinks you're cool. It's hard to not like you, Y/N, trust me," he gives you a wink and it makes your cheeks warm up, "Anyway, so let's see what we got."

You wordlessly nod, going over to set up your work phone to begin filming.

________________________

You think you did really well with picking out Bucky's outfit. It was a royal blue velvet jacket with a black bow tie, and black slacks. Even Michael was impressed with your choice.

Even though you weren't working tonight, you still took some pictures and clips just in case. You took a video of the reveal of your look tonight and can't help but feel bubbly inside when Bucky wouldn't stop looking at you.

To distract yourself, you decided to take candids of Bucky getting his hair done after you were finished getting ready. He kept making funny faces at you, making you laugh.

After you both were ready, you took some mirror selfies, obviously, and sent them to Bucky afterwards.

You're in the car on the way to the premiere when you get a bunch of texts and notifications from people:

Wanda: I KNOW YOU SAID YOU WERE GOING TO THE PREMIERE BUT YOU DIDN'T SAY AS BUCKY'S DATE!

Pietro: good luck tonight! use protection! ;D

Carol: since when are you dating bucky barnes???

You unlock your phone but see a notification that Bucky tagged you in a post you didn't know he was going to make.

It was the mirror selfies you two took, with the caption: got the most gorgeous date on my arm tonight.

You immediately turn to Bucky, eyes narrowing, "James Buchanan Barnes."

"...I don't like how you just used my government name like that."

"Why would you post those selfies of us?!"

He shrugs, "Because we look great."

"And the caption?"

"It's true. You're gorgeous."

You groan and pinch the bridge of your nose, "Your publicist and manager are gonna kill me."

"No, they won't."

"They hired me to make sure your online presence is good and won't jeopardize your career."

"Nothing's gonna happen, Y/N."

"People already assume we're together because of how well we work together. It was fine to let them speculate because but that post will make things even worse."

"How?"

"People will think I'm a gold digger? That I got this job because we're sleeping together? I don't know! The internet makes up all kinds of fucked up reasons and I won't be able to get work ever again!"

"But is it so bad that people think we're together?"

"For you, it won't be bad. For me, it could be. So, please, Bucky, delete those photos before even more people see it."

Bucky's jaw clenches and mumbles out, "Fine. I'm sorry," he takes out his phone and you watch as he deletes the photos off his instagram. Tonight was supposed to be fun, but you're sure you just ruined it.

____________________

The entire night was awkward. Bucky did his best to still include you in conversations he had with friends and colleagues, but you felt the tension between you two. You did your best to enjoy it as much as you can. You saw Nat for a brief moment where you hugged her and congratulate her. She said she wanted to chat later but you didn't really expect much. This is her premiere and she has other priorities.

She proved you wrong, however, during the after party where she pulled you to an area for more privacy.

"Hey, how are you?"

"Um, good. A little overwhelmed, but, uh, tonight's been...fun."

She tilts her head and narrows her eyes at you, just like her character did in the movie, and you can't help but let the truth spill, "I freaked out on Bucky on the way here. He posted pictures of us that insinuate we're together and I don't want it to result in me getting fired and potentially never getting a job like this ever again."

"Yeah, I saw that before he deleted it. You guys looked cute. Also, are you two not dating?"

"What? No! He's literally my boss!"

She shrugs, "Could've fooled me. Anyway, there's something clearly going on between you two, right?"

"I, uh, I don't know what to say. Do I have feelings for him? Yes. But will I act on them? No. Again, he's my boss, I'm his employee. I really like this job too, so I can't risk anything."

"I feel like there's a 'but' coming."

"...but he's so amazingly funny, smart, hot, understanding, compassionate, and I just love spending time with him. It's so fucked, Nat.

She nods in understanding, "I know, hon. I'm gonna say the most cliche thing ever, but listen to your heart. I'm sure you'll find another job just as fun as this one, but to be with someone you click so well with? That doesn't come often."

"Hey, you okay?" Bucky comes up from behind, placing a hand on your hip and looking at you with concern.

Nat flashes him a smile, "Just wanted to catch up with them, but I've hogged up your date long enough, Barnes." she turns back to you, "Think about what I said, okay? Enjoy the rest of your night and thanks for coming," she hugs you and heads back out to the party.

Bucky nods to her and stands in front of you, "Did you want to stay longer or are you ready to go?"

"I think I'm ready to go for the night."

"Alright." you follow him out to the front where you wait for the driver to pick you guys up. He stands beside you with his hands in his pockets, wearing that gorgeous outfit you chose.

"I'm sorry again about the pictures."

"Thank you, I'm sorry I attacked you like that."

He shakes his head, "Don't be. I get why you did. But, um, we're good?"

You nod, "Yeah, Bucky, we're good."

"Good," he gives you a shy smile and then points at the upcoming car, "Our ride's here." As soon as the SUV pulls up, he opens the door for you and lets you go in first. He follows and the drive home is in silence.

_________________________

You're working in your little alcove at Bucky's when he approaches you, "Hey, I need to talk to you about something."

You turn in your chair and look up at him, "This doesn't sound good."

"It's good and bad."

"Um, okay?" you clasp your hands together in your lap in anxiousness.

"So...I'm hiring a different social media manager."

Your heart drops, "Wh-What? But-But I thought I was doing well. Your team said I was doing a good job. What happened?"

"You are, but lemme also add that there's another job already waiting for you."

"Bucky, I'm so confused right now. Are you firing me? Or contracting me to someone else?"

"I'm firing you because I can't date an employee."

You straighten up at his statement, "Excuse me?"

Bucky steps closer to you, reaching out and grabbing your hand, "It's just...shit, Y/N, you gotta know how I feel about you right?"

You bite your lip in nervousness, "Maybe."

He lets out a long sigh and run a hand through his cropped hair, "Listen, I like you. A lot. That's the real reason I wanted you to come with me to the premiere. I love spending time with you and I've been so much happier since you've started working for me. To be honest, I didn't know how much longer I could keep myself from wanting to be with you. So to still make sure your professionalism was in tact, I reached out to Nat to see if she was in need of an amazing social media manager and, luckily, she was."

"I'm gonna work for Nat? Nat wants me to work for her?"

Bucky nods, "She does. So you'll be working for her which means I'm not longer your boss. Which means...will you go on a date with me?"

Fuck it. Fuck it all. You held in your feelings for Bucky for so long and now you've been given a loophole to be with him.

"I like you too, Bucky. So much, I didn't say anything, obviously, because I wanted to remain professional, but fuck did you make it hard to not fall for you."

Bucky snickers with a smirk, "I can say the same thing about you." His thumb caresses the back of your hand and it feels so right.

"Have you actually hired someone to take over for me?"

"Not officially, but I have some applicants already. Why? Do you know someone?"

You nod, "I do. She just graduated college with a degree in communications with a concentration in social media. I can have her send in an application, but I one hundred percent vouch for her. She's done great work."

"Alright. I trust you, but I don't think I can find anyone who works as well as you do."

"I fucking hope not. Or else you might leave me for them!"

"Never," Bucky replies confidently with a softness in his voice and adoration in his eyes.

"So...about that date..."

_______________________

"Come with me to work for a popular actor!" Kamala narrates her latest TikTok.

"So Bucky is working on a new movie with Natasha Romanoff so for promo we're filming a bunch of different content!" Nat and Bucky wave at the camera.

"After filming all of that, they're off to a photoshoot. Here are some of the potential outfits they can wear." the camera pans to several racks of clothing.

"There's a lunch break and here's my lunch versus Bucky's lunch," Kamala's plate is pasta while Bucky's roast chicken, "The boss needs to bulk up for another role so he needs a lot of protein."

"And that's all that I can show you for today. Until next time, bye!"

You scroll to the comments and they're immediately flooded with"

you're not y/n???

wait, did y/n quit?! did bucky fire them?! no!

what happened to y/n?!

and so on.

You snort and show Bucky, who was cuddling you from behind, "I told you people would notice."

He peers over your shoulder to look at your phone, "Kamala actually had an idea for that."

_________________

"A Day in the Life of an Actor's Social Media Manager. Part...whatever. So we're doing more promo stuff for Bucky and Nat's new movie. But this time I'm also working with Nat's social media manager, Y/N! We're doing a What's in the Box Challenge and here's a clip of Bucky freaking out."

"IT'S MOVING! WHY IS IT MOVING?!"

"Also look at Bucky and Y/N. They're so cute together. And yes, guys, they're totally dating now which is why Y/N no longer works for Bucky. ANYWAY..."

[therabbitthatpostthings]

Okay let's talk about Reality in Welcome Home.

YES THIS IS JUST ME RAMBLING AGAIN BUT I SWEAR I HAVE A POINT TO MAKE. This is more of my collecting my thoughts and trying to make sense of what we have right now.

TLDR: The reality of Welcome Home is separated by the "fourth wall" that the characters are not aware of except for few.

So ever since the first update after the website launched I have been wondering about where the reality shift lies in Welcome Home. How can this be a haunted puppet show with no notable names for actors, production crew, puppeteers, etc. I was basically trying to figure out if this was Hello Puppets or My Friendly Neighbourhood kind of situation. Especially after Sally's Halloween Story, it came ever more clear that they are not fully aware of the fact that people are filming them.

This past update has somewhat solidified what I think is happening. The Welcome Home Puppet show exist in it's own version of reality literally separated by the fourth wall. The neighbours are completely unaware that they are puppets, being filmed, etc. The idea that a magic narrator can talk to them is normal (as it is in many children's cartoons, the Narrator from The Powerpuff Girls and The Storyteller from Into the Woods comes to mind). This really all comes together for me alongside the theory that some of the neighbours are self-aware. I'm not gonna argue who is and who isn't but I don believe the Neighbours featured in promotional material that directly speaks to the viewers or anything outside the show are aware.

(Note: It would be a big stretch to say the things like the TV and radio apprenticed were staged or faked by the Welcome Home Crew)

I think the ones most aware are Wally, Barnaby, Frank and Howdy. Everyone else is rather slowly becoming aware or going through the motions like Eddie. Wally and Barnaby are self-explanatory, they are closest to Home and the Narrator(s). Frank by the way of the Bug Theory and the fact that he "breaks script" to comfort Eddie. Howdy is because I cannot think of a way that he would participate in those commercials without knowing somehow. If Home really is antagonistic towards the Neighbours, I can believe they would act in line. Also during Eddie's panic attack, he doesn't move ever after expresses him desire to leave, because he can't move. He's a puppet. It's worth noting that everyone else has a puppeteer accept Wally and Home. Wally has a handler and Home's eyes are the only thing on it that can move via a crank on the side of it not showing to the camera.

I believe the cartoon reality is the one that the puppets see and why in all of Wally's answer videos we see it in IRL footage. He is not blind to what the show is doing. Eddie's panic attack shows up that what they see and we see are very different. This isn't like a foolproof way of thinking because it leaves a lot of holes but most of those holes have to do with things I believe will be answered later. Like:

What exactly is Home and the power Home has over the Neighbours?

Why did the show shut down?

The benefactor sending the packages

Why is Wally the one that remains? Where are the others?

Why were we able to see what Eddie and Wally sees outside of the reality they exist in?

etc.

Thats last point is still up in the air for me because that easier could of been a storyteller point but the fact that Welcome Home narrator and logo pops up at the end of the Homewarming Special alludes that everything Eddie went through we saw. Or at least it was filmed and probably cut out of the official broadcast.

I don't have any answers. What we do know now is that the show shut down, someone is still present and sending packages to the WHRP and Playfellow. This mysterious black goop has the power to influence those in contact with it, even causing loss of time. The WHRP went through an investigation internally and in the website. W is a part of the website and actively doing their own investigation after "supposedly" making contact with Wally in the post-halloween/pre-March 9th update (which you can see btw on the Wayback Machine). Wally, regardless if he is the one sending the packages, is using them to communicate. He wants someone to find him because he KNOWS we are watching and we are looking for him.

Personally I believe Home or whatever entity is controlling it, is sending the packages and trying to control others. I think Wally is a by product of all this and is trying to find his way out by any means necessary. I will never let my "Wally did nothing wrong" propaganda go.

This all btw does nothing to answer the mystery on the website. I have no idea how this reality breaking allowed Wally yo infiltrate the website. The fact that his eyes are no longer visible on the page means he's not here watching us (for now). Also the "You" character description is missing. As far as the Bug theory goes, I still believe that is Frank trying to give us more insight on what happened/happening. Same goes for W, who we know is human since they described the same events of the phone ringing and hearing Wally that the curator did. I don't believe this is Wally vs the Neighbours. I think this is the neighbours being physically or metaphorically trapped while not able to reach Wally they can reach this website and are doing the same as Wally, reaching out to us. I still believe Home/Entity has some control over them and is connected to who is sending the packages and infecting the WHRP and Playfellow. W is also apart of WHRP but has taken notice to everything going around and is choosing to document their findings since the WHRP is starting to run a tighter ship after the last slip up of W (probably) contacting Wally.

Hopefully this made sense to you guys...

[darklinaforever]

Anti-incest shippers make me laugh trying to imply our real life morality and going so far as to say that we have an incest fetish.

WTF ?

Incest is once again a super common trope in fiction that we can appreciate for various reasons linked to the narration and the issues it poses.

I like this trope, but that doesn't mean I'm going to ship every incest couple that comes my way.

For example, even if I appreciate their inclusion in the story for various reasons, I still don't ship Thomas & Lucille from Crimson Peak (even if the chemistry between the actors is great). I ship Thomas with Edith, the heroine. I don't ship Jaime & Cersei either. I ship Jaime with Brienne. Or more recently, in the film Flowers in the Attic : The origin, I do not ship the character of Corinne with Malcom, even if instead I ship her with her uncle and half-brother Christopher (🤭)... To go to Greek mythology, I certainly ship Hades & Persephone, uncle and niece incest, but I do not ship Hera & Zeus, brother and sister incest, for example.

Why don't I necessarily ship these relationships ?

A lot of factors come into play. Depending on whether a healthier and more convincing relationship is offered next door or not, for example.

I mean, clearly Thomas with Lucille, Jaime with Cersei, Corinne with Malcom, it reaches levels of toxicity leading to the probable destruction of the characters at a given moment, even the most sympathetic of the two, who we tend to like more and generally support and wish him out of this horrible relationship.

And do I need to talk about what a dysfunctional and toxic relationship Hera & Zeus is ? I do not believe. Although I know many actually like it, and it's to their credit if that's the case.

So when I'm accused of having an incest fetish and only liking a relationship if it has that aspect, that's stupid.

We ship for the chemistry, the history between the characters, what they bring to each other or not, the way they are represented within the relationship as horrible or not so horrible, etc.

As in the end... any type of ship.

It's not for nothing that we ship brothers and sisters or other members of the same family in fiction even when there is nothing incestuous between them. Usually, it's as simple as enjoying the chemistry between two actors. Nothing to do with a fetish either, since I don't ship all the fictional non-incestuous brothers and sisters that exist.

So accusing me of that is once again stupid.

It's like when I'm accused of shipping only when it's extremely problematic (especially for the woman whereas.. wtf ? I also ship when women are the bad guys, or the couples are lgbtq+ these people are stupid), which is ridiculous.

I can appreciate a ship with toxic aspects, but I will inevitably reach my limit at some point (and sometimes I'll just ship chips that are healthy). And even if I ship something truly objectively horrible in the story as this post shows :

That doesn't mean I expect the characters to get together, not at all.

I just generally appreciate the chemistry between the actors, more than the story of the characters itself which would lead me to ship which is certainly not the case when you see the horrible things that happen there.

At least, that's in my case, everyone has their own tolerance for toxic relationships depicted in fiction.

Saying that we have a fetish about incest or toxic relationships because we appreciate fictional tropes or alchemy between actors is just an excuse made by the antis so that they can justify their hateful attacks behind their screen.

Basically giving yourself a good moralizing role.

[my-deer-friend]

Jeanne du Barry: A review

I watched it, so you don’t have to!

There was a preview screening of Jeanne du Barry that coincided with a presentation on 18th century fashion and hygiene, so I figured that would make for a pleasant Sunday. The lecture by Marta Veil was splendid.

The movie was… not.

I wasn't expecting greatness, really, but I also wasn't expecting it to fail in quite so many ways. Shall we count them?

First, it falls flat as a piece of cinema. The ponderous shots just scream second-year-film-student-auteur. The narration, usually a gimmick, is critical because the directorial vision seems to have been “tell, don’t show”. It’s all glamour with no heart, a faux-profound fashion parade that fails to let its consequential story beats resonate on any emotional or narrative level. Despite being told about the constant danger than Jeanne is in, we never feel it. Despite witnessing her tragedies, we don't empathise.

The lead actor-director gives du Barry none of the wit, charm or depth you would expect of the subject of a biography, and most characters are either outrageous caricatures (the evil, Alice in Wonderlandian step-daughters, complete with heart-shaped perms) or have the nuance and magnetism of an untoasted slice of white bread (the Dauphin, a key side character, shows not a single discernible character trait besides “aloof”).

Second, it fails as a biography. Maïwenn, the woman responsible for this mess, has apparently been trying to bring this story to life for over a decade - and then manages to give us nothing more than the blow-for-blow you can get from the du Barry Wikipedia article - dryness and all.

(It’s also exceedingly clear that Maïwenn got more than a little 'inspired’ by Sofia Coppola’s Marie Antoinette, and ironically - given their historical rivalry and the way Coppola's Antoinette was lifted wholesale from her film - the Dauphine outshines du Barry completely here.)

Despite being a biography, the movie devotes very little attention to Jeanne’s coming of age - and almost no time (literally, a 30-second narration) to the 12+ years of her life after Louis’ death, which include such dramatic things as her being betrayed by her servants, tried and executed in the wake of the French Revolution. Very little of her internal world is explored - so we don’t really understand what drives her, and even when she expresses her goals it comes across as insincere.

The bulk of the movie focuses on Jeanne’s time as Louis XV’s lover. That’s understandable, I guess - people want the sexy, sparkly intrigues, not the convent drudgery - but the movie doesn’t do any work to embrace the politics and scandal surrounding her on more than the meanest surface level. I mean - "this is Versailles!" (A line that’s cribbed verbatim from Coppola.) Where are the machinations, the manoeuvres? The only meaningful drama we get is domestic. Louis’ daughters don’t like his mistress. They’re mean to her. And… that’s it.

Most egregiously, the movie makes the unrecoverable error of losing grasp of its own point of view. We ostensibly follow Jeanne for most of the movie, in what is made out to be a limited first-person perspective. But when she’s banished from Versailles, we get to witness the unfolding events without her. After all, the death of Louis XV is surely more interesting than some woman bundled off to a convent (wait— who is this movie about…?) and so we stay with him - and miss the opportunity to follow Jeanne and empathise with her isolation, fear and grief.

If the goal of the movie was to humanise and rehabilitate du Barry, then maybe she shouldn’t have been made so vapid, boring and lacking in agency that her own biography lost interest in her.

Third, it fails as a historical piece. Not entirely - some of the men’s fashions are sumptuous and on point, Marie Antoinette is chef’s-kiss, and Versailles looks splendid on screen - but that makes the rest worse, somehow.

Again, we get Coppola plagiarism, in the form of Louis’ morning dressing routine (with the same comical play on the endless steps and bored attendants), as well as in many of du Barry’s fish-out-of-water moments.

But the movie forgets its own rules and context. For example, we’re told that “no one except the Dauphin is allowed to turn their back on the king” - a rule that’s respected until about midway in the movie, at which point, its plot purpose exhaused, it's forgotten entirely. Jeanne is also surprisingly enlightened about racial equality, showcased in painful scenes with Zamor, her black… servant? slave? Although it’s not really clarified on screen, the former is heavily implied, which would be gross revisionism.

Even Louis is treated with a strange sort of familiarity, left to mill around with his guests in the hall of mirrors or stroll the gardens with his hair undone.

As for the clothing… I can’t bear to deep-dive into the entirety of the mess, but here are a few examples of just how lazy the styling is.

Now, when he’s done up in his finery, Louis XV actually looks grand - and even (what a rarity) has very decent period men’s make-up. But then it’s clowns all the way down. Take this shot.

Just behind him is his daughter, sporting a top-of-the-pops 1980s crimped blowout, and beside her is the Dauphin of France - though you could be mistaken for thinking he’s some fella getting to pose for a romance novel cover in the world's most ill-fitting suit. (I don’t recall this man tying his hair up one single time for the duration of the movie.)

Some of the critique is a little nitpicky, yes - for example, du Barry wears this outfit to be formally presented to the king:

The big hair and ostrich feathers are a decade too early (stop trying to be Marie Antoinette: The Unauthorised Prequel already), the makeup is mid 2000s, and the necklace... the less said about it, the better. But at least an attempt was made!

But this?

And this???

0.5 out of 5 stars. It would have been zero on account of all the plagiarism, but a half-star is given for the cameo of Elizabeth Vigée Le Brun.

[onbearfeet]

Queerwolf By Night: Queercoding, Media Literacy, and Werewolf By Night (part 2)

Welcome back to Media Studies And Writing Hacks With Kat! Part 1 is here if you missed it. We discussed queercoding: what it is, how it works, why it exists, and how it plays into the 1930s and 40s horror movies Werewolf By Night likes to reference.

Once again, the thesis I'm arguing here is that there is queercoding in WBN, and that it should be part of the discussion of the special (which I'm calling a movie or film because I think "special presentation" is dumb and this is my essay.) I am NOT arguing that WBN is explicitly queer, or that inferring heterosexuality where queercoding exists is morally wrong or even textually inaccurate.

TL;DR: you can totally still ship Jack and Elsa, I just wanna point at some metaphorical rainbows and say, "Look! Rainbows! Aren't they neat?" I personally think the queercoding adds a layer of richness to the story. I hope you get something out of it, too.

And now, allow me to introduce our starting point, the wolfman of the hour, everyone's beloved blorbo and queercoded icon: Jack Russell.

Look at this adorable protagonist, this absolute chewtoy of a human being.

He's queercoded as fuck. Not as much as Ted, but we will GET to Ted.

Let's begin with Jack's introduction, where he is literally revealed as the narrator speaks the phrase "the monster who finds himself among them". We join Jack as he enters an unknowingly hostile space, a building full of people who would literally mount his head on the wall if they knew who and what he really was. Jack's introduction to this world is a series of Bayeux-style tapestries showing, among other things, the gory slaughter of his kind. We see him react with a mixture of shock, queasiness, and tamped-down anxiety, which marks him as an outsider. It seems unlikely that the other hunters would be grossed out by the sight of a depiction of their literal jobs.

Now, outsider status alone isn't necessarily queercoding, but it often is, especially in monster movies. Jack's reaction is not dissimilar to that of a closeted person entering a homophobic church for some kind of socially expected ritual--and, indeed, Jack has come for a funeral.

Look at that nervous glance as he walks into the room. He's not comfortable here. He knows he doesn't fit in.

This is a good time to mention Jack's outfit and the way it intersects with what we see of hunter culture. From the leather to the weapons to the heads on the wall, the aesthetic of hunter culture in WBN is hypermasculine, almost to the point of parody. The obsession with imagery of violence and death (the paintings on the walls, the corpse animatronic, the skull bowl) and the hostility to anything perceived as feminine is marked.

Wait. Hostility to anything feminine? Yes, I said that.

There are three characters who are played by female actors: Elsa, Verussa, and ... look, the hunters HAVE names, but I'm just gonna call them Scottish Guy, Asian Guy, Black Guy, and David Bowie. So David Bowie is an adrogynous character played by a female actor who acts as our third not-exactly-a-male character, and it's interesting to me that they're taken more seriously by the other hunters than Elsa is. Elsa, by contrast, is treated with contempt by the other hunters--and the contempt is very specifically gendered. Scottish Guy calls her "lassie" when he threatens her, and Asian Guy says, "Where's the lovely lady's medallion?" with a noticeable leer. They don't take her seriously, not even after Verussa announces she's welcome to participate--and they only brighten up when Verussa reminds them that they're allowed to kill Elsa if they can. That's the response to the only unambiguously female hunter.

Now, you may point out that Verussa doesn't get nearly as much shit from the hunters, but Verussa is explicitly presenting herself as the servant (and sexual partner) of a man. She's also not competing with them for the Bloodstone, nor trying to inherit, even though presumably she has at least as good a claim as Elsa does. She's not trying to enter the hypermasculine realm of hunting, but Elsa is in it, and so Elsa is despised and Verussa is tolerated.

And then there's Jack.

Okay, time for Baby's First Queercoding Element: gender nonconformity. In general, feminine male characters and masculine female characters (something explicitly forbidden by the Hays Code, by the way) are coded as queer. A lot of gay male stereotypes are men doing "womanly" things, like cooking and wearing dresses and having sex with men. The same goes for lesbian stereotypes like short haircuts, manual labor, and having sex with women. Now, obviously ACTUAL queer expression is infinitely more complex, but stereotypes don't do infinite complexity.

So. Is Jack feminine?

Well, he's wearing a gentleman's suit, but by the standards of hunter hypermasculinity, yeah, he's pretty girly. For one thing, he's wearing that suit in a room full of people in combat gear. For another, the suit itself is full of fussy details that mark him as a man who cares a great deal about his appearance, another stereotypically feminine trait. The suit is green, a barely acceptable color in menswear, and it has glittery details like the trim on his lapels. The spinal-column tie is metal as fuck, but it's also a silk tie. He's doing the death-and-gore theme, but making it high fashion. He's even wearing makeup. Granted, it's Día de los Muertos makeup, but it's still pigment on his face for aesthetic purposes. He's also the only hunter who acknowledges, in dialogue, that he has non-white, non-USAmerican heritage--"It's to honor my ancestors." He marks himself (literally) as visibly foreign, even though denigrating foreign masculinity is a big part of American hypermasculinity. He also tries to smile at and befriend every hunter who glares at him--another stereotypically feminine trait that leads to his conversation with Scottish Guy.

Speaking of, that conversation is gay as hell. It's practically flirting, especially the part where Scottish Guy compliments Jack's makeup and then tearfully admits that hunting and living all by himself "gets lonely". And Jack makes this amazing face:

Now, this is me inferring again, but I read this face as a combination of "Aww, that's sweet of you" and "Loneliness caused by hypermasculine self-isolation? I literally have no idea what that's like, but it sounds bad, bro." Perhaps with a soupçon of "Get me out of this conversation aaaaaaa."

So the scene rolls on, and Jack continues to be Bad At Toxic Hypermasculinity. When his top kill count is mentioned, he shrugs it off rather than taking a little bow like the others do. He actually chuckles at Ulysses' joke. He seems mildly interested in Elsa rather than hostile, and amused by her snark rather than threatened by it. He shows fear and worry when he learns Ted is in peril and in pain. The guy really wears his heart on his impeccably tailored sleeve. Notably, none of these traits are bad, per se--they're just more likely to be assigned to feminine characters, and they're given to Jack.

It's important to note the impact of perspective here. Jack is our POV character. If there were to be a hunters' version of this story, Jack would be a sneaky, cowardly, vaguely effeminate villain and Elsa a traitor (or possibly a dimwitted victim seduced by Jack's charms). All of Jack's queercoding would make him a GREAT queercoded villain; it's just that here, he's the protagonist, and a deeply sympathetic one at that, so we miss some of his "unmanly" traits.

All right, let's fast-forward to the maze. We see Jack being clueless and awkward about the drawing of lots, we see some sneaking around, and then we see his first hostile encounter with Elsa, and we get this great exchange:

Jack: I suggest we just pass each other by.

Elsa: ... What?!

Jack, visibly pained by the awkwardness: I suggest we just ... pass each other by.

Jack is uncomfortable with violence. He actively avoids it, talking his way out of trouble when he can and running when he can't. Even Elsa points out how strange he is compared to other hunters, specifically because he avoids violence. He doesn't kill or even hurt anyone in his human form. He doesn't even know how his explosive works--to the point where he asks a woman if SHE knows how to work it.

I'm not saying violence is an inherently masculine trait, but the association of masculinity with a capacity for (and comfort with) violence runs deep in Western culture in general and American culture in particular. It's a huge thing in Mexican culture as well, and yet Jack is actively choosing not to participate in it. He's denying a core part of what would otherwise be his traditional gender role. He later tells Elsa that any "hunting" he does is done by "a part of me that is not me"--a part of himself that he doesn't see as himself. In his eyes, violence is not merely scary or distasteful; it's not part of him at all.

(Compare this to all the ass-kicking Elsa does.)

And then we get to Ted. Buckle up, guys.

Technically, our first introduction to Ted is a distant roar and some screaming, but the moment where we meet him is this:

A jumpscare, followed by a cuddle.

Once again, Jack wears his heart on his sleeve, but more importantly, let me draw your attention to the juxtaposition of Ted's scary grab and Jack's excited snuggling. This relationship is introduced as something scary before being revealed as something sweet--and "scary" is a good description of the portrayal of queercoded couples (who are, remember, usually villains) in classic cinema. All the cinematic language around Ted right up until the grab is telling us to be afraid of him--and then our cinnamon roll of a protagonist starts petting him and greeting him and asking if he's okay. Ted is monstrous and inhuman ... right up until we see him receive affection from another man.

We don't get clear details of Jack's relationship with Ted, but we know that it's a big deal to them--after all, Jack is risking his own life to save the big guy. Jack also describes Ted as "family" and, with a fond eyeroll, a "pain in the ass". Jack implies that he no longer has contact with his family of origin, a common experience for many queer people who are shunned for leaving the closet, but Ted slots neatly into the category of found family. Ted is also, notably, the only close relationship Jack is seen to have, just as Jack is the only close connection Ted is seen to have. The two are physically affectionate (again, cuddling) and emotionally vulnerable in their conversations.

And Elsa, the outsider to their relationship, finds the whole thing bizarre, right down to Ted's name.

Speaking of Elsa, let's talk about Jack's behavior in the crypt and the cage.

In the crypt, Jack displays compassion for someone who has largely been hostile to him (he REALLY wants to fix Elsa's leg), absolute delight when he receives the tiniest signal that she might be sympathetic to him ("It's not in your DNA, then?") and remarkable emotional intelligence (see his speech about families). He also, notably, doesn't hit on Elsa or indicate any sexual interest in her.

He also makes this terrific face when he's handed a skull:

Oh, yeah, that's a big, scary hunter there.

Now, the cage. Jack's response to being put in the cage (and stripped of his jacket, interestingly--little bit of dehumanization there, perhaps) is recognition, followed by attempts at reassuring Elsa, followed by panic. He's arguably more upset than Elsa is, and Elsa thinks she's about to be torn to shreds.

At two points in this story, Jack Russell finds himself trapped in a small space with a beautiful woman and more or less immediately freaks out. It's not the most heterosexual pattern. In fact, it's got strong thematic overtones of queer men being forced into straight relationships by their families, their work, or their society. In a culture that entwines sex and violence, the fact that he's delighted to be grabbed by a male swamp monster but begs for death rather than symbolically do a sex with a woman is noteworthy.

"Symbolically do a sex"? Yeah, the only times the film frames Elsa as anything like a sexual object are the transformation sequence, which is a visual callback to classic sexualized scream queens of yore with her literally in Jack's shadow, and the face-touching scene, where Jack straddles her, their faces almost touch, and then he flees and she sits up with her hair mussed in a dreamy, almost post-orgasmic way.

Michael Giacchino doesn't eroticize violence MUCH, but he's fairly classy about it when he does.

"But wait!" I hear you saying. "What about the sniffing scene? Isn't that eroticized? And it's between Jack and Elsa! Checkmate, liberals!"

First of all, how dare you call me a liberal when my preferred political descriptor is "chaotic good". And second of all ... well, you're HALF right. It IS eroticized...but not because of anything Laura Donnelly or Gael Garcia Bernal is directly doing.

Go watch Elsa's body language during the scene. It's awkward as fuck. She's curled in a ball, knees and elbows out, letting Jack pull on her arm and sniff her hair but not really participating. There's no indication that she wants to be doing this, or even knows what "this" is.

Gael is making a little more of an erotic show about it; in fact, the intensity of his sniffing would probably be an indicator of sexual desire--if he weren't CRYING WHILE HE DOES IT. That's why his voice breaks on "Once."

These are both excellent actors, making very intentional choices with their voices and bodies. They're playing the scene as something that COULD be sexy IF THEY WEREN'T BEING FORCED TO DO IT.

Seriously. There's enough fanfic now that we've all read Jack giving Elsa a leisurely, consensual sniff. You can't tell me Gael and Laura couldn't have made that happen. This is not sexy sniffing. This is angst sniffing. It's just angst sniffing between two beautiful, sympathetic characters who genuinely don't want to hurt each other. It could have been acted and shot in a much sexier way, but it wasn't.

It's also worth noting one last category of queercoding that WBN plays with a lot: dehumanization. A lot of those classic movies played their queercoded characters as specifically less than human, visually aligning them with disliked animals like rats or wolves and often making them literally less human as the story progressed. Even after the Hays Code, monstrous and inhuman queers became a staple of horror movies, especially in the 1980s and 90s as the AIDS crisis convinced a lot of conservative America that LGBTQ people were literal plague rats. There were proposals to tattoo HIV-positive people to identify them, to round them up into camps, to shut HIV-positive kids out of schools because those kids were implicitly queer and therefore not deserving of human rights like an education.

WBN, with its werewolf POV, pushes back on this trope in some specific ways. Jack's line about being "still a human" is an obvious one, as well as his explanation of "systems" to keep other people safe. (It was common during the AIDS crisis for queer people to be fired from their jobs if they were outed because they were considered an AIDS risk to their coworkers--even if they were, say, an office worker who didn't have any contact with other people's bodily fluids. There were conspiracy theories about AIDS spreading through shared soda cans. Those paper seat protectors in public bathrooms came about because of fears that AIDS could spread via toilet seats. So imagine a gay man trying to explain that he's not a threat to his officemates, and you'll see the parallels to Jack trying to reassure Elsa.)

Most notable, however, is how Elsa survives the wolf. She's safe because she maintains eye contact (implicitly acknowledging her and Jack's shared humanity--she literally refuses to stop seeing him) and because he remembers her scent (she becomes a part of his world as he becomes part of hers). Elsa is rewarded, both with her life and with her inheritance, for treating Jack and Ted like human beings when the world around her regards them as abominations.

Elsa is an ally. She's ally-coded. She can also be read as a love interest for Jack, but she consistently acts in support of his relationship with Ted as well.

In Part 3, we're going to talk about the crowning moment of queercoding in WBN. That's right--it's time to learn about coffee in the woods, the gay jukebox, and the Friends of Dorothy.

[sciderman]

I won't lie, there's a centrain magic to reading comics, maybe it's because you have more control over the direction, speed, voices and music when reading over watching something, maybe it's how creative people can get with panel lay-outs, maybe it's all of those things along with the different art styles and way people express themselves through their comic runs, maybe it's the fact there's SO many of them and so many different runs, AUs, versions, solo-stories and characters that while not every comics is for everyone, there's A comics for everyone.

And it's something that only animation can come close to capturing, occasionaly some games because they can give us amazing set pieces and action and stylization through gameplay. But to me live action movies just miss the mark exept a few and even then i just enjoy the comics more.

I think one big thing for me is the narration, because it helps me relate to characters as someone who's thoughts are pretty loud and narration-like, and the fact it's ME who decides how i make the characters sound and talk rather than having to listen to someone else voice the character in a way that i feel isn't "right".

So i'd say personaly it's comics>>books (i like books, and i LOVE fanfics but the visual part stimulates my brain more) >>>animation>games>live action

i agree wholeheartedly! i don't know, i'm kind of in love with the comic medium. but i love writing, also. i just - i really don't like the passivity of animation and television - i need a lot more stimulation than that to get my brain working. i like all the brain work you have to do when you're reading words. and i love the challenge of pulling off "comedic timing" when you don't actually HAVE the dimension of time in your medium exactly - so you have to work with panelling, and you have to work with spacing in your writing - and it's just so sexy and more active for the brain. like you're inventing a language.

comedy writing in comics is so, so fulfilling because you're a comedian, but your format is visual. you need to rely on visual language to carry it. and jokes are all about expectation and subversion and timing. a joke can fall so flat if that timing is off. and - i don't know, i'm obsessed with comics, as if they're some kind of form of visual poetry. it's taken for granted, i think. it's taken for granted.

i think you become more restricted the more dimensions you introduce - so - writing is entirely free. you can do WHATEVER you want, all by yourself, without needing to rely on the quality of your art software or the actors you have at your disposal or anything - you can conjure any visual you like. comics - more challenging, you're limited by your artistic ability but again - you're not restricted by voice cast - god, i love being able to conjure any voice at all in my head for the boys. i think if i was restricted by voice actors i'd have to write them differently, et cetera et cetera... i'd be dealing with VAs and saying "actually. your delivery is all wrong. i have to rewrite the joke." - i'm so particular about these things, you have no idea.

i remember the first time i watched the deadpool movie after having read the original script over and over YEARS prior and having heard it play out in my head in the most hilarious of ways and then. hearing ryan's delivery of those jokes and thinking "oh. it's not that funny actually."

sorry ryan. it might've been funnier if i hadn't read the script already and hadn't already had the movie play out in my brain way funnier than how you did it. sorry. my brain is a better cinema.

something i also love about print vs film - i've had this problem with a lot of adaptations - i despise film adaptations of books i love, just because - something is so sullied about having so many hands in the pot. actors. camera men. producers. directors. all these people - when - what i loved about the book was feeling close to the author. it's just me and him. we're together, intimately. and all of that intimacy gets lost when you know there's a huge film crew behind it.

kind of weird. i love reading a book and just, giggling over the pages, like it's a joke between me and the author. i don't know, i'm a weird little saddo who craves intimacy. so i like the intimacy of it being a one-man show. i love things where i can feel close to the creator. i hope that's why people like my things too. and it's why i like my things. i sometimes think "ouugh. why can't i work for marvel" but i think about how - i'm lucky i get to create what i want to create without having to compromise or answer to editorial. and what i create can always be unapologetically me. and that means more. that means so much more.

[dropthedemiurge]

Got prompted by @pinkkop but also partially this might end up as the controversial Thai BL post because the range of characters I'd defend with the passion is very wide for me:D

8 BL BOYS I WILL THROW HANDS FOR

Uea (Bed Friend)

This show isn't jokingly called 'A Tale of 1000 Traumas' for no reason, I mean – there is only so much one young adult can go through, and Uea has been through... well, almost everything. Tagging hurt/comfort fics on AO3 will result into red triggers all around. What fascinates me in this character is his resilience, too. He managed to go through everything with the sheer will power and knowing his own worth, what he deserves and what he does not. I am so glad the show made an active choice to send him to therapy and give him a considerate and loving boyfriend! He really needs both.

Sky (Love in the Air)

Again, no surprise that everyone would want to protect Sky. The acting was also chef's kiss in this show, I know I shouldn't be but I absolutely enjoyed seeing Sky getting triggered and sent to the red-lit room in his mind because this was pure cinematography, but irl I would just hug Sky with consent and never let him go. And kick Gun until he never rises up again too. I think Rain should've been given full freedom to avenge for his best friend. But this is also why I'm writing all these skyrain fics – because they are safe space for each other and I want to keep seeing it.

Rain (Love in the Air)

Ehem, like I said– the show has not declared it loudly but he's one of the most ADHD characters in Thai BLs if I ever saw one. He does not deserve to be mocked for his struggles and airheadness. I wish we saw more of him playing into his strengths beside taming a dom, instead of being infantilized by the show sometimes. Don't ask me to dive into full analysis though, I only could watch the PayuRain half of the show once so I'm going off vibes I remember, but I absolutely adore Rain and love reading fics that focus on his ADHD headcanon and how others understand and help him. And also those platonic BDSM tendencies he has with his best friend Sky.

Kawi (Be My Favorite)

For this guy, I would not fight the show or narration because they treated both characters and viewers with care, gentleness, wise teaching and love (Max is a harsh brat but that's his personality). I would actually fight the fandom: from people who hate-watched this show and refused to acknowledge it was amazingly done further than 'i might've liked it but ew screw this actor and novel the show was inspired by amiright don't judge me for liking it jk lol' to some individuals who missed the beautifully developed and portrayed close bond (aspec on at that, I'll stay firm) that spread across >10 years and different timelines and reduced Kawi to immature whiny weirdo who's scared to fuck Pisaeng ten times a day instead of one, idk. This show is a gem with many life-lessons and Kawi has one of the strongest and fascinating character development in Thai BLs that I've seen. Hands are being thrown.

Boston (Only Friends)

The creators of the show said the series didn't have any intentional message, but considering how many long discussions and poured out frustrations we had with some people, Only Friends definitely did Boston wrong. So what if he's a proud slut, should the show punish him for it while praising 'righteous' characters high on their horses? I don't think so. My guy was constantly filmed illegally and threatened by his hookups and friends, he's very hesitant about falling in love but he tried his best with clearly spoken offers, poly views and limits. I also see Boston kinda neurodivergent and/or demiromantic based on many lines he said about himself and his own view of people and relationships in the series. Nick might not be fully compatible with him, and I would throw hands for both of them, but if those two would communicate better, there would be no need for the OOC "twist" at the end. Their story could be beautiful, sad and realistic, instead Boston being kicked down in the street dirt by everyone after opening up about his heart and fears made me angry.

Akk (The Eclipse)

These descriptions just keep getting longer and longer? Oops... I don't think I need to explain the desire to protect Akk – this guy has not stopped crying since a mischievous and passionate newbie managed to break through his 100m thick wall of composure, pokerface and sheer will to survive. And also through all the manipulation Akk faced from the people he looked up to. Akk and everything that he went through managed to rip my heart out, and I'm not kidding. If you're repressed, oppressed and/or struggling with money, desire to make your parents proud and can't help but feel 'disapproved' feelings for someone – meet Akk, he's very relatable. I'd protect him and you too.

Thua (The Eclipse)

*clears throat* I did say this post would get controversial. I can and I will consider 90% of the people who hate Thua as lacking media literacy :D But without getting into useless fandom discussions, Thua is a poor teenager that needs love and support to be able to find himself and his own voice. He's stressed out by a harsh step-father, constantly facing homophobia and mocking in school, has suicidal intentions and the only good friend who opposed homophobic students and teachers, who showed him safe space and helped reach out to his mother, encouraged him to speak out loudly... went behind everyone's back, started dating the main "bully" of the school who threatened every queer for months and decided to support him while silencing students' and Thua's voices. At least that's what Thua experienced from his POV. Would you throw hands? Thua did, and while I may not agree with how he handled the situation, I can't hate him. He finally stood up for himself and his own, tried to change the system, and I'd fight Suppalo school for him too.

Black (Not Me)

There's someone who doesn't need my protection at all! A second before turning into bloody merciless activist-fighter who doesn't shy away from murdering capitalists and cops, I would still want Black not to think he's better off alone. While antagonistic sexually-tense exchange of comas with his ex-best friend can count as one of the most delicious type of romance that happened in subtext not text, he still deserved to seek solace in his ex-girlfriend and (ex? they were so close, why Gram does not care about him at all when he returns? we'll never know) other activist friend's company. Also, fighting with his life to change something in how the country works and hearing 'nah, your twin is better, he knows how to fight with social media so we achieved more with him than with you' from his mentor and Black deciding that he should again ditch everyone he cares about...noo:( I need spin-off about him where he gets everything he really deserves.

[destinyc1020]

can we even put tom and timothee in the same category though, I feel like there very different and I feel timothee has now found the perfect balance which I feel tom really hasnt

Tom can bring people to theatres and insanely popular like r+j sold out within two hours and of course spiderman but outside of spiderman the quality of the projects are more miss than they are hit and really struggles with finding good scripts or working with directors. Timothee while a vastly different journey and its not until recently he found blockbuster success hes no doubt a draw while simulataneoulsy still working on quality projects and working with the best directors and also having found a ton of success in independent film world even something like bones and all while finacially poor I would say the genre is more to blame at least it was a good movie, with great performances and critically successful whereas cherry and chaos walking were bombs but horrendously awful films.

I feel timmy has found the perfect balance and knows how to pick roles that suit him whereas tom is financially successful but a little iffy if his name attracts the best directors or stars tbh.

Though I do think his move to theatre is great perfect for him especially a well known play like r+j and jamie llyod and a opportunity tp hone your craft.

Ohhhh....here we go yet again....

*Checks date on Calendar*

Yup.... Every 10 days, I swear....we get SOME variation of the usual "Worried about Tom's Career" ask.

🤦🏾‍♀️

Anon, I think you and other fans who constantly worry about Tom's career need to realize that actors all have different journeys in the industry. Every actor doesn't have to do EXACTLY what their acting peer is doing, nor do they have to have the same exact path?? 🥴

whereas cherry and chaos walking were bombs but horrendously awful films.

HOLD UP..... Now, I'll give you "Chaos Walking" (which...in Tom's defense, was supposed to be released YEARS before it actually came out, and he signed on to that project early in his career), BUT "Cherry"?? 🥴 I don't care what anyone says, "Cherry" was NOT an "horrendously awful" film. Was it maybe not your cup of tea? Okay... sure. Was the narration throughout the film unnecessary? Okay....yes. But let's get REAL here. Both Tom and Ciara acted their butts off in that film. I feel like Tom really transformed himself in that film, and played a drug addict extremely WELL. That was the first film where I was like: "Geez man...you're an AWESOME actor!" That car scene!?? Like, come on. That was peak acting right there.

I feel timmy has found the perfect balance and knows how to pick roles that suit him whereas tom is financially successful but a little iffy if his name attracts the best directors or stars tbh.

Tom has worked with awesome directors. He's about to work with Paul King on the FA biopic, JUST like Timmy worked with him on "Wonka". Tom has also worked with Akiva Goldsman on TCR who's also famously known for films such as "A Beautiful Mind", "The Da Vinci Code", "A Time to Kill".....all AWESOME films.

How come it is, when Timmy does something, it's amazing, but when Tom does the very same thing, it's: "Idk...kinda iffy!" 🤔

Some of you all are letting Film Twitter run your minds instead of thinking for yourselves.

Have I liked EVERY single project that Tom has chosen to do? No... Not necessarily.... But I would put Tom's diverse filmography over Timothee's at the current moment, because Tom has at least shown me that he can play a wide range of characters and roles. He's gone from Arvin in TDATT, to Ian Lightfoot in "Onward".

Timmy is a decent actor (don't get me wrong!), and he's done great work over the years... But Tom has done more DIVERSE work imo. Timmy is just now starting to branch out and do blockbusters, children's films, etc (things that Tom has already been doing for years).... Just saying! 🤷🏾‍♀️

Actors don't have to follow one set path. They can go in and out from whatever filming roles they wish. Tom doesn't have to follow the same path as Timmy or any other actor out here. Most actors just focus on their OWN work, and admire the work of others that they personally appreciate. But it's not some competition.

I definitely think Timmy getting nominated for an Oscar at such a young age definitely put his name on the map for a lot of directors and such. Just being nominated for massive awards helps a LOT. You don't even have to win.

One day, Tom will be accepting an award for "Best Actor", and he will have all of Film Twitter eating their words.

I personally can't wait for that day lol 😊

[bibliophile-in-training]

A Plebian's Review of the Last Voyage of the Demeter

I don't do reviews normally but I have many thoughts I wanted to share after recently watching this movie. In general, I did enjoy this movie and I thought it was a fun watch. As someone who read Dracula and enjoys most modern Dracula stories I would watch it again if it came on. (6/10)

Non-spoilers:

It took some liberties with the source material. Combine the recent Poirot movies with modern vampire lore and that's what you should expect, not something strictly adhering to the novel. Not necessarily a bad thing, but if you're enjoying dracula daily just know this isn't really that.

On that note, Dracula bibliophiles aside, it's a pretty good movie on its own. It's suited for modern audiences and won't confuse them with Stoker's vampire lore (ex. what can and can't kill a vampire, what powers Dracula has).

It had pretty gory moments that you may not be prepared for if slasher movies aren't something you watch. Also, check out doesthedogdie bc there are a lot of potential triggers.

The lighting for this movie was really good imo. There was a strong contrast between day and night which awesome, but you could also still actually see what was going on in the dark. There were a couple times when Dracula was in a shadow and you couldn't really see him but it was for effect as opposed to trying to be "realistic" (looking at you, GOT).

The design for Dracula was cool and they do play into him getting stronger and scarier as he continuously feeds.

The Captain is not the main character (in contrast to the source material's Captain's log). Here, it's Dr Clemens we follow and we get an occasional Caltain's narration from the log.

If you like Until Dawn and other titles from Supermassive Games, you'd probably enjoy it. Dracula's design, the kills, and character choices feel like you're watching a playthrough. Not to mention there are a lot of close-up shots of characters in the same way Supermassive Games does.

Spoilers under the cut:

The Good:

The cinematography was pretty good. I particularly liked shots that followed through the ship to the cargo hold where count bat boi was sleeping.

They also filmed the gory scenes really well, and one scene that stood out was when one person who's become a thrall bashes his head through a door and then slides his nose along the splintered panels as he looks up. Impactful to say the least. They didn't pan away and leave it up to our imaginations but went all in and I applaud it.

Things were recognizable from the novel (names, events, some vampire mythos). I was genuinely surprised that they marked Dracula's coffins with dragons and kept that he slept in dirt, since modern audiences probably wouldn't have known about these things. When we (modern audiences) hear "Dracula" we think it means "vampire" as opposed to "dragon", and we would likely expect Dracula's cargo to be velvet-lined coffins.

The opening scene (finding the ship at Whitby & the wagon train of the coffins) had me immediately invested and excited, and I was already looking forward to this movie (I chose it over Barbie lol).

The Captain's actor was phenomenal. He went all out when he was grieving Toby's death and he really didn't have to but I'm so glad he did. While the character itself wasn't consistent, the actor made it believable. He was strict and kind when he was sane, he was frantic and distraught when he was insane, and his moments of grief and hope were all palpable. Good choice.

"Oh my God it has wings" When I say I LAUGHED SO HARD

Honestly there were a lot of funny moments. Some were genuine to cut the tension and help build characters but being ND and desensitized to horror I don't know if I was supposed to laugh at some of them, like when the cook's dingy knocked against the side of the hull. And when vampire Toby jumped up.

The use of knocking was a cool addition. I enjoyed when they used it like when Toby was in trouble and when Dracula was messing with the two dudes on deck.

One of the key things of Dracula's personality is that yes - he can kill you in 10s - but he won't because he's a sadistic bastard that enjoys drawing it out and playing the wager to see if you'll die of fear before he can bite you. They absolutely captured it. Homie is purposeful in how he terrifies his victims before giving them a gruesome death.

I think the model ship they showed at the end was the original model ship for the Demeter in the 90's Dracula movie (or at least a nod to it), which is how this movie was started apparently. Nice touch.

The Grievances:

Dr Clemens was a mary sue. I'm sorry, there's no way around this. Man has bad main character syndrome. I can accept a black man fighting tooth and nail to graduate Cambridge top of his class and struggle in a world that won't see his abilities because they won't look past his skin color, but on top of that he's an astronomer, a sailer, a strategist, a detective, and everyone immediately falls in love with him? Hell, he cured Toby's [1] grief over losing his lifelong friend (Huck, the dog, who was MUTILATED) and [2] guilt for all the animals dying because it was his responsibility to take care of him, and [3] fear for whatever unknown thing did this, with a headpat and "sometimes shit happens and you can't do anything about it".

He took one look at Anna, Dracula's beef jerky ration, and immediately went "she has an infection, she needs a blood transfusion", then proceeded to give her repeated transfusions over several days and he was totally fine. Up running around and fighting vampires meanwhile in reality he would have been bedridden from lack of blood and possible complications from the procedures.

Also, why is he the only clean person? Everyone's covered in grime and blood and dude looks like he just walked out of a proactive commercial. Even when he's floating in the middle of the ocean for days with an open neck wound he looks like he was just in the shower. Compare it with the Captain's burns and the first thrall's face after banging the through a door and the dissonance just pulls me out of the movie.

Keeping him alive just to sequel bait. Just. Why. Hollywood, it's okay to kill your protagonist. 1912 did it really well. Plus, I personally wasn't invested enough in this character to want to see a sequel following his vendetta with Dracula. We already know about Jonathan and Van Helsing. You can make movies that stand alone. It's okay.

If you want to sequel bait why don't you have him delirious from being lost at sea for several days and end up at the asylum with Dr Seward and Renfield? That would actually be cool and you could still have Dracula show up to taunt him.

Also, in regards to Anna, while I think it was a cool idea to use her for lore dumping and as a surprise for the audience, I was disappointed with her. She had the potential to provide a lot of info and help fight Dracula but instead she had to be the "strong independent woman". I don't hate this trope (think about Ripley in Alien, or any of the women in the original novel) but it wasn't done well here. While it's cool to see her gain confidence and wield a gun against count bat boi I was really hoping she would provide more info like his weaknesses. She says "he ran out of food in my country" but we know this isn't *literally* true because we see people at the beginning. It's the fact her people knew how to keep Dracula away that he ran out of food and he decided to try greener pastures. You could bring up HOW they did that (religious tokens, garlic, silver, etc.).

Also when she does try to give info about Dracula it's still vague and meant to be mysterious. Bruh, you are locked on a boat with this monster and you know your only hope for survival is to flee or work together to get rid of him. Why are you not giving as much info and details as possible? Because that's what the script said bc the writers wanted to make dracula look cool by relying on the characters to say it? Okay.

This movie relies on a lot of telling instead of showing. It's like they don't trust their audience to pay attention or understand what's going on. The only time I legit felt they showed and not told (lol) was when the Captain asked if what happened to the animals could be transmitted to humans and Dr Clemens lied and said no. You could see in the actor's face the inner monologue of telling the truth vs preventing chaos. It was nice and gave more info about the character than him actually yelling his life history at the first mate.

It also suffers from the writers trying to make every scene be memorable. There are too many times characters say things because it sounds cool or would be good in the trailer rather than because it makes sense for the character to say that.

Honestly all the characters fall flat for me (besides the captain who's character is treated like a pinball). They're all archetypes rather than people. The protagonist. The independent woman. The racist drunkard. The child. The religious guy. The guy that makes obscene jokes. The only names I know are Toby, Dr Clemens, and Anna. Bc they get said a lot as opposed to me actually caring about them.

On that note, I am definitely biased because I loved the Captain's log from the novel, but I wish that this was from the Captain's pov, culminating in him tying himself to the wheel and dying from shock or exposure like in the book. Then Whitby.

On that note, I am still upset that they used modern vampire mythos yet again for Dracula. In the book the Captain dies after being taunted for days by Dracula after tying himself to the wheel, only possible because the rosary in his hand protects him. It's a noble but horrific sacrifice made of fear and a duty to not let the evil on the ship reach land. In this movie, however, he reaches the wheel and dies because the rosary has no power over Dracula (it's also how Toby dies).

Oh, also the sun kills vampires. How do we know? Because occasionally some people turn into vampires, but only when it's convenient for the plot (looking at you, Anna). Why don't they use this against Dracula and dump the dirt box they know he's sleeping in during the day? Who knows. But they wasted a lot of potential to play on the audience's expectations (rather than giving into them) by using Dracula during the day. Y'know what's scarier than a vampire picking off your crew at night? A vampire picking off your crew at ANY time when you only expect it at night because SURPRISE sunlight just doesn't let him crawl in lizard fashion.

Are you seriously telling me Dracula sustained himself off of Anna for several weeks, and then decided to slaughter the crew mere days before the boat docked? Yes, he was weak bc of it but I don't think the director knows how blood works (see Dr Clemens's transfusion issue). Also, if that's the case, how did Anna not suffocate in her dirt box for hours on end for weeks? Just fill the other 48 crates with dead people and say Anna was the last caprisun in the box and it would make more sense.

Also, why have their last hurrah be the day before they reach Whitby? It made the movie seem too fast; it felt like it only took a week to get from Transylvania to England. Why not find Anna early on, then disperse the crew member deaths across a couple weeks like in the novel? It would help with the suspense and you could have the Captain tie himself to the wheel then let us experience the time passing after he dies so the audience has a moment to sit with the deaths and feel hopeless. Bc that's what the role of the Demeter is, story-wise. It's supposed to make us afraid of Dracula and feel hopeless in his presence. Not give us hope and make him into our rival we have the possibility to get revenge on. That's what our dear friend Jonathan is for.

Dracula never takes human form. Why do all adaptations refuse to give him his bushy mustache? COWARDS.

Okay, he *sort of* takes human form. But they really just put him in a waistcoat and top hat then expected us to believe that showed he was cunning. You literally said he's both man and beast then only show the beast. One of Dracula's main appeal is that he's clever and his sadistically human traits are the only thing preventing him from immediately ripping you to shreds. And he can pass as human, so he could be anyone. Yet we only see the beast part.

While this movie was fun to watch, it comes off more as a gruesome drama or action movie than a horror. I never really feel any suspense or dread. Compare it to Alien which had the same situation. Alien did such a good job of making you feel scared and claustrophobic when you're surrounded by the vastness of space (in this case, the ocean) and being hunted down by an intelligent monster. I was watching this to see how Dracula killed people rather than seeing how they struggled to survive.

I can believe this movie was in production hell not just because of the writing but some errors. In one scene, the Captain's burn is on the right side of his face but there's a close-up cut and suddenly it's on the left side like someone flipped the screen. And this is just one error out of a couple. No Starbucks cups tho.

It sounds like I don't like this movie because of all of my nit-picking grievances, but I really did like it. I think my issues are just because my expectations were too high going in. I was expecting a loyal expansion of an underappreciated segment of a classic novel, which is really rare these days. And a *suspenseful* horror.

I see why Guillermo del Toro and Stephen King suggested it. It's pretty similar to their stuff, just more fast-paced. So if you like that stuff and Until Dawn I think you'll really enjoy it.

[pochiperpe90]

[ENG] Luca Marinelli: "I'm a candidate for the David, I love uncomfortable challenges. And in Spoleto I will make my debut as a director, in theater"

Shy, solitary and light-hearted, the Roman actor has become one of the reference points of auteur cinema: "There are also Ficarra and Picone in the running for the most important prize in cinema. Those who raise fences against comedians have understood nothing".

With his big rapacious eagle nose rising above an astonished and emaciated expression, Luca Marinelli loves characters to climb, all energy and restlessness, as happens in Le Otto Montagne, a journey towards the absolute. It's the film for which he's nominated for the David di Donatello (with the other protagonist, Alessandro Borghi). Shortly afterwards, on July 8th at the Spoleto Film Festival, the 38-year-old Roman actor, who has become a point of reference for the auteur cinema, will make his debut as a director, in theater, with "A Report to an Academy", based on Kafka's story.

Marinelli is an atypical Roman who moved years ago to Berlin for love, a city that "stimulates the creative dimension". Shy, reluctant to talk about himself, cautious and ironic, solitary and light-hearted, he calibrates his words with the rhythm of a fifteenth-century monk amanuensis. He was not admitted to the Experimental Center of cinematography where he told the commission that the film of his life is Batman. He took his revenge in the field in projects that few believed in, in the part of the criminal in Lo chiamavano Jeeg Robot and the junkie in Non essere cattivo. In Venice he won the Coppa Volpi for Martin Eden. He would love to talk only about Kafka.

What strikes you about this text, which is almost an existential labyrinth?

"I saw it in Paris many years ago and I was struck by it. I think of the truth, despair and lucidity in speaking metaphorically about the condition of existence in society. The monkey was taken from its context and forcibly taken elsewhere and from this "new life" it speaks to us. In the text, the monkey is a narrator who speaks of a way out at a scientific conference, of the need to find a solution to the problem of imprisonment but without getting lost behind the concept of freedom, too often used in an elusive way, creating many problems to human beings".

Kafka walks on the border between animality and humanity.

“He learns human behavior just to get out of the cage. It's a matter of survival, rather than freedom. I thought several times about acting it myself, but I saw Fabian Jung perform with his vibrant soul at his graduation essay at the Ernst Busch school and I asked him if I could be his director".

What will be seen on stage?

"A well-dressed being who tells the academic audience about his journey, from his previous life as a monkey to today, with his appearance and his behavior quite human, such as to be able to have some success".

A metaphor for the human condition?

"It's a metaphor for many things, including existence, how we behave, what we believe in. And much more. If the monkey is Kafka, in feeling different that has accompanied him throughout his life? I don't allow myself to interpret it. I like his style and what he communicates, his gaze on society".

The protagonist in Spoleto is a German actor.

"Well, the aspect that I find interesting is that Fabian Jung recites in Italian not knowing a single word of our language. He studied this monologue from scratch. It's a similar situation to that of the monkey. The fact of approaching the text as a sound or a rhythm was fundamental. We did a rehearsal in Berlin for some friends and family."

After the theatrical direction will you make one at the cinema?

"In the meantime, let's see how this show will be received. I don't hide being very worried, but it's a feeling I like. Not being comfortable is a quality I appreciate. Directing a film would be another beautiful and uncomfortable experience".

Let's change subject. What does the David nomination represent?

"It will be a pure emotion, a beautiful evening full of colleagues I love and with whom I have shared a part of this job. Alessandro Borghi, for me, is a brother".

Does the presence of Ficarra and Picone mean that prejudices and fences are falling on comedians?

"Those who have prejudices and raise barriers against comedians have understood nothing of the art of acting".

Apart from Batman, another idol of yours was Indiana Jones.

"Because as a boy I wanted to be an archaeologist. Today my archetype is writers who want to enrich themselves by traveling. But I am in love with my job and I feel lucky to be able to live what I dreamed of as a student at the Academy. I see this work as a great opportunity for exchange between human beings".

You have already been to the Venice Film Festival five times: what would you change about festivals?

"I would remove the barriers to shake hands with the public."

Corriere

Like always, sorry for my English

[notmuchtoconceal]

Red Dragon was adapted to film three times. No cinematic portrayal has yet captured the particular majesty of its literary source, nor its subtle metaphysical quality, though each is interesting in its own right.

William Petersen remains my favorite Will Graham, and Manhunter the most sublime of the film versions, mainly for what it leaves unsaid. For how it draws you into a trance state through its hyper-modern design, full of minimalist white and chrome furnishings which emphasize empty space. It remains first and foremost a Michael Mann film, capturing the professionalism of being a G-man and Petersen's Will is allowed to return to domestic bliss upon its conclusion, cementing a kind of 80's optimism complete with cheesy synth music over the closing credits.

Ralph Fiennes remains my favorite on-screen Dolarhyde, mostly for he's the only actor who embodies the character's brutish physicality, though I don't particularly like the film he's in. The 2002 Red Dragon comes off like a cash-grab, capitalizing off the success of Silence of the Lambs, and its aesthetics -- while capturing more of the decaying contemporary gothic of its literary source -- are diminished by the film attempting to please too many masters. It reminds me of the similarly inferior late 90's film of The Talented Mr. Ripley, being both more loyal to what's on the page, as if to please legions of disappointed book readers, though also -- bloating the run-time with extraneous new subplots which flatter a general audience's pre-conceived biases. It frustrates you by giving you what you think you want, then doing its own thing anyway, though not very well, and you're left wishing it had just trimmed the fat and done something new instead of faffing about and having nothing new to say.

Edward Norton is by far my least favorite Will Graham, mostly for he comes across as a total charisma vacuum. Think the logic of casting him as Will was he was also a Hulk and the Narrator in Fight Club, so he's got cred struggling with latent psychopathy. Except in this he doesn't turn into a CGI monster or have Brad Pitt to play off him. Will is a complete entity in his own right and Edward Norton seems like a mask or shell.

NBC's Hannibal is the best adaptation of Red Dragon until it comes time to adapt Red Dragon, at which point it feels largely perfunctory.

As an adaptation, Hannibal is endlessly fascinating. Bryan Fuller compared himself to a remix artist, and that assessment is spot on.

When I watched the series for the first (and thus far only) time, I had just re-read the original trilogy, so I could see with fresh eyes and hear with open ears, the ways he turned bits of interior monologue into dialogue, fleshed-out the backstory, moved things around, changed the pace and flow through subtle re-framings. The closest point of comparison really is Mary Harron's excellent film of American Psycho (which distills to a sleek 102 minutes a work of four-dimensional Dostoevyskian tragedy masquerading as brand-name gore shlock), not only for how it juxtaposes primal violence with gourmet cooking, but narratively, structurally, in how it remixes and reinvents; turning Patrick Bateman's book-end revelation of his void state from a late-onset cry of despair to a stoic thesis statement simply part of his morning routine.

Bryan Fuller reinvents so much, draws out the queer subtext so totally, and ultimately has to -- the story he's telling is fundamentally about a man facing himself, being repulsed, but ultimately liking what he sees. The literary Will spurns Hannibal's one-side affections forever, which come across simply as sardonic taunts from a predator; yearning to take shelter in a woman's arms, but ending up deformed, for his primary opposite is the wounded Dolarhyde, not the Dark Prince Hannibal.

Hugh Dancy's Will is an entirely different beast. Every episode begins with based on Red Dragon, but the emphasis is right there in the title.

I suspect Bryan Fuller felt like he had to introduce Clarice at some point and kept putting it off because she had no place in the world he created. It's not only that his Will and his Hannibal are in love, and he'd be introducing a primordial tension into his own dark fantasy. The literary Will Graham may as well become Clarice. They share the same descent into the underworld to speak to the Devil Behind Bars. They speak to the same agent of unconscious revelation to get into the mind of a killer.

They are of the same mind, being both of Thomas Harris.

The Silence of the Lambs onward is a transgender narrative, not an androphilic one. The literary Clarice, prideful, self-assured, totally lacking in bullshit other than what's been trained into her, is an immediate delight. She's the one who ends up under Hannibal's control -- consent gradually surrendered -- as her true wants are revealed through drugs, hypnosis, childhood regression, the exhumation of her father's corpse. As Dolarhyde is the literary Will's shadow, so is Buffalo Bill Clarice's. She yearns to become a lawman like her father the sheriff, he yearns to become a beauty queen like the implied memory of his absent mother.

Will sees himself as a deformed monster. Clarice sees herself as a manufactured Other. Hannibal is inside both their heads.

The Devil Likes Him Some Cornpone Country Pussy.

The third book is titled Hannibal because Hannibal is its protagonist, even if for the bulk of it we follow Clarice. I had read an Amazon review back in 2008 or so, where someone accused it of being "clearly ghostwritten" because of its shift in narrative voice, yet this is wishful thinking. Its told from the detached, birds-eye view of a hyper-lucid Luciferian madman who is accounting for and manipulating all variables, luring all the extant players into his web of associations to claim his final prize.

I enjoy Ridley Scott's film version, for it's a Ridley Scott film. He has a well-studied classicism, but also a very down-to-earth ruggedness which fits the material perfectly. Most of his excisions are sensible, considering the running time. (Margot being even more politically volatile in the early 2000's when the backlash to Buffalo Bill seemed to be the trans representation issue... none, it would seem, being better than something easy to caricature by the heterosexual masses.) I recall a comment Scott made about thinking Hannibal was "turned-on" by Clarice's sense of Justice, and it being immediately clear this was his own fetish, not necessarily something implied by the text. (Picture now, Scott and James Cameron Bro-ing out about how he leveled up Ellen Ripley.)

Julianne Moore is a great replacement for Foster, being now an older, more jaded woman. The film is so deliberate, I appreciate how it inverts its literary counterpart's Satanic ending moreso than say -- the earlier un-alluded to Purple Noon, where Tom Ripley is brought to justice as if entangled in the umbilical thread of fate. Rather than Clarice being seduced by Hannibal, Hannibal is seduced by Clarice, chopping off his own hand much like a chastised young Tyr to a She-wolf Fenrir.

Bryan Fuller's treatment of the novelistic material here is close to about the only point in the series I'd call vacuous and self-indulgent.

It feels like he's subverting the pacing for the sake of being contrarian rather than giving his story room to breathe. Maybe it's because I like Scott's Hannibal so much, Fuller's treatment of the same scenes and characters feels like a pale imitation, of both its literary source and its filmic predecessor, yet I feel intuitively I may have been overwhelmed or alienated by the void of heartbreak, my rational faculties rebelling against what seems to be implications of a telepathic reality. I suspect those episodes will always be a mixed bag, being both too slow and too fast, largely for how behind-the-scenes tensions introduced conflicts into the pacing. Now understanding that his Will is replacing Clarice, and Clarice can only become the Bride of Satan by mutual recognition, I find Will's need to dive into Hannibal's past necessary, though by this point, the characters had largely outgrown whatever sources may have inspired them, and even if the second half of season 3 is more even, it feels constrained by the skeleton of its intended adaptation.

The Silence of the Lambs has been adapted to film precisely once, and it captures the essence of the novel almost well-enough to render it redundant. There's near nothing missing. What's cut is stitched back together with a surgical elegance befitting a master cosmetician.

The film is so sleek and streamlined, its makes corresponding sections of the novel seem clunky and bloated. When I remember the events of the story, I confess, I tend to remember the film better than the book, the way William Faulkner remembered his own evolving private daydreams of Candace Compson moreso than whatever it was he'd published in The Sound and the Fury -- "If you'll excuse me, I'm having an old friend for dinner." (Lecter's chemistry-based shit joke about Chilton is an absolute riot, though. Terrible it couldn't make it in.)

Anthony Hopkin's Lecter would never have become as iconic as he is without Jodi Foster's Clarice. As an adaptation, it's a masterpiece precisely because its a collaboration. Everyone on-screen is embodying a particular flavor of unspoken obsession, and everyone behind the camera is capturing it with an almost documentary realism, the same way Harris's prose has a journalistic objectivity, even when he's touring the fetid landscapes of his own inner hell. It works so well because there's no sole author to be burdened by the weight of the material. Its dispersed throughout the entire cast and crew and everyone is there for each other.

Furthermore, the story is inherently cinematic in a way Red Dragon simply isn't. Clarice is a plucky young professional woman looking to make it in a man's world, while Will Graham is retreating into early retirement for the duress the work is inflicting upon his tattered mind.

Will's isolation is chosen. Clarice's is imposed from without. We see her running the obstacle course alone. We see how male law enforcement officers look at her on the job. We see how even her own superiors need to play mindgames and switcheroos and put her at a disadvantage.

She has to play quid-pro-quo with Hannibal. She has to open up. She has to share. Will knows what Hannibal is because he's like him in a way she isn't. He can't be seduced by him. His pain is too constant, the threat too real. The literary Will lacks a certain feminine charm, which Mads's Hannibal is well-acquainted with, already seeming to have found some part of Mischa again in his friend and protégé, the gender-swapped Alana Bloom, who is also surrogate sister to Will, making them brothers.

In contrast, the novel Red Dragon is about highly introspective men being alone with themselves and thinking intense thoughts. The portraits of Will and Dolarhyde's psyches are two interlocked soliloquies which brutally clash like gongs by the conclusion. The literary Will, Dolarhyde and Hannibal are all playing the same game of cat and mouse from a distance, each alone with themselves. Hugh Dancy's Will is not only made more cinematic, but also incidentally charmingly feminine by having his monologues cut up into dialogue, as he's forced to physically converse with Hannibal, who in this version he's meeting for the first time.

The visual emphasis is also why it's so easy to reduce the filmic Buffalo Bill to a gay monster. The ways in which they function as a dark mirror to Clarice are not as obvious when you lose their interiority. When you simply present their sensual butterfly dance while the fat girl (Hollywood fat, of course) screams for help in the pain well, they become a blank screen for the audience to project their own fears of seeing or being an Other, but in a public place -- surrounded by people similarly disgusted, each a participant in the ultimate pretension of normality.

What makes the novel of The Silence of the Lambs unique is how its unmistakably a sequel to Red Dragon. The film version of Silence of the Lambs exists in relation to nothing but itself. Thomas Harris is repeating his previous work's structure, now with different characters.

It's much easier to get Clarice's interiority on-screen when you have Jodi Foster's eyes and voice to work with, and in the book she retains Will's quality of brooding intensity, but with an awareness of how what she says aloud supports and contradicts her interior monologue, which is naturally contrasted with Bill's. You can see the Clarice/Bill entanglement as a logical repeat of the Will/Dolarhyde one, and with this absent, the filmic emphasis shifts to Clarice's darkly subdued romance with Hannibal, which similarly becomes the emphasis in Bryan Fuller's television version, but with the focus of his meet-cute being Will.

That Silence of the Lambs should be such a crowd-pleaser is no surprise. It's the only entry in the original trilogy which has a happy ending which falls within the dictates of the common tribal morality. The killer is caught. The woman is saved. Clarice is redeemed and graduates on-time. Her professional surrogate father is proud of her. Hannibal escapes. An element of danger remains. A sequel promised. It doesn't ask us to dramatically re-shift our focus or reconsider all we know.

A rare act two high note.

The Devil is in the Details, and details are the domain of long-term prose.

Reading is itself a solitary and introspective activity. That is, unless one is reading scripture. That a man should realize the degree to which he is like a Devil Himself, or how that same Devil He Is could be the sole True Want of just and upright professional woman, for the so-called "Good Men" who uphold the law fear and revile her, isn't the type of thing you'd want to share communally with loved ones, unless you're willing to take on the responsibility of hurting them in the way they need to be hurt.

[yonderghostshistories]

I recently watched the film "A Liar's Autobiography" (2012) recently, and I ABSOLUTELY LOVE IT AND IT'S THE GREATEST ANIMATED TRIBUTE TO GRAHAM CHAPMAN IMHO AHHHHH!!!

Here's my thoughts on this film and why I absolutely love it!

(Spoilers btw, you should definitely watch ALA it's great!!)

-all the animations were peak, I especially love the animations about Graham's childhood, the Monkey Pythons and the animation where it dealt with Gray's alcoholism and him going cold turkey was very brilliantly done fr!!

-Graham's narration and voice is REALLY immersive and cool and lovely, it's like he's genuinely talking to you in a way!

-i love the scenes with him and David, such wholesome portrayal of their love and relationship with each other like it so 🥰🥰 <3333 (honestly, shout-out to the actor Philip Bulcock, he did wonderfully as David Sherlock!!)

-i like the songs, especially the "Sit On My Face" song rendition!!

-i like the animation where Graham was Colin "Bomber" Harris is which he metaphorically beat himself up to defeat the alcoholism!!

-i like the payoff of the "Oscar Wilde" thing at the end from the beginning, it rounded out things nicely and it was really wholesome seeing John cheering up and patted Gray on the back as buddies, it was a nice moment <333. Also, apparently Stephen Fry voiced the God-esque version of Oscar Wilde, which imo IS REALLY COOL FR!!

-i cried internally (my body couldn't produce the tears physically fsr, but on the inside it was sobbing like HELL) when they showed the Graham Chapman funeral/memorial service video of John's speech at the end and like GAHHH IT WAS SAD AND HEARTBREAKING 😭💔

-i LOVED the "Medical Love Song" scene at the end, it was ABSOLUTELY GREAT!! Plus the second rendition of the "Sit on My Face" scene, pretty awesome!!

-Cameron Diaz as Sigmund Freud was really hilarious 🤣

-i like how the film portrayed Gray's struggle with alcoholism (especially the absolutely beautiful oil painting-esque animation which is from Gray's POV), and like my fellow moot @michael-palin-is-the-loml said, it was done very tastefully in a way that Graham would've appreciated himself!

-i like the scenes with Gray and his parents, they were quite nice!

-i love the simple line of "fuck off Ginger!", like I do relate to that moment very much fr 🤣😭

-Everyone voice acted SUPERBLY in this film, hat's off to them!!

-i loved the "Sex Test" scene in the film, like as a bisexual myself, it's probably (imo at least!) a VERY accurate and superbly funny representation of the "sexuality is a spectrum" thing 👏👏

-Oh yeah I also love the scene in ALA where Graham saw the love of his life David appearing out from the sea in the pose of "The Birth of Venus" painting, which makes sense imo since Gray would think of David as his (gay) God(dess) <333

Here's my final verdict/thoughts on the film:

This film deserves ALLL THE LOVE, and I don't think it's as bad as some people said it was! This was truly made with a labour of love 🫶💞 from both the team AND the Pythons! (Apart from Eric ofc lol) and it really shows that this is NOT only a love letter to Python, BUT TO GRAHAM "GRAY BAE" CHAPMAN HIMSELF!!

This movie is a glorious 10/10 from me, and it's my favourite film in the world! (Tied with HFC ofc!)

[mischief-lies-and-stories]

Loki spin-off ideas

I'm going to preface this by saying, I do not think we will ever get a Loki spin-off. But that doesn't mean I can't think about all the great possibilities there could be. And also I am quickly running out of ideas again.

Spoilers for Loki.

TVA workplace comedy, featuring B-15 Verity, Casey, OB, on occasion Sylvie and Mobius, and introducing new (queer) characters. Casey and OB stumble their way into a relationship, Verity once and for all establishes that she can detect lies, Mobius is sad until in the season finale (with special guest star Tom Hiddleston!) someone figures out how to get him to Loki. And we get Lokius in the last ten seconds, because they pull a Will Shatner and purposely ruin every other take that isn't them making the fuck out.

TVA training shorts, featuring Miss Minutes (ugh), reminiscent of those high school PSAs they made Cap do ("So you got detention," etc.), but animated in the style of the introductory video Loki watched in the first episode. You could also have a second season of them as an updated version following the dissolution of the Sacred Timeline and how the branches are seen as good things now. Maybe the new ones are narrated by members of the Time Revengers, since Miss Minutes is still being rehabilitated. (I'm still deciding if the idea of listening to Mobius tell the story of how the multiversal tree was created would be heartbreaking even if he managed to remain professional and not break down in tears, or if it would be really sweet that he gets assigned that video.)

Lokis in the void, following mainly Kid Loki and (if we retcon it, set this before the show, or he somehow survived) Classic Loki, but also ridiculous schemes of President Loki (yuck, no thank you) that constantly get thwarted. The B-plot is Alligator Loki sneaking off and getting up to some shit in an anti-Perry the Platypus running gag. (Wait, maybe I just want a Phineas and Ferb parody where every character is a Loki and it takes place in the void. That could be so stupid it's hilarious.)

Classic Loki in Valhalla please I need it. Like we start similarly to the events of my fic After, where Classic Loki arrives in Valhalla and reunites at long last with Thor (don't ask me how, I know technically his timeline was reset). Then the show continues with Classic Loki and Thor getting up to hijinks in Valhalla, maybe scheming to break out of Valhalla (a storyline for Loki in various contexts I've played around with a few times). We could have different characters from the Thor movies and comics in Valhalla, but since they're all dead, they're all played by older actors. You could make some easy, low-hanging old jokes (back pain every time they use their weapon, etc.), but they're gods and they're dead, so technically they should be fine. They're just old and dead. (But like, Tony Stark is for sure in Valhalla, too. You could have some frostiron going on. Or Fandral. He's there, too, Ewing.)

Mobius's adventures in the multiverse, just episodes of him traveling through time and experiencing it (I'm realizing now that this is basically just the premise for Doctor Who...). Also going on in this series is obviously Mobius missing Loki and looking for a way to get to him. Of course (because this is my show and I say so), the series would end with them reuniting and confessing and staying together, either in the tree if need be or in the wider multiverse if Loki is able to leave the tree. And there would certainly be episodes throughout the show featuring the other members of our Time Revengers. Maybe the workplace comedy and this show are occurring simultaneously. (Like one episode of TVA someone's like "Where's Verity?" "Oh she's on a mission." And you're like oh the actor has a break or is filming something else, and then later that week the episode of Mobius airs and THERE'S VERITY!)

Sylvie in Broxton. That's it, that's the show. Just Sylvie living her best life in the small town, working at McDonald's, hanging out at Lyle's record store, ignoring 90% of the calls on her TemPad (unless it's Mobius, because in spite of herself, she's a little worried about him).

[heytherecentaurs]

Notes about the finale of Mentopolis:

It's so good. It's soo damn good. just great.

I think this is one of the most fulfilling seasons. It wraps up so well. The finale has some big moments, the players take big swings and Brennan is his classic self, delivering the thoughtful and funny narration and commentary we all expect and adore. The worldbuilding this season is very interesting and so well done (and I still think it's more Osmosis Jones than Inside Out); the set design and dome projections are next level. This has instantly become one of my favourite seasons. Brennan's fact about diners originating from dining cars is one of my personal favourites—that style would go on to become the Googie architectural and design style, probably most famously found in the Welcome to Las Vegas sign.)

I love how much Freddie enjoys being at the table. He really has a fun time. It's evident in Dungeons & Daddies and D&D Chaos too and I'm glad to see him having so much fun. Exploding twice was an amazing moment and really helped make it feel like a finale where the stakes are high. The fact he managed to succeed felt earned. His commitment to his character's vaguely Laszlo Cravensworth voice was so wonderful.

Siobhan is so incredible. She's so funny. She's been killing it with this unhinged impulsive (sorta Rowan Berry-esque) character and she's looked amazing all season long. Everything she does is iconic.

Alex's play style is really sorta chill and subdued. Not that they don't make big moves but it all seems somehow understated in their performance. Also 57 being their favourite number because of Heinz was so funny and they really wrecked everyone with that one.

I loved Hank as The Fix. He was such a sensitive tough guy and he dropped some very wonderful nuggets of wisdom. I'm so happy he got to be on D20 and I'm even happier his cancer is in remission. I know he was nervous because while he spends a lot of time talking this is a different medium and he isn't an improv actor or pro ttrpg player. But he does very well. The fish monologue at the end was bad ass. His line when Pasha N. comes and he can't think of any facts is flawless.

Danielle had her big moment last episode but she has really knocked it outta the park all season. I didn't know her before Misfits & Magic and she continues to be impressive.

Trapp was so funny all the time. Whether he was doing his own bits or just tacking on a stinger to the end of other players' bits, he was a master at humour. Hunch was such a good character. I love a gumshoe and he really falls into the classic film noir trope of a detective who basically tumbles through a mystery getting beat up and having misfortune befall him. His joke about foot stuff at the end is such a good call back.

[popculturebuffet]

James Earl Jones Memorial Halloween Special: Treehouse of Horror I Review! (Comission by WeirdKev27)

Happy Halloween all you happy people! I"m amped not just because I love spooky season: the decoratoins, the candy, the excuse to inject horror into my veins but that we get to talk about one of my faviorite shows. Despite the many, MANY simpsons refrences that grace this fair blog, largely thanks to the site frinkiac for making it easy to meme any simpsons refrence that ops into my dome, I don't cover the show itself often. A lot of it is simple: I just forget to and what retrospectives me or kev have had ideas for have never materialized. Still Kevin, my producer and frequent comissioner, found a perfect episode to cover for the perfect reason: last month legendary actor, voice actor and voice in general James Earl Jones sadly passed and while trying to think of something, Kev brought up how James is present in all three seconds of the first treehouse of horror.

It was a great prospect both to honor james, as he has a sizeable role in the second segment and is essentailly the star of the third as the narrator, and to explore an episode of simpsons I don't really watch. I didn't watch season 2 much to begin wtih as a kid, and don't really now, and didn't like the middle segment. Petty I know, it's the same reason I don't watch Treehouse of Horror IV as much as I should when I can just.. skip the middle segment and enjoy devil flanders and dracula burns. So it was a chance to explore a treehouse I really didnt' know that well and to honor a man who was a part of my childhood and adulthood and general seemed like a kind, resonable person. So in honor of james and to give this episode a fair shake, join me under the cut for some halloween fun with everyone's faviorite family.

We open with Marge warning everybody, a fun idea that works well and would get played with in later specials. The insperation for this one according to writer Al Jean was EC Comics, doing that sort of horror anthology thing tales of the crypt used to do in comics and would again.

The wraparound is a fun and simple one. I also miss them doing these as while I get why it stopped, to give the segments more times, they were a lot of fun, paticuarlly III's halloween party. This one has Bart telling scary stories to lisa in the treehouse, a fun little premise. Homer is listening in because he just finished trick or treating, none of which is suprising but is still entertaining. We'll come back to this at the end for now let's dive into the meat of this special

Soooo hot take.. this was my faviorite of the three segments. I love the raven and will gush about it later, but this was a very nice suprise, having a more rapid fire pace from the seasons to come compared to the rest of season 2 or even it's fellow segments.

This wasn't a huge shock when I found out who wrote it: John Swartzwelder, a singularly weird simpsons writer who smokes and who did all his writing in a diner booth and continued to even after smoking bands by purchasing one, who tends to shy away from the public, to the point they called him on a commentary track just to prove that yes, he exists.

Swartzwelder has written 59 episodes with heighlights including Bart the General, Two Cars in Every Garage and Three Eyes on Every Fish, Homer at the Bat, Whacking Day, Krusty Gets Kanclled, Homer the Vigilante, Itchy and Scratchyland, Homer the Great, Homer's Enemy, Attack of the 50 Foot Eyesores, Homer Vs the Eighteenth Amendment, and Homer's enemy among many others. While he did loose a bit of his sheen as he went on, it can't be denied his peak stuff is some of the series best and this is no exception.

The premise is simple: the simpsons take on the amityville horror, the film based on the book that used a real tragedy to make money. The Simpsons move into a spooky house, nearly murder each other and escape alive. Which isn't a guarantee with Treehouse of Horror NOW but seemed to be a requirement early on as the simpsons don't impliclity die till Treehouse of Horror V and don't die on screne till Treenhouse of Horror X.

It's mainly an excuse to just pack the things with joke after joke, all hitting: the moving man, played by james earl jones mutters under his breath he's glad the house will kill them. There's a random vortex in the kitchen that theyt hrow an orange into.. that throws back a piece of paper asking them to stop throwing garbage in that dimension. The walls bleeding barely bothers marge and Bart getting choked by a lamp has Homer asking how he'll explain his way out. It's just joke after great joke, with Harry Shearer doing a great job as the house which frequently bellows GET OUT. My second faviorite joke of this segment is when Marge decides indeed to get out, and the house puts the kids coats on them for them. Just a simple hilarous gag. I also like homer being bounced into the celing and trying to act like it's fine.

He does get them to stay overnight which leads to the creepiest part of the specail as a whole and a great bit of horror: the house convinces the rest of the family minus marge to kill each other. The expressions here are truly disturbing, and i'ts unsettling to see the simpsons all in a trance ready to murder each other.

Thankfully the humor right after not only deflates it, but is great: Marge is seen grabbing a knife like the rest of her family.. but is making a sandwitch, easily lectures them out of it then plans to leave spouting the awesome quote I choose to use as the image. I'ts just such a marge thing to brush off something this horrid like it's some new conflict in the family.

The simpsons soon find the old racist trope of the house being built on a native burial ground.. which is a thorny concepts for sure, but this is an old enough episode to get away with it and I like homer angrily calling his realtor only to find out the guy mentioned it 5 or 6 times. The house tries to give a meancing speech.. only for marge to angrily tell it off, a bit I love, from Julie Kavner's delivery to how it works. She demands it either leave them alone or live with them in peace.... it chooses to collapse on itself after shooing them outside instead. Aw well can'jt please everyone. Just several minutes of great jokes with some great horror sprinkled in.

Not a fan of this one. It IS better than I remembered as it packs in some good jokes. That's courtsey of writers Jay Kogan and Wally Woodarsky, who while having a slow start, finished their run on the show with classics Bart's Friend Falls in Love, Treehouse of Horror III and Last Exit to Sprinfield

The premise is a riff on the Twilight Zone Classic , To Serve Man. For those of you who don't know what the Twilight Zone is, you just made me feel very old, but it was a classic Science Fiction anthology series, running the gamut of genres and often falling into horror. The simpsons would go to the twilight zone a LOT for Treehouse of Horror: They'd riff on at least one episode a year for the first four treehouses and would still return to the well on occasions. The simpsons has parodied A Good Life (Bart's Nightmare), Living Doll (Clown Without Pity), Nightmare at 20,000 Feet (Terror at 5 1/2 Feet) , Little Girl Lost (Homer^3), and finally A Kind of Stopwatch (Stop the World I Want to Goof Off). As the show went on they drifted into parodying horror films more as Twilgiht Zone faded, but I miss it and hope they do one again some day or as a special since their now doing Treehouse of Horror Presents.

At any rate it's a pretty basic parody: Kang and Kodos in their first apperance kidnap the simpsons along with Sorak the Preparer, played by JEJ, and have them eat a lot, making vauge hints they'll eat the simpsons and droolling a lot. There's a gag or two I love: the ufo they abduct the simpsons in having to put out an extra beam to pick up homer, tilting to the side otherwise, the aliens admitting to having thousands of channels except hbo "That costs extra", and the aliens defensifiness when how primitive pong is is brought upop "Raise your hand if your capable of intergalactic travel". I love bart sticking up his hand and homer slapping it down. Good stuff.

Most of it though.. is eh. The twist is that. .they aren't trying ot eat them and are hurt Lisa assumes it with the book being how to cook FOR humans. Then how to cook FORTY humans, then how to cook for FORTY humans. I love Sorek's hurt feelings and what not, but it's a pretty bland parody compared to Bad Dream House, which nailed it. It feels like a bland middle to two pretty dope piece sof bread. It has some good jokes nad gave us Kang and Kodos, so it's not without merit, but it's easily the weakest segment in an otherwise good episode.

For our finale Lisa reads Edgar Allen Poe's classic Poem the Raven. In the second best refrence to it the shows ever done

It's the breakout of the segments and while I prefer Bad Dream House and stand by that, The Raven is very close and a very creative flex. Matt Groening was nervous it'd come off too pretentious, but instead we get a great break from formula. The first two segments, while fun breaks from teh simpsons mostly grounded reality, at this point anyway, do feel lik ea standard episode that just happens to be about a murder house. The Raven.. is something entirley diffrent.

It's a mostly straight adaptation of the poem: James Earl Jones does an impressive and haunting reading of Poe's narrations, while Dan Castlenatea does an awesome job as homer, injecting some humor into it but reading moments like the main character lashing out at the raven and his sorrow with such convection. While we'd see plenty of range from homer as the show went on, this was an early indicatior of just what dan was capable of with the character.

The show also nicely breaks tension in places: Homer is literally reading a book of forgotten lore, Bart chimes in with his commentary, and there's some good physical gags. But the heart of it, a tale of greving, loss and ultimate death, as the narrator gets haunted by a raven (Played by bart naturally, with Lenore played in a painting by marge (with the nice gag of her hair extending into another painting and Lisa and Maggie playing Serapphim), i'ts a wonderful segment that is hilarous.. yet also heartwrenching and haunting. I haven't read the poem, but this segment makes me feel it, a haunting wonderful piece. James Earl Jones kills it with the utmost conviction in his reading, upping the intsnesity was we go and really getting into it. He did a marvelous job and apparently went the extra mile for his performance in the second segment by eating a cookie while recording to get the drool right. What a man

So we end the specail with the kids fine but homer scared and Marge refusin gto help him because.. I dunno she's a dick tonight. A great end to a fantastic start to a wonderful tradition. Thanks for reading.. and james wherever you are up there... thank you.