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beauty-and-passion · 3 years ago

Note

Heya!

So I remember reading your post about Eurovision a while ago, and since I'm now hooked on a certain collection of songs, I was thinking...

Would you think 'Zitti E Buoni' by Måneskin could be a Remus song, and 'Voilà' by Barbara Pravi a Roman song? Or do you have some ideas on any other Eurovision songs that would fit the Sides?

Just wondering whether you'd like to share some thoughts on this, but no pressure of course! As always, I absolutely love your theories and posts, it always brightens up my day to read :D

This will be a very self indulgent post.

First of all: “no pressure”?! I am HYPED to share my thoughts on this! And this is why it took me so long to reply to this ask: I’ve spent the whole time thinking about which song could fit which Side, going through the last editions, reading the lyrics, searching among my favourites...

So yes, this post will be a bit long. But hey, there is also good music and maybe, by listening to it, you will find something you haven’t heard before! :D

(Of course, in order to make this post understandable, I will translate all lyrics, but the songs aren’t all in English. In any case, every song has a link, so you can hear it on Youtube.)

And yes, I know there are billions of other Eurovision songs, but for the sake of “not making this post endless” (as if it won’t be already), I will stop at Eurovision 2014. If you all have other songs to propose for a Side, please feel free to add them and explain why! :D

And now...

Which Eurovision songs would fit the Sides

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EUROVISION 2021

Måneskin - Zitti e buoni

(Here the Eurovision performance because it’s just this good)

This song is PERFECT for Remus and I was a fool for not realizing it sooner. It's all about showing how different you are, embracing your uniqueness despite what others may think. Everything about this song screams “REMUS” so thank you, my dear, for opening my eyes and making me realize it.

They don't know what I'm talking about You are dirty, bruh, of mud Cig's yellow in between the fingers I'm walking with a cig Pardon me, but I really do believe That I can make this jump And even if the street is uphill I'm training for this now

The first line is already 200% Remus: they (aka the other Sides) don’t know what Remus is talking about. Remus is impossible to understand. Remus is weird, strange, dangerous - according to moral standards.

However, despite the other people’s thoughts, Remus still shows a high self-esteem - just like in his playlist. The others may not have faith in him, there could be obstacles on his way, but he still believes he will achieve his goals.

And good evening, ladies and gentlemen Bring out the actors You better hold on to your balls You better keep quiet and be good Here people are weird, like drug dealers Too many nights I've spent locked outside Now I'm kicking these doorways Staring up like climbers So sorry mum if I'm always out, but

“You better hold on to your balls” is a translation of the original italian line “Vi conviene toccarvi i coglioni”. This sentence is a more vulgar form of the English expression “knocking on wood”, something you preventively do to un-jinx stuff.

However, “knocking on wood” isn’t as strong as the italian expression, so I chose this translation that is more literal, but also more vulgar. It kept the original vibe more, it fits Remus more and it gives a stronger meaning to the whole thing. The singer isn’t just saying “beware of what you’re doing”, but he’s saying “get ready, shit if about to hit the fan”. It’s more powerful - and well, Remus would love this. It’s his time now, so the audience (the other Sides/Thomas) should "keep quiet and be good”.

I also really like the “Here people are weird, like drug dealers”, because it can refer to the dark sides in general. This is Remus’ show, so the Core Sides and Thomas should shut up. They are now in the Dark Sides’ territory, full of weird, sketchy people, morally gray villains. All things he loves, enjoys and that he definitely considers as compliments.

“Too many nights I've spent locked outside / Now I'm kicking these doorways” is another great line, because “being locked outside” is the perfect metaphor for Remus’ situation. He IS locked outside, he has been kept far away from Thomas, stifled by him, unable to fully express himself. And so he releases his frustration by kicking the doors that are shutting him down. That’s just so Remus I. LOVE. IT.

I am out of my mind, but I'm not like the others And you are out of your mind, but you're not like the others We are out of our minds, but we're not like the others We are out of our minds, but we're not like the others

This chorus is PERFECT! First of all: “I am out of my mind” is basically just like this line from DWIT:

[Patton]: Imaginative sure is a- a kind word for him. [Duke]: I agree! How about... DEMENTED?

But also: Remus doesn’t give a damn. He’s not like the others and he’s SO DAMN PROUD of it. Just like he is in canon and in his playlist.

He goes even further, by saying that “you” are also out of your mind. And who this “you” might be, if not the big man himself?

[Duke]: If I am awful... then so is Thomas.

Just like in DWIT, Remus welcomes Thomas’ weirdness with open arms. If he and Thomas are both insane and different, why hiding it and not embracing this difference? They are unique.

I've written pages and pages I've seen salt, then tears These men in cars Don't climb the rapids I've written on a tombstone "In my house there's no God" But if you find time's meaning You'll climb back up from your oblivion And there's no wind stopping The natural power From the right point of view You feel the intoxication of the wind With wax wings on your back I'll go look for that high If you wanna stop me try again Try cutting my head off Because

Woah, this part has a lot. There is:

Remus' creativity as a flow ("I've written pages and pages")

Remus seeing how different he is compared to others ("These men in cars / Don't climb the rapids" while he was ready to “make this jump” despite the obstacles on his way)

Religion because of course - and especially Remus rejecting it ("I've written on a tombstone / "In my house there's no God".")

And, most importantly, there is a nice reference to Icarus' myth. According to myth, Icarus escaped from the Labyrinth of the Minotaur, by flying on wax wings. But he flew too close to the sun, his wings melted and he fell to his death.

This has multiple meanings. First of all, it shows how stubborn Remus is: he could use simpler, more stable ways to reach his goals. But he's Remus, he's creative and he's different, he would rather use wax wings (aka more complex, unordinary means) to reach his goal. Also, it's a proof of his resolution: just like Icarus, his wax wings could melt and he could fail. And yet, he's so set in his decision, he's ready to do anything to succeed.

This last point is particularly evident in the following lines: "If you wanna stop me try again / Try cutting my head off". It's impossible to stop him, just like it was impossible to send him away or stop him from talking in canon.

Everything in this song is just HIM.

Unfortunately people talk They talk, they don't know what they talk about Bring me where I float Cause I lack air here

Once again, the people are the Core Sides: they talk about how he's evil and dangerous and useless. But they don't know what they're talking about. They're (metaphorically) suffocating him with their prejudices, that's why he asks "bring me where I float": he wants to express himself freely, to escape these biases.

Also: water. And with the whole octopus as his animal, it’s just even more fitting.

Moral of the story: this song is perfect for him, Remus should know Italian just to sing it - and he would love the glam rock style of Maneskin as well.

_____________________________

Barbara Pravi - Voilà

I don’t know how you did it, dear, but these two songs are PERFECT. Zitti e buoni is perfectly Remus, Voilà is perfectly Roman. I feel blessed.

Listen to me, me, the half singer Talk about me, to your loved ones, to your friends Tell them about this little girl with black eyes and crazy dreams What I want is to write stories that you will hear about That's all

Roman, is that you? Because this is you. This is ALL you.

Roman is a "half singer": he cannot sing like he want, he cannot express himself in full. He has rules, laws, morals that forces him to quiet down and bent his creativity.

And, just like a tragic hero, Roman asks that his story will not be forgotten, that others will know about him, his unfortunate life, his "crazy dreams" and especially his passion: writing stories "that you will hear about".

This line in particular reminds me of this part from Recipe for Me:

And still, I continue to write because I have more dreams to fulfill Tales I hoped to tell when I was younger Ideas that I haven't made yet, but I will I'll find my way with my will

The concept is the same in Voilà. Roman is a "controlled" Creativity, surrounded by rules and morals that shut him, but he wants to be heard, he wants to tell stories.

And that’s just it. This is what creativity is all about: talking, puring out its ideas, as loud and freely as possible.

Voilà, voilà, voilà, here is who I am Here I am, even if I'm scared as I'm naked, yes Here I am in the noise and in silence

I love how this song is a way for Roman to express himself, to show himself despite everything. He's like this, he's a "half Creativity", he's scared, he's not perfect. But here he is, "in the noise and in silence". Because your creativity is always here with you, no matter where you are or what you are doing: it will never leave you and it will never stop asking to be heard.

Look at me, or at least what's left of it Look at me, before I hate myself What can I say that another hasn't already said? I don't have much, but I place here what I do have Voilà

Aaaah, yes, I like to wake up with the strong smell of Roman's angst in the morning.

Roman seeing himself as something broken? Perfect. We want more of the angsty boi. Even the fans of King Creativity may read this line as Roman seeing himself as “half of a whole”!

And, again I love how despite feeling broken and hating it, he’s still ready to give everything he has. This is the true essence of the concept of creativity.

Also, why not adding a little more angst?

I want to be loved, because I don't know myself how to like the shape of me

This is perfect, because it reconnects to the first episode, when Roman said his goal would be to love himself first. He never reached this goal after almost 30 episodes - and this line might offer an answer on why: because Roman doesn’t know how. He hates himself so much, he doesn’t know how to love himself.

And that’s probably why he needs another person to love: because it’s easier to love someone else, rather than himself.

Voilà, voilà, voilà, here is who I am Here I am, even if it's the end as I'm naked Here I am in the noise and in rage too Finally, look at me and my eyes and my hands All I have is here, it's my face, it's my scream Here I am, here I am, here I am

This last chorus is awesome: the quintessential of Roman’s desperation, of showing himself, of screaming hoping to be heard by anyone. Unlike Remus who is unstoppable and doesn't care about others, Roman cares. He needs a public, he needs to be heard, otherwise he would lose himself.

And I seriously love how these two songs both have the same idea (embrace yourself and your uniqueness), but talk aboout this theme in such different ways - and yet so fitting for the twins... they are just GREAT.

(On a side note: this song is so dramatically French Roman would love it and sing it with the same passion Barbara used and I would love to see that.)

_____________________________

EUROVISION 2019

Bilal Hassani - Roi

Come on... Roi. Roi. Considering that "roi" means "king" in French, who could possibly be the Side I would associate this song with? Maybe the Side who already has a King in his playlist?

Nope, this song is for Remus.

Why Remus? The reason is very simple and you can just notice by reading the first verses:

I am me And I know I will always be I am free Sure I am inventing my life Don't ask me who I am

I am The same since I was very little And in spite of looks, opinions I cry, I go out and I laugh

You put me in a box Want me to be like you I don't follow the codes People are disturbed a lot At the end of the day You canno change me, boo! So, let me fly

This song overflows with confidence, the lines talk about someone who is free to be whoever he wants, who has always been the same since he was a child, who is rejected by others and doesn't give a damn, who doesn't "follow the codes" and refuses to be changed by them.

This isn't Roman, but this is the quintessential of Remus. This song is everything about him, from his confidence to his desire to be free.

And the chorus is even clearer:

I'm not rich but i'm shining bright I can't see my kingdom now When I dream, I am a king And I know o-o-ow Even now o-o-ow You try to take me down You cannot break me nah nah

That's him, that's Remus.

On a side note, if Remus also has his "King song", that would strengthen the connection with Roman, since they both would have a song about "being/feeling like a king".

And this song is Roi, king in French. Since I think Remus would definitely know French, this makes Roi an even more fitting choice, doesn’t it?

Who are we ? When we hide, when we fight for free Only god can judge you and me We did not choose what we are

Not only there is a nice religious reference, but these lines are a also a reference to the LGBT community: they hide, they fight, they didn't choose to be like that (no matter what idiots might think) and only God can judge them, not other, very flawled (and, honestly, very pathetic too) humans.

So, if we consider it, there is also a hidden "fuck society" and a "I am gay and proud to be" and those are both very Remus things.

_____________________________

EUROVISION 2018

Saara Aalto - Monster

I would associate this song with Thomas. And, specifically, to Thomas at the end of the series. Why?

Here's why:

So tonight I'm making friends with all the creatures That are hiding there under my bed

I ain't gonna hold on to these monsters anymore Now I'm gonna let in all the light Tear down the walls At my worst, I found my army strong All the demons are gone You can try and scare me now But I ain't scared no more I ain't scared no more

At the end of the series, Thomas would have befriended all the Sides, especially the "monsters hiding under his bed", the dark bois.

The "final Thomas" will tear down every wall between him and his Sides and will stop hiding/rejecting them. This will make him stronger, because the Sides will be his helpers, parts of him, his friends. He won't be scared anymore by Remus, suspicious towards Janus, afraid of Virgil or terrified by Orange.

"All the demons are gone": the dark sides won't be villains anymore, but friends. And they would help him be stronger.

It's my life I'm ready to lead it I'm gonna roll the dice You better believe it

This part is great as well, because it proves another interesting detail: that Thomas is growing up. He's taking life into his own hands, he's leading it. No more "Oh no, I don't know what to choose between callback and wedding!". He's more confident, he's stronger, he's more mature.

_____________________________

Hovig - Gravity

Honestly, I think this song can be something all Sides might sing to Thomas. It's basically a testament of how much they care about him:

Let me be your heart and your company I'll let you be the one who can lean on me I'll catch you when you fall When you're falling free Let me be, be your gravity

But the imagery just screams "ROMAN" so much, I can't help but think that yes, this is a great Roman song and it's all from Roman to Thomas.

I mean...

I can be your hero I can be your fantasy Oh, I can be the cure Yeah, let me be Your remedy

He IS Thomas' hero, so how can I ignore this? And he's also the embodiment of Thomas' fantasies, he's the wings that make Thomas fly.

Let me be your wings When you're flying high I'm gonna raise you up 'til you touch the sky I'll catch you when you fall When you're falling free Let me be, be your gravity

It's just pure love for Thomas and it begs me to being a Roman song, so... here it is. A Roman song dedicated to Thomas.

_____________________________

Eleni Foureira - Fuego

Listen, not only Roman would rock this song, but also dance like a maniac while singing it just like Eleni and no, you can't change my mind.

Just look at how this woman sings and dnaces without never losing a beat until the end. And please consider that on the Eurovision stage there is no autotune: this was her voice and he delivered a great performance without cracks.

So yes, I want Roman singing this.

But the lines are great for him as well! I mean...

Take a dive Into my eyes Yeah the eyes of lioness Feel the power They ain’t lying.

and

Coz I’m way up and I ain’t comin’ down, keep taking me higher Ah yeah ah yeah ah yeah yeah ah yeah ah yeah Coz I’m burning up and I ain’t coolin’ down, yeah I got the the fire Ah yeah ah yeah ah yeah yeah ah yeah ah yeah

Fuego

Someone fiery and passionate, powerful eyes, pride... yep, this is definitely something Roman would sing. Especially because of the fire. Roman is a fiery guy, so fire is very him.

______________________

Yianna Terzi - Oniro Mou

I actually already talked about this song in an old post and I still haven't changed my mind: this song is all about Janus telling Thomas how much he cares about him.

If you look into the depth of me You revive my dream And if you look into my heart I will take you into my arms How would you like me to say this I would die for you I would give my life for you End and beginning, you are everything

Not only the "take you into my arms" reminds me of Change (" I’ll be able to be honest, capable / Of holding you in my arms without letting you fall"), but the last three lines are so incredibly loving and honest I can't think of anyone else but Janus while reading them. Thomas is his end and beginning, Janus would literally die for Thomas and give his life for him.

So, well, it's just very fitting. And I love how dramatic this song is. It doesn't have the jazzy vibe Janus loves, but the drama is all here.

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Francesco Gabbani - Occidentali’s Karma

Do you remember how hard it was to analyze Algorhythm from Logan's playlist? Every line has a meaning and explaining every single one of them took me an eternity.

Well, this song is basically like Algorhythm, but with more philosophy and billions to references. You see the performance on the stage and ahahah, there's a funny dancing gorilla, what a cute song. Then you read the lyrics and BOOM.

I will not analyze this song here, because every line would require at least two paragraphs to explain it. And this post is already long enough as it is, but please, search the meaning of this song: there are references to Shakespeare, Heraclitus, buddhism, Andy Warhol, Desmond Morris and his book "The Naked Ape", Marx, Nietzsche and so on. Basically every line is a reference, a play on words or both at the same time.

What about the main theme? The main theme is the human and especially the contemporary human. In fact, "Occidentali" (Westerners) does not refer to the geographical place, aka Europeans/Americans, but to the western cultural model.

So the title “Occidentali’s Karma” (Westerners Karma) is an insight on contemporary society, on our values and on how, despite how many things changed, we are not so different from our ancestors after all.

This song might seem a perfect choice for Janus. There's a critique of society, there are philosophers and plays on words.

But I’m not too convinced, because even if Janus likes all those things, the number of references is just SO HUGE only a real nerd can find, recognize and appreciate them all.

So yes, this is a Logan song. A song he would probably listen and analyze, enjoying the whole process of knowing more things, finding out all the hidden meanings, the plays on words (we all know you like puns, ya big nerd) and the critical insight. After all, Algorhythm WAS a critique of society, so Logan should appreciate it.

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EUROVISION 2014

Twin Twin - Moustache

Not only the band is called Twin Twin but, as if this wasn't screaming "Creativitwins" enough, the title of the song is "Moustache".

Come on, you know who is the Side perfect for this song.

Psyche! It's both Roman and Remus.

Something is missing, but what? I want this, I want that When I'm dreaming, I'm dreaming in dollars, every day I'm wearing a different suit.

This is very Roman: Roman wants everything (let's not forget Primadonna from his playlist), Roman’s dreams are big. And Roman is Creativity, so he "wears a different suit" every day - aka he directs his creative flow in different stories/songs.

I want this, I want that there's never enough for me it's like this, it's like that there's always something I don't have

This part strongly reminds me of Primadonna. Roman wants everything, every day. He's never satisfied.

And then, Remus busts in and...

I wanted a moustache, a moustache

So my headcanon is that this starts as a Roman's song, all about wanting everything because "there's always something I don't have", until Remus pops out during the chorus and says all he wants is his gorgeous moustache.

*chef’s kiss* Perfection.

But I know what you want, dear audience. You want some angst, don't you?

Fine, so what if the "I want a moustache" line is Roman's subtle way to say that he wants the same freedom his brother has? After all, Roman has "everything one could ever dream of", "I have friends too / even some who like me". All he needs is more creative freedom and the moustache is a subtle way to say that.

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Aarzemnieki - Cake to Bake

This is the ultimate song for all Patton's fans, because it combines Patton's love for baking to Patton being an absolute disaster at it.

Also, it's an incredibly cute song.

I melted the ice of the polar caps Found the raiders of the lost ark Solved a case for the genius from Baker Street Helped to clean the Central Park I created the plan for the Chinese wall Went to desert, made it rain Swam through a shark tank bloodily Found Atlantis, by the way But today

The first verse is already awesome: Patton did a lot of great stuff, even impossible stuff ("solved a case for the genius from Baker Street" is a very nice reference to the Losing My Motivation episode).

But today, he has to face the most difficult task of them all:

I’ve got a cake to bake, and got no clue at all I’ve got a cake to bake, and haven’t done that before Don’t be proud, mate, please, don’t bother Go, come on and ask your mother How to bake, how to bake, bake that cake

Not only this makes me smile every time, but I can perfectly imagine Patton in a kitchen, with all the ingredients in front of him, everything ready and set... and he’s just absolutely lost. Should he use a spoon to stir the flour? And how can he open the vanilla beans? He doesn’t even know how to turn the stove on.

And so, he decides it’s time to ask someone else to help him. Bonus points if the mother is Janus. Also because he is a mom AND a witch, so

Also, this line:

Mix some dough, add some love, let it bake, wait for it

It's SO Patton, because the main ingredient of his recipes IS love! And cumin. And sometimes spit, depending on what he's making: pasta for Roman or some toasts for his angsty teen son.

_____________________________

Carl Espen - Silent Storm

At first, I thought this was a Logan song: someone who feels empty and alone, who has a storm inside but it's a silent storm, because Logan would never express his feelings in any way.

But there are these lines:

And there’s a silent storm inside me Looking for a home I hope that someone’s gonna find me And say that I belong I’ll wait forever and a lifetime To find I’m not alone There’s a silent storm inside me And someday I’ll be calm Someday I’ll be calm

And maybe it's just me, but this reminds me so much of Virgil. He has a storm inside, his own symbol is a storm. He's searching for a home, after leaving the dark sides. And he hopes someone will say he belongs - Thomas will say he belongs, that Virgil is part of him and of the famILY.

And he's willing to wait all the time, just to get that tiny bit of recognition and acceptance. And, who knows, maybe when he'll get it, the storm inside him will calm down and he will finally be at peace.

____________________

Tinkara Kovač - Round and Round

I don't know if I'm insane (or just extremely self indulgent), but this song is basically Janus during the wedding/callback saga.

Uncertain between worlds Circle after circle, we're trapped in time When you're already familiar with every storm You're playful, and yet you're alone

The first verse sets the time and situation. Thomas is living an uncertain life (just like every actor), trapped in the same cycle, with nothing new coming: same job, same opportunities, no big chances, nothing stable. He's "familiar with every storm", aka Virgil has been accepted. Thomas is happy, but he's alone. No one is actually on his side, not even the Sides themselves. He's not taking care of himself enough, he's too ready to drop everything for his friends, he's spreading himself too thin.

And now I'm gonna show you how to breathe I'm gonna show you how to live I'm gonna hold your heart in hand I'm gonna make you understand

This can be a declaration from Janus: he's tired of working in the shadows, he wants to step up and help Thomas in person. And these lines make me think of him, because of how "firm" (and kinda villain-y) they sound.

He wants to show Thomas how to live, aka what are the best decisions to make). He's going to "hold your heart in hand", aka to have Thomas wrapped around his fingers, to take control and steer him with a strong, confident grip, away from the decisions he considers bad, into making him a lot stronger than before.

And, finally, he wants to make him understand. So if the lines before sounded more like a villain’s plan, this last line adds something more. Janus wants to explain to Thomas why he's doing this, why his decisions are better, why Thomas should trust him.

If we think about it, this is everything Janus tried to do since CLBG: he wrapped Thomas (and the other Sides) around his fingers and made them play the courtroom scenario he built, he tried to steer Thomas away from the selfless decision of going to the wedding. And he tried to make him understand why, with the pinata metaphor.

You don't know you don't know Is it love is it hate What are we changing (What are we doing) You don't know you don't but Can you feel it inside Feel the roses Feel the pride (Can you believe it)

Thomas doesn't know a lot of things. Does he really know what love is? Or hate? Or what he's actually doing, by listening to his Morality? What is Janus doing?

[Deceit]: What am I doing here right now, Thomas? Am I the snake come to trick you into sinning, or have you had your mind made up since the moment you received the news about the callback? (SvS)

Thomas doesn't know a lot of things. But deep down, he knows what he wants to do. He should "feel the roses / feel the pride", both things associated with Roman. He is the one Thomas should listen to. And Janus is hinting it.

Is a moment just a circle Just a song you play on repeat? If we can't change how we're living Isn't life just a lie that we feed

Janus is expressing his frustration here: is Thomas' life doomed to always be the same, a cycle, a "song you play on repeat"? Can't he really change his life because of his selflessness? Will he really miss all the opportunities life offers him, in order to always be a good person?

What's the point of living, then? This wouldn't be life, but "a lie that we feed": instead of living his own life, Thomas would submit it to what others want/need, in order to always be present for them.

This is basically a huge warning from Janus: don't fall into this cycle, break free, I can make you free, listen to me and I will make you understand what is wrong about it.

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undertheinfluencerd · 3 years ago

Link

https://ift.tt/3l39LwX #

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During Ock’s final moments, he sees the error of his ways and decides to go down with his creation. Proclaiming he will “not die a monster,” Octavius sacrifices for the greater good. Thanks to Alfred Molina’s committed performance, the moment is one of the trilogy’s most memorable, cementing Octavius as one of the genre’s most complex characters.

6 J. Jonah Jameson Saves Peter Parker

J.K. Simmons as J. Jonah Jameson is the very definition of spot-on casting. The actor took an already well-known character and translated him into the screen seamlessly and faithfully. Throughout his tenure in the trilogy, he gets plenty of comical moments, but his most memorable is his protection of Peter Parker.

When the Green Goblin blasts into the Bugle’s offices, he threatens Jameson and asks for the name of the photographer who takes Spider-Man’s pictures. Jameson refuses to tell on Peter, telling the Goblin the reporter sends his stuff through the mail. The scene shows a new and unexpected side to JJ, a glance at the empathy he works so hard to hide.

5 Uncle Ben’s Lesson

Uncle Ben’s death is one of the defining moments in Peter Parker’s storyline. It’s the first of many (many) tragedies to happen to the character, inspiring him to become a hero in the first place. Sam Raimi provides enough room for Uncle Ben’s character to develop before arriving at the inevitable conclusion.

Cliff Robertson’s heartfelt monologue summarises the essence of Spider-Man. “With great power comes great responsibility” has become one of the most enduring phrases in pop culture, adding a more profound layer to Raimi’s trilogy. And while Uncle Ben has little screentime, his presence remains throughout the entire trilogy, thanks in large part to his now-immortal words.

4 Aunt May’s Advice

Rosemary Harris remains the most compelling and memorable cinematic Aunt May. She imbued the role with plenty of warmth and empathy, avoiding the one-dimensional approach of subsequent movies. Harris’ Aunt May wasn’t just another peripheral character; on the contrary, she was Peter’s anchor, a constant source of inspiration for both the boy and the hero.

Her role as Peter’s guide is blatantly clear during her monologue in Spider-Man 2. While she packs her things to move out from her house, she talks to Peter about the nature and importance of heroism. Her speech is the gentle push Peter needed to understand the true role of his superhero counterpart. It’s a sweet but unforgettable moment that confirms Aunt May’s importance in the friendly neighborhood Spidey’s life.

3 Goblin’s Last Flight

Throughout the Raimi trilogy, Harry Osborn suffers almost as many ups and downs as Peter himself. The loss of his father leaves him devastated and desperate to find someone to blame, leading to his descent into the Green Goblin persona. Alas, Harry was never his father, and he proves it at the last moment.

RELATED: 10 Most Powerful Variants Of Green Goblin In Marvel Comics

Sporting the Goblin costume, Harry goes to help Peter fight Venom and the Sandman. The two confirm their friendship, and Harry bravely dies fighting the enemies. Harry’s sacrifice continues the recurring theme in the trilogy that every victory comes with a steep price. It’s also a perfect send-off for the character and a way to restore the Osborn legacy.

2 Mary Jane’s Upside-Down Kiss

For all its strengths, the Raimi trilogy has one undeniable flaw, and that’s its treatment of Mary Jane Watson, Peter Parker’s main love interest in the comics and most movies. The character barely received any development beyond her damsel in distress role. Still, Mary Jane is a crucial figure in superhero movies; she defined the “superhero girlfriend” role for better and worse.

Out of all her moments in the trilogy, Mary Jane’s most memorable is her upside-down kiss in the rain with Spider-Man. It’s not only one of the most iconic scenes in modern cinema, but a perfect summary of MJ and Peter’s relationship. The setup may seem a tad outdated under a 2021 eye, but Kirsten Dunst and Tobey Maguire’s chemistry is so electric that fans can let go of the more dubious elements of the scene and enjoy the romantic aspect.

1 Spider-Man Stops A Train

Tobey Maguire’s Spider-Man remains as beloved now as he was back then. His take on Peter Parker gained new life thanks to the internet; indeed, Maguire’s Spidey is the king of memes, from Bully Maguire to the now-iconic “I missed the part where that’s my problem.”

However, this Spider-Man remains a blueprint for cinematic superheroes, thanks to his many heroic moments on screen. None is more memorable or inspiring than his efforts to stop a speeding train in Spider-Man 2. The scene works not only as an action setpiece but as a demonstration of Peter’s strongest power: his perseverance. Peter will never stop trying, even if all the odds are against him. Spider-Man is so relatable because he makes multiple mistakes and spends his time trying to fix them. But the point is, he will always try, and the train scene is the perfect representation of Spider-Man’s essence.

NEXT: 10 Unpopular Opinions About The Sam Raimi Spider-Man Movies (According To Reddit)

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anhed-nia · 4 years ago

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BLOGTOBER 10/17/2020: SPOOKIES

What do we watch, when we watch movies? This question was sparked by my SOV experience with the very different, and differently interesting BLOODY MUSCLE BODYBUILDER FROM HELL and HORROR HOUSE ON HIGHWAY 5. Within the Shot On Video category, one can find inventive homemade features that are driven entirely by blood, sweat, and the creators' feeling of personal satisfaction. The results are sometimes fascinating, in their total alienation from the conventions and techniques of mainstream filmmaking, and after all, one rarely sees anything whose primary motivation is passion, here in the late stages of capitalism. But, all this talk about what goes on behind the camera points to a discrepancy in how we consume different kinds of production. The typical mode of consumption is internal to the movie: What happens in it? Do you relate to the characters? Are you able to suspend your disbelief, to experience the story on a vicarious level? One hardly needs to come up with examples of films that invite this style of viewing. Alternatively, we can experience the movie as a record of a time and place in which real people defied conventions and sometimes broke laws in order to produce a work of art. SOV production is usually viewed through this lens, where the primary interest is not the illusory content, but the filmmakers' sheer determination to create. We find some overlap in movies like EVIL DEAD, which simultaneously presents a terrifying narrative, and evidence of what a truly driven team can create without the aid of a studio, or any real money to speak of. See also, Larry Cohen's New York City-based horror films, in which a compelling drama with great acting can exist side by side with phony but beautiful effects, and exciting stories of stolen footage that would be dangerous or impossible to attempt today. I'm thinking about these different modes of consumption now because I just watched SPOOKIES, a legitimately cursed-seeming film whose harrowing production history has superseded whatever people think about what it shows on the screen. The lovingly composed blu-ray from Vinegar Syndrome includes a feature-length documentary that attempts to explain the making of the film--which is accompanied by its own feature length commentary track by documentarists Michael Gingold and Glen Baisley. The very existence of this artifact suggests a lot about the nature of this movie, in and of itself. The truth behind its existence is as funny as it is tragic.

I'm not going to do a whole breakdown of the tortured origins of SPOOKIES, which is much better told by the aforementioned documentary. To summarize: Once upon a time in the mid 1980s, filmmakers Brendan Faulkner, Thomas Doran and Frank Farel conspired to make a fun, flamboyant rubber monsterpiece called TWISTED SOULS. It was wild, ridiculous, and transparently fake-looking, but it was loved by its hard-working creators; as a viewer, that soulful sense of joy can rescue many a "bad" movie from its various foibles. Then, inevitably, sleazoid producer Michael Lee stepped in--a man who thought you could cut random frames out of the middle of scenes to improve a movie's pace--and ruined it with extreme prejudice. Carefully crafted special effects sequences were cut, relatively functional scenes were re-edited into oblivion, and the seeds of hatred were sown between the filmmakers and the producer. Ultimately, everyone who once cared for TWISTED SOULS was forced to abandon ship, and first time director Eugenie Joseph stepped in to help mutilate the picture beyond all recognition. Thus SPOOKIES was born, a mangled, unloved mutation that would curse many of its original parents to unemployability. For the audience, it is intriguingly insane, often insulting, and hard to tear your eyes off of--but in spite of whatever actually wound up on the screen, it's impossible to forget its horrifying origin story as it unspools.

As far as what's on the screen goes: A group of "friends", including a middle-aged businessman and his wife, a vinyl-clad punk rock bully and his moll, two new wave-y in-betweeners, and...a guy with a hand puppet are somehow all leaving the same party, and all ready to break into a vacant funeral home for their afterparty. Well, this happens after a 13 year old runaway inexplicably wanders in to a "birthday party" in there, that looks like it was thrown for him by Pennywise, and he has the nerve to act surprised when he is attacked by a severed head and a piratey-looking cat-man who straight up purrs and meows throughout the picture. Anyway, separately of that, which is unrelated to anything, the island of misfit friends finds a nearly unrecognizable "ouija board" in the old dark house. Actually this thing is kind of fun-looking, having been made by one of the fun-havers on the production before the day that fun died, and I wonder if anyone has considered trying to make a real board game out of it...but I digress. Naturally, the board unleashes evil forces, including a zombie uprising in the cemetery outside, a plague of Ghoulie-like ankle-biters, an evil asian spider-lady (accompanied by kyoto flutes), muck-men that fart prodigiously until they melt in a puddle of wine (?), and uh...I know I'm forgetting stuff. One of the reasons I'm forgetting is because of this whole side story about a tuxedo-wearing vampire in the basement (or somewhere?) who has entrapped a beautiful young bride by cursing her with immortality. That part is a little confusing, not only because it doesn't intersect with the rest of the movie, but because sometimes it seems contemporary--as the bride struggles to survive the zombie plague--and sometimes it seems like a flashback, as our heroes find what looks like the mummified corpse of the dracula guy, complete with his signet ring. So, I don't know what to tell you really. Those are just some of the things that happen in the movie.

Some people like this a lot, and have supported its ascendance to cult status, which is a huge relief when you know what everyone went through to make this movie, only to have it ripped away from them and used against them. I found SPOOKIES a little hard to take, for all the reasons that the cast and crew express in the documentary. It holds a certain amount of visual fascination, whatever you think of it; something of its original creativity remains evident in the movie's colorful, exaggerated look, and its steady parade of unconvincing but inventive creature effects. But then, you have to deal with the farting muck-men. What was once a scene of terror starring REGULAR muck-men, that sounded incredibly laborious to pull off, became a scene of confusing "comedy" when producer Michael Lee insisted that the creatures be accompanied by a barrage of scatalogical noises. Apparently this was Lee's dream come true, as a guy who insisted everyone pull his finger all the time, and who once tried to call the movie "BOWEL ERUPTOR". But, of all the deformations SPOOKIES endured, the fart sounds dealt a mortal injury to the filmmakers' feelings, and even without knowing that, it's hard to enjoy yourself while that's happening.

Actually, all the farts forced me to ask myself: Is this...a comedy? Like for real, as its main thing? As the movie slogged on, I had to decide that it wasn't, but I was distracted by the notion for around 40 minutes. I was only released from this nagging suspicion when the bride makes her long marathon run through throngs of slavering zombies who swarm her, grope her, and tear off her clothes, before she narrowly escapes to an even worse fate. The lengthy scene is strangely gripping, and sleazy for a movie that sometimes feels like low rent children's entertainment. Part of the sequence’s success lies in its simplicity; it is unburdened by the convoluted complications of the rest of the movie, whose esoteric parts never fall together, so it seems to take on a sustained, intensifying focus. The action itself is unnerving, as the delicate and frankly gorgeous Maria Pechuka is molested and stripped nearly-bare by her undead bachelors, running from one drooling mob to another as the horde nearly engulfs her time and again. Actually, it feels a lot like a certain genre of SOV production in which, for the right price, any old creepy nerd can pay a small crew-for-hire to tape a version of his private fantasy, whether it's women being consumed by slime, or women being consumed by quicksand, or...generally, women being consumed by something. I wish I could describe this form of production in more specific or official terms, because I genuinely think it's wonderful that people do this. Anyway, Pechuka's interminable zombie run feels a little like that, and a little like a grim italian gutmuncher, and a little like an actual nightmare. Perhaps it only stands out against its dubious surroundings, but I kind of love it--and I'm happy to love it, because apparently the late Ms. Pechuka truly loved making SPOOKIES, and wanted other people to love it, too.

Which brings me to the uncomfortable place where I land with this movie. On the one hand...I think it's bad. It's so incoherent, and so insists on its impoverished form of comedy, that it's hard to be as charmed by it as I am by plenty of FX-heavy, no-budget oddities. Perhaps the lingering odor of misery drowns out the sweet joy that the crew once felt in the early days of creation--which is still evident, somehow, in its zany special effects, created by the likes of Gabe Bartalos and other folks whose work you definitely already know and love. But I feel ambivalent, about all of this. On the one hand, I can be a snob, and shit on people for failing to make a movie that meets conventional standards of success. On the other hand, I can be a DIFFERENT kind of snob--a more voyeuristic or even sadistic one--and celebrate the painful failures that produced a movie that is most interesting for its tormented history and its amusing ineptitude. I'm not really sure where I would prefer to settle with SPOOKIES, and movies like it. (As if anything is really "like" SPOOKIES) With all that said, I was left with one soothing thought by castmember Anthony Valbiro in the documentary. At some point, he tells us how ROSEMARY'S BABY is his personal cinematic comfort food; he can put it on at night, after an exhausting day, and drift to sleep, enveloped in its warm, glowing aura. He then says that he hopes there are people out there for whom his movie serves that same purpose, that some of us can have our "milk and cookies moment" with SPOOKIES. Honestly, I choke up just thinking about that.

#blogtober #2020 #spookies #horror #supernatural #vampire #zombie #creature feature #old dark house #cursed film #thomas doran #frank farel #eugenie joseph #michael lee #vipco #twisted souls #brendan faulkner #maria pechuka

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letterboxd · 4 years ago

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Satisfied?

We examine what Letterboxd reviews of Hamilton reveal about the musical’s cultural currency in 2020.

In this absolutely insane year, when our love of movies feels helpless in the face of pandemic-induced economic collapse, some extremely good decisions are being made on behalf of audiences. Studio Ghibli on streaming platforms. Virtual screenings to support art house cinemas. Free streaming of many important films about Black experience. And: Disney+ releasing the filmed version of Hamilton: An American Musical—recorded at the Richard Rodgers Theater in 2016 with most of its original Broadway cast—a year ahead of schedule, on Independence Day weekend.

“Superlative pop art,” writes Wesley of the filmed musical. “Hamilton wears its influences and themes on its sleeve, and it’s all the better for it. Lin-Manuel Miranda and his team employ an unlikely cocktail of not only hip-hop and showtunes, but also jazz (‘What’d I Miss?’), British-Invasion pop-rock (‘You’ll Be Back’), folk music (‘Dear Theodosia’) and Shakespeare (‘Take a Break’) in service of developing an impressively vast array of themes. This is a testament to the power of writing, an immigrant narrative, a cautionary tale about ambition, a tragic family drama, and a reevaluation of who decides the narrative of history.”

2016 may only be a half-decade ago, but it feels like an eon in American political years. With theaters dark and America’s long record of racism under urgent scrutiny, the complex smash-hit lands back in the spotlight at an interesting time. Is Hamilton “the most offensive cultural artefact of the last decade”, as Lee writes? Or “timeless and wholly of the moment”, as Tom suggests? The answer, according to a deep read of your Letterboxd reviews, is “all of the above”.

First things first: why now?

Sophie has a theory:

“Disney executive: Hey we’re losing a lot of money because our parks are closed. How do we start making money again?

Other Disney executive: It might be nice, it might be nice… to get Hamilton on our side.”

Sure, business. Still, it’s historically unprecedented that a Broadway show of this caliber (a record-setting sixteen Tony nominations, eleven wins, plus a Grammy and a Pulitzer) would be filmed and released to the public while it’s still, in a Covid-free universe, capable of filling theaters every night. Will people stay away when Broadway reopens because they’re all Disney+’d out?

No chance, reckons Erika. “I’d still kill to see Hamilton live with any cast… I get why producers are afraid that these videos might hurt ticket sales, but I’m fucking ready to buy a ticket and fly to NY one day just to see as many shows as I can after watching this.”

Not every musical fan has the resources to travel, often waiting years for a touring version to come near their hometown. And even if you do live in a town with Hamilton, the ticket price is beyond many; a daily lottery the only way some of us get to go. So Holly-Beth speaks for many when she writes: “I entered the Hamilton lottery every day for almost two years but I never got to be in the room where it happens… however, this 4K recording of the original cast will do very nicely for now! Finally getting to see the context and performances after obsessing over the music for years was so, so satisfying.”

“Finally” is a common theme. Sydnie writes, “I love this musical with every fiber of my body and it was an extraordinary experience finally getting to watch it in Australia”. Flogic: “To finally be able to put the intended visuals to a soundtrack that I’ve had on repeat for such a long time: goosebumps for 160 minutes.” Newt Potter: “Now I fully understand people’s love for this masterpiece of a musical!”

I’ve got a small query for you.

Where’s the motherfucking swearing? Unsurprisingly, Disney+ comes with some limitations. For Hamilton, it’s the loss of a perfectly placed F-word.

“I know Disney is ‘too pure’ to let a couple of ‘fucks’ slip by,” writes Fernando, “but come on, it’s kind of distracting having the sound go out completely when they sing the very satisfying ‘Southern Motherfucking Democratic Republicans!’ line.”

Will agrees: “Disney cutting ‘motherfucking’ from ‘Washington on Your Side’ felt like sacrilege akin to Mickey Mouse taking an eyebrow pencil to the Mona Lisa.”

Nevertheless, sings Allison:

“Even tho Disney stripped the story of its f***s, Don’t think for a moment that it sucks.”

(Yes, she has a vegan alert for Hamilton.)

Does it throw away its shot?

The crew filmed two regular shows in front of live audiences, with additional audience-less sessions for a dolly, crane and Steadicam to capture specific numbers. The vast majority of you are satisfied. “It’s the most engaging and expertly crafted life filming I’ve seen since Stop Making Sense,” writes ArtPig. “The film does an incredible job of placing you right in the action. It feels like the best seat you could get in the theater. You can see the sweat and spit.”

“Translates perfectly onto the small screen,” agrees Ollie. “There’s a level of intimacy that feels hard to replicate in any other filmed production. We see those close ups, the passion and gusto behind every actor’s performance.”

“Shockingly cinematic for something filmed on such a small stage,” is Technerd’s succinct summary, while Paul praises director Thomas Kail: “He knows when to back away along with moving nearer when appropriate, and the choices always serve to govern the power and stamina of the performances.”

Though cast members’ voices were recorded on individual audio tracks, Noah had a few quibbles with the sound quality. “Some of the audio capture is off in the recording, sometimes voices being too soft or too loud. It’s not immersion breaking, but it is noticeable enough to irk me a little in pivotal moments. Some of the shot composition doesn’t fully work either. Of course nothing is going to be as good as seeing it in person.”

Robert, recalling another recent cinematic escapade of musical theater, lets his poetry do the talking:

“This will do for now until the true movie’s made, Though if Hooper directs, there’ll be an angry tirade.”

I think your pants look hot.

Hamilton fans have their cast favorites, but something about being able to see Jonathan Groff’s spittle and Leslie Odom Jr’s scowls in 4K has you losing it all over again. Several specific shout-outs we enjoyed:

“Daveed Diggs the Legend! Go watch Blindspotting (2018), it’s one of the best movies ever!” —Kyle

“It’s hard to believe anyone will ever top Leslie Odom Jr. as Aaron Burr. I already loved him from the original cast recording, but seeing his full performance in all its glory was just godly.” —Erika

“Thankful that it was made possible for me to view with such clarity the phenomenon that is Renée Elise Goldsberry and spectacular Phillipa Soo.” —Thea

“Daveed Diggs was electrifying and Jonathan Groff was absolutely hilarious. If they interacted together the stage would’ve combusted from the sheer will of their talent.” —Nick

This is not a game.

On one hand, the release of Hamilton is sweet relief for music theater nerds riding out the pandemic. A generation of kids knows every word by heart, rapping (this version of) American history like it’s no thing. On the other, the Obama-era musical already feels behind-the-times, even for many Hamilton lovers, and the filmed version has brought that into sharp focus.

“I listened to the OG cast album about 50 times when it came out, the production is about as good as I’d always hoped,” writes Josh. “Since then however there’s been a very important and broader reckoning with the failures of neoliberalism and the Obama years ([from] which this has to be the most emblematic piece of art) and for me personally a drifting further to the left that has resulted in a very different relationship with the material. So my feelings today are a bit more complicated.”

“Hamilton is extremely non-committal about its politics,” writes Sting. “It doesn’t examine much of what Hamilton dictated besides ‘he wants complete financial control of the country’ (which would sound like a fucking supervillain in any other context, including reality).”

That lack of political commitment, reckons Morgan, is what helped Hamilton as a musical become so popular: “It’s fun. It’s catchy. It interweaves trendy and socially relevant artistic tools to infer a subversive subtext, while simultaneously sanitizing and, at times, flat out fabricating the historical narrative and downplaying the brutality of the true origin story, for the sake of appeasing those in power. Classic Bill Shakespeare stuff.”

History has its eyes on you.

Much criticism lies with the fundamental storytelling decision to make a modern ruckus about America’s Founding Fathers, the men (including Alexander Hamilton) who in the late eighteenth century united the thirteen colonies and co-wrote the Constitution. Undisputed titans of history, they also have blood on their hands, and HoneyRose writes that the musical “glorifies these men, and paints them as self-sacrificing heroes, and honestly normalizes and validates slavery, as well as the behavior of slave owners.”

Stevie, who saw the Broadway production as well as the filmed version, confesses: “I’ve tried (I’ve really tried) to understand what makes people lose their minds over this but I’m still completely baffled by the hype… These were horrible men and a romanticism of them through song and dance just seems entirely misguided.”

Sean is not convinced that Hamilton is a hagiography. “I can’t imagine anyone watching all of this and thinking it paints a portrait of the Founding Fathers as anything other than childish, greedy, venal and self-aggrandizing.” Wesley agrees: “I don’t think Hamilton is trying to be a history lesson, so much as a lesson about how we think about history. It’s a compelling human story told in a revolutionary way.”

That “revolutionary way” is the musical’s central conceit: that of a cast-of-color playing the white founding fathers as they bumble towards independence. Journalist Jamelle Bouie, who regards the musical as “fun, exciting, innovative and, at points, genuinely moving,” wrestles with the “celebratory narrative in which the Framers are men to admire without reservation. Through its casting, it invites audiences of color to take ownership of that narrative, as if they should want to take ownership of a narrative that white-washes the history of the revolution under the guise of inclusion.”

It’s complicated for Matt, too: “It’s widely agreed upon that the show encapsulates the Obama era better than anything, how it coddles white liberals with a post-racial vision of history in a superficial sense, overlooking the insidious and oppressive systems that they benefit from (hearing the audience clap to ‘Immigrants, we get the job done’ unsettled me). Of course hopefully its legacy will be that it opened up more Broadway roles for POC. But I really think that the show doesn’t make Broadway more appealing and accessible to POC, it just makes hip hop more accessible to white people, a launching pad of course to listening to Watsky or something.

“No hate though to anyone that’s completely in love with this, it’s definitely worth seeing despite any hang ups.”

I wanna build something that’s gonna outlive me.

The story doesn’t end, just because the music does. Kai_Kenn has a suggestion: “I have been a part of discussions that dissect the culture that created Hamilton, as well as the culture that Hamilton created, and whether or not Hamilton appropriately addresses the modern issues [that] the cult following proposes it does.

“This is an ongoing discussion that I am trying to be an active listener in and, if you consider yourself to be a conscientious consumer of art, you should too.”

Noah is on board with that: “Reflecting on the past and focusing on the future are not two mutually exclusive actions. Both are a must, regardless of who you are or what you do. A five-star experience in a four-and-a-half-star film. I think that’s just fine.”