#armchair movie criticism

[random-jot]

it's crazy and also frustrating to me when I hear/see people criticise movies and the complaints are just. Standard movie-making techniques.

"oh it feels like it was written backwards, just so the characters could get from A to B"

...Like. Yeah. You mean how movies are made? You mean accepted screenwriting/storytelling technique? Of course it was written backwards!

How do you think, do you think they just make it all up from page one and go in chronological order?? With no idea of where the story's gonna end up?

It's just. Ahhj.

Anyway. Little pet peeve of mine.

[solarmorrigan]

Movie Nights

For the @steddie-spooktober day 25 prompt: Frankenstein Friday Rated: T | Words: 1514 | CW: None | Tags: established relationship, outsider POV, I know the movie is over 90 years old but I didn't actually watch it myself until a month ago, so just in case there's anyone else out there who hasn't seen it, Frankenstein (1931) spoilers Divider credit: @steddiecameraroll-graphics

Part 3 of the Good Neighbors series

Gladys can appreciate new things. Books, television, music – the little joys to be found in new discoveries are what make life worth living. She isn’t as set in her ways as some people her age can be, but she does have her favorites.

She loves her mysteries and her thrillers above all else; the likes of Agatha Christie, Elizabeth Peters, and Arthur Conan Doyle line her shelves. She’s dipped into the genre of spies and intrigue, digging into Ian Fleming and John Le Carré. She’s even been known to appreciate a good horror film now and then.

Emphasis on “good.”

“So this is what passes for horror these days?” Gladys asks as a young man on the TV screen is sucked down into his bed, only to be spat back out as an absolute geyser of blood.

Eddie chuckles, glancing up from the screen. “Not your cup of tea?”

Gladys leans on the back of the couch, resting her arms there. She’d only come over to the boys’ apartment to see if they had a spare baking dish she could borrow; they certainly hadn’t invited her in to critique their choice of entertainment. But all the same–

“I just think they should try a little harder to really scare people. These days, it’s all shock and gore. All they have to do is shower people in blood and call it a day,” Gladys says. “I remember a time when they put real effort in.”

“Back in your day?” Eddie teases, grinning at her.

Gladys tsks, cuffing him upside the head – not hard, barely more than a tap, but he still falls sideways onto the couch with a gasp, clutching his head, and then rolls right off and onto the floor with a thump. Gladys rolls her eyes, but doesn’t bother to hide her smile at his antics.

“Hey, will this work for–” Steve exits the kitchen, a glass baking dish in his hands, and stops as his attention is almost immediately diverted to Eddie. “Why are you on the floor?”

“Gladys attacked me,” Eddie replies.

“Oh. Good for her,” Steve decides, holding up the dish again. “Will this work for you?”

“That would be fine,” Gladys says, accepting it as Steve passes it over.

“She also thinks my movie is trash,” Eddie says brightly as he levers himself back up onto the couch.

“I did not say it was trash,” Gladys says. “At worst, I said it was cheap.”

“Okay, but that’s not better,” Eddie says.

“I’m not a huge fan, either,” Steve leans in to stage whisper to Gladys, “but it makes him happy.”

“Yeah, yeah, everyone’s a critic.” Eddie rolls his eyes, then leans back a bit so he can look up at Gladys. “What would you call a good horror movie, if not the genius of Wes Craven?”

Gladys purses her lips, thinking for a moment. “I don’t suppose you’ve ever seen the classics? Dracula, The Creature from the Black Lagoon?”

Eddie lets out a thoughtful little noise, shaking his head. “Can’t say I have.”

“Well, you ought to. You’ll see where it all began, then,” Gladys says.

“And I get the feeling you’d enjoy showing us,” Eddie says, wiggling his eyebrows up at Gladys.

“’Us’? Who’s ‘us’? When did I get roped into this?” Steve asks, and Eddie reaches out to take one of his hands.

“We’re a package deal, baby, everyone knows that,” Eddie says.

“No one around here but Gladys knows that,” Steve reminds him.

“Everyone important knows that,” Eddie amends. “Anyway, what do you say, Gladys? Feel like educating a couple of horror philistines such as ourselves?”

“Well,” Gladys says slowly, “I’m sure I could come up with something.”

This is how she ends up in her armchair the following Friday night, the boys both sitting on the loveseat, all watching as the audience is warned of the frightening nature of the upcoming film playing out on the television.

“Now, this wasn’t Universal’s first horror film, and it wasn’t even the first movie adaptation of Frankenstein,” Gladys says when the opening credits come on, “but it is a bit iconic. I thought you might get a kick out of it.”

“But is it scary?” Eddie teases.

“Well, I don’t know about scary, but maybe a bit shocking. Look at it this way:” Gladys says, “it was 1931. Graverobbing and murder might seem mundane to you, but we weren’t quite as desensitized to seeing it on the screen back then.”

Steve glances over at her. “Do you remember when this came out?”

“Oh, barely.” Gladys wiggles her hand back and forth in a so-so gesture. “I certainly didn’t go to see it in the theater, I was only six or seven at the time.”

“Still, that’s pretty cool,” Steve says, and Gladys favors him with a smile.

If they aren’t altogether horrified by the movie, the boys are at least engaged, keeping up a running commentary that has even Gladys laughing. (“He had that coming,” Steve says when the monster finally catches Frankenstein’s assistant. “Yep. Rest in pieces, Fritz,” Eddie adds.) However, as they reach the midway point, the father onscreen bidding his daughter to go play with her cat while he works, Steve shifts uneasily in his seat.

“Wait, they’re not going to do anything to the cat, are they?” he asks, cutting a worried glance at Gladys.

As if the thought hadn’t occurred to him until Steve voiced it, Eddie sits up straight in his own seat. “Gladys,” he says, pointing an accusing finger at the screen, “you’re not showing us a movie where they kill a cat, are you?”

One brow raised, Gladys regards the pair of them. “You’re worried about the cat, but not the child?”

Steve scoffs. “It’s 1931, they’re not gonna kill a kid,” he says, while Eddie nods in agreement.

Both brows raised now, Gladys only gives them a little “hm,” and turns back to the screen. With some suspicion, Eddie and Steve do the same, watching as the scene unfolds.

“Oh, shit,” Steve says, taken aback as the monster tosses the little girl into the lake.

“Damn. Guess we should’ve worried about the kid, after all,” Eddie says.

“You have to have some idea of how this movie ends,” Gladys says, shaking her head. “Did you really think they’d form an angry mob over a dead cat?”

“I would,” Eddie declares, then looks down at Steve, who at some point in the last half hour had ended up tucked into Eddie’s side (when, Gladys isn’t sure, but it’s sweet; it’s a pleasant feeling knowing how comfortable the two of them are here). “Steve, would you form an angry mob with me if someone killed our cat?”

“We don’t have a cat,” Steve says.

“That’s not the point,” Eddie insists, and Steve relents.

“I would come with you if only to make sure you didn’t get yourself killed,” he decides.

“I’ll take it,” Eddie says with a shrug.

The rest of the movie plays out on the screen – the forming of the mob, the confrontation with the monster, the burning windmill, and, at last, the peaceful conclusion.

“Wait,” Eddie says, brows furrowed as he watches the end credits play, “that’s it? That’s how it ends? A toast to the house of Frankenstein, the end?”

“Yes…” Gladys says slowly. “Why? How should it end?”

“Oh, I don’t know, how about a little restitution for the guy whose daughter got murdered?” Eddie demands, shooting up out of his seat so quickly that Steve has no time to brace himself and falls sideways onto the loveseat with a little ‘oof.’ “How about a little accountability? I mean, seriously, this is just typical; some rich, entitled asshole plays around with things he can’t control, creates a problem he refuses to solve, and the poor end up being the ones to pay the price!”

“Now you’ve got him started,” Steve mutters to Gladys as he sits himself back up.

“Is there any way to get him to stop?” Gladys asks, though she’s a little fascinated with the theatrical way Eddie throws himself around the living room as he rants.

“Uh.” Steve glances over at Eddie and back away again, and there actually seems to be a little color rising in his cheeks. “Not, um…”

“Take him home first, if you’re planning to do something like that,” Gladys says primly, only to lose the fight to her laughter when Steve looks over at her, aghast.

“I wouldn’t–!” he protests indignantly, his face going redder.

“Are you guys even listening to me?” Eddie demands, turning back to face the pair of them.

Gladys declines to answer, asking instead, “Eddie, dear, how did you like the movie?”

“Oh. Aside from the ending, it was great.” Eddie drops back onto the loveseat, reaching out absently to tug Steve back over to his side. “What else ya got?”

“Well,” Gladys says, picking through the stack of tapes she’d managed to dig up at the video store. “If you like entitled rich people, let’s see how you feel about Dracula.”

[dollysdarlings]

──── IN BETWEEN

ETHAN LANDRY x reader

#SYNOPSIS: based off of in between by gracie abrams; he wants it more than everything in between #CONTAINS: best friends to lovers, mutual pining, fluff!!! #AUTHORSNOTE: my first fic ever so pls be nice, any constructive criticism welcomed! 1.8k word count.

There was something going on between you two, the entire group could feel it- see it. Nobody could come between you, it was almost electric, the chemistry. You've got your own thing; they wish that you two could see it.

It started at a frat party to kick off the upcoming Blackmore school year. It was huge, far too many people were crammed into one space, and inevitably, you bumped into him.

"Oh!" you gasped as you practically slammed into him, spilling the contents of the red solo cup in your hands, making you curse under your breath. "I'm- I'm so, so sorry!" your words slur a bit, you've already had a little too much to drink, and your hands immediately moved to grab his arm to stabilize yourself.

"Let me fix it!" You don't even give him a chance to respond, you're already tugging him through the crowd and into the crowded kitchen, grabbing napkins and pressing them into the wet stain on his shirt.

"It's- It's okay." He tries to say over the music, but it falls on deaf ears, as you speak over him. "What's your name?"

The question catches him off guard for a second, and he can't help but glance around for his much more outgoing and social roommate as he speaks over the music. "Ethan."

"What?" You respond dumbly, leaning closer to him to hear him better.

"Ethan!" He tries again, speaking a little louder this time, his cheeks burning from the alcohol in his system and the proximity.

"Evan?" You say, brows stitching in confusion. Ethan shakes his head and leans in a little closer, a small smile forming on his face as he stops your hands movements with his own to get your full attention.

"It's Ethan." He corrects loudly this time, taking the napkins from your hands to dab at his shirt himself. You absentmindedly nod your head, mouth opening in a soft 'ohh' that tells Ethan you definitely didn't hear him still, and he can't help the way he grins and throws his head back in a laugh.

And you can't help the way you smile at the sound, laughing alongside him, even though you didn't find it all that funny, his joy was infectious to you, almost magnetic.

The rest of the friend group knew you two had something special, from the way Ethan dropped everything when you called, stopping mid-conversation if the phone rang with your caller ID like he couldn't stand the idea of letting you wait, or god forbid, missing your call.

"What if it's important?" He'd say when someone questioned him, they wished he'd stop pretending he wouldn't let his phone ring for more than a couple of seconds, maybe two.

Just two hearts falling in and out of love for something new.

The rest of the group wished that you could see it, the way you both light up the room with your smiles alone when you're together. They wished that you could see it, the spark in his eyes when he talks about you, or the way he looks at you when he thinks no one is looking.

Not that you were any better, of course.

There was one day when the group was hanging out in the Carpenter sisters' apartment, it was supposed to be a quiet movie night, you were all wearing matching pajama pants, there were snacks surrounding the coffee table, and they were all piled onto the furniture, and you and Ethan had squeezed into an armchair together.

It was the best seat in the house, you'd both said. Nobody argued or complained, allowing you both to cram into the armchair together despite the ample space on the couch, sharing knowing looks as you and Ethan fought over the blanket you were sharing.

About halfway through the film, Ethan had maneuvered himself to be leaned across your lap, laying his head on the armrest as he made himself comfortable. You tore your attention away from the movie, glancing down at him, expression softening as your hand moved to his head, absentmindedly playing with his hair, gently moving it out of his eyes so he could still see the television.

"Look at them," Tara whispers to Mindy from her spot on the couch, gesturing towards the unassuming pair. "They're so... domestic."

"they're so obvious-" Mindy says, but she's cut off by Chad's snickering. "The other day, Eth asked me if I wanted a peanut butter and y/n-ly sandwich."

"Who do you think will make the first move?" Tara asks quietly, turning her attention towards the two, who were, by now, curled up around each other, fast asleep as the rest of their friends placed their bets.

Ethan never was the party type, but for you, he'd go.

He'd go just to see that tipsy, lopsided smile on your face as you mingled in the crowd, he'd endure the loud music just to hear your voice, just barely over the music, calling out to him as you stumbled over to him.

He'd always imagined that it'd be one of these parties that he'd confess to you since this is how you two had met. There was something… romantic about seeing you in low, neon lights. He can't help the way his eyes soften as you stumble into his awaiting arms, he'd always be there for you.

"Ethan!" You say over the music, hands on his arms to stabilize yourself. "Dance with me!"

"What!" He responds, a grin plastered on his face. "No way!"

"Come on!" You plead with him.

He shakes his head again, still grinning at you, he's too busy admiring your eyes under the lights to bother indulging you. "Fine," you huff. "I'll dance with someone else."

His heart drops at your words, but he's left letting out a sigh of relief when it's Tara that you go to, who, bless her heart, is just as drunk as you are. Ethan can't help but laugh at the sight of you two dancing in each other's arms, carefree and drunk well off your asses.

He does that often, he realizes. He laughs so often with you, it's like everything about him is so much brighter in your presence, you light a fire within him, and he doesn't know how to put it out, but he doesn't think he wants to.

Ethan feels two hands gripping his shoulders, jolting him out of his daydreams as he turns to face who it is, coming face to face with Chad, who gives him a slight shake, before leaning in to talk into his ear.

"Just talk to her man!" He says, jostling him further as he grinned at him.

"Who?" Ethan replies, but he knows who, he hasn't been able to take his eyes off said 'who' all night.

"Don't play dumb with me." Chad scoffs, and Ethan finally peels his attention away from you to roll his eyes at him and respond, except he's interrupted by yelling cutting through the loud music,

He turns immediately, eyes searching for you in the crowd, and he spots you just in time to watch you get a drink thrown in your face, instantly wiping away the apologetic look you had on your face, leaving you standing there, sopping wet.

Shame and embarrassment flood your system, sobering you up in an instant as people whisper amongst themselves about your misfortune. Your eyes search for Ethan amongst the crowd, making eye contact with him before you bolt out of the party with tears in your eyes.

Ethan doesn't hesitate to call after you, following you out before you can spend another second alone.

He catches up to you about half a street down from the frat house, calling out to you, which, for the first time, you ignored. You wrapped your arms around yourself, the cold night air chilling you through your soaked top.

"Just- slow down!" He says finally, grabbing your arm and pulling you back to him.

You're spun around to face him, and he almost falters at the sight of your tears, your makeup staining your tear-stricken face. You shake your head at him before a sob rips through you.

He hates it when you cry, the way your sobs rip through his heart. He hates it when you frown, and your features contort so painfully. It makes him ache, it breaks his heart into pieces.

He pulls you into his arms, not caring about the way your makeup smudged onto the fabric of his shirt as you buried your face into his chest. He rubs your back in soothing circles.

"This party was lame anyway." He whispers. "Let's get you home."

It's late, you two are curled up on your couch, your head on his chest and his arms wrapped around you as he whispers into your ear to try and cheer you up, his fingers are messing with your hair.

"You're... you're beautiful, and funny, and smart like nothing I've ever seen." He murmurs, loose-lipped from the alcohol he'd consumed not even an hour prior.

You loved how he talked late at night when it was just the two of you, like you were the center of his universe, saying things nobody had ever said to you before.

"You think so?" You asked, voice soft and still disheartened.

"Yeah." He says, not skipping a beat. "Yeah, I know so."

You sit up, leaning into him to press your forehead against his, a smile playing on your lips as you cheekily respond.

"You're not too bad yourself" You murmured.

"Yeah?" He grins.

"Yeah." The sight of his grin made your eyes soften, a soft grin on your lips.

Hesitantly, he raised a hand to cup your face. There's a slight tremble to his hand, like he's nervous. This was it, he tells himself. This was it.

"You... you know you're my best friend, right?" He asks you quietly. "I mean-- I know you know, but like, do you? Do you know how important to me you are? Because you're super important to me."

"I mean, there's... there isn't anyone who even comes close to you in my eyes, you're like-" He's cut off by lips crashing onto his, stopping his rambling with a gentle kiss.

It feels like there's holy ground beneath them, and Ethan swears there are sparks flying as he kisses you back. The kiss is clumsy, but it's sweet, slow, and full of unspoken adoration.

Ethan pulls back with a fond expression, you're both red-faced and grinning like fools, and you lean in to kiss him again, but you're interrupted by the door to your apartment opening.

"I owe Tara so much money now." Chad groans, the rest of their group behind him, while their friends whooped and hollered.

"Get out!" You grabbed a throw pillow from the couch and threw it in their direction, Ethan just laughed, his hand finding yours.

He loves you more than everything in between.

[sunflowersandsapphires]

Hi! i was wondering if you could do the boys (frank, matt etc) with a reader/ partner whose almost always tired, like a cat? i have a condition where i can’t stay awake long and struggle all the time i think the most i can do is 5-6 hrs then im out like a light

Anon, I totally feel for you. I am currently pursuing my own chronic illness diagnosis, and it is VERY difficult to get through a full day without a nap. Fortunately for the both of us, I don't think any of the boys would mind!

Frank

Heavily inspired by the Jon Bernthal “Naps are for Chumps” video, Frank is NOT a nap person.

But he would be such a good partner whenever you needed to rest. And if you had told him about your condition and how it impacts you, I think he’d even demand that you sleep if you seemed the slightest bit tired. 

If you were running out of steam and your eyes started drooping, he’d pull you against him on the couch or in bed, throwing a blanket over the two of you. Pressing a kiss to your head, he’d keep reading his latest book as you nodded off. 

If anyone tried to interrupt a nap, they’d be met with the deadliest glare of all time.

I don’t think he’d nap with you, but I also don’t think he would criticize you for needing extra sleep. I think he would simply add it to the list of things that he loves about you :)

Matt

This man has the exhaustion of a bear that just woke up from hibernation so he would totally sympathize with you. 

He has far too much guilt to rest with you every time, but he’d take so much care in crafting a cozy space for you in his apartment. 

After picking up on your needs or having a conversation with you about it (depending on how comfy you are telling him), he’d start hoarding soft blankets and fluffy pillows, making sure to place them in every possible place you might want to curl up. 

He’d inevitably start reading your body’s signals as your relationship develops and help you if you start feeling fatigued while out and about–making up an excuse to your friends or whomever and escorting you home–holding you close as you drift off.  

His favorite time to find you napping is when he gets home from work or a late night. Finding you wrapped in his sheets or clothed in his shirts will never be less than adorable. 

Mikey

As someone who was devastated when he was recently diagnosed with epilepsy, I think Michael would take your condition incredibly seriously and indulge your every need. 

He’d encourage you to rest when you needed, look for relaxing activities for the two of you to partake in together. Like cooking comfort foods, watching movies, listening to podcasts, etc

Napping with you wouldn’t phase him for a second. He’d happily curl up around you whenever you needed his extra warmth, after offering you one of his sweaters of course. 

If he comes home to find you sleeping, he’ll take extra care to not wake you, stepping softly and reading quietly in an armchair across from you.

[centaurianthropology]

Why Spenser Starke is a Fantastic Horror GM (and the Core Fantasy in Candela Obscura)

So, I have seen some rancid takes about Spenser Starke online. Less so on this webbed site, largely because people around here are not in a pissing contest to prove who’s the most cynical, superior, and dickish. But there have still been some mind-blowing ones, from “he says UM too much” (guess who else does that? Brennan, but I don’t see these people criticizing him), or “he describes scenes like shots in a movie and that’s BAD WRONG” (while you might not stylistically enjoy it, I for one adore seeing a new interpretation of how to narrate while GMing, and think he’s doing great).

But the two that rub me the wrong way most are that he “controls the narrative too tightly” and doesn’t allow the characters to meander too long before throwing them back into the narrative, and that he’s “too harsh” in that even mixed successes tend to net characters damage of some sort. I saw accusations of “GM vs Player” mentality, but everyone was clearly enjoying themselves and the experience.

And that, I think, highlights the fundamental disconnect between these complainers and what’s actually happening on the screen: they don’t understand the core experience.

They have likely never played horror TTRPGs. They may have never played TTRPGs period, and instead are armchair DMs based purely on how Matt and Brennan DM, not really understanding that there are a thousand other ways to DM. But if they have played TTRPGs, I would guess that they’ve exclusively played D&D or its ilk. And I say that because there’s a very clear belief here that empowerment and ‘winning the game’, as well as wandering about freely to create your own narrative at your own pace are all fundamental parts of the TTRPG experience as a whole. But they aren’t. They’re fundamental to D&D, yes, but this is not what players come to a game like Candela Obscura for.

Each TTRPG has a central fantasy playing out. In D&D it’s heroic empowerment. D&D is mechanically built around getting more and more power and eventually defeating the big bad. A good GM in D&D, like Matt Mercer, focuses on giving out challenges, but always helping their players strive to overcome and grow and become better. This self-actualization is at the heart of the experience.

Horror games are not about that at all. The closest to that fantasy is something like ‘Vampire the Masqerade’ or other World of Darkness games, which do feature power growth, but the core fantasy is actually about learning that you are a monster. And embracing power will lead to even greater monstrousness. The horror in games like this is both political and personal, and the system is mechanically built to accommodate that horror.

And if you watch LA by Night or NY by Night, you’ll actually see that Jason Carl employs a fairly similar narrative tightness to his storytelling as that of Spenser Starke. Because a huge part of horror is about establishing and maintaining a mood. To do that, a DM has to keep a tighter rein on pacing, cutting from scene to scene and moment to moment in a way that is more directed than in D&D, because that helps establish and maintain the vibe being created.

Candela Obscura plays, thematically, a lot like one of my favorite games to run: ‘Call of Cthulhu’. CoC is a game all about disempowerment. The power differential between the players and the monsters is vast. Combat is vicious, short, and deadly, and direct combat almost always ends badly for an investigator. There is an entire chapter devoted to running away for a reason.

Both CoC and Candela are built on danger, vulnerability, and a constant sense of tension. And Spenser is fantastic at all of these. He keeps his narrative laser focused, moving between moments rapid-fire to keep up that tension, and to introduce new dangers. He is a ‘vicious’ DM only in so much as even mixed successes hurt. But this also keeps the tension up by keeping the characters and players on the edges of their seats. They are almost never safe. They are almost never well. They are constantly juggling dwindling resources. They are underpowered, vulnerable, and afraid.

And that’s the core fantasy here: exploring fear in a safe way. Being stressed out in a way you can leave behind as soon as the scene is done. Constantly living on the edge, fighting the odds, and knowing that you likely won’t succeed or will only do so at great cost. And he is masterfully keeping that intensity running through each session.

He gives characters time to talk about themselves, time for scenes to play out, until he feels the tension begin to flag, and then he pushes on. He never lets the air go entirely out of the narrative sails. He has a great sense of when a character needs a moment (his use of the red PTSD lighting exemplifies how closely he’s paying attention to his players and adjusting the setting to fit their moods). He sometimes pushes on, gets pushback from a player who wants another beat, and is always happy to give that to them. He keeps the pace up, but is always very careful to make sure his players have what they need to still enjoy this particular experience.

All this is to say that Spenser is absolutely killing it at being an exemplary horror GM. His sense of pacing and tension, his ability to direct action while still always embracing player autonomy, and using the mechanics of the system to never allow them to feel entirely safe are all great tools in a horror GM’s toolkit.

Horror games are not for everyone. Certainly there are plenty of people who only ever want the hero fantasy of D&D, but I think it’s important to recognize what the goal of a game is, and what constitutes success within those parameters, rather than parameters that only exist in an audience member’s mind, because they don’t really get how horror games work.

[denimbex1986]

'When the companies behind Ira Sachs’ new drama about the shifting currents of intimacy in a troubled love triangle submitted Passages to the Motion Picture Association ratings board, they probably anticipated an R.

But the MPA came back with an NC-17 rating, forcing the distributor to release the film (which premiered at Sundance earlier this year) unrated rather than risk commercial marginalization or impose cuts that would diminish its intensity...

Let’s be clear: Passages — which Mubi opened Aug. 4 in Los Angeles and New York before expanding to other cities in the weeks to come — is a movie with a generous amount of sex, both gay and straight. But it’s neither particularly explicit nor remotely gratuitous, even if it’s frequently quite hot.

The sex is, above all, integral to the movie’s emotional texture, to the way the characters navigate their volatile relationships, the way they express their feelings and explore their connections through their bodies as they come together and pull apart. In other words, the film’s candor in depicting sex and nudity nudges it closer to European cinema than American.

The ratings controversy around Sachs’ movie comes just as Oppenheimer has been generating talk on social media and in the press about being the first Christopher Nolan movie to feature sex scenes. The trysts between Cillian Murphy as scientist J. Robert Oppenheimer and Florence Pugh as his lover both before and during the former’s marriage earned the release an R rating, which is standard given the glimpses of sweaty flesh on view.

But the fact that people are talking about it at all — and no one has been talking about it louder than Nolan himself — just underlines how squeamish American movies are about sex and sensuality.

The sex scenes in both those movies serve a clear narrative purpose. In Nolan’s film, they convey the magnetism of Oppenheimer and its ultimately devastating effect on a woman who, while not really on screen long enough to acquire much complexity, is defined by her intellectual curiosity, political radicalism and carnal desire.

The actual intercourse — once during the affair and once years later, as a haunting specter conjured in a security hearing — is brief and somewhat mechanical, while a long post-coital discussion has Murphy and Pugh sitting naked in armchairs on opposite sides of a room, carefully positioned and framed to keep crotches out of sight. The scene looks like an interview for an admin job at a nudist colony. It’s anything but erotic.

The scene in the Paris-set Passages that evidently had the MPA clutching their pearls, by contrast, is erotically and emotionally charged, raunchy and tender. It takes place after narcissistic German filmmaker Tomas (Franz Rogowski) has strayed outside his marriage to English print-maker Martin (Ben Whishaw) with Agathe (Adèle Exarchapoulos), a French schoolteacher he met at the wrap party for his latest feature.

Back in bed with Martin again, Tomas more or less offers himself up, resulting in sex that could be a bid for forgiveness, a reconciliation, a sad acknowledgment of enduring feelings or a manipulative attempt by Tomas to keep a hold on his husband while continuing to explore a new relationship. Or it could be all of those things.

Like the movie’s other sex scenes, it’s dramatically loaded, and although it’s shot in a single take with no artful draping of the sheets, it’s hardly graphic...

The prim attitude toward sex in American movies goes beyond MPA rulings to Hollywood itself. Sex and unapologetic sensuality have been all but banished from the mainstream since the heyday of erotic thrillers in the 1980s and early ‘90s — films like Dressed to Kill, American Gigolo, Body Heat, Basic Instinct, 9½ Weeks, The Last Seduction, Color of Night and Sliver. People onscreen were getting laid and loving it back then.

What happened to make American movies so desexualized? As the holdover artistic spirit of the emancipated ‘70s faded further into the distance, studios became increasingly corporate and less creative in their thinking. In order to be profitable, movies had to play not only across the U.S. — including conservative Red states and Bible Belt regions — but internationally, where many countries have rigidly imposed codes concerning sex and nudity.

The ascendance of the superhero movie has been another nail in the coffin of sensuality. In the Superman films of the late ‘70s and early ‘80s, there was most definitely something cooking between Christopher Reeve and Margot Kidder. But in the more recent wave of comic book-inspired action fare, the protagonists are so sexless they might as well be genital-free Kens and Barbies...

Where, in film, is the supposed sex-positive movement that has become part of the cultural conversation? Cable and streaming platforms have stepped into the breach with shows that don’t hold back on steamy content — think Girls, Insecure, P-Valley, Bridgerton, Game of Thrones, Euphoria and The White Lotus.

So is the dearth of grownup attitudes toward sex and sensuality on big screens a stagnant situation or a step backwards? Many would argue convincingly that it’s been that way since the late ‘90s. But it’s also conceivable that we’re in a unique perfect-storm moment, where far-right conservatism has converged with post-MeToo liberal timidity. On social media, some Gen-Z filmgoers have even questioned whether sex scenes have a place in movies. Seriously, kids, you need to get out more.

The presence of intimacy coordinators on set has no doubt helped to ensure an environment of increased safety and trust for actors, establishing essential boundaries of body autonomy. But unlike so many uninhibited European screen stars, the majority of major-name American performers remain shy about stripping down and going at it.

Witness Penn Badgley declaring his dislike of filming intimate scenes and his insistence on less sex and skin for his character in season 4 of Netflix’s You out of respect for his marriage. “That aspect of Hollywood has always been very disturbing to me,” said the actor in a Variety interview. But many of us who bemoan the shortage of full-blooded sensuality at the multiplex might wonder which Hollywood he’s talking about.'

[chitty-chitty-bang-bang-bang]

“Corpse Groom” (Viago x reader)

Word Count: 1,128 words (sorry that it’s short)

Age restriction: 16+ (improper language)

Tags: angst, hurt/no comfort, a bit of crack (?).

Synopsis: You are paying the toll, for your reckless handling of your relationship with Viago

Author’s note: This is my first fic, so I’m open to constructive criticism!

Part two is here!

_____________________________________________

“Why am I here again?” You said, as two of your boyfriend’s roommates led you up the creaking stairs of their house.

“Silence, mortal.” Vladislav hissed out.

“You know my name, don’t call me ‘mortal’. That’s like if I called you just ‘undead’.” You followed them into a room that you hadn’t seen previously. It had crimson wallpapers with golden ornaments all over them and four portraits of the house residents: Viago, Vlad, Deacon and Petyr.

“We have no more respect for you, mortal. Not after your terrible crime. Sit down.” He pointed at the armchair, that was the only piece of furniture in the room, aside from a wooden podium, like one you’d use at debates.

“Seriously, guys, I don’t think we should be-“ You started, but got cut off.

“Silence!” Deacon yelled, already getting heated. “Let us begin the hearing.”

“The mortal, [full name]-“

“How do you know my full name?”

“Doesn’t matter. You are summoned here, by the vampiric council of Wellington, for crimes against our roommate Viago Von Dorna Schmarten Scheden Heimburg. You are accused of breaking his cold dead heart.” Vlad said in all seriousness. “What do you have to say for yourself?”

There was a long pause, as you collected your thoughts. It was hard to focus, when you are stared down by two very angry vampires. For the first time in a while, you felt unsafe with Viago’s friends.

“I have to say… that my and Viago’s personal life is not your concern. We can work with our own relationship, without outside… ‘help’.” You let out hesitantly.

“So, you’re not denying the allegations?” Deacon gripped the edges of the wooden podium.

“What I’m saying is you should stay out of our business. I don’t think Viago would like it either.”

“We can’t stay out of this. Thanks to you, our eternity is now more miserable than usual. You know how annoying it is to live in a house with a mopey vampire? It’s no joke, you’ve made all of us suffer and now, we will pay you back.” The Romanian man took a menacing step forward, making you lean a bit more into the chair.

“For your crimes against our peaceful domestic environment, you are…” Deacon took a dramatic pause. “Banished from our house and you cannot see or talk to Viago for the next hundred years!” He didn’t have a judge’s hammer, so he just put his fist on the platform instead.

“I’m sorry, what?” Your eyes widened. “In a hundred years I’ll be dead!”

“You don’t know that for sure.” Vlad shrugged.

“There’s no fucking way I’m living ‘till 132.”

“Even better.” Deacon stated. “Case closed. Shoo, human! Shoo!”

“What if I don’t?”

Both vampires started hissing loudly showing off the razor sharp fangs.

“Okay, got it…” You stood up and quickly left the house, mentally scolding your own cowardice.

‘Did it really affect him that much?’ You thought, as memories of your last interaction with Viago flooded back in.

Two weeks ago… Second of March…

You laid on the couch in pyjamas, with your arms tightly wrapped around a certain vampire, who was dressed in your shirt and pyjama pants. It was pretty late, around midnight, and you felt herself starting to drift into sleep, especially since the movie you guys were watching was boring as hell. Fucking “Mamma Mia!”. Though, Viago seemed to be highly invested in the plot, until he felt your grip on him gradually loosen.

“Lieben, you’re asleep?” He asked quietly, so that if you’re actually sleeping, he wouldn’t wake you up.

“Not yet…” You yawned and nuzzled your head into the crook of his neck.

“If you want to sleep, I can go. You have work tomorrow, right?” He turned around to face you.

“No, no… it’s okay. Let’s finish watching the movie.” You rubbed your eyes and tried to be more present.

“Okay.” He smiled and gladly turned back to the screen. ‘Take a chance on me! That's all I ask of you, honey’ sounded from the speakers of the old TV. “Soon we’ll get married like Sophie and Sky. I’ll turn you and we’ll have the whole eternity just for the two of us.” He whispered over the music.

“Oh… really?” Shit, you didn’t mean it to sound so offensive. Sleepiness was taking a toll on your sense of tact.

“Don’t you want to?” Viago turned to look at you, frankly surprised.

You really wanted to lie. You really wanted to tell him, that you’ll gladly marry him and spend the rest of your long ass existence together, but… you couldn’t. That’s not who you were and leading him on would be cruel. It was the time to break the news.

“Viago, I really love you, but… The prospect of eternal life doesn’t really amuse me. I don’t want to be turned into a vampire…”

He fidgeted nervously. “Oh… That’s… That’s okay. You don’t have to be turned into a vampire to marry me. We can still live the way we do…”

“And how would that work? I mean, I would grow old and frail and morbid. I’ll start forgetting things and… deteriorate. Would you really want to see that? Because I wouldn’t want to be like this in front of you. You, who will remain just as young and beautiful as you are now…”

Suddenly, nobody was paying attention to ABBA anymore.

“Then why are you with me?…” He wondered out loud. “Will you just be with me for a while, then leave to find someone human?”

Viago’s brows furrowed in a grimace of panic and discomfort as he fidgeted with the collar of your pyjama shirt on his neck.

“No! No… I-I… I don’t know. I was hoping I’ll figure out where we’re going with this, but I just found myself burying those thoughts so deep in me, that I stopped thinking about it at all. I want to be in the present. I want to be with you right here and right now, not in the future… I-… Please tell me you understand.” You gently cupped his hands in yours, tracing circles into them.

Once again, Viago learned the hard way, that humans belong with other humans. Not with him. He was suffocating you, taking away your precious time that you have so little of. The time, that you’d better spend on someone else. This led nowhere. He had to let you go.

He looked down at your hands and choked out a quiet: “I understand.” before turning into a bat and flying out the window, without even returning your clothes.

The same clothes you now saw lying torn up in the garden, outside Viago’s window, that was closed with embroidered curtains. You sighed heavily.

What a mess…

[bellaaldamas]

Although I'm generally not fond of the idea of Cinderella meeting the Prince (even in disguise) before the ball in various adaptations, especially if this plot point is used to highlight how supposedly "progressive" she is compared to her other counterparts (the one put down most frequently is Disney's animated Cinderella who didn't even know the attentive and kind gentleman she met at the ball was the Prince himself; and yet she is called a "shallow dreamer" and/or a "gold digger" by canon twisting armchair critics), I have to say that Disney's 1997 Live Action with Brandy handled said plot point near perfectly. It was a subversion of the Frozen narrative long before the latter movie came out and before the company conformed to pseudo-"feminist" media trends.

When Brandy's Cinderella stumbles upon the Prince disguised as a commoner she is nice and polite with him and even has a brief but honest conversation with him about how a man should treat a woman (not like a princess but like a "person"). But she does not fall in love with him nor does she go on to dream about him.

From the get go the two of them are shown as two complete strangers who have similar experiences with wanting to find a like-minded person yet have vastly different social backgrounds making it unlikely for them to have a future. We learn of their shared values and longings from the song they sing synchronized in the very beginning. Whereas the difference in their backgrounds is revealed as we, the audience, see the "commoner" reveal himself as a royal person boarding his carriage after his encounter with Cinderella.

The encounter was sweet and pleasant but neither gave it much of a thought and Cinderella in particular went on to live her life as it was (no matter how difficult) and dream not about the Nice Guy she met at the market but about her freedom, the ball and the Prince. And the narrative framed it as being absolutely fine.

At no point did the writing imply Cinderella was superficial, naive or silly to want to break free from her restrictive environment, wish for a better life or aspire to meet someone who would fall in love with her at first sight and vice versa.

The movie went even further subverting the notion that a woman wanting any of that makes her shallow when it had Fairy Godmother introduce the audience - in the opening musical number, no less - to the deliberate misdirect as she sang her "impossible" song; supposedly admonishing the dreamers and, especially, girls who believe in fairy tales. It almost looked like it was going to be another Frozen-esque cautionary tale with woman's dreams shattered, her being "put in place" and the all knowing society being "right all along" and yet it was nothing of the sort.

When Cinderella sings her bittersweet song about enjoying being "in her own little corner, in her own little chair" after the exploitation she has to endure at the hands of her step family the narrative frames it as the only way for her to express herself. Not as a demonstration of her being a "perfect inexperienced and wide-eyed victim" for an unscrupulous man to take advantage of. In that vein, when her Fairy Godmother shows up to - seemingly - deconstruct her dreams with "cold harsh reality" that dreams do not ever come true and are pointless Cinderella outright tells her this is a "terrible" kind of thinking.

While Fairy Godmother insists it's up to a person to pursue their goals because miracles do not happen and, therefore, it's meaningless to waste your time dreaming of them Cinderella stands her ground. She explains why, in her position, dreaming is the only solace and motivation she can afford in order to have mental strength to even consider pursuing those goals.

And the movie once again sides with Cinderella - moreover, it has Fairy Godmother sing along with her about how dreams coming true and miracles happening is actually "possible". It has Cinderella go to that ball, dance with that Prince and fall in love at first sight - and no one belittles her for wanting to be with a "man she just met".

No anti-social sisters (only the step sisters shown not necessarily as cruel but misguided and being under the toxic influence of their disillusioned - in this version - stepmother), no equally anti-social men who "know better" and definitely no mansplaining Snowmen to teach that "poor little silly thing a lesson". A woman remains within her right to handle life's challenges as best she can and go about choosing a partner the way she sees fit.

"Do I want you because you're wonderful or are you wonderful because I want you" - this is the line both Cinderella and the Prince sing to one another in their duet. Now, one needs only to imagine such a line to come out of the mouth of any modern female protagonist, especially in the woke pandering new Disney projects. Then to realize they cannot even imagine that because it would not happen, ever again, at any point anymore.

It is not until the very final of the movie that Cinderella and the Prince learn they are the "commoner" and the "country girl" that stumbled upon one another in the beginning. Once they realize that there are no patronizing conclusions ensuing (no word about how you "can't marry a guy/girl you just met" and how your true love cannot be the person you only knew for a day but can totally be the person you knew for two whole days). They merely smile and playfully tease each other by making references to their first meeting. But neither judges the other for preferring the Prince over the "Nice Guy" or for being desperate to find the "ball girl" instead of the "market girl".

Rather sad that we're not going to get a movie like this again from Disney in the coming decade or even century.

[marciabrady]

some HOT disney princess takes that you'll hate or love but i fully stand by regardless. lets discuss~

singing/having a powerful voice is aurora's thing, not ariel's! ariel misses her concert in the beginning of the film, struggles with using her auditory voice to effectively communicate, and even gives it up to turn human. it means little/nothing to her and i think people just attribute singing to her, the same way sebastian and her father do, because it's a plot point in her movie meanwhile if ariel knew you all irl she would not be doing sing alongs like that. on the contrary, aurora is literally blessed with the SUPERNATURAL gift of song from birth by a magical fairy, uses it to express herself, and famously sings more than she speaks. so much of aurora's identity is tied into her song and i really think, if there was a singer or someone who owns the "voice" among the princesses, it should be aurora- besides, have you literally ever heard of a more divinely ethereal but also epic and powerful voice than mary costa's??? like don't get me wrong, jodi benson ATE but also after jodi, all the princesses more or less have a similar broadway sound but like no one else can do what aurora did

snow white should be the leader of the princesses. i love cinderella, i do, but snow white was literally the first and imo is the most groundbreaking female character, animated or not, of ALL TIME and she deserves her flowers. also, i think people are FINALLY coming around to see cinderella's value after years of "cinderella ate my daughter" weird misogyny masquerading around as feminism criticisms and i think a lot of that is centered around cinderella being an abuse victim and that's what's warming a lot of people to her...which i love, really i do. but snow white was also abused and, in her film, makes it a point to end the cycle of abuse. she was even the victim of a murder attempt, after which she continues to pick herself up and find shelter and work for her keep, and that gets lost so much and i think, whereas cinderella's dreams center around happiness, snow white singing of the fact that she's dreaming of the nice things someone would say to her and the way she needs grumpy to like her makes so much sense given her background and i literally never EVER see anyone discussing abuse when it comes to snow white. i think if people started talking her character more seriously and analyzing and appreciating it the way y'all do elsa, we would be saved from the heinously bad takes that get attributed to her (see: rachel zegler. that girl has not said ONE valid thing about snow white and her views are so embarrassingly stamped by pseudo online activism from the early 2000s by users that, not only don't realize how dumb they are but also think they're smarter than everyone else because they dabble in armchair psychology, and it's enough)

ariel collecting isn't leaned into as much as it should be tbh (and i'm talking as a serious pastime, not a parody of her never understanding human things that's contingent on her being a mermaid or being totally ignorant to humans)!!! like we get it, belle reads, but i think ariel collecting as a hobby is so much more interesting and well-rounded and nuanced. like, first of all, ariel collecting doesn't eliminate other hobbies, but actually promotes them! like she has books in her grotto, and we see her reading in poyw, but that's not the ONLY thing to her! she probably picks up on so many tiny details about like historical time periods or climates or dress patterns in a way that heightens life and reality and bridges people together because of all the studying she does and it's just soooo interesting to me, as we see things like the historical community evolve on tiktok and people who are fascinated with studying other cultures and the evolution of fandom in general, etc. also, i get this might be super super hot of a take but i think jodi performs certain songs better than she does part of your world...like i do love the song and i think it's more than worthy of being ariel's character's theme song but there's definitely some other bops in there that are just as good, if not better

belle should have a sequel where she gets to be unlikable for a change! even when she is unlikable in the film, it's never perceived as a character fault and linda woolverton's writing/the other characters in the film just blind hero worship and idolize belle and it's creepy tbh and i think it robs her of being a fully realized person that's treated like other people and can build human connections! like, everyone thinks she's stunning and wants a piece of her and never really takes her to task about her character flaws or even mentally challenges her and i think that's why she's so depressed? people only view her as being ultra desirable, whether it's the castle objects seeing her as a beautiful girl that can fall in love with the beast to the point where they ignore the really shady stuff she does, or gaston thinking she's the most beautiful girl in town and wanting to marry her, or even her fans thinking she's the smartest female character who ever breathed and is incapable of flaws. i think if we treated belle more as a person, maybe she could also have an arc in her movie and it wouldn't just be about the beast! also i think it'd be refreshing and we'd allow women to be people, too, and not this "smartest girl in town, but modest about it, prettiest girl in town, but unaware of it, loyal to her father but still stands up for herself, etc etc etc" unrealistic model. belle deserves EQUALS not just admirers who will never measure up to this pedestal they put her on

cinderella 1950 and cinderella 2015 are not interchangeable as characters or films!!! kenneth and lily did a HORRIBLE job at interpreting ilene woods's cinderella and the changes they made are shameful and the original character had so much more strength and realism to her, but in her own feminine way, and lily's character was a giant step back and is the epitome of making loud changes that result to NOTHING. the way the entire 2015 cast badmouthed cinderella 1950 on their press tour has always sat uncomfortably with me and so many people prefer it over the original one i just. also, cinderella looks best in pink! i LOVE aurora in pink, and we're omitting silver because that IS cinderella's color and nothing compares, but i just think she's so vibrant and cute in her pink dress and i love her with her hair down and it's just so much more fun and human and it doesn't get nearly as much attention as it should

they desperately need to age the content/demographics of the franchise up, like ngl them turning these women (and yes, i think they're women not little girls and the point of their movies is them BECOMING women) into like little nursery crib characters for babies and infantilizing them is creepy. also a HUGE segment of the fanbase is an adult one, like fans of the disney renaissance ladies are typically in the 20s-40s, not four year old's, and i just think disney is doing themselves a disservice by largely ignoring all the adult fans who collect these characters and make artwork for them and keep the princesses in vogue by writing about them and making social media content about them. like the avengers can really tap into their fanbase like that, meanwhile the best us princess fans have are like 8 dollar playline dolls?!?! where is our movie!!! where is our CONTENT. the 2003 princess party dvds will no longer suffice!

[kafus]

i used to think that there was no way i could have did because the only versions of it that i ever saw getting talked about were the horror movie's "there's normal me and then there's EVIL me" version and the 13 year old's "i get to be the most valid kinnie even though i have no trauma and no other side effects" version, but after reading your posts about did i've been really questioning whether i may have a disorder similar to it. i've had so many symptoms that i explained away as just "bad memory" or "different sides of me" but it's gotten to the point where it's significantly impacting my life; hours or entire days will just go missing and i have to re-read my old messages to find out what i was doing before. i want to do more research into it but it's extremely hard to find good resources online, and proper medical papers are very difficult for me to parse no matter how many times i re-read them. do you know any good places to learn?

god yeah i've been there. it took a lot of encouragement from my GF at the time years ago to seek out medical help and get a DID diagnosis, after like years of denying it because i thought my trauma "wasn't severe enough" and thought that if i had DID i should be having that stereotypical horror movie presentation of the disorder. obviously i do not think this way anymore lol

i'm assuming from the way you've worded this message that seeking help from a medical professional isn't an option for you, though if it is, seeing a trauma or dissociation specialist would be my first recommendation for sure. on the other hand... Hmmm

if you really struggle with medical language/professional papers on the subject that knocks out a lot of the resources i DO like, and some of the more common ones like did-research.org are... flawed to say the least asfkfsdl (though still an OK baseline, if you're really starting from knowing nothing it's not a terrible resource, just be critical)

even though it isn't all about DID specifically, you may benefit from "The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma" by Bessel van der Kolk. it's been a long time since i've read it but from what i remember it's a very good book about trauma and isn't overwhelmingly medical or hard to read. at the end of the day, whether or not you have DID specifically is less important than recognizing the concerning and difficult amnesia/trauma symptoms you're experiencing and trying to care for yourself, so i think a general trauma book like that could still be of use. (i probably shouldn't link it here but there are pretty easy ways to find this book online)

i'm pretty picky about resources so i'm trying to think of what else. here's a few other things i like sharing with people:

DID Myths and Misconceptions from Beauty After Bruises for dispelling a lot of common. well. myths and misconceptions lol. while mostly targeted towards onlookers and not people questioning it's still good to remember as someone questioning DID that you don't have to live up to these myths to be real

the Many Voices newsletter is a newsletter that ran from 1989-2012 for people with DID (or MPD as it was called when the newsletter began lmao). you can click the Newsletter button on the left to access all the entries. they're full of reader-submitted content and also discussion from medical professionals - even though some of it is outdated, it's a window into lived experience from people with DID before Social Media or even really the Internet and i personally find it incredibly validating + just interesting tbh

My experience of living with dissociative identity disorder: denial by Carolyn Spring is a good read for if you're suffering from denial yourself tbh.

anyway this is getting pretty long but i hope at least something here was useful HSDJFKSDF i'll leave off saying that regardless of what you have (i don't know you and it would be irresponsible to armchair diagnose you or something) that does sound Pretty Damn Concerning and if i were someone that knew you IRL i'd be concerned and trying to get you in to see someone about dissociative amnesia so i think your concerns are warranted and ur not crazy or something. Also wishing you well and things are going to be okay i promise <3

[three--rings]

While writing today I was thinking...so I was writing something kinky, something that I find personally quite hot and that fit with the characters and scenario.  But I hesitated because...well I imagined people objecting to it on the grounds that it would be a Bad Idea to do In Real Life. 

And specifically, it reminds me of specific criticism I’ve heard leveled at the 50 Shades books.   And like, first of all I’m not here to defends 50 Shades, for one thing it would be really hard to do since I’ve never read them or seen any of the movies.  But also I’ve always thought some of the criticism they receive is unnecessarily harsh.  (Not all of it.  Just some.)

Because to me, a lot of people seem to really be unable to approach a work of fiction, and IN PARTICULAR a work about sex without pretending it is 100% Real.  And they direct their criticism accordingly: can you imagine doing this in real life, omg you would be arrested omg perverts omg sex crime omg dirtybadwrong.  

And like people never seem to stop and consider that...fiction is fantasy.  A safe exploration of ideas that are either unfeasible or impractical to enact in the real world.  I don’t care if your fantasy is being a pirate on the high seas or getting railed behind a supermarket, they are both impractical and full of moral, ethical and legal problems. 

But people act like, yanno exploring one of these things in fantasy is fine and the other is a sign that you’re a Secret Degenerate.  That you Don’t Understand That This Would Be Wrong. 

But like, I was brought face to face with this today, writing something that I’m very aware is at the least Extremely Morally Dubious in a real world context.  But writing it anyway because it’s hot to me and what the fuck is smutty fanfic for if NOT exploring these things safely.

And I just feel like so much of Media Criticism these days, especially of the tiktok/youtube variety, though I enjoy snarking at shitty things as much as the next person, but so much of it is pearl-clutching about fiction being unrealistic.  That if this Fictional Scenario Was Real it would be bad and unhealthy and dangerous and like, it’s always about the romance tho, isn’t it.  It’s rarely about how actually you’d get gangrene from that wound without antibiotics or whatever. 

And I’m really tired of this idea that Fiction for Women is bad because the audience is Too Stupid to tell the difference between fiction and reality.   And sometimes it’s about YA, and the argument is they’re too young.  Okay, fine.  But like, again, are you focusing on the bad advice about surviving in a wilderness or or you focusing on the unrealistic romances?

So yeah, I don’t know.  I think it’s important to acknowledge that fiction sometimes appeals exactly for the fact that it doesn’t follow the same rules as the real world.  That people can have something in fiction they wouldn’t want in the real world.  That, in fact, fiction is the appropriate place for that to happen. 

I don’t know, this isn’t coherent.  But I’m so tired of this argument that I see about oh people are too stupid to tell the difference between Art and Escapism and it’s all the fault of fanfiction and Dumb Media and like I think actually most people can tell the difference between indulgent media and stuff that’s supposed to be gritty realism but it’s armchair critics who equate everything to the same level of Depiction is Endorsement.  And unfortunately this has been the dominate form of internet media criticism for long enough that it’s all an entire generation has been exposed to. 

And as someone who writes indulgent smut on the regular and also has a degree in literature and psychology, like actually I’m not at all confused about the line between fiction and reality thanks. 

[brf-rumortrackinganon]

I’m genuinely shocked that Emma Stone won for Best Actress.

For political diversity reasons and the fact that she won Best Actor for drama at the Golden Globes – the best pointer for Oscar glory – I thought Lily Gladstone had this sewn up.

All other winners were as predicted and for the reasons I posted afew weeks ago. 

************

I was 70/30 on Emma/Lily winning. I wanted Lily to win but I was sure Emma was going to take it. Weird and quirky will usually win out.

I didn’t think Emma deserved Best Actress for La La Land. (2015 was poor year for film for me because most of those films weren’t very remarkable. Or memorable.) But Best Actress for Poor Things is very well deserved so I’m happy for her. Pretty sure she didn’t expect it, though. Emma looked truly shocked to win, so I think she was expecting Lily to take it.

My Monday armchair quarterback opinion is that I think it was the marketing campaign that did Lily in. Flowers of the Killer Moon had been promoted as Leo and De Niro’s movie, with Lily as a supporting actress/character - which, if you look at the story in the film and the perspective of the story, makes sense. This was a Leo/Bob vehicle and a story of the white man, and they really lucked out with the spectacular casting of Lily for Mollie. If all of that had been reversed - if the story was told predominantly in Mollie’s perspective as a Lily vehicle, she would’ve walked away with the Oscar last night. 

But they didn’t start promoting or marketing or “for your consideration”-ing Lily until after all the reviews came in and everyone was already talking about Lily’s performance. And it’s also because of the strikes - Killers couldn’t be promoted because of the ongoing strikes, so of course the studio is going to lean more heavily on Leo and De Niro, because people know them. They’re bankable. 

The other thing to keep in mind (this isn’t to you, anon, but to others who may be reading) is how the Academy votes. The specific guilds individually vote on who the Oscar nominees are - actors decide the acting nominees, sound decides the sound nominees, editors decide editing nominees, etc. (the best picture/documentary/animated/shorts categories are different) - but the entire Academy at large votes on who wins. So the whole Academy is voting for Best Actress, the whole Academy is voting for Best Sound Design, etc. And usually when the whole Academy votes, weird and quirky usually wins.

It’s why I suspect the Screen Actors Guild awards are the most meaningful for the actors - because it’s peer-to-peer recognition. Golden Globes is who schmoozes the best (or it used to be, before the cultural reckoning it had a few years ago) and the Academy is often who arts the best (or who’s toiled the longest and needs career validation the best). But the Screen Actors Guild, and all the guild awards, is who’s the best at our craft. So I hope Lily isn’t too upset - she got that peer-to-peer recognition - and I hope she gets more roles. It looks like it; she has a new streaming series coming soon and it looks phenomenal.

Well, if you made it this far, a few more observations from Oscar Night:

I loved Ryan Gosling and the Kens. I love it when the Oscars get cheesy and nostalgic like that.

The John Cena bit was awkward.

Loved seeing previous winners come back to recognize the nominees but the Academy spoiled themselves. I knew how the acting categories were going to be presented beforehand and I knew they were keeping the tributes a secret for the broadcast, but seeing people on the red carpet and in the audience that we don’t usually see at these events (Nicholas Cage, Ben Kingsley, and Charlize Theron for example and for me, specifically) gave the plot away.

I know it’s tired and overdone, but I love the Jimmy Kimmel/Matt Damon fight. I wish they’d have done something in the broadcast. I honestly thought the critic Jimmy was reading at the end was going to be the Matt Damon bit and for the writing categories, I thought they were going to announce Matt and Ben Affleck as the presenters (since they won their first Oscars for writing Good Will Hunting)...ah, oh well.

The red carpet was absolutely lackluster and very disappointing.

Meghan didn’t show up as Misan’s plus one and Misan didn’t win his category. I mean, the guy was up against Wes Anderson. It’s a no-brainer.

The dancing during the In Memorium segment was...A Choice.

I loved the 7pm start time. More, please!, shouted everyone on the East Coast.

I really can’t wait to see what Oscar bait movie Bradley Cooper does next, and what movie he does that the Academy finally decides “let’s put him out of his misery.” Will it be for a film worthy of the recognition or will it be a lifetime achievement award for a meh performance/film? 

I’ve got my bets on lifetime achievement.

[woundedearth]

i get it i get it but imo this framing soooo Ain’t It LMAO

i guess ppl forget when they’re doing ~too much~ armchair critical analysis that media is actually not neutral—that it’s unusual and kind of radical to engage with media critically, unpacking the ideas and power dynamics of its creation/creators/context. ‘Media’ is often produced from within a deeply hegemonic cultural environment. there’s ample reason to expect a kind of defensiveness—when you hear a movie is touching on a particular subject, it makes sense to be suspicious of its intentions and representations going in when the subject matter is frequently butchered. like in what world are the two options “apply unhealthy suspicion to everything you consume” (super flat and uncharitable reading of ppl Being Critical imo) or “maybe every piece of media has a secret shred of Good inside of it that i just have to excavate :)” ??

[crytidsprinkles]

I was unaware Aquaman 2 was releasing last month. I found out or probably was reminded because I forgot by my mom mentioning it to be (she enjoyed the first and LOVES Jason Momoa).

The bizarre behavior towards Amber Heard and Depp frankly continues to permeate public discussion, conscience and culture. To the point there are still people bemoaning, shredding and ridiculing her. And frankly it's quite tired.

Cases of abuse requires understanding and education, not knee jerk reactions, parasocial clamoring and armchair commentaries (including body language experts to pseudo pop psychologists).

This isn't Crime and Punishment, holding people accountable for abuse in the way people are currently going about it would mean Depp and Heard getting the same treatment, they aren't.

This acknowledged, I would love to have a chance to view the film with Meera having a much more active role. I've already heard much of Amber's screentime has been cut and it does impact the film. I was so excited for the fight scenes and based on the hinting at other versions being shot, I think one with Meera's role and arc not being minimized is the stronger movie.

And at minimum if not in theaters, give people the alternate cuts on dvd/blu ray. Let there be a choice. The situation shouldn't mean the project suffers or is taken out on Heard (especially when it's not being taken out on Johnny).

Whoever was involved with the decision to whittle Heard's role down only made matters even more magnified and a focal point, when it could have been handled much better, with care and sensitivity. The lack of support or understanding at least also speaks poorly of the studio and any team members this applies to.

Especially given so many other instances in entertainment of people openly committing, accused of and even charged with abuse who Hollywood has no problem continuing to work with. It's quite hypocritical, and simplistic.

The trial happened, some of us witnessed it, some made skits, commentary and some steered clear. I chose not to watch the trial while it was happening or a majority of the posts/videos people created. I found nothing about it amusing and thought people choosing "teams" and going so far as to call it that incredibly strange behavior.

I paid attention to the impact to victims/survivors and what those with expertise or careers in the field of domestic violence or any related to. I listened when people spoke of the power imbalance, PR team, prior charges in UK and much more.

Some people were and still are so invested in this team sport like, and misogynistic nonsense they'd never admit now they were deeply in the wrong and caused a lot of harm. This isn't a game or fable, there's no winners, losers, good guys, bad guys.

It's the nuance and complexity of human beings and awful situations. I'm saying any of this because I know it will come up or someone will want to open their mouth about it.

Here's some great videos to compliment my comments:

TW: Ableism (unhinged and idiots are terms used) barring this, it is an very salvageable video.

In closing I'll say it should but didn't concern everyone that so many incels, reactionaries, garden variety misogynyist of all sorts (and not just men) as well as abusers standing right alongside them while the general public dog piled.

It reveals greater issues within societies as far as talking about abuse, abuse cases, survivors and we have a long way to go.

The public needs to learn and progress, so one day our world addresses trauma, harm and violence with thoughtfulness, knowledge, RESTORATIVE JUSTICE, radical love and critical thinking.

[saintlaurentproblems]

there was going to be a stand alone Eros movie until... everyone saw him act. And then it went very quiet.

When people say this I genuinely laugh because they forget that Harry actually auditions for these films, so studios and directors saw his acting before any armchair movie critic did and still cast him. Also, that movie deal thing wasn't from the most reliable source.

He impressed Christopher Nolan so I feel like Harry isn’t horrible. He needs more experience.

[juniperusashei]

Homer’s Iliad translated by Emily Wilson - 3/5

I think I must have been assigned to read Homer’s Iliad on at least three separate occasions throughout my youth, and Sparknotesed it every time. Which I feel bad about, because I always did want to read it, or maybe I wanted the clout that came with being a person who reads Greek epic poetry. In any case, when Emily Wilson’s new translation was released last year, I finally went for it. I had read selections from her Odyssey and found her approach to translation very accessible and easy to read. There was a lot of media hype about “the first woman to translate Homer” which led to some reviewers claiming this was a feminist reinterpretation of The Iliad. My pet theory is that they had her confused for Maria Dahvana Headley, whose translation of Beowulf was intentionally transformative. In any case, Wilson’s Iliad is meant to be fairly traditional and accurate to the original text, including some metrical craft I could not pick up on. Compared to all the other times I tried to finish the Iliad, I found Wilson’s version a much easier read, so I would recommend it for that reason. The supplemental materials are also way more impressive than most editions and justify the extra cost over just a Project Gutenberg download. Wilson’s introduction is hefty to say the least, at around 75 pages, and was often more moving than the poem itself (She even defends the infamous third chapter, the Catalogue of Ships, imploring the reader to “read them out loud: in mouth and ear, the long list of names become music.” I find comparisons of superhero movies to mythology mostly kind of dumb, but I could see Homer’s audience going crazy each time their guy’s name is called in this chapter the same way people soyface about the Avengers or whatever.) She provides all the context for a beginner like me to understand the poem, but also includes an extensive glossary and notes for each chapter for those who want to dive deeper. The hardcover edition is around $40, so whether or not this masterful editing justifies the high price honestly depends on how much you like reading about guys getting stabbed over and over again. I just got it from the library.

The poem itself was not as impressive. A lot of armchair critics (NOT Wilson) love to claim The Iliad as an anti-war piece to make it palatable to modern audiences. This was not my impression in the slightest. Sure, the epic deals with the horrors of war, often brutally (as I said before, pages upon pages of vivid gory disembowelments) but it seems the product of a society which obsessively fetishized war. I’m not condemning the text based on this, but I do think it’s harder to understand without unpacking the very different set of values that were held back then, so it’s a lot easier to attempt to update the text in a really sloppy way. Wilson does give a really cogent explanation of these ethical differences which helped me understand the text more fully, but that doesn’t mean I agree with it. Every time the equivalent of a Star Trek redshirt got killed off, Homer would expound on his ancestry and life, and then conclude with something like

…Menelaus stabbed his forehead above his nose, right at the bridge, and broke his skull, and popped his eyeballs out.

I literally opened to a random page and found something disgusting on my first try. It’s incessant. But I can see how telling each person’s life story dignifies their death. Still, it is hard to feel any sympathy for men who did not see women as people, but as property, as goes the inciting incident of The Iliad.