#god this iteration lives in my head rent free I might fuck around and write another fic for it

[raphmybeloved]

Mama

This is a little fic I made for @idiot-mushroom 's Teenage Turtle Ninja Mutants iteration. This is not canon to that iteration but I was just thinking a lot about shitty parents who suck at boundaries and the combination of oldest daughter syndrome and this was born.

TW there is no actual incest but Splinter makes an incredibly poor taste joke along those lines that's uncomfy to read

Raph doesn’t know when her brothers first start calling her mama. They mostly use it to tease her or complain that he’s a mother henning them. She thinks there may have been a time where it annoyed her but these days he likes it. 

As far as nicknames go it’s pretty solid and better than the normal dipshit and dickface that they tend to call each other. 

It doesn’t bother her. Until it does.

At first none of them put any thought into Leo entering the kitchen with a “hey mama what’s cooking?” It’s practically a guaranteed reaction from Leo when he sees Raph wearing an apron. It's normal.

They aren’t thinking about the fact that Splinter is in the room.

“Mama?” Splinters asks and Raph watches her siblings all freeze. This could go bad. Splinter's parenting is one of those things he’s sensitive about and there's always a chance he’ll have a reaction even to something as small as a nickname.

Splinter laughs and Raph knows it should be her cue to relax like her brothers are doing but she just can’t. She just has a feeling of dread that keeps her shoulders tense.

“Oh Mama, that is hilarious. Raphael is such a good mama after all. Always taking care of cooking and cleaning! It’s like he is my little wife ha!” 

Raph watches her brothers relieved awkward smiles transform into uncomfortable grimaces. He has no idea what his own face looks like or even how to fix it to an appropriate expression. Splinter seems to be immune to the clear discomfort that is drowning the rest of them as he continues laughing.

“Alright ‘mama’ I am going out,” Splinter says, patting Raph on the back before heading to the door. “Make sure to put the kids in bed.” 

The silence after he closes the door is suffocating until it isn’t. His brother’s are talking but Raph doesn’t really know what they are saying. Everything is a little too fuzzy to understand and it's hard for Raph to fully comprehend anything except this feeling of wrongness..

She feels weird. She feels gross. He can’t even quite pinpoint why but the feeling just consumes her. Eventually he must have shaken it off even if he can’t remember doing so because suddenly he’s in bed and everyones eaten and the lights are out.

She has no choice but to try to fall asleep and ignore the phantom feeling of bugs crawling all over her.

Like a lot of things they don’t talk about it. Her brother’s stop calling him mama as much and she tries to ignore the feeling of wanting to vomit whenever splinter says it.

She would have probably continued to never talk about it if it wasn’t for Casey Jones.

It's a fire escape night. A routine for just Raph and Casey to look out at the city, eat snacks, and shoot the shit. No siblings, no responsibilities, just a flimsy little platform that could give out any moment and two teens who don’t care. 

“So is something up?” Casey asks. The snack of the night is sunflower seeds and Casey seems determined to get as many shells into a flower pot on a balcony across the alley between apartment buildings and is mostly failing at his goal.

“What do ya mean?” Raph asks. She wishes she could join Casey in his quest but he eats her sunflower shells whole in a way that horrifies her friends and family and therefore has nothing to throw. Instead she picks at her nail beds.

“You’ve been weird, Mikey called you mama and you flinched. You’ve never done that before.” Casey says and not for the first time Raph is reminded that Casey is far more observant than he lets on.

“It’s nothin,” Raph mutters. 

“C’mon you know I don’t believe that.” Casey stops his sunflower seed mission and turns to look at her. There's something about the look Casey is giving him that Raph actually wants to tell him. 

“Splinter caught on to them calling me ‘mama’ and now he's started doing it,” Raph tries to keep her voice even as she stares out into the city but she can feel the bitterness sink in. “Pretty sure he can tell I don’t like it but he won’t stop.”

There's a moment of quiet before Casey lets out a hiss of air from his teeth.

“That sucks.” There's another moment before Casey lets out a small laugh.

“What’s so funny asshole?” Raph says glaring at the boy who is unfortunately her best friend

“Your dad is such an ass that he accidentally validated your gender. I mean obviously he’s being a dick but it’s just kind of funny that he is doing it in a way that uses feminine terms after trying to ignore your whole deal for so long.” Casey snorts, “What a fucking idiot.”

Raph looks at Casey. In a way he’s right. Splinter has brushed off any attempt Raph made to come out and now he’s using a feminine term. Sure it’s in a shitty way. At best it’s a crappy consolation prize and it doesn’t fix the weird gross feeling but-

Casey is trying. Raph shared an actual feeling and Casey isn’t mocking isn’t ignoring he’s trying to make her feel better. It’s.. nice. It helps Raph push away that gross feeling Splinter brings.

“Yeah,” she says. “What an idiot.” 

Things aren’t really better. Splinter is still an ass and Raph is still stuck in a situation where he just has to deal with it but when Casey smiles at him it's not hard to smile back.  

She at least has that.

[contritecactite]

Radio Omens time!! Strap in for my subjective personal opinions made by one person about the full-cast radio adaptation of Good Omens.

We're gonna begin with: I am blowing kisses to the scripting/editing/production team. This thing is an impeccable adaptation. Im-pecc-a-ble. The voice talent is fantastic, the energy is stellar, the pacing is excellent, and the sheer amount of atmospheric info they managed to translate into radio-friendly format? Mwah mwah mwah. I think it's the kind of listening format that's not for everyone, but it is SO for me.

Time for some specific highlights! It was a long day so we're a little extra silly this time. It's also long and not in a reasonable order.

(Ok good my page cut is working this time.)

- Good GOD I forgot the primary voices were Like That. I shrieked (happily) as soon as Aziraphale's mouth opened. This is why I travel alone /hj

-- (Incidentally, I said "oh fuck holy shit I can't do this" when Crowley started talking, but I did it anyway *sighs in bisexual*)

- Hheeeennghsh the opening scene in Eden is. The way it's written successfully sets up who Aziraphale and Crowley are, who they're supposed to be to each other, and a hint at who they're going to be to each other later because they are SO delightfully snippy at one another in this scene. Aziraphale's "oh, it's you" and Crowley's "mmhm, yeah, well done on keeping demons away. Bravo" (heavily paraphrased) will be living rent-free in my head until I have time to write a fic about it.

- So, having Aziraphale do the early narration is an excellent way of setting the tone. What I need you to do, if you've only done tv omens (which is so so valid and I think really is another excellent adaptation), is remember Aziraphale's magician persona. And then imagine him being that for the entire story. The pitch, the rate of speech, the slightly frantic energy, the drama: it's all just part of his overarching character in radio omens, and it's SO good for storytelling.

- Radio Crowley knows what's in all of Aziraphale's infamous Bibles so well that he can quote them. I love this detail, I love it as a means of establishing their relationship during their "let's be godfathers" scene, and I love how hard he's ribbing poor Aziraphale about the extra verses in Genesis.

- Radio Crowley is SO like... tender? I mean, all Crowleys are to some extent Soft but something about this one has just a little extra something. I love the way he talks about his temptations and shenanigans. He's so proud. It eases what could feel like needless exposition because he really seems to like explaining his process.

- That's a bit of the same of what I mean about Aziraphale's personality. Since he's very obviously inclined to dramatize a story, exposition just fades neatly into his character rather than grating on the nerves.

- They reference The Arrangement a lot and usually with a great deal of affection. There's one particular time when they even acknowledge something about wanting to protect each other.

- I adore the way Anathema and her ties to Agnes are introduced. It's so concise but meaningful, and it's just the right amount of setup for her character appearing later.

- The baby swap scene in other iterations relies so much on descriptive narrative or visual language, but you know what? The heavily trimmed down version also works surprisingly well.

- Crowley knows about the hellhound way beforehand (and, of course, he tells Aziraphale. They plan their roles for the party years in advance, which is an extremely efficient way of communicating about that scene to the listener).

- At Warlock's party in the book, Crowley gets all suspicious about a gerbil being gifted to him. In the radio drama, Aziraphale wonders aloud if the gerbil might be suspicious and Crowley tells him not to be stupid. Just struck me as a funny thing to shuffle around.

- Adult radio Anathema is everything to me actually.

- Poor Newt's childhood gets skipped over (unless I missed it, which is possible), but I liked his adult introduction as well; it brings in the whole Witchfinder-adjacent cast at once and makes it super clear how they all know each other without lingering.

- Shadwell. Just. The actor's voicework is so evocative of someone who is very gesturally expressive. There's no way he wasn't swinging his hands around in the recording space.

- The Them are all 100% perfect. Shout-out to Adam for that mind-rending scream that I was not expecting to go on for so long. Interestingly, in chapter credits, the Them are not grouped with the humans! This makes sense, but it also made my brain go !!!

- The horsepeople (both original and extra) were also so good, and that chunk of the cast gave the impression of good chemistry, so the scenes were really fun.

- Crowley says Aziraphale's name a lot. A lot a lot. Actually, most people do; probably for simplicity's sake, there's no "Mr. Fell," or "Nanny Ashtoreth," just "Mr. Aziraphale" and "Mr. Crowley."

- Well, Shadwell does say "Mr. A," and there is a Brother Francis.

- One of Nanny's rules for Warlock is "don't talk to the creepy gardener" rkahjdjs Crowley what is wrong with you

- I did in fact let out another sound when the Nanny voice happened. We're not talking about it.

- When applying for the jobs, Aziraphale just straight up calls dibs on gardener and Crowley complains and says something like "can you see me in a skirt?" and Aziraphale just pulls a date at random on which he'd seen Crowley in a skirt. This was probably also in the book, but I noticed it here and didn't there.

- Crowley's idea of something calming to listen to was a radio gardening talk show ;~; and he likes listening to televangelists for the lulz (I have never used that phrase before in my life but I'm keeping it)

- Having him hear Aziraphale possessing the televangelist was absolute genius for keeping the plot cohesive.

- Seance scene continues to be painful ahahaha...

- Hell's emissaries know that Aziraphale was discorporated and they're mean to Crowley about it in a way that implies Hell has long been aware that they're working together. Intriguing...

- There's mention at some point about how no homes in Tadfield have PlayStations or Xboxes, and I think that's a cool bit of writing to establish the time period (along with Newt bricking smartphones, which I think was said at least in breadcrumbs).

- Almost forgot, but Mr. Gaiman and Sir Terry Pratchett being the policemen trying to book Crowley for speeding in the beginning is so cute.

- When Satan is about to show up, Aziraphale worrying about everyone else and Crowley going "and me!" like hello, I am also in danger, that's my boss?? if u even care?? was SO funny in this version to me.

- Look, there were a lot more things, but it's already been several hours since it ended, so I'm sure I'm forgetting many.

- Oh! Pepper's backstory being transformed into her speech to Adam was SO good on so many levels. It really drove home that Adam does love his friends, it deepened their lore gradually, it made Adam's role and decisions very clear, and it also struck me as "Pepper says trans rights" even if that wasn't the intention, so hell yeah.

- The gag reel leads me to believe that Peter Serafinowicz is A) probably the funniest person alive to work with and B) extremely relatable due to the amount of time spent on the struggle bus. Also whoever put the breaking glass sound over all the accidental swears, I love you forever.

[xoruffitup]

Annette: The AD Devotee Review

So I saw Annette on its premiere night in Cannes and I’m still trying to process and make sense of those 2.5 hours of utter insanity. I have no idea where to begin and this is likely going to become an unholy length by the time I’m finished, so I apologize in advance. But BOY I’ve got a lot to parse through!!

Let’s start here: Adam’s made plenty of weird movies. The Dead Don’t Die? The Man Who Killed Don Quixote? There are definitely Terry Gilliam-esque elements of the unapologetically absurd and fantastical in Annette, but NOTHING comes close to this film. To put it bluntly, nothing I write in this post can prepare you for the eccentric phantasmagoria you’re about to sit through.

While the melodies conveying the story – at times lovely and haunting, at times whimsical, occasionally blunt and simple – add a unique sense of the surreal, the fact that it’s all presented in song somehow supplies the medium for this bizarre concoction of disparate elements and outlandish storytelling to all coalesce into a single genre-defying, disbelief-suspending whole. That’s certainly not to say there weren’t a few times when I quietly chortled to myself and mouthed “what the fuck” from behind my mask when things took an exceeding turn to the outrageous. This movie needs to be permitted a bit of leeway in terms of quality judgments, and traditional indicators certainly won’t apply. I would say part of its appeal (and ultimately its success) stems from its lack of interest in appealing to traditional arbiters of film structure and viewing experience. The movie lingers in studies of discomfiture (I’ll return to this theme); it presents all its absurdities with brazen pride rather than temperance; and its end is abrupt and utterly jarring. Yet somehow, at the end of it, I realized I’d been white-knuckling that rollercoaster ride the whole way through and loved every last twist and turn.

A note on the structure of this post before I dive in: I’ve written out a synopsis of the whole film (for those spoiler-hungry people) and stashed it down at the bottom of this post, so no one trying to avoid spoilers has to scroll through. If you want to read, go ahead and skip down to that before reading the discussion/analysis. If I have to reference a specific plot point, I’ll label it “Spoiler #___” and those who don’t mind being spoiled can check the correlating numbers in my synopsis to see which part I’m referencing. Otherwise, my discussion will be spoiler-free! I do detail certain individual scenes, but hid anything that would give away key developments and/or the ending.

To start, I’ll cut to what I’m sure many of you are here for: THE MUSICAL SEX SCENES. You want detailed descriptions? Well let’s fucking go because these scenes have been living in my head rent-free!!

The first (yes, there are two. Idk whether to thank Mr. Carax or suggest he get his sanity checked??) happens towards the end of “We Love Each Other So Much.” Henry carries Ann to the bed with her feet dangling several inches off the floor while she has her arms wrapped around his shoulders. (I maybe whimpered a tiny bit.) As they continue to sing, you first see Ann spread on her back on the bed, panting a little BUT STILL SINGING while Henry’s head is down between her thighs. The camera angle is from above Ann’s head, so you can clearly see down her body and exactly what’s going on. He lifts his head to croon a line, then puts his mouth right back to work. 

And THEN they fuck – still fucking singing! They’re on their sides with Henry behind her, and yes there is visible thrusting. Yes, the thrusting definitely picks up speed and force as the song reaches its crescendo. Yes, it was indeed EXTREMELY sensual once you got over the initial shock of what you’re watching. Ann kept her breasts covered with her own hands while Henry went down on her, but now his hands are covering them and kneading while they’re fucking and just….. It’s a hard, blazing hot R rating. I also remember his giant hand coming up to turn her head so he can kiss her and ladkjfaskfjlskfj. Bring your smelling salts. I don’t recommend sitting between two older ladies while you’re watching – KINDA RUINED THE BLATANT, SMOKING HOT ADAM PORN FOR ME. Good god, choose your viewing buddy wisely!

The second scene comes sort of out of nowhere – I can’t actually recall which song it was during, but it pops up while Ann is pregnant. Henry is again eating her out and there’s not as much overt singing this time, but he has his giant hands splayed over her pregnant belly while he’s going to town and whew, WHEW TURN ON THE AIR CONDITIONING PLEASE. DID THE THEATER INCREASE IN TEMPERATURE BY 10 DEGREES, YOU’RE DAMN RIGHT IT DID.

Whew. I think you’ll be better primed to ~enjoy~ those scenes when you know they’re coming, otherwise it’s just so shocking that by the time you’ve processed “Look at Adam eating pussy with reckless abandon” it’s halfway over already. God speed, my fellow rats, it’s truly something to witness!!

Okay. Right. Ahem. Moving right on along….

I’ll kick off this discussion with the formal structure of the film. It’s honestly impossible to classify. I have the questionable fortune of having been taken to many a strange avant-garde operas and art exhibitions by my parents when I was younger, and the strongest parallel I found to this movie was melodramatic opera stagings full of flamboyant flourishes, austere set pieces, and prolonged numbers where the characters wallow at length in their respective miseries. This movie has all the elevated drama, spectacle, and self-aggrandizement belonging to any self-professed rock opera. Think psychedelic rock opera films a la The Who’s Tommy, Hair, Phantom of the Paradise, and hell, even Rocky Horror. Yes, this film really is THAT weird.

But Annette is also in large part a vibrant, absurdist performance piece. The film is intriguingly book-ended by two scenes where the lines blur between actor and character; and your own role blurs between passive viewer and interactive audience. The first scene has the cast walking through the streets of LA (I think?), singing “So May We Start?” directly to the camera in a self-aware prologue, smashing the fourth wall from the beginning and setting up the audience to play a direct role in the viewing experience. Though the cast then disburse and take up their respective roles, the sense of being directly performed to is reinforced throughout the film. This continues most concretely through Henry’s multiple stand-up comedy performances.

Though he performs to an audience in the film rather than directly to live viewers, these scenes are so lengthy, vulgar, and excessive that his solo performance act becomes an integral part of defining his character and conveying his arc as the film progresses. These scenes start to make the film itself feel like a one-man show. The whole shtick of Henry McHenry’s “Ape of God” show is its perverse irreverence and swaggering machismo. Over the span of what must be a five minute plus scene, Henry hacks up phlegm, pretends to choke himself with his microphone cord, prances across the stage with his bathrobe flapping about, simulates being shot, sprinkles many a misanthropic, charmless monologues in between, and ends by throwing off his robe and mooning the audience before he leaves the stage. (Yes, you see Adam’s ass within the film’s first twenty minutes, and we’re just warming up from there.) His one-man performances demonstrate his egocentrism, penchant for lowbrow and often offensive humor, and the fact that this character has thus far profited from indulging in and acting out his base vulgarities.

While never demonstrating any abundance of good taste, his shows teeter firmly towards the grotesque and unsanctionable as his marriage and mental health deteriorate. This is what I’m referring to when I described the film as a study in discomfiture. As he deteriorates, the later iterations of his stand-up show become utterly unsettling and at times revolting. The film could show mercy and stop at one to two minutes of his more deranged antics, but instead subjects you to a protracted display of just how insane this man might possibly be. In Adam’s hands, these excessive, indulgent performance scenes take on disturbing but intriguing ambiguity, as you again wonder where the performance ends and the real man begins. When Henry confesses to a crime during his show and launces into an elaborate, passionate reenactment on stage, you shift uncomfortably in your seat wondering how much of it might just be true. Wondering just how much of an animal this man truly is.

Watching this film as an Adam fan, these scenes are unparalleled displays of his range and prowess. He’s in turns amusing and revolting; intolerable and pathetic; but always, always riveting. I couldn’t help thinking to myself that for the casual, non Adam-obsessed viewer, the effect of these scenes might stop at crass and unappealing. But in terms of the sheer range and power of acting on display? These scenes are a damn marvel. Through these scenes alone, his performance largely imbues the film with its wild, primal, and vaguely menacing atmosphere.

His stand-up scenes were, to me, some of the most intense of the film – sometimes downright difficult to endure. But they’re only a microcosm of the R A N G E he exhibits throughout the film’s entirety. Let’s talk about how he’s animalistic, menacing, and genuinely unsettling to watch (Leos Carax described him as “feline” at some point, and I 100% see it); and then with a mere subtle twitch of his expression, sheen of his eyes, or slump of his shoulders, he’s suddenly a lost, broken thing.  

Henry McHenry is truly to be reviled. Twitter might as well spare their breath and announce he’s already cancelled. He towers above the rest of the cast with intimidating, predatory physicality; he is prone to indulgence in his vices; and he constantly seems at risk of releasing some wild, uncontrollable madness lingering just beneath his surface. But as we all well know, Adam has an unerring talent for lending pathos to even the most objectively condemnable characters.

In a repeated refrain during his first comedy show, the audience keeps asking him, “Why did you become a comedian?” He dodges the question or gives sarcastic answers, until finally circling back to the true answer later in the film. It was something to the effect of: “To disarm people. It’s the only way I can tell the truth without it killing me.” Even for all their sick spectacle, there are also moments in his stand-up shows of disarming vulnerability and (seeming) honesty. In a similar moment of personal exposition, he confesses his temptation and “sympathy for the abyss.” (This phrase is hands down my favorite of the film.) He repeatedly refers to his struggle against “the abyss” and, at the same time, his perceived helplessness against it. “There’s so little I can do, there’s so little I can do,” he sings repeatedly throughout the film - usually just after doing something horrific.

Had he been played by anyone else, the first full look of him warming up before his show - hopping in place and punching the air like some wannabe boxer, interspersing puffs of his cigarette with chowing down on a banana – would have been enough for me to swear him off. His archetype is something of a cliché at this point – a brusque, boorish man who can’t stomach or preserve the love of others due to his own self-loathing. There were multiple points when it was only Adam’s face beneath the character that kept my heart cracked open to him. But sure enough, he wedged his fingers into that tiny crack and pried it wide open. The film’s final few scenes show him at his chin-wobbling best as he crumbles apart in small, mournful subtleties.

(General, semi-spoiler ahead as to the tone of the film’s ending – skip this paragraph if you’d rather avoid.) For a film that professes not to take itself very seriously (how else am I supposed to interpret the freaky puppet baby?), it delivers a harsh, unforgiving ending to its main character. And sure enough, despite how much I might have wanted to distance myself and believe it was only what he deserved, I found myself right there with him, sharing his pain. It is solely testament to Adam’s tireless dedication to breathing both gritty realism and stubborn beauty into his characters that Henry sank a hook into some piece of my sympathy.

Not only does Adam have to be the only actor capable of imbuing Henry with humanity despite his manifold wrongs, he also has to be the only actor capable of the wide-ranging transformations demanded of the role. He starts the movie with long hair and his full refrigerator brick house physique. His physicality and size are actively leveraged to engender a sense of disquiet and unpredictability through his presence. He appears in turns tormented and tormentor. There were moments when I found myself thinking of Conan the Barbarian, simply because his physical presence radiates such wild, primal energy (especially next to tiny, dainty Marion and especially with that long hair). Cannot emphasize enough: The raw sex appeal is off the goddamn charts and had me – a veteran fangirl of 3+ years - shook to my damn core.

The film’s progression then ages him – his hair cut shorter and his face and physique gradually becoming more gaunt. By the film’s end, he has facial prosthetics to make him seem even more stark and borderline sickly – a mirror of his growing internal torment. From a muscular, swaggering powerhouse, he pales and shrinks to a shell of a man, unraveling as his face becomes nearly deformed by time and guilt. He is in turns beautiful and grotesque; sensual and repulsive. I know of no other actor whose face (and its accompanying capacity for expressiveness) could lend itself to such stunning versatility.

Quick note here that he was given a reddish-brown birthmark on the right side of his face for this film?? It becomes more prominent once his hair is shorter in the film’s second half. I’m guessing it was Leos’ idea to make his face even more distinctive and riveting? If so, joke’s on you, Mr. Carax, because we’re always riveted. ☺

I mentioned way up at the beginning that the film is bookended by two scenes where the lines blur between actor and character, and between reality and performance. This comes full circle at the film’s end, with Henry’s final spoken words (this doesn’t give any plot away but skip to the next paragraph if you would rather avoid!) being “Stop watching me.” That’s it. The show is over. He has told his last joke, played out his final act, and now he’s done living his life as a source of cheap, unprincipled laughs and thrills for spectators. The curtain closes with a resounding silence.

Now, I definitely won’t have a section where I talk (of course) about the Ben Solo parallels. He’s haunted by an “abyss” aka darkness inside of him? Bad things happened when he finally gave in and stared into that darkness he knew lived within him? As a result of those tragedies, (SPOILER – Skip to next paragraph to avoid) he then finds himself alone and with no one to love or be loved by? NO I’M DEFINITELY NOT GOING TO TALK ABOUT IT AT ALL, I’M JUST FINE HERE UNDER MY MOUNTAINS OF TISSUES.

Let’s talk about the music! The film definitely clocks in closer to a rock opera than musical, because almost the entire thing is conveyed through ongoing song, rather than self-contained musical numbers appearing here and there. This actually helps the film’s continuity and pacing, by keeping the characters perpetually in this suspended state of absurdity, always propelled along by some beat or melody. Whenever the film seems on the precipice of tipping all the way into the bleak and dark, the next whimsical tune kicks in to reel us all blessedly back. For example, after (SPOILER #1) happens, there’s a hard cut to the bright police station where several officers gather around Henry, bopping about and chattering on the beat “Questions! We have a few questions!”

Adam integrates his singing into his performance in such a way that it seems organic. I realized after the film that I never consciously considered the quality of his singing along the way. For all that I talked about the film maintaining the atmosphere of a fourth wall-defying performance piece, Adam’s singing is so fully immersed in the embodiment of his character that you almost forget he’s singing. Rather, this is simply how Henry McHenry exists. His stand-up scenes are the only ones in the film that do frequently transition back and forth between speaking and singing, but it’s seamlessly par for the course in Henry’s bizarre, dour show. He breaks into his standard “Now laugh!” number with uninterrupted sarcasm and contempt. There were certainly a few soft, poignant moments when his voice warbled in a tender vibrato you couldn’t help noticing – but otherwise, the singing was simply an extension of that full-body persona he manages to convey with such apparent ease and naturalism.

On the music itself: I’ll admit that the brief clip of “We Love Each Other So Much” we got a few weeks ago made me a tad nervous. It seemed so cheesy and ridiculous? But okay, you really can’t take anything from this movie out of context. Otherwise it is, indeed, utterly ridiculous. Not that none of it is ever ridiculous in context either, but I’m giving you assurances right now that it WORKS. Once you’re in the flow of constant singing and weirdness abound, the songs sweep you right along. Some of the songs lack a distinctive hook or melody and are moreso rhythmic vehicles for storytelling, but it’s now a day later and I still have three of the songs circulating pleasantly in my head. “We Love Each Other So Much” was actually the stand out for me and is now my favorite of the soundtrack. It’s reprised a few times later in the film, growing increasingly melancholy each time it is echoed, and it hits your heart a bit harder each time. The final song sung during (SPOILER #2), though without a distinctive melody to lodge in my head, undoubtedly left me far more moved than a spoken version of this scene would have. Adam’s singing is so painfully desperate and earnest here, and he takes the medium fully under his command.

Finally, it does have to be said that parts of this film veer fully towards the ridiculous and laughable. The initial baby version of the Annette puppet-doll was nothing short of horrifying to me. Annette gets more center-stage screen time in the film’s second half, which gives itself over to a few special effects sequences which look to be flying out at you straight from 2000 Windows Movie Maker. The scariest part is that it all seems intentional. The quality special effects appear when necessary (along with some unusual and captivating time lapse shots), which means the film’s most outrageous moments are fully in line with its guiding spirit. Its extravagant self-indulgence nearly borders on camp.

...And with that, I’ve covered the majority of the frantic notes I took for further reflection immediately after viewing. It’s now been a few days, and I’m looking forward to rewatching this movie when I can hopefully take it in a bit more fully. This time, I won’t just be struggling to keep up with the madness on screen. My concluding thoughts at this point: Is it my favorite Adam movie? Certainly not. Is it the most unforgettable? Aside from my holy text, The Last Jedi, likely yes. It really is the sort of thing you have to see twice to even believe it. And all in all, I say again that Adam truly carried this movie, and he fully inhabits even its highest, most ludicrous aspirations. He’s downright abhorrent in this film, and that’s exactly what makes him such a fucking legend.

I plan to make a separate post in the coming days about my experience at Cannes and the Annette red carpet, since a few people have asked! I can’t even express how damn good it feels to be globetrotting for Adam-related experiences again. <3

Thanks so much for reading! Feel free to ask me any further questions at all here or on Twitter! :)

*SYNOPSIS INCLUDED BELOW. DO NOT READ FURTHER IF AVOIDING SPOILERS!*

Synopsis: Comedian Henry McHenry and opera singer Ann Defrasnoux are both at the pinnacle of their respective success when they fall in love and marry. The marriage is happy and passionate for a time, leading to the birth of their (puppet) daughter, Annette. But tabloids and much of the world believe the crude, brutish Henry is a poor match for refined, idolized Ann. Ann and Henry themselves both begin to feel that something is amiss – Henry gradually losing his touch for his comedy craft, claiming that being in love is making him ill. He repeatedly and sardonically references how Ann’s opera career involves her “singing and dying” every night, to the point that he sees visions of her “dead” body on the stage. Meanwhile, Ann has a nightmare of multiple women accusing Henry of abusive and violent behavior towards them, and she begins growing wary in his presence. (He never acts abusively towards her, unless you count that scene when he tickles her feet and licks her toes while she’s telling him to stop??? Yeah I know, WILD.)

The growing sense of unease, that they’re both teetering on the brink of disaster, culminates in the most deranged of Henry’s stand-up comedy performances, when he gives a vivid reenactment of killing his wife by “tickling her to death.” The performance is so maudlin and unsettling that you wonder whether he’s not making it up at all, and the audience strongly rebukes him. (This is the “What is your problem?!” scene with tiddies out. The full version includes Adam storming across the stage, furiously singing/yelling, “What the FUCK is your problem?!”) But when Henry arrives home that night, drunk and raucous, Ann and Annette are both unharmed.

The couple take a trip on their boat, bringing Annette with them. The boat gets caught in a storm, and Henry drunkenly insists that he and Ann waltz in the storm. She protests that it’s too dangerous and begs him to see sense. (SPOILER #1) The boat lurches when Henry spins her, and Ann falls overboard to her death. Henry rescues Annette from the sinking boat and rows them both to shore. He promptly falls unconscious, and a ghost of Ann appears, proclaiming her intention to haunt Henry through Annette. Annette (still a toddler at this point and yes, still a wooden puppet) then develops a miraculous gift for singing, and Henry decides to take her on tour with performances around the world. He enlists the help of his “conductor friend,” who had been Ann’s accompanist and secretly had an affair with her before she met Henry.

Henry slides further into drunken debauchery as the tour progresses, while the Conductor looks after Annette and the two grow close. Once the tour concludes, the Conductor suggests to Henry that Annette might be his own daughter – revealing his prior affair with Ann. Terrified by the idea of anyone finding out and the possibility of losing his daughter, Henry drowns the Conductor in the pool behind his and Ann’s house. Annette sees the whole thing happen from her bedroom window.

Henry plans one last show for Annette, to be held in a massive stadium at the equivalent of the Super Bowl. But when Annette takes the stage, she refuses to sing. Instead, she speaks and accuses Henry of murder. (“Daddy kills people,” are the actual words – not that that was creepy to hear as this puppet’s first spoken words or anything.)

Henry stands trial, during which he sees an apparition of Ann from when they first met. They sing their regret that they can’t return to the happiness they once shared, until the apparition is replaced by Ann’s vengeful spirit, who promises to haunt Henry in prison. After his sentencing (it’s not clear what the sentence was, but Henry definitely isn’t going free), Annette is brought to see him once in prison. Speaking fully for the first time, she declares she can’t forgive her parents for using her: Henry for exploiting her voice for profit and Ann for presumably using her to take vengeance on Henry. (Yes, this is why she was an inanimate doll moving on strings up to this point – there was some meaning in that strange, strange artistic choice. She was the puppet of her parents’ respective egotisms.) The puppet of Annette is abruptly replaced by a real girl in this scene, finally enabling two-sided interaction and a long-missed genuine connection between her and Henry, which made this quite the emotional catharsis. (SPOILER #2) It concludes with Annette still unwilling to forgive or forget what her parents have done, and swearing never to sing again. She says Henry now has “no one to love.” He appeals, “Can’t I love you, Annette?” She replies, “No, not really.” Henry embraces her one last time before a guard takes her away and Henry is left alone.

…..Yes, that is the end. It left me with major emotional whiplash, after the whole film up to this point kept pulling itself back from the total bleak and dark by starting up a new toe-tapping, mildly silly tune every few minutes. But this last scene instead ends on a brutal note of harsh, unforgiving silence.

BUT! Make sure you stick around through the credits, when you see the cast walking through a forest together. (This is counterpart to the film’s opening, when you see the cast walking through LA singing “So May We Start?” directly to the audience) Definitely pay attention to catch Adam chasing/playing with the little girl actress who plays Annette! That imparts a much nicer feeling to leave the theater with. :’)