#finn morris

[chubby-aphrodite]

Fankid RP sprites/art! They're all young adults. More about them under the cut!

Ezra Foley (they/them) is a Prospit-dreaming Mage of Rage. They live in a constant state of stressful background radiation and have a pet rat named Neil, who bangs out tunes. They're the child of the governor of the fictional state of South Canada, who is a shithead. They belong to @darkpastelpurple

Vick Quartz (she/her) is a Prince of Time, but has a... weird dreamself situation. Weirder than the Captors having two of them. She has a collection of antique polearms and likes to use them to destroy things on video. She lives with her eccentric musician aunt. She belongs to @lesser-sage-of-stars (she can also go werewolf mode.)

Amos Shepherd (they/them) is a Derse-dreaming Thief of Mind. They have constant unsupervised accessed to power tools and the world is a worse place for it. They're allergic to sincerity and kind of a bastard. Their parents are largely absent, constantly both at work. They're my character!

Gaby Kelley (she/her) is a Derse-dreaming Sylph of Space. She lives in a marsh and has a more than healthy appreciation for all its inhabitants, sometimes preserving and pinning cool bugs. She's also immune to rabies. She belongs to @librius

Mark Romeski (he/him) is a Derse-dreaming Knight of Heart. He's a bit emo and wears fake vampire fangs all the time. His hair isn't naturally light, it's actually bleached. He keeps the molts from his pet tarantula like baby pictures, it's really cute. He belongs to @carbonatedsalt

Mara Naylan (he/she/they) is a Prospit-dreaming Seer of Doom. He's also very stressed on account of the prophecies of doom and attempting to avoid them. She has a knack for electronics and has a pet exercise wheel that she can use for electricity. They live with their MOM. They belong to @momotech764

Finn Morris (he/him) is a Prospit-dreaming Heir of Hope. He loves gardening and is rather chipper, which contrasts a bit with his fascination with the human vascular system. He also lives with his aunt! He belongs to @thecansces-ariborn

[kumtana]

happy 15 years of glee!

↳ new directions

[demifiendrsa]

SATURDAY NIGHT – Official Trailer

Poster

Synopsis

At 11:30pm on October 11, 1975, a ferocious troupe of young comedians and writers changed television – and culture – forever. Directed by Jason Reitman and written by Gil Kenan & Reitman, Saturday Night is based on the true story of what happened behind the scenes in the 90 minutes leading up to the first broadcast of Saturday Night Live. Full of humor, chaos, and the magic of a revolution that almost wasn’t, we count down the minutes in real time until we hear those famous words…

[onlydylanobrien]

Dylan O'Brien, Cooper Hoffman, Ella Hunt, Emily Fairn, Cory Michael Smith, Lamorne Morris, Kim Matula, Rachel Sennott, Matt Wood, Gabriel LaBelle, Nicholas Podany, Andrew Barth Feldman, Finn Wolfhard and director Jason Reitman behind the scenes on the set of "Saturday Night". (2024)

📷©: ellahunt on Instagram

[haveyouseenthisseries-poll]

[heylolita00]

[imgonnagetkilledbynutstink]

I went with Private Idaho, i love lying

[mashleverse]

"Our robes changed colors?!"

Mashle: Magic and Muscles Second Season Episode Four - Onto the Next Exam

[sapphic-agent]

As a POC I could not handle any longer the way they excused Lea's actions on the Glee subreddit. I left permanently because of it. It angered me the day someone on the sub said that Lea apologised. Lea did not apologise. More than enough times, I've seen Lea be defended on that sub and people get upvoted for it and I couldn't stand it any longer.

The tipping point for me was that people started to say that Santana fans can't keep their feelings about Naya separate but at the same time they're known strong Rachel fans and Rachel defenders and have shown support to Lea multiples all the while being overly-critical about Santana. It was just brewing into hypocritical territory for me.

As a teen, Naya helped me in ways that's hard to explain. Her passing affected me deeply. To see that a few people, going off of the multiple upvotes, were agreeing with comments made accusing Santana fans of mixing their feelings about Naya with Santana in an unhealthy manner was hurtful. Lea fans also double down on putting Rachel on a pedstal to not talk about Lea's past actions on the glee sub but it's not spoken about.

So grateful that you spoke up about this major issue when it comes to Lea on the Glee sub. Your willingness to speak up about the issues on the Glee sub makes me feel less alone.

Omg thank you! That's so nice of you to say. I really do try to steer away from real people on this blog because I want to be primarily media-based. But the Glee sub makes me so fucking mad. They're the definition of performative activism and double standards. Supporting and/or forgiving Lea is just shitty, no matter how many times they try to justify it.

Naya- and Heather- helped me a lot too. They brought to life one of the healthiest, most important sapphic couple of the 2010s (my username was inspired by them lol, that's why they were my old pfp). They made me feel okay to be myself and comfortable in my sexuality. Her passing affected me for a long time too, it was like I couldn't process it.

I know exactly what you're talking about, when people would accuse Santana fans of conflating Santana because of Naya's passing. Like, right after it happened. It was really an awful thing to say because a woman was dead. Her life and memory were more important than their favorite character getting shit. They're vile.

If anyone can't separate the actor from the character it's Finn fans. Cory was a great guy- people always said him and Dianna were the nicest of the cast- and he also passed while the show was still running. A lot of Finn's "likability" came from Cory's charisma and comedic timing. If Cory was still alive I really don't think as many people would defend Finn.

(Tbh, I think Cory himself would shit on Finn. His mom once said that Santana slapping Finn was his favorite scene)

I also feel like people (including other POCs) don't actually understand why Lea was (is?) racist. Racism isn't just "I hate minorities and don't think they deserve rights." It's way more complicated than that. Lea might not have been throwing the n-word around (though, she was derogatory at least towards Samantha with that "shit in her wig" comment), but she absolutely viewed her being white as being superior to her WOC coworkers.

It's a pretty common thing for Black girls. Hell, I even experienced it from girls I called my friends. They're so "down✊🏾" but will be quick to remind you how more cultured and better than you they are.

If you haven't been taught about or experienced these things, you won't know that. But attempting to shut down WOC who have experienced it is shitty. Lea fans trip over themselves to defend someone who went out of her way to bully a younger Black coworker just because she could.

(Also, she was outwardly transphobic. Not letting anyone forget that either. If she was so willing to be transphobic, what makes you think she wasn't racist?)

Lea fans have no excuse. I liked and looked up to JKR too, but the people she hurt (and continues to hurt) are more important than how much I admired her or how much I enjoyed Harry Potter. I was disgusted by her and had no issues condemning her. Lea fans are hypocritical, self-righteous performative activists

[mad-prophet-of-the-airwaves]

Saturday Night is a 10/10 movie.

[agentsnickers]

to boldly go...

It's ad astra, per aspera day!! Go read @jack-kellys's @newsiesminibang24 fic!!! I cannot stress how excited I was to get paired with this fic, although I have to admit that I maaaaay have only finished this like three hours ago lol!

(That's what I get for deciding my piece needed to have literally ten people in it, an experience I did not learn from <3)

ad astra has two artists, so don't forget to check out @walkman-cat's work, too!

[chubby-aphrodite]

And here's Finn (he/him) and Gaby (she/her)! Finn belongs to @thecansces-ariborn and Gaby belongs to @librius! Changing FInn's tool belt to match the rest of him was fun, and Gaby's outfit was just straight up one I had on hand. It's a plus that it resembles her normal outfit I suppose!

What are they running from? I have no idea! But they're running from it!

[kumtana]

happy 15 years of glee!

↳ favorite season three new directions (& troubletones) performances

[demifiendrsa]

SATURDAY NIGHT - New Trailer

Poster

Synopsis

At 11:30pm on October 11, 1975, a ferocious troupe of young comedians and writers changed television – and culture – forever. Directed by Jason Reitman and written by Gil Kenan & Reitman, Saturday Night is based on the true story of what happened behind the scenes in the 90 minutes leading up to the first broadcast of Saturday Night Live. Full of humor, chaos, and the magic of a revolution that almost wasn’t, we count down the minutes in real time until we hear those famous words…

[cinemaseeker]

Let's Review: Saturday Night

Biopics, not unlike live TV, are a tricky tightrope walk.

The line that actors and directors have to toe is razor thin and always shifting beneath their feet. The sweat starts to bead at the very beginning of conception, when an actor is chosen to mimic, and more often than not resurrect, any given celebrity/historical figure/actual real person of note for any particular project. And the very act of mimicking the appearance and mannerisms of these people strikes at the very heart of acting itself, which can be described as the uncanny ability to completely transform oneself, both physically and mentally, into a different person.

In short, to convincingly create a character.

Biopics pose a particularly unique challenge, wherein the actor has to both create a fictionalized character that can work within a fabricated narrative structure while still recreating a non-fictitious person who is then expected to reenact events important to both the person and the world at large.

Scrutiny and criticisms (from both the general public and the people who lived it) are hardwired to the very DNA of this genre in a way that no other genres are. Not to mention all of the fans that come out of the woodwork when these projects premiere, who are always more than ready to shoot down and fact-check every fictitious addition/omission/discrepancy, beating every bush into oblivion.

It is very easy to screw up spectacularly (and very many have) but these projects can also be absolutely magical when you get it right.

It can be tricky enough doing justice representing one key figure in the world of entertainment. Now add half a dozen more. And we have an ensemble biopic, a creature that just adds more balls for us to juggle.

So now, really, a biopic chronicling the chaotic countdown towards the very first SNL live show is nothing short of catching lightning in a bottle. At the very last minute. Almost on accident. After every other conceivable thing goes very, very wrong. Only to become, somehow, very, very right in the end.

Like lightning, this film has a zappy, kinetic energy to it (helped in very large parts by the editing, camerawork, and Jon Batiste's exciting frenetic score) as it zips and weaves it's way around every square inch of 30 Rockefeller Plaza on the night of October 11th 1975, playing out in roughly real time from 10pm to 11:30pm (aka showtime). It doesn't hold your hand so much as roughly drag you up and down the studio, huffing and puffing as the unsinkable Lorne Michaels (anchored by an earnestly steadfast Gabriel Labelle) rushes to put out little fires that keep popping up all over the place (mostly figurative, one very literal).

You've got a ragtag group of untested comics with large personalities that occasionally bump against each other like bowling balls against pins; some of whom wonder what they, as real actors, are even doing there. There's an anarchic writer with SNL's first head writer Michael O'Donoghue (played by a magnetic Tommy Dewey) pushing back for artistic freedom against the prudish NBC censor (the hilariously sour-pussed Catherine Curtin) in a heated interaction that marks a particularly bright spot in both the film and the fast-paced, wise-cracking script. Then there's countless technical problems with both the sound and lights, not helped by bitterly rebellious crew who won't even help a pour guy lay down some bricks. And all of this in service towards a sketch comedy show that, having run for 3 hours in dress rehearsal (a dress rehearsal that wasn't even taped) that has to be severely trimmed down for primetime.

And of course, there are the NBC executives that are breathing down their necks, waiting for Lorne and the show to fail. A show that, even Lorne admits, nobody has really figured out yet. As he states in one of the film's best lines, he has the ingredients in mind, just not the amounts.

Not to mention the Alpaca.

Oh, and Andy Kaufman's there. As well as Jim Henson and his Muppets. Both of whom are brought to impressive, gangly life by Nicholas Braun (aka Cousin Greg from Succession) pulling double-duty as the unconventional comic and innovative puppeteer with an equally commendable, underperforming monotony that provides the perfect sounding board for everyone else to bounce their insanities against.

The entire ensemble and supporting cast collide and compliment each like a finely tuned jazz band, creating great conflict in the cacophony and allowing great soloists to shine through all the noise.

Perhaps the most obvious standout is Cory Michael Smith as Chevy Chase (I'm sure he wouldn't have it any other way).

The natural physical resemblance always helps but Smith manages to effortlessly portray the egotistical smarminess of Chase in a way that's served him well in his other past roles.

This is the part of the review where I get to flex and say that I liked Cory Michael Smith before he was cool and btw I'm glad that he's getting bigger and better roles in his career. Good for him.

Shoutout to his kooky turn as Edward Nygma/Riddler on Gotham. Do yourself a favor and check it out. You won't be disappointed.

But if I had to pick a best supporting actor, I would have to give it to Matt Wood for his take on the late great John Belushi.

In any other movie, his part probably would've been much bigger (that's what she said). But all jokes aside he's wisely used rather sparingly, glaring at us from the background until he's brought in to punch up the tension with his explosive temper and mercurial demeanor. Your eye can't help but wander over to this strange little man who's obvious talent tips both the show and film's scales towards greatness, even as everyone can already see the deep shadow starting to darken the doorway.

One underappreciated aspect of the biopic is the opportunity it gets to lend voices to people who wouldn't otherwise get a chance to tell their side of the story. With all the big egos swinging their dicks around Saturday Night, the spotlight smartly tends to swing more towards Garrett Morris, the token black member of the cast.

You probably wouldn't have thought much about Garrett Morris before going to see this movie. But my hope is that after seeing this you'll go Google him and then hopefully Hollywood will finally give him his flowers. Played with indignant dignity by newly minted Emmy winner Lamorne Morris (no relation), Garrett rightfully chafes against having to play into limited black stereotypes, especially given that he graduated from Juilliard and performed on Broadway.

And finally, I would be remiss not the mention the incredible women of Saturday Night.

Like very much of SNL's history, the female cast members and writers, especially Lorne's wife Rosie Shuster (played with tender grit by the incomparable Rachel Sennott), have had to fight tooth and nail to make their voices heard. The film takes great strides to spotlight Rosie as the great unsung hero of Saturday Night, giving meat to a supporting wife role that far too often comes delivered bareboned. One of the very favorite lines in the film has Rosie desiring to be a writer rather than a wife and eventually choosing to go by her maiden name in the show's credits, her supportive husband by her side.

Although not the focal point of the film, their efforts do manage to shine brightly through the cracks, giving us glimpses into sketchwork that would lay the groundwork for future SNL superstars like Tina Fey and Maya Rudolph.

The fact that they get to do it while harassing former teen star Dylan O'Brien (aka Stiles from Teen Wolf) is just an added bonus.

But in all seriousness, O'Brien makes for a fun, buoyant Dan Aykroyd.

Without trying very hard, Saturday Night would've been able to give older viewers a shot of nostalgia for the early days of SNL while also giving younger generations a great first step back into learning about the early history of SNL, a show which is currently airing its 50th season and still going strong. The fact that it's also a great movie is truly an added bonus and a gift to the state of current cinema.

At the end of it all, Saturday Night is able to prove that while a biopic doesn't have to get all the facts right, it certainly has to capture the vibe. And it certainly does so, making us feel what it was like to be there in Studio 8H during a chaotic October night in 1975, where the Not Ready for Primetime Players were just trying to put on a show.

[51kas81]

Cold Case 1.10 The Hitchhiker (2003)