#having a twin who can make screen accurate props

[puffins-studio]

Journal 3 🌲🌈

This was what I made my twin for his birthday. I didn’t know what to make him as usually he ask for a curtain thing and my default for him is gravity falls as he love the show. I send him wonder twins gifs and he demanded gravity falls gifs instead

I feel like it very Mabel of me to make this especially in 2 days

I know the binding is a bit off on the back but I really didn’t want to re do the whole thing as I didn’t know how long it would have taken and it hand made so it adds character

I literally pulled out all the notebooks and sketchbooks and took pages out of all of them to make this. It have different paper of different weights, even watercolor paper and I added a think broad so he could pain in the book. I added a pocket for tracing paper and a rebinded a line page booklet so it matches

And if you were wondering this was the wrapping paper I used haha

[ID: a 3D prop of the Gravity falls 3rd Journal . The inside is a sketchbook. With the ribbon and tassels. The last picture the book wrapped in butterflies paperID]

[sapphiics]

Didn’t we almost have it

a/n: I heavily suggest listening to Dammit by Jana Kramer while reading this, it is where I got the entire plot from.

dt: to my dear @morcias because who else just loves morcia so much. plus I asked her a million questions to help me figure out details for this.

word count: 3k

content warning: it’s angsty(?) and quite sad but with a very happy ending.

-----

God did Penelope hate driving through Illinois.

The only reason she was coming back was for the bridal shower of a girlfriend from college, otherwise she would’ve stayed in California, where she was at least a good thousand miles away from this place.

All it did was make her nostalgic, almost painfully so. The entire state serving as a physical reminder of her old life. One she had not a chance in hell of getting back.

The urge to race her car to the nearest ‘Leaving Illinois’ sign coming over her yet again, Penelope makes a right turn onto Commonwealth avenue. Christina’s house was only five minutes from where she was.

It was the walkway that first drew her eye. A stone path, small flowers lining it. She could almost hear his heavy footsteps getting louder as he jogs to greet her, meeting Penelope in the middle with a chaste kiss as she hauls grocery bags under her arms, enough food for four. 

As she nears closer, her eyes travel up the length of the two-story building, it’s utter perfectness painfully pressing into her like a stab to the gut. It took every ounce of restraint that she possessed not to slam the brakes and just gawk at the vision in front of her.

That was the house.

The dream house. The one the two of them fantasized about back in college. Penelope can practically see the late nights they spent in her dorm, cramped together on her twin bed, their fingers intertwined. His free hand running over her head, pushing her hair back behind her ear and tilting her into his shoulder. Hushed planning of their happily ever after. She can hear his voice whispering in her ear, about how they would have two perfect daughters. He would be a FBI agent, and she would work for a nonprofit organization. He’d cook, she’d clean, he would take care of the lawn, she’d do the laundry.

That was the plan. Their own special, simple, linear plan.

Until real life happened, essentially taking those plans and throwing it off a cliff. That’s all it was now, a pretty daydream to keep Penelope from having to accept the fact that nothing in her life is going like she hoped, and she’s probably going to end up alone.

None of that stopped her from turning into the lot of the house, the door slightly cracked open. A large ‘For Sale’ sign hung on it. 

Giving her the perfect opportunity to see what she could’ve had. To spend a few fleeting moments dreaming of the life she would’ve had with him.

Finally found that dream house, and yet the dream guy was long gone.

Her hands shakier than she would’ve liked, Penelope slowly steps out of her car, the two story home everything she ever envisioned.

The path up to the house was lined with daffodils, she could see as she passed them. The front door was a smooth dark brown. Solid wood, contrasting with the otherwise creme exterior of the house.

That would’ve been his touch. He always liked that building and renovating stuff, she could almost hear him begging her to let him remodel the place. To really ‘make it their home.’

The entrance didn’t nothing to deter her, the arching ceilings and oak floors straight out of her most vivid dreams. The arches reminded her of college. Charles Deering Memorial Library, to be specific. She had always liked the gothic architecture, and even he could admit that the towering building’s medieval influence was well executed. And that chill day in March, the ninth, to be exact, when they first met. She was working there part-time, and he needed something from the football archives.

It was his smile that drew her in, his eyes drawn up real small as he flashed her two rows of perfect teeth. 

What she would give for one of those smiles right about now.

An embarrassingly loud gasp left her mouth as she walked in further. Ahead of her were a pair of large black couches, perpendicular to each other. A grand fireplace in front of them, an open space perfect for a nice big flat screen.

Hockey. That’s what would be playing. He was huge on the sport, and her mind drifted to an image of the two of them sitting on the couch. Him in a worn out jersey and his lucky socks, her in his beat leather jacket, feet propped up in his lap. She has headphones and her knitting, he has a beer she steals sips of and has a loose grip on her ankle, his fingers pressing against the small tattoo she got the day she turned eighteen. Just like old times.

Without even glimpsing at the side door that led to the kitchen, Penelope could already visualize him sitting on the counter. A soft white tee and some sweatpants, strumming on her ukulele and singing some old 90s ballad off key while she chopped vegetables. Later that night, after their girls went to bed, the two of them dancing together to her parents’ old record player. An old Bee Gees song softly in the background as they sway.

Her mind racing, she’s already thinking of summer barbecues. Her and JJ drinking margaritas in the shade, their children’s laughter bringing a grin to her face. Him talking it up with Rossi about god knows what as he mans the grill. The sun setting as he takes a seat next to her, tugging her into his side and placing a small kiss on the side of her head.

The overwhelming realization that Penelope is never going to get that future, never going to have the future she so desperately wanted with him, hit her harder than ever in that moment.

And next thing she knows she can feel tears running down her cheeks. Alone, in the middle of an open house in the one state, the one city she vowed to never return to, and she’s sobbing like a baby.

“Well Hello Miss!” ,a kind old woman steps out, shocking Penelope back to reality, “You here for the house?”

 “Yes,“ she says softly, hastily wiping at her face,  “Yes I am. Just a quick look around.” Her hands swipe at her dress, trying to regain even a semblance of composure, “You have a beautiful home.”

The woman casts her a sympathetic smile,

“Thank you. Me and Sarah have lived here for over forty years. We raised our five children in these very walls,” the lady beams, a smile coming over her face as she looks around the room, 

“We figured that with them all gone and us not getting any younger, we could downsize just a bit.”

Penelope let out a polite laugh, but stayed silent otherwise.

“You stay for as long as you like! My name’s Carolyn by the way. Let me know if you need anything!”

“Penelope, and thank you,” she smiles at her, Carolyn returning to the back of the house.

Penelope’s eyes catch onto the grand staircase, passing over the perfect crème walls and carpet flooring.

Her feet moved towards it, the view before her so accurate to her vision that it was like somebody reached into her brain and pulled out the design themselves. She needed to have this place.

Right before she can take a step on the stairs, she sees Carolyn return, a dimmed smile on her face.

“I’d like to buy the house,” Penelope states confidently. She couldn’t possibly leave here without having it.

It didn’t matter that she lived across the country, with decent enough friends and a steady job. This was the house, and if she had the chance to get at least one part of the dream, she damn sure was going to take the opportunity.

Carolyn winces, a regretful look on her face. “I’m so sorry Penelope, we just had somebody place an offer for it.”

“Oh,” Penelope’s eyes widen slightly, and she can feel the tears pushing their way to the surface. For just a second, she let herself get entranced by the home, and it hurt more than she was willing to admit that she couldn’t have it.

“Are you looking for a similar house ? There’s one just in Fullerton Road, and I believe it is on sale.”

“No I… I just got caught up,” Penelope waves her hand around the side of her head, her cheeks turning red, “It’s okay, an amazing family deserves this home.”

“Actually, the young man who purchased the place is with Sarah in the back right now. He’s already thinking of renovating the place.”

“Sounds great,” Penelope mused, wanting to be anywhere but here. At least a loving family is getting this house. She just hoped they were as happy as she once imagined she would be.

“Here they are,“  Carolyn announces, adding to Penelope’s discomfort. She had to leave, and fast. The last thing she wanted to see was the happy husband who bought this place to catch her, essentially a random stranger, crying in his kitchen.

“Is your family nearby? Why didn’t they come?” A woman, Penelope could only assume was Sarah, Carolyn’s wife, was talking to the new owner of the house. Penelope stiffened, the awkwardness of the situation palpable.

A deep laugh comes from the other person, and she could hear the two people approaching. “Nope, I’m a single man.”

“What the hell did you need such a big house for then?” Sarah quips.

“Just,” the guy takes a resigned breath, “Just wishful thinking I guess.“

Penelope could hear her heartbeats, the sound thrumming loudly in her ears. She shut her eyes, squeezing them to the point of something akin to pain. This couldn’t be happening. This could just be a terrible dream, and when she opened them, she would be waking up in her apartment. Back home, where she was away from her old life here. Safely away from the love of her life, whose voice she just heard for the first time in five years.

“Sarah, this is Penelope. She just stopped by to look at the house.”

Penelope reluctantly turns, peeling her eyes open. To her disappointment, she was still standing in the swept sold house. Still back in her college town.

Still right in front of her ex-fiancé, one she’s just as irrevocably in love with as she was the day he proposed.

“Derek,” she lets out quietly, drinking in everything about him. He’s only gotten better-looking, and Penelope has always been attracted to him.

It was his face, his eyes to be specific, that captured her in this moment.

Because instead of the resentment and anger she had expected, she had deserved, all that was there was a small shimmer of hope. A sliver of hope that she almost cried tears of relief at seeing. Hope she had given up on ever having until she saw it in his face. The same look reflected in her own eyes.

“Penelope.” 

His voice usually stern, she can hear the small waver in his tone. Like he’s just as affected by her as she is him.

Even after all these years, she can’t help but melt when it comes to Derek. It was like her innermost self just knew him, recognized that he, no matter how far apart they were, was always going to have a part of her heart. A power over her that she would never give to any other person.

Yet looking into Derek’s eyes, the only man to ever capture her heart, Penelope could’ve sworn he was feeling the same way she did.

“So, um, we’ll just leave you two for now,”  Carolyn’s eyes clearly wide as she drags her wife outside of the kitchen, leaving the pair alone together.

Derek walks a couple steps closer to her, the smell of nice cologne wafting to her nose as he moves near.

He opened his mouth, almost as if he were about to start speaking, but Penelope catches his small sigh and the twitch of his hands.

They were so close, closer than they had been in years, yet that short distance felt wider than the thousands of miles she had made sure to have between them for the past half a decade.

The lack of touch. That’s what was halting them.

They were always touching one another. It was an unspoken language, just for the two of them to understand. 

To be so close yet not touching, it felt so inorganic to Penelope, so abnormal.

Penelope looks just a little off to the right of him, his presence too overwhelming. He was examining her, and the quiet was anxious.

“Why didn’t you take the ring?” Derek spits out, his low voice subdued by the hurt she could just hear in his voice. “ I could handle how you left, no note or calls. But you left me your ring Penelope.”

She thought she was prepared for this, the anger he would have for her. But hearing the words in real time, from Derek himself, made her stomach turn. A ball of nausea tossed in her stomach, Derek’s pain something that never failed to physically wound Penelope.

“Derek...,” her heart breaking at how much she affected him.

“Did I,” he pauses, sucking in a shallow breath, “Did we mean that little to you?”

“No.” She locks onto his eyes at that, holding his stare. “You- us, that was everything to me.” A fierceness was in her voice that shocked her, and at the look of his slightly widened stare, she wasn’t the only one. The idea that Derek for a second could fathom the idea that he wasn’t the love of her life, her soulmate, was a stake to the heart.

“Was it marriage? Was it not wanting to be married? Because you could’ve told me.”

Surprising her own self, she moves in a half-step, her hands enclosing one of Derek’s clenched ones. Her fingers act on instinct, sliding through his, rubbing her thumb on the back of his index finger. Five years and his fingers still naturally close around hers .

Her teeth firmly sunk into the flesh on the back of her lip, she peers up at Derek, his expression unreadable. He was always better at the reading people thing, it was like second nature to him.

“I promise you, Derek Morgan, there is nothing I have ever wanted more than to marry you.”

Feeling his hand tighten around hers, glancing up to see his brows pulling together, she pushes on, needing to express to him her every feeling. “ You didn’t deserve what I did, and there hasn’t been a day that’s gone by when I didn’t feel like the luckiest person in the world to have such an amazing guy.”

“ I am so,” words that she’s been practicing for years suddenly getting clogged in her throat, making every word come out like a croak, “ so sorry for ever hurting you.”

Tears burning behind her eyes, nothing stuns her more than when Derek cups her face, his large palm enclosing her cheek as he runs his fingers lightly through her hair. 

“Is it the house?”

Taken aback, Penelope jolts her head upward. “What?”

His hand now on her shoulder, he turns her to the right, giving her a wider view of the home.

“Is it the right house?”

“It’s the perfect house.” Her voice trailing off at the end.

She faces Derek, his lips pressed together like he’s trying not to say something.

“We could- we could still have it.” His eyes looking at their hands, in a way that was so unlike him, Penelope didn’t dare try to assume anything about what his words meant.

“Have what?” her attempt to keep her voice even failing miserably. Averting his stare, her eyes land on his neck, where a thin gold chain rests.

A chain that had something that looked dangerously similar to a ring hidden under his shirt.

He looks to where she’s staring, a bald-faced look on her face, and his fingers pull out the necklace to reveal a gold wedding band. The one she bought for him, with the special engraving on the inside.

Through the tears rapidly coming to her eyes, she could see Derek’s face. And the vulnerability and love that shined from him to her 

Because he kept it. Even in his clear anger and hurt, the heartbreak she put him in, he kept her ring. 

“The plan.” Derek reaches behind his neck, his fingers reaching to the clasp of the necklace. “The big wedding, the two girls,” He slides the ring off of the chain, twirling it round in his hand. “Our dream.” He finally places the ring in her hands, gently closing her fingers around it.

Her mouth falling slightly open, Penelope slowly blinks three times. The words that just came out of his mouth so unbelievable that her brain was taking some time to catch up. She pulls her lip sideways into her mouth, too nervous to say anything.

His hands come up on each side of her face, a tender clasp that lets him turn her head up towards him.

“I never gave up on you, on us.” He lets out a sad laugh, “ Hell, I’m here about to buy a house just to try and get a piece of that dream.”

Penelope bobs her head slightly back, the shock of what’s happening still getting to her. “You really still want it?”

And Derek, bless his sweet soul, just looks at her with a small smile resting on his lips. “There is nothing, absolutely nothing babygirl,” the sound of his old nickname for her better than anything she’s heard the last few years, “that I want more than to be with you for the rest of my life.”

A matching smile coming to her mouth, she brings Derek’s left hand down to her own, and slides the wedding band on to his ring finger.

A soft cry breaks from her lips, and she feels nothing other than pure joy when he leans down, taking her lips in a sweet kiss.

Maybe, just maybe, they can have it after all.

————

taglist: @alexandrablake @lavenderbau @suburban--gothic @altsvu @rem-ariiana @vhsrights @spelleaway @willlemonheadsupremacy @ssaevie @literatekayla @criminalswifts @hotchshoney @moreidsdaughter @reidtheprettyboy

[majinkura]

Friday the 13th Part IV: The Final Chapter ( 1984)

Did You Know?👇👇👇👇🤔

The strange dance which Jimbo performs at the party was contributed by actor Crispin Glover and was based on the eccentric way he actually danced in clubs. On the set he was dancing to "Back in Black" by AC/DC as the scene was filmed. In the film however an edited version of "Love Is a Lie" by Lion was dubbed into the scene.

Last film in the series to pick up immediately where the previous film left off. At 58 years old at the time Ted White is the oldest stuntman/actor to portray Jason Voorhees. On a budget of $1,800,000 the film made $32,600,000 at the box office.

At the time, this installment of the series contained the most nudity and gore. The film was released on Friday the 13th: April 13, 1984.

In Turkey, this film, and the next sequel, Friday the 13th V: A New Beginning (1985), were released at the same time. People could watch both films back to back. Even the posters for both movies were displayed next to each other.

(at around 1h 2 mins) In one scene, Rob talks to Trish about his sister, Sandra. Sandra was one of Jason's victims in Friday the 13th - Part II (1981).

(at around 10 mins) The workout video Axel watches is Aerobicise (1982). It stars Darcy DeMoss who went on to have a role in Friday the 13th Part VI: Jason Lives (1986).

This is the only film in the series to shoot new footage using sets and locations from a previous film. The beginning takes place on the set of Friday the 13th - Part III (1982), before moving to a new location.

Director Joseph Zito was opposed to using clips from previous installments at the beginning of the film.

(at around 9 mins) The nurse's name tag reads "R. Morgan, RN," an homage to actress Robbi Morgan, who played Annie in Friday the 13th (1980).

During filming Kimberly Beck, who plays Trish, experienced strange occurrences including a man watching her while she ran in the park and strange phone calls at all hours. This stopped when production was over.

Though he disliked being involved with the film, Ted White is considered by many fans to be one of the best Jasons.

(at around 9 mins) The moment where Jason's hand moves in the morgue was done by Ted White after Joseph Zito had called cut on the scene. However, the camera was still rolling, and caught this movement, and it was included in the film.

Writer Barney Cohen originally wrote a scene involving Jason fondling Trish's breasts but the producers vetoed it. Director Joseph Zito also disliked the scene because it made Jason seem too human and less menacing. The scene was excised.

Joseph Zito had previously directed The Prowler (1981), but they wanted him to both direct AND write Friday the 13th Part 4. He said, "But I'm not a writer," to which they said, "Here's a contract paying you double to write and direct," and then he responded, "Yeah, I'm totally a writer." Zito used the extra salary to hire Barney Cohen to somewhat secretly write the script. Their process entailed Zito taking nightly one-hour phone calls with Phil Scuderi to discuss the story and script for Final Chapter. The next day Zito would meet Cohen in an apartment in New York to relay what notes and ideas Scuderi had offered, which they would then turn into new script pages to be sent later that day to Scuderi in Boston to be discussed again over the phone that night.

Camilla More actually read for the role of Samantha, but when the producers discovered she had a twin, they offered both sisters the roles of Tina and Terri.

It is played for humor throughout Final Chapter that young Tommy Jarvis (Feldman) is suddenly surrounded by horny teenagers renting a cabin he can see into from his own house. However, the reality of the situation is that those actresses were indeed very or partially naked, and Corey Feldman was still young enough that Erich Anderson and Kimberly Beck took him trick-or-treating the first day of filming since it happened to be October 31, 1983. So, they shielded 12-year-old Feldman from most of the bad stuff, using tricky editing when necessary. What they could not control was the power of a low-cut top sans bra underneath. According to Feldman, in the scene in which Jodie Aronson's character bends over to greet Tommy's dog unbeknownst to anyone but Feldman he could see down her low-cut top.

It has been suggested that the only reasons Tom Savini worked as make-up artist on this film was in order that he could accurately age and properly kill the character he created from the first film.

Barbara Howard used a body double for her shower sex scene.

After Jason actor Ted White finished his scenes for this film, he immediately started work on Starman (1984). While on set for the night's filming, a group of reporters were waiting to interview Jeff Bridges, but he was unavailable. Therefore, director, John Carpenter, told the reporters to talk to White about the film he had recently finished. After telling the reporters he had just finished playing Jason in the latest Friday the 13th film, the next day's article was entirely about him, and that night, numerous "Friday" fans arrived at the set solely in order to see White.

Jason actor Ted White and special effects artist Tom Savini at first were confrontational with one another. But once White found out Savini had experience with stunts, the two became friends.

Rob was originally supposed to have high-tech equipment which he had used to track Jason, but the props for this looked cheap, and the idea was scrapped.

The film takes place on Sunday the 15th and beyond which makes it the second "Friday" film not to actually take place on a Friday at all. While the beginning with the coroners takes place during the night of Sunday the 15th, the rest of the film takes place on Monday the 16th, with Tuesday the 17th being the climactic night.

Even though he plays her son, Ted White (Jason Voorhees) is actually 11 months older than Betsy Palmer (Pamela Voorhees).

Rather than making masks, Tommy was originally going to have been an inventor. One of his projects was a device made from a microwave oven, which would have been what he used to kill Jason. Some of this is seen in the final product in a scene where he helps repair a car.

Amy Steel talked Peter Barton into doing the film. By the time the Final Chapter offer came around Matthew Star was off the air, and Barton wanted no part of horror films, having hated working on Hell Night in 1981. Amy Steel somehow talked him into it, selling him on the notoriety of starring in the final Friday the 13th film.

Director Joseph Zito wanted Jason's hockey mask to explode apart in the opening credits, but there was not enough time in post-production to pull off this gag.

Paramount was originally going to release the film in October, 1984. After filming wrapped in January Paramount studio head Frank Mancuso Sr. screened footage of the film to much enthusiasm. After a window opened up the release date was changed to April upon confirmation from Joseph Zito that he could complete the film faster than planned. This led to Zito, producer Frank Mancuso Jr., and a crew of editors essentially remaining locked in a house in Malibu editing around the clock in order to finish the film on time. This marked one of the only times that Paramount actively helped in the production of a Friday the 13th film, as they were generally produced independently, with the studio only handling marketing and distribution.

The house used for the Jarvis home was later used as the Anderson home in the film Ed Gein (2000) where serial killer Ed Gein is apprehended.

Bonnie Hellman's agents told her about a possible role in this film - the hitchhiker - but then told her that she would not want to do it, as there were no lines. However, she ended up taking the role anyway.

Kimberly Beck stated in the Crystal Lake Memories book that she does not like the horror genre. In addition to this, she also said that she feels this film was not even a B-movie, but rather a C-movie.

Distinguished film critic Roger Ebert called this film "an immoral and reprehensible piece of trash."

The Jarvis family's dog, Gordon, was named after a recently deceased dog which a friend of director Joseph Zito owned.

Peter Barton was talked into taking a role in this film by his The Powers of Matthew Star (1982) co-star Amy Steel who played Ginny in Friday the 13th - Part II (1981).

The female hitchhiker was called "Fat Girl" in the original draft of the script.

The poster shows the hockey mask with a knife on its left eyesocket. Jason is defeated with a machete going through his left eye.

Kimberly Beck is the only Friday the 13th actress that appeared in an Alfred Hitchcock film. She worked on Marnie (1964), exactly 20 years prior to this. She plays the little girl that Marnie's mother babysits.

The film was shot entirely in California.

Carey More's audition was to simply read one line.

Lisa Freeman, who played Nurse Morgan, and Crispin Glover, who played Jimmy Mortimer, both would go on to be in the Back To The Future movies. Crispin Glover played George McFly in Back to the Future (1985) and Lisa Freeman played Babs in Back to the Future (1985) and Back to Future, part II (1989).

(at around 20 mins) The Jarvis family sandwich hug was based on a group hug that screenwriter Barney Cohen's family did.

Jason's death won the Golden Chainsaw Award in Dead Meat's "Friday the 13th: The Final Chapter" kill count.

This is considered by many fans, to be the best and most popular Friday the 13th film.

The Jarvis family car is a 1970 Dodge Polara.

Rob's rifle is a Winchester Model 70.

Rob looks to be the main male hero of the film to work alongside Final Girl Trish. Instead he dies almost immediately after encountering Jason, with the real Final Guy of the film being Tommy

The ambulance driver played by Antony Ponzini & Axel and the coroner played by Bruce Mahler both appeared on the sitcom Seinfled. Ponzini as Jerry's barber Enzo and Mahler as the Rabbi in Elaine's building.

Was released in theaters, directly a week before Crispin Glover's (Jimmy) 20th birthday.

Tracy Jarvis' fate and death would have been more further explained in a deleted scene that had been cut from the film. An alternate ending to the film, included in the 2009 Deluxe Edition DVD, shows a dream sequence where Trish and Tommy wake up the next morning after killing Jason to the sound of police sirens. Trish sends Tommy to summon the police who have arrived next door. At that point she notices water dripping from the ceiling and goes to investigate. She enters the upstairs bathroom, and finds the body of her mother floating in a tub full of bloody water. Trish lifts her mother out of the tub, prompting Tracy's eyes to open, revealing them to be solid white and devoid of irises. Jason suddenly appears from behind the bathroom door and prepares to attack Trish. Trish then suddenly wakes up in the hospital in a scene reminiscent of the ending of the first movie.

Ted White was uncredited as Jason Voorhees by his own request.

The twins are played by real life sisters Camilla and Carey More, who both also appeared on the daytime soap opera Days of our Lives as Gillian and Grace Forrester. More stars from the soap DAYS also appear in further Friday The 13th sequels like Renee Jones in Part 6, and Kevin Spirtas and Staci Greason in Part 7. Other soap stars that appeared in Friday The 13th films include Kevin Bacon, Russell Todd, Lauren Marie Taylor, Dana Kimmell, Kimberly Beck, Peter Barton, Jennifer Cooke, Michael Swan, and Scott Reeves.

Paul's car is a 1973 Chevrolet Caprice Estate station wagon.

According to Ted White, he and director Joseph Zito did not get along very well during filming.

The actress playing Trish's mother was only 14 years and 1 day older than her.

Both Corey Feldman and Crispin Glover later appeared in different films with actor Kiefer Sutherland in the same year: Feldman in Stand by Me (1986) and Glover in At Close Range (1986).

Pamela Voorhees' first name appears on a tombstone.

[skonkania]

i wonder how it must have been to feel

pairing: felix hauville x orion hill word count: 1k rating: G

they just like to watch tv and cling onto each other as if they're conjoined twins

The air in Orion’s apartment is best described as muggy. It’s the only real way Felix can explain it as a humid breeze enters through a window she only opened a few minutes before. A laugh resounds from beside him, the sensation shaking through the room.

The TV flickers to another scene, unable to catch what she sees but he still wouldn’t understand this anyway. She’s watched episodes without him in the same stuffy apartment she seems to enjoy. Leather sticking to his skin and creaking with every shift, lack of layers seems to not be protection from the transition into summer.

The vintage furniture is a choice but he knows what Nat has said about hospitality and opinions. Although he’s fairly certain that his partner would not eject him for some quips. They've built up an immunity to them.

Yet, he’s still hung up on that stupid joke. What made them laugh? How can he do that? He’s heard it so many times but it never seems enough.

“What’s funny?” he asks, tangling his fingers within theirs.

They don't turn to face him, instead squeezing at his palm. “Uh, that dude is having some breakdown about his mom not being able to make it for Christmas so they’re all claymation and this other dude gets eaten by bugs.”

Felix purses his lips for a moment, watching as the show progresses to show another character possibly dying. “Sitcoms are so weird.” Their body shifts on his lap and he turns to watch them. Sunlight grazes spots of sweat that they easily rubs away. “Why couldn’t we watch another Disney movie?”

“Because you wanted to watch Camp Rock and I am pretending to indulge you.”

A faux gasp leaves his lips and another laugh escapes them. He wants to listen to it again. How can he have it around him forever? “This is treason of the highest order,”

“Treason of the highest order is you watching me sing anything that has Shane Gray in it.”

“As if I couldn’t do an accurate Mitchie,”

Orion rolls their eyes before a bright smile tugs at their features. Squirming from his lap just so she can properly sit up to eat grapes. He's watched them do it before and asked about it, they only reply with "safety first". Small circular fruit doesn't appear like much of a choking hazard.

“Whatever, you’re more of a Gabriella.”

He chooses to lean against her propped legs, slightly opening his mouth to be fed a grape. “I would say you’re Troy just to be cute but you’re Chad.” His affection is then repaid with a green grape that he can barely chew through. Still, he can't help but admire their prideful expression (the corners of their mouth pulling into a wide smile that stretches out their cheeks enough to sore).

“I’m more of a Troy than you’ll even be.” They shift again, never seeming content to just stay in one place, and loop an arm around Felix's neck as if connecting them will bond their vision. “Charming leading protagonist that falls in love the freaky genius girl.”

He hums in thought as they watch him, leaning against his body. Waves of endearment pushing and pulling between them as if light touches and clinging onto whatever skin they can have is their own little language. Mannerisms to gather attention and to let one another know that they're there to be a constant reminder in the background.

Felix has never had a secret code with someone, it seems like him and Orion make it up as it goes. He wouldn't want it with anyone else.

He brushes strands of hair away from their shoulder before resting on it. Letting them still hold him even if the position is slightly uncomfortable. “This is starting to sound like Tina and Nat.”

"Are you implying that my coworker is more charming than me?"

"Noooo, maybe you're just so charming you're the side character who steals the show."

A huff escapes their nose and they don't take it any further, appearing as if the answer was enough to placate them. Still tangled together as their attention is driven back to the show. Another episode is playing but they don't seem bothered, he can only assume Orion isn't all too concerned about what they will remember.

Characters on screen buzzing around as two are jealous of each others relationship and there are strange connections between their fictional friend group. He doesn't see the appeal of sitcoms although that's something he's shared ever since Nat tried to introduce him to Seinfeld. He thinks it's humor made towards older generations.

He doesn't speak for moment but he finds himself a tad predictable. "Can we please watch Camp Rock? We don't even have to watch the sequel." Orion giggles at his request, not minding the childish sentiments, before picking up the remote.

"You're lucky you're so cute, or you'd be back at base right now." their expression is serious but there's a smile threatening to break through as he presses himself against them further.

"At least, the base has air conditioning."

"You want that, find a way to pay the bill."

He emits a long groan, his partner protesting as smothers them with his body. Promptly falling on their lap as if on his last breath. "Why do you hate me, Orion?"

"Because you're forcing my Jonas brothers phase to come back in full force." their hands move to caress his face, tracing the lines around his grin. Softly gazing even as the movie starts with a song opening. Their own little language, relishing the feeling of their calloused fingertips against his skin.

They lean down, delicately pressing their lips on his and capturing each others laughter through small pecks. Neither minding the lack of pensiveness that came from usual affection. Holding each other, feeling the ache that arises from separation, and exchanging sickeningly sweet whispers.

Orion still caresses his face and he lays his hand above theirs. "I'll support you every step of the way."

[namjoonchronicles]

flutter | yg

↳ NOTES flutter /ˈflʌtə/ noun, a state or sensation of tremulous excitement, informal•british a small bet.

↳ GENRE fluff, domestic af

↳ WORDS 5.1k

↳ SUMMARY –Future is scary. The possibilities and vast chances to take. A recent letter pivots your family to an emotional frenzy and with the impending stress coming up, your husband does all he can to be supportive and push you through. And it wasn’t the only thing he pushed in you. But this time, he’s up for the transition as well, kind of?

↳ WARNING horrible fluffy shit I hadn’t been able to write for awhile, yoongi plays piano (yes, that’s a warning), skinship (pfft, wtf is wrong with me), lots of touching domestic thingy, excessive consumption of coffee, tub scenes (smacks lips), sweaty yoongi (are you kidding me, it deserves its own warning fk you)

↳ NAMJOONCHRONICLES’ HONORARY TAG LIST @kai-tashi @joon94net @yourlocalalien @snugglemejeon @septemberalien @yoongiseesaw

↳ SPECIAL THANKS TO @fangirlaholicxx my sunshine~ and a gift to @majestikblue

↳ SONG joe hisaishi’s ‘merry go round of life’

As the rain begins to drizzle, you heard a piano being played so beautifully, it stirred you awake with a smile on your face. Sweeping your legs off the mattress, no bed frames, you pushed the door open and tattled down the hallway. Slowly, it reveals your husband's gorgeous shoulder frame and his fingers dancing on the keys, his head swaying to the sound. You smiled wider now that you recognize the tune from long time ago. And how it fits the feeling of being and falling in love with him. The fact that he wanted to play this particular song gave your heart the familiar flutter of meeting him for the first time, underneath that bridge by the blossoming tree. How angelic he looked, how his every move made you shudder, just by standing there. And not even a word was exchanged yet.

In small, calculated steps you peeped by the corner of his eyes as he plays, not wanting to startle him. A small smile is formed on the prettiest lips you've ever seen. Your eyes were cast on the view of his wedding band, there gliding on the keys. He scooted over for you to take the seat and you leaned your head on his shoulder. The notes are coming to an end. Around you are opened large boxes, stacks of old newspapers, tapes and ropes. The walls are empty and the carpets are gone. All the things that used to be there, no longer. He links his head atop of yours. Long after the last note is played, and sustained, only the loudest silence remains. But a breathtaking silence. The kind that leaves you enveloped in a dreamy state, and in a trance as the notes linger in the back of your mind. He lifts his fingers off the keys and slid them around your shoulders.

"Thought that it would be nice to play the song that made you recognize me on our last day here," he whispered against your hair and pressing his lips right after.

"It's not our last day, it's the piano's last day here...we need to head back to return the house keys later," you thwarted, lifting your chin up to kiss him properly on the lips. Yoongi's lips twitch into a smile, and his hand rode down your spine, caressing you warmly.

Staring at the empty walls, nails and photo frames brought down to lean against the wall suddenly make you feel burdened with emotions you had been suppressing all this while. But still, it is not enough to let you shed tears.

A plate of biscuits and black coffee, set on the floor, for a simple breakfast to start the day. In the chaotic week, the twins are sent to Yoongi's village where his mom could take care of them. So they would video-call in the morning to see how things are. The younger of the two was really excited to seeing and living in a new space. Although  the same could not be said for the first born who is, as Yoongi would say, rather rigid like you are. This change was long over-due and it takes time for you to actually take the fact in. You had grown fond of the place and removing everything that you had taken time to select and put up was a sore spot. Thankfully, Yoongi's high adaptability helped you get settled in real quick.

"The boys wanted to talk to you," you passed the phone to him as he hurried to shove the whole biscuit into his mouth and chewed. He gulps, sitting on the floor with one knee propped up. He clawed the air, waiting for the coffee you were drinking from. The boys are already asking the questions, such as, 'When are you coming', 'What is taking so long' and several other unrelated things. All the mugs are boxed away and already in the new apartment so you had to share. When he finally gets his fix, Yoongi frowned at the screen where the boys were cackling to see their father in such incomprehensible state. 

"Alright, Min Gyeonghan and Min Gyeongnam. What's good guys?" Yoongi scrunched his face but kept his eyes glued on the screen, swallowing the dry cookies. The sight made you smile in content.

The boys said that they found a wild squirrel a few days ago, and helped grandmother tie up haystacks, which was a nice transition considering the two had been raised largely in cities. You welcomed the transformation but Yoongi was like, "What about piano? Have you been practicing? Go fishing next time...when I'm around."

At seven years old, Han in particular, showed incredible piano skill with accurate emotional compensation and was fond of playing by ear. However, Nam was excellent in sight reading musical scores while quite not able to implore the same gift into his playing. So as a result, Nam usually gets more practicing hours than Han does. This trip back to the village was something Nam really enjoys. Something he can put his hands on and do well. He recently helped build a bird house for a sparrow. It seems that the two boys are taking all of the talented Min genes.

"So, mom and I are going to finish packing up today, and we're going to visit the new house later, would you like us to call you then? So you could see?" Yoongi asked and the boys nodded enthusiastically.

The call ended in gummy smiles from both sides.

You pour another mug of black coffee before Yoongi stops you midway. "That's enough coffee for you, today, if you drink too much, you won't be able to sleep," Yoongi takes the mug away and chugs it down without pausing in between. You eyed  at the good coffee you just made sadly, settling in Yoongi's stomach instead of yours. With the breakfast finished and the children updated, Yoongi continued packing, placing the vase, buffered with crumpled newspapers and when it's full, you placed a fragile tape on them. You threw the marker pen at Yoongi, he caught it in one hand and scribbled, 'Vases & Decor'. The task didn't end there, Yoongi needed to disassemble the book rack in the study room. So he is now seated on the floor, unscrewing the bolts and you collect all the screws, placing it in a transparent small zipper bag labeled as 'book rack #1'. The curtains were the last thing you took off because you didn't want your windows to be spied on while you were still there. Yoongi is on top of the ladder, taking the curtain holder off while you wait underneath to fetch the fabric.

"There's so much dust on it," you commented.

"That's why I told you to get the vacuum with a longer nozzle but you insisted to have the cordless one, not realizing your hand is too short for it to reach up here," Yoongi complained. "I didn't think it through," you scratched your head as he climbed down. "We need a shower," he smirked and clicked his tongue.

"W-we? What do you mean we..."

He meant we.

Folded card boards. Stacked pile of books and bags of trash. Half-wrapped vase and nail holes in the wall where picture frames used to hang. Left abandoned.

Opened bathroom door. Two soaked bodies in the tub. You leaned your head back on Yoongi's chest, skin to skin, basking in the filled tub, enjoying the silence. Yoongi had his eyes shut, arms resting along the brims.

"It's been awhile since we done this, isn't it?" "Quite awhile. I think ever since the boys came."

You let out a relieved sigh. What a relief to have his mother taking care of them until you and Yoongi successfully packed your belongings to move to the new neighborhood. What a relief it is to have a hand to hold when things as scary as this happens. What a relief it is to have Yoongi. 

The world doesn't seem so lonely anymore. But as the time dragged on, you begin to wonder if it was a good decision knowing how many changes will take place. Sure Yoongi had been on board with anything you'd propose after a careful thought, and you know he's not the kind to agree on things that are bleak, knowing that the twins will be brought along on the ride, but standing at a cross road between two important paths that doesn't allow you to remain as you were, is unspeakably horrifying. With that thought, your fragile strength wavered like a weathered flag by the sea.  

"What if I wasn't as good as I thought I was," you blinked to the view of Yoongi's knee next to yours. Waters lapping as you dunk your hand into the water, linking together. He removes his arm from the brims and hugged your waist, pressing his lips on your shoulder. Your hands flew to the back of his hair, caressing them, before sliding them down the side of his cheek, guiding his lips on yours for a kiss. His wandering eyes flutters close against your cheek, the sound of his breathing in your ear. And what his lips was doing sending you to a complete trance. Just like he did with the piano. Like what he did with the piano.

"What if things turn out to become worser than it is, what will I do then?" you chuckled with watery eyes. Yoongi shook his head and buried his face into your nape instead of responding. "What kind of mother enrolls herself for a degree at this age," you continued. Yoongi didn't join you. He just held you closer and told you the most reassuring words ever, "We'll be okay. You, and the boys, we can do literally anything and everything."

"Are you going to be okay?" "I will be, if you are."

When the offer letter arrived in the mail, you were a concoction of feelings. Delighted, fearful, unsure and uncertain. A combination that was self-destructive on its own. Although it had always been your dream to further your studies, you're not 20 and single anymore. You were older, with financial commitments, an intuitive husband and two gorgeous sons. Pinned with self-induced guilt, you threw the letter, along with its envelope into the bin of your study room. That Yoongi found. A huge argument followed. Cold war was initiated, and sturdiness stringed along sending the boys in distress because they could sense what was happening but could not do anything. Yoongi wanted you to further your studies, because it was your dream. But you wanted to continue this life you've been living, as a mother, as a wife, as someone who has a regular job. To help with the financial demands and expenses. To aid Yoongi.

And to study meant, you'll be adding new debt. You'll be leaving Yoongi with the boys. You'll have to move closer to the university and that means Yoongi had to leave his music academy he pioneered. It meant he has to give up teaching a large class with older kids who were serious about music and trade that with a personal one-to-one class sessions at home with students he could find from the nearby neighborhood. That itself will cause a strain in the financial stance. Not to mention, a pinch in the money bag, as the new neighborhood are full of the musically talented, upper middle class families. The change in the community will expose the boys with unfamiliar upbringings and you hoped that you had given them enough strength, should that day happen. Yoongi wasn't afraid of all these minor things. He was not afraid of changes. As long as we live the way we have lived so far, there will be no bumps in the road we cannot conquer. His core strength was something you admired for so long.

After the shower, he asked if you would be up for making one last memory in this place, on this thin mattress, barely dressed. You scoffed in reply while he glued his lips on your neck, pulling you down with him.

The piano is transported into the moving truck, and the last box was in Yoongi's arm. You did the honor of locking up the apartment carefully. Two boxes were in the backseat of your car since it was fragile. With a mechanical click of the door, you cast a prayer on its view, "May everything goes well from this moment onward." To our new beginnings.

Yoongi is now seated in the driver's seat. But as he waits for you, he reaches for his Canon camera, looked through the view, and snapped a picture of you as you stood there, holding the knob, and looking up at the door you've opened and closed a thousand times, feeling a little nostalgic. He took the shot without telling you and a faint smile appeared on his lips. His sweater paws covering his knuckles makes him look softer than usual. You caught him already looking at you, leaning his chin on his hand that rests on top of the car roof.

"What..." you shyly stepped down the stairs and to the red car. "Nothing, you're just glowing," he blinked, starry-eyed.

You pressed your lips together and rolled your eyes at him, "Alright Romeo, drive, please."

He chuckles lightly and climbed into the car, grabbing the wheels and slammed the car door shut. The engine whirls alive and tires begin rotating, embarking a new journey, a new clean slate, blank canvas that's waiting ahead.

Upon arriving to the new location, located five hours away from your old apartment, Yoongi stops at the safeguard house to present the key card that allowed him to enter. After some simple instructions, he was taught to simply tap the key and the laser gates dissolve. He was already so astonished. You told him that they have two parking spots for each residence, so that was pretty neat. Easier to have the guests around. The apartment has spacious elevator and the flooring was marble.

"It definitely looks painful to keep," he mumbled. "Yeah," you sighed, staring at right while he stares at the left.

"Sir, where can we put the piano?" the man asked from behind you. "Right by the window there, please, thank you," he answered quickly, then he whispered in your ear, "We might need a bigger piano to make the space look fuller. White baby grand?"

White baby grand sounds perfect to be honest. At the mention of refurnishing, your heart swells at the thought of new, more up-to-date furniture and the wider choices you have but dissipates at the possible expenses that will send you to your early grave earlier. As if he heard your thoughts, Yoongi shot, "I've got savings, so don't you worry about that." One by one, boxes were being brought in, kitchen appliances one of the first to be unpacked because you two needed to eat. The coffee machines, the mugs and plates, the dish racks, the wine glasses, oven mittens and rugs. And then the mattresses. While you hammer the nails in to the wall, Yoongi used his screw fasteners to assemble the bed frames. Sweats beaded on his forehead, his drenched white shirt stuck on his skin as he moves from one post to another. He wipes the trickles down his chin with the back of his hand, drilling his eyes to one of the post and then the other.

"Sweetie?" He called for you. "Yeah?" "Can you come here for a bit?"

You didn't question more and leave your hammer behind to attend to your husband, now sweatier than you remembered. You placed yourself next to him and looked at the bed post like he did. Instantly, you picked up on what he thought.

"You're right, it should be on the other side, or we won't have space to walk," you commented. With that simple intervention, Yoongi had you lifting the bed post along with him. He kept asking if it was too heavy and you can stop if you want to, but you'll have to wait until his friend comes over. You said there's no reason to do that, you were impatient as is, and you can't wait to have the whole house come to full view. With the bed frames positioned in a new angle, Yoongi can continue his work easier. All that's left is to put the wooden slats on top and then mattress comes above it, then he can move to the twins room next. He'll leave you to choose what bed sheets you want. He checks how strong the frames are holding up and when he is satisfied, he placed the wooden slats and put the mattress over it. He went out the hallway to check up on you. And while you were nailing, he asked, "What should we have for lun--" he pauses and scowls at the wall clock, "I mean dinner."

But his sudden question caught you off guard and the nail slip from your index finger and thumb, just as the hammer comes. The nail graze you and a steady spot of blood consistently form on its opening. Yoongi took your thumb  into his mouth while you hiss in pain. You hit his butt as he suckles on, his hip flinches comically. Eyes never leaving you. He grabbed the tissue from the side and have you pressing on the small wound. You can't even stay mad at him. A moment later, he was on his phone calling a diner for four rice servings, three side dishes and one main dish. You were busy checking if the nails he nailed in for you were strong enough to hold a picture frame. With your wounded hand, messily self-made bandage, you begin vacuuming the dust on the crevices , being a neat freak that you are. Yoongi's conversation was interrupted by the water boiler bubbling done and then the doorbell. Both of you looked at the door and then at each other. You were already marching forward to the doorway but Yoongi grabbed your wrist in a lazy hold as he ends the phone call with the diner.

When the door is opened, it reveals a slightly short stature man with huge grins. He introduces himself with a blinding smile, and two containers wrapped in a cloth.

"My wife and I heard that you guys just moved in so, here's a little welcoming gift from the both of us. My name is Park Jimin," he bit his smile, and gave a polite bow, "I live down the hall there," he pointed with his finger and leaning forward like an oversize child. It's hard to even picture him as someone's husband. But the wedding band is clearly worn, in addition with some other chrome rings, suggesting to Yoongi that Jimin, might be a quite fashionable man.

"Min Yoongi," he smiled back and placed his hand on the small of your back, "My wife."

"It's just the two of you?" Jimin asked out of curiosity, and being quite secretive with your personal details, you were taken aback by Yoongi's unprecedented honesty when he mentions that you have two twin boys. But appreciated when he didn't mention their names. Jimin's lips shaped in an 'O' and he nods at the understanding that the rumors he heard was wrong.

"What about you, Park Jimin? Do you have children?" You diverted the attention to him. And he gladly complied. The ones that asks questions are the ones in power. "I have a baby daughter, she's four months old," he beamed, "But she's not here right now, she has chicken pox so my mother is taking care of her at the village since we both work."

Jimin peeks over Yoongi's shoulder and saw a piano standing by the window.

"You guys play piano?"

Okay, he's getting nosy. Yoongi blinks rapidly, "Yes we do. We'd really like you to come in but the house hasn't been properly set up yet so it's unfortunate..."

"Oh no, it's okay. I've always wanted to resume my piano lessons but having children doesn't make that possible..." Jimin steps back, understanding that he had crossed some lines. Yoongi reciprocate with a peace offering, "I'm not properly settled yet, but maybe I could mention that I own a music academy back in Daegu, so I can offer you a lesson. You live down the hall right?" Yoongi reconfirms.

"Yes, yes! That would be great, you're a piano teacher! That's awesome..." "He is a composer too," you added. "Ah, she's exaggerating," Yoongi chuckles and send Jimin off to his way.

The food arrives just in time. With Jimin's generous wife providing kimchi and beansprout stew with tofu, your dinner was rather lavish.

The first scoop exudes a loud contented sigh. Yoongi lands his hand on your thigh, munching soundlessly. Scanning the room with your eyes, you made a mental note to mop the floors later to finish things up. The twins room need proper tending to, since the boys are pretty individualistic in their own taste so before Yoongi assembles the beds, you made a mental note to ask the boys what color they wanted on their walls and which sides they want.

The two, although physically alike, Han being the first born is very meek and shy, studious and textbook smart. So his colors are yellow pastels with pastel blue drawn moon and stars, you predicted. He has his own book rack that he aspires to fill up soon. He is not much of an outside person, so that's why you were surprised that he enjoyed being out and about in the village Yoongi's mom lived in.

Nam on the other hand, is quite a handful. The little rascal is the one adopting squirrels and taking in stray cats. The only time he is calm is when he is playing the piano. Nam is a violent sleeper and frequently wet his bed when he was younger. He doesn't do it anymore, but the memory stays vivid in your mind because Yoongi was sniffing around like a dog, because he swore he smelled something odd. And when it struck him, he clenched his eyes shut in silent pain, pinching the bridge of his nose. Nam probably preferred something in darker brown tone or dark blue so he could draw stars and planet on them. Very contrasting, isn't it? But they both liked skies.

There's another demanding decision to be made. Yoongi took a seat on the piano seat, revealed the keys and glide his fingers airily over the pretty black and white notes before turning to you in big wondering eyes. You stood there, mug between your palms, leaning your head against the wall.

"What should I play?" "I don't know, how are you feeling?"

For then, he drops his eyes to the keys, muttering if he could remember the notes correctly. And then. And then he begins A Thousand Years. Sending you fleeting away in the dreamy composition, knees buckling, as your eyes begins to water to the song you got married with. It was like your wedding once again. Your heart clenches and blooms at the same time. The emotions flooding with every notes played so expertly, dancing on his nimble fingers. His head lulls along with the music, clenching shut were his eyes. You could picture the montages of the yesteryear that passed, the hardships, the uncertainty, the leap of faith you took and opening your heart to him, and how it was the bravest and the scariest thing you've ever done. However, every big decision felt like a mistake in the beginning.

With two kids, and a happy home; there's nothing more you could ask for. Everything you needed, needing and will need, is right here.

Devotion that he portrays so effortlessly, made you want to match to his standards. It was something you had never seen before. Yoongi is more action than a word man. He doesn't say 'I love you' as frequently as you'd like him to, but it shows in everything he does. From how he wakes the boys up with a kiss good morning, passing you your morning coffee and getting the meals ready when it's his turn to cook, to the way he invites you to a sudden dance by the parking lot on your bad days, grabbing the boys by the waist when they misbehave, or how he cries at each of their piano recitals knowing he's their teacher, and how he takes every meltdown so swiftly in the way only Yoongi does well. You are always at awe of his dedication, and how he seems to know everything he needs to know. He doesn't run away from commitment although it took awhile for him to convince himself to marry. Yoongi is always so put-together, always understanding the situation beyond the surfaces and the outward view.

The tears welling up the brims, impending to fall. Until it finally surrenders from its own weight, trailing down steadily on one side as the song comes to an end. Yoongi looks up with his own eyes glittering. He reached out for your hand and brought you to the wide glass doors, overlooking the view the balcony had. He positioned you in front of him, and you pressed your back to his chest. And he sways his body side to side with you, enjoying the sapphire blue star studded transitioning sky, and one by one, the neighboring residences flickering their lights on. He nuzzled his face in your hair, hugging your waist so tight as if you could disappear into thin air if he held any loose.

"Would you look at that view," he whispers softly in your ear. The images shifts to the reflection of you and him on that glass door, faintly there, and, "There's stars inside of us."

He then brought his arm up around your shoulders, and hums a melody. He shut his eyes, feeling contented with just your presence. And then your index finger, floats over his forearm in a trance.

"The house feels empty without them," you confessed. "I know right," he shot, "Let's hurry up, and finish setting everything so we can have the boys here." "I can't believe I'm saying this but I miss having a fight with them."

With another shared shower, in a somewhat larger tub, the sheets are clean and ready for use, waiting just outside. Yoongi and you climbed on the bed at the same time.

"I can't wait for all of us to live here, I think the boys will really like it... it has playground and the tub is huge, their room is bigger than the last one, they will be so excited and I can't wait for those little faces lit up..." you cheerfully did the shoulder dance until Yoongi begins to snore. And not even the usual kind of snore. More like the surprise attack snore that doesn't give you any warning. Sudden silence and then a hitched breathing in. Your smile dissipates immediately and you frowned at your husband, jaws hanging open, with a hint of saliva pooling at the corners which he sloppily licked over and you scooted closer to his face, eyes falling to the view of his nose and lashes, where you whispered, "You look ugly when you sleep..."

Pause, and pressing your lips on his cheek bones, "But I still love you."

He turns to the side away from you and hogs the blanket, mumbling, "You look ugly too."

Huh. Is that so.

Yoongi's first morning in the new neighborhood includes brewing coffee for the missus and then a stroll down the park to the nearest convenient store to buy some bread and jams for breakfast. Maybe fine sliced beef and eating more of that expensive beef since the boys aren't here. And as he made his way to the cashier, a small ruckus was heard from the entrance where a men was holding two toddlers in each hand while having another one in the baby sling back. He is very attractive for a father of three, to which Yoongi flinches at the thought of possibly falling for a guy.

"Alright, Tata," he spoke and the gorgeous baritone sends Yoongi's arm to sudden chill, "Where did you find that key?" The smart little one points at the apple in the freezer. "We're not having apples until you tell me, where you got that key... Come on sweetie, daddy's gotta go pee, we don't have time for this," he sobs cutely, stomping his feet. Yoongi thanks the cashier and took his bagged groceries, passing the handsome father, idly.

"Taehyung, you dummy, that's Namjoon's key. Give me back my daughter, Lily get back here," this one is also a good looking father, barging through the door, almost hitting Yoongi in the process. "I know I told you I'm going to lend you my game console, that doesn't mean you can kidnap my Lily..." this taller one pestered.

"No! I like Uncle Taetae!" the one who is about seven, throttled back to his dad, Yoongi assumed. "Why?!" "The key is Namjoon's? But Seokjin-hyung, why is it here?" "Because Koya dropped it, you coconut head! You need to give it back to him..." "But he changed his door lock about two weeks ago..." "It doesn't matter?" Seokjin felt how ridiculous the conversation is, "I have to be home, my in-laws are coming..."

What an interesting neighborhood. Good thing is Yoongi don't have toddlers anymore to be hanging out with those losers. Until he receives a phone call from you, asking for a morning sickness pill safe for pregnant women on his way up.

"I think we'll have another one, Yoongs."

That's the thing about families you know. One thing leads to another, and then it piles on. Unexpected, uncertainties, the so-called picturesque view of a blank canvas can sometime be really scary even for Yoongi. So if you're pregnant, and lecture begins in a month, the boys will be back home, Yoongi will be torn limb-by-limb until the baby is delivered. And probably not even then. His fingers run chill, the hair behind his neck stood up. All those sleepless nights, the murky stained shirt, vomits and poops are coming back to haunt him.

His view flew to the bickering fathers now calming their two toddlers, crying for god knows what reason. Are you ready for the chaos that's about to unfold? Will Yoongi be ready to be a house husband and join those very idiots he called losers?

.

.

.

.

.

COPYRIGHT © 2019 NAMJOONCHRONICLES do not repost, who do you think is going to be revealed as the house husband for the next fic of this lovely neighborhood? share what you love, tell me what you liked in this one

[mskinkyafro]

Meet the Watsons (Aubrey x MC) - Part 1

Summary: After Viola & Aubrey take their relationship to the next level their moment is interrupted by unforeseen forces.

A/N: This will be a mini fic series. It takes place after the diamond scene with Aubrey in the finale and where it will end, I have know idea yet lol. The timeline is something I have yet to truly figure out in this book, but since characters kept referring how great MC was this year, I’m assuming it’s been about possibly 6-9 months max. I don’t see a full year this all happen. With that in mind, Aubrey and Viola’s relationship has been an ongoing one for a long time and I don’t know why but not exclusive just yet. (That’s where I come in with the power of fanfic on my side.) 

The focus of the series is Viola and Aubrey’s  growing relationship and her meeting his lovable yet crazy family. After Aubrey mentioned the Watson Odyssey and the fact this book is a standalone, I thought more and more of Viola meeting his family.  And to the Watson luck, how far from normal it would be lol (In my headcannon, the Watsons are just a hilarious hot mess)  After this fic is up, I will make a seperate post with the headcannons/backgrounds I’ve created for Aubrey and his family and my MC Viola.

Rating: Just to be safe this first part of the series is a 18+ NSFW fic. I wasn’t planning on writing a NSFW, however it just happened.  It’s minor smut. Mainly fondling/caressing but no actual sex. However, if your under 18 or uncomfortable with smut don’t read this fic or scroll past the beginning. If you decide to read, you’re agreeing your 18 and okay with the content.

Note: This series for the most part will be rated PG or PG-13 either due to language or innuendos, however the rating will be bolded and listed nsfw if any future parts contain explicit sexual content. So just be aware to check the rating on the parts of this fic series at all times. I will list the accurate rating according to each part. 

(Thoughts are italicized and in parentheses)

After a night full of passionate lovemaking all over Aubrey’s bachelor pad, the two settle themselves in his bed cuddling as the morning light shines through the bedroom. Viola lays her head on Aubrey’s chest with her eyes closed just listening to his heart beat in time with her own. She sighs in content as his fingers comb through her now frizzy, kinky blonde curls. It was quiet in the room except their gentle breathing and the sound of soft whispering, that only Viola could hear.

(“Just perfect...this moment is perfect.”)

She opens her eyes and is met with two bright blue eyes looking back at her.

“Hi.” she says softly.

“Hi.”

“What are you staring at?”

“Just the most beautiful woman in the world. And somehow she’s naked in my arms. I keep thinking I died and gone to heaven.” he whispers as he moves his hand from her hair to travel down to her waist.

Viola lifts her head up slowly and slides her body up so her face is inches from Aubrey’s and her breasts press down on his chest as her hands rest on the sides of his head.

“You’re working really hard for morning sex aren’t you?” she says smirking at him.

He lets his right arm that was secured around her waist under the covers to slink lower. His hand moves to grip Viola’s ass, making her grind against his growing erection. He grins up at her as she moans loud and her eyelids drift shut.

“Was it that obvious?”

“Maybe…” Viola opens her eyes and moves her her right hand from behind his head to drift down his body to between his legs to gently strokes his cock. She watches as his body stiffens and his eyes roll to the back of his head at his touch.

“...but two can play that game.” 

Viola leans down and presses a sensual long kiss on Aubrey’s lips as she continues to stroke him slowly. As she breaks away from his lips and lets her mouth trail down the nape of his neck, his thoughts ring out loud and clear.

(Oh god...we’ve barely started but I feel like I’m on fire. If this is how mornings are going to be like with her, I want to wake up next to her forever.)

Viola continues to trail down from his neck to his chest down his abs and almost past his waist when the distinct growling of stomachs fill  the room. Viola and Aubrey pause and lock eyes with each other before laughter filled the air. Aubrey is the first to speak through the fits of laughter.

“I suppose after last night we’ve both worked up an appetite.”

“That’s true, but what if I worked up an appetite for some else?” she tells him, her eyes full of desire.

(“God she just loves to tease me, doesn’t she?”)

Before he could respond, Viola’s stomach growls even louder than before.

“Okay, so maybe we should get some food then continue…”

Her hands gesture over the two of them.

“...this later.”

“Sounds like a plan.” He presses a chaste kiss to her forehead.

“Why don’t you take a shower and I’ll start on breakfast?”

“Is this another sneaky plan to see me all wet and soapy?” she says seductively as she crawls off him and out the bed toward his bathroom. 

“Viola...you’re killing me.”

She laughs and winks back at him before entering the bathroom and shutting the door. He can hear the turning of the shower head and water running as he lays in his bed, the sheets covering his bottom half , but barely concealing his erection. 

He couldn’t help the stupid grin that grew on his face. He loved how domestic they were, how right it felt. He was so distracted by his thoughts of Viola that he barely caught the sound of his cell phone chiming. He turns his head to the bedside table and unlocks his phone to see thirty text messages from his mother, ten miss calls. Half of which were from his father. Even a message from his sister Liz and his twin brothers, Forrest and Jasper. And lastly a notification from Snapchat from his niece. 

Confused by the barrel of messages from his family he quickly presses the voicemail. Listening in he hears his mother’s concern over what happened at the debate. Sighing loudly and rub his face in exasperation his phone rings loudly as the FaceTime icon pops up. He clicks and the image of an older woman with a round face, blonde wavy hair styled in a layered bob, and soft blue eyes that resembled Aubrey’s hidden behind black frames appears.

“Oh thank god! You’re alive! My baby is okay!!”

“Ma...of course I am. Why wouldn’t I? And why did you and everyone blow up my phone?”

“Oh Aubrey...you weren’t answering and I was worried!  I called your siblings to check on you and when you weren’t responding I had them come over immediately. What else was I supposed to do?! That vile man punched my baby and I have no idea if you were concussed or god forbid dead due to head trauma.”

Aubrey rolls his eyes at his mother’s overreactions and pulls the phone closer. 

“Don’t you roll your eyes at me! I’m still your mother!”

Aubrey flinches at her tone and sheepishly says.

“Sorry Ma, but you have nothing to-“

Aubrey’s was cut off by his bedroom door slamming open with two men attempting to roll on the ground and pop up into ninja stances and an older man standing in the middle swinging nunchucks moderately fast.

“Get ready to get your ass kicked, punks! Watson Style!

“What the hell?!” Aubrey exclaims. He drops his phone beside him as he pulls his bed sheets around himself tighter. And quickly grabs a pillow to cover his lap.

The two men scramble up from the ground as they speak simultaneously. 

“And backup from double trouble!”

“Aubrey! Honey what’s going on?! Should I call the police?!” his mother yells through the phone. 

The chaos of the last thirty seconds forces him to raise his voice.

“Enough!”

The three men that entered the room freezes as they look at Aubrey. His mother stays silent on the phone. He closes his eyes and punches the bridge of his nose.

“Okay…I’m going to start at the top and provide some answers hoping I’ll get some in return.” he quietly states.

The two men who were identical in every way, from the way they stand to the same expression on their face as their green eyes lit up in confusion, and how they ruffled their brown hair as they waited for Aubrey to speak. While the older man who looked like a more seasoned version of the other two with bit of belly slowly lowered his weapon. Aubrey nods and then picks up his phone and looks at his mother.

“Good. Ma I’m okay. Mr. Burdock may of decked me but I survived.”

He then looks away from the screen and fixes an annoyed gaze toward the men in the room.

“Pop, Jasper, Forest...I have two questions. How did you guys get into my apartment and Pop...why do you have a nunchuck?”

“ Well son, we have some questions before we answer yours, right boys.” his father says looking toward his older sons. 

“Right pop!” they both said at the same time.

“Ugh! You two are getting too old for the twins in sync gimmick. It’s just creepy.”

Jasper crosses his arms over his chest and leans against the dresser next to the wall as Forrest leans his arm to prop himself beside his twin.

“Oh yeah? Well you’re definitely too old to have me and Forrest come save you. We ain’t kids anymore, snobrey.” Jasper retorts.

Nodding along, Forrest speaks.

“Yep! Especially, Pop.”

“Hey, I’m not that old boys. I still got enough spring in my step.”

Frustrated by each second, Aubrey runs his hands aggressively through his hair.

“You guys didn’t answer any of my questions.”

“Aubrey, I sent your father and brother’s with your spare key to go check in on you since you weren’t answering your phone.”

He turns back his attention to his mother on his phone screen.

“Ma...that was for emergencies only! Everything is fine. I’m fine!”

“Oh really? Then why do I see bruises forming at your neck? Were you in another scuffle that wasn’t televised?” His mother asks accusingly.

“And son, why was your plates and kitchen sets tossed to the floor with broken glass?” his father adds.

Jasper leans away from the dresser and stands up straight and stares with Forrest joining in.

“Mind you, snobrey. Your shirt was found ripped and it’s pretty obvious that something…” 

He trails off as he takes a more detailed look at his baby brother. His bare chest is revealed and  flushed red, his hair skewed and the way he keeps one arm over his lap while he manages to hold his phone up. At that moment of Jasper not speaking the only sound being heard was the running of the shower.

“Is your shower on?” Forrest asks breaking the silence.

Watching Aubrey’s eyes flash with worry, it clicked for Jasper.

“Oh my god! Looks like little snobrey here wasn’t in any trouble at all. Actually he seems to have enjoyed the trouble he did get into last night.” Jasper said with a leer.

“Shut. Up.” he says through clenched teeth.

“What do you mean?” his parents asked at the same time.

Forrest eyed his twin and his baby brother before he caught on as well and broke out in a smile that rivaled a Cheshire cat.

“Well, well, well! I can’t believe it, but the evidence is right before our eyes.”

“Stop! Stop talking right now Forrest! Everyone, please get out!”

Before anyone else can speak another word, the shower turns off and shuffling is heard behind the bathroom door. Everyone turns their attention to the bathroom as they hear the door open and Viola exits with a short yellow towel that leaves little to the imagination, showing off her smooth long legs and hugs her curves. Her blonde curls clinging to her head as droplets slide down her body.

She walks out slowly with the towel wrapped securely around her figure and her eyes closed as she combs through her hair with her hand.

“Hey what was all that noise? Were you watching a movie without me? Eh, It’s not important.  I had a fabulous idea right now. Why don’t we pick up where we left off and have a repeat of last night, breakfast edition.”

Viola opens her eyes and freezes instantly. She opens her mouth to scream but nothing comes out. No one in the room made a move or sound. The tension in the room was high and shock was evident on three older men’s face while embarrassment adorn Aubrey’s and Viola’s.

In her head she can hear mixture of multiple voices.

(“Oh my god, Viola will never want to see me again after this.”)

(“Damn. Who knew Aubrey could land such a babe.”)

(“When the hell did this happen?”)

(“I managed to avoid this during all my kids teenage years yet the universe decided that I have to go through the rite of passage of catching my kid in the act eventually.”)

“Who’s that? Is that a girl? Does my baby boy have a girl in his room?!”

Jasper shaking himself from his shock saunters towards Aubrey and grabs his phone away from him and fixes it so that their mother has Viola in her view.

“Right on the nose Ma. And not just any girl. Looks like little baby Aubrey seemed to snag Northbridge’s leading anchor.”

“Umm so this is very, very...um, awkward.” Viola says as she avoids eye contact with everyone in the room.

Aubrey leans to pick up a piece of clothing from the ground beside his side of the bed and slips them on underneath the sheets and gets out of bed and walks towards Viola and pulls her close to him.

“So this is the most embarrassing thing to happen to me and I’m so sorry, Viola. But umm this is my older twin brothers Jasper and Forrest. My Pops, Richard and on my phone my Ma, Sadie. Umm meet the Watsons.”

Viola hiding herself in Aubrey’s embrace in order to shield her lightly concealed body gives them all a shy wave.

“Hello. Umm, I’m Viola Porchia. Umm, I’ve heard lovely things about you all. I never thought in a million years we’d meet like this.”

“Ohhhhh! How exciting!” his mother exclaims through the phone.

Richard collects himself and chuckles as he turns away from the young couple and heads out the bedroom.

“I’m too old for this. Son, next time you’re occupied entertaining your lady friend after getting hurt on national tv, remember to check in with your mother that you’re okay so we don’t have a repeat of today.”

“Umm, yes Pop.”

“Good. We can’t be scaring away the poor girl. You’re lucky a woman like her is even with you. Besides, from what we’ve seen in your apartment you two might be the closest hope of your mother having more grandchildren.” he says with a wink that he throws to the two.

“Oh god! Pop! Please, enough.”

“Oh Aubrey, I was young once too! How did you think you’re mother and I got all you kids.”

Jasper and Forrest are trying to hide their laughter as their father continues to tease their little brother.

“I’m begging,”

“Okay, okay. Viola it’s nice to meet you and sorry for interrupting.You two...carry on. Come on boys. Let’s leave the lovers to it.”

Jasper tosses Aubrey’s phone on the bed as himself, his twin, and father make their leave.

“Sadie, honey we’re on our way back now.”

“Okay, Richard. See you boys in a few.”

The three exit the bedroom and a distinct shutting of the main door of his apartment is heard.

Aubrey and Viola breathe out. 

Aubrey picks up his phone and faces the camera towards him.

“Okay, this has been mortifying. I’m gonna go Ma.”

“Fine, but since everyone is here, bring Viola down to dinner. I haven’t had all my children together for a meal in such a long time. And I want to meet her face to face.”

“Jeez, I don’t know Ma-”

“I won’t take no for an answer. See you two tonight at 6:30pm.” she says before disconnecting the call.

Aubrey sets his phone down and turns back around to pull Viola into a comforting hug.

“I have no words. I’m so so so sorry. I was hoping you’d meet them later on.”

“That will definitely be up there for most embarrassing moments, but it's okay. At least they didn’t walk in on us in action.”

“You always see the bright side of it all, don’t you?”

“I try.”

“You can probably tell now why I only introduced Liz and Shiloh.”

“A little but they seem very sweet. I see it runs in the Watson genes.”

He chuckles and walks backward to sit on the edge of his bed and pulls her so she’s sitting on his lap.

“Perhaps. So you don’t mind coming to dinner with me and meeting my mom? I know this is happening very fast and it’s really really weird-”

Viola cuts him off by placing a finger to his lips.

“Well at this point, I’ve met all the Watsons except for the most important one.” she says with a glowing smile.

“Oh yes, Ma is really gonna love you.”

“Really? You think so?”

“I know so. Besides I already do.”

Viola tenses after those words left his mouth and just stares at Aubrey. He looks at her and flinches slightly at what he said.

“You love me?” she asks in a small voice.

“I...umm..” he begins nervously and trails off.  Aubrey takes a deep breath and closes his eyes before opening them and gazes deep into Viola’s hazel-green eyes.

“I do. I know we haven’t official made us exclusive yet in these past months but there’s been no one else who can compare to you. No one else has turned my head but you. Viola, I’m falling in love with you.”

With her eyes glazing softly with light tears she leans and kisses him softly and firmly.

“I’m falling in love with you too.” 

“Really?”

“Really really”

In one swift movement, Aubrey cradles Viola quickly into bridal position in his arms and swings her around in joy. Her squeals of surprise and laughter fill the room before he sets her down.

“I have a question for you. Will you be my girlfriend?”

“In a heartbeat.”

Aubrey kiss her gently on the lips t a few times before she pulls away.

“One question  for you though.”

“Yes?”

“Why did your dad have nunchucks?”

Aubrey stays silent for a moment or two trying to find a way to answer that question but only one thing came to mind.

“Apparently it’s the Watson style.”

Tagged: @hellomynameisdevi  @cora-nova @jlpplays1 @rain18rain @mrsmckenziesworld 

If anyone else wants to be tagged in future fics with this pairing or for this mini series just let me know!

[ryanmeft]

The Greatest Showman Movie Review

The Greatest Showman is a piece of complete fantasy, an almost total fabrication that gets two things exactly right: P.T. Barnum existed, and he created modern entertainment. The rest is smoke and mirrors, obscuring behind a modern narrative sheen what it doesn’t outright invent. Barnum would be proud. What matters isn’t that it’s accurate. What matters is it is a total blast with a genuinely moving message, the kind of thing that no longer entirely works in Disney films because they’ve driven it into the ground. Somehow, song-and-dance numbers about being yourself get a breath of fresh life injected when they’re sung by conjoined twins and bearded ladies.

The film, helmed by a first-time feature director name of Michael Gracey, takes the complex and sometimes dark and terrible stories of P.T. Barnum’s life and distills them into an archetype: the struggling visionary desperate to provide for his family. Hugh Jackman, that perennial audience favorite, dons the bright red jacket and top hat, but not at first. When the film begins, he’s nothing: a servant boy whose lady love’s father (an easily loathable Fredric Lehne) sneers at him when he later comes to take her away, announcing she’ll be back as soon as she tires of his lack of wealth.

 She doesn’t and isn’t. Soon she’s grown and played by Michelle Williams, and they are dancing and singing with their two daughters on the soot-stained rooftops of mid-19th century New York. This is one of my favorite time periods in all of film or any other medium, suffused as it is with a Dickensian vibe of downtrodden-ness, a ripe canvas on which to paint any number of rags-to-riches stories. You might notice that Williams, as Charity, isn’t saddled with the easy cliche of most wife characters in these yarns. She neither constantly nags the perpetually struggling Barnum with reminders of their money woes, nor does she make dramatic speeches when his success and his head begin to swell. When one of the daughters asks for ballet shoes, their response could draw tears even in 2017 from anyone who ever had to spend an hour in the store trying to decide whether they could afford the tiniest luxury. (I was reminded of the personal recollection of someone I know, which I won’t share here). Barnum, who has been let go from a (fictional) job in shipping, is able to provide as a present instead a quickly invented gadget that puts on a light show.

Quickly inventing things, of course, became Barnum’s stock in trade. It isn’t an exaggeration to say he invented modern entertainment as we know it. What is a movie, after all, if not pure and total…humbug? And the even more modern video game has learned how to ensnare a person’s emotions with computer code in such a way that they will keep returning and paying for new hats. Barnum sought out the total outcasts of society, the ones who would have before been doomed to poverty, prejudice and early death, and made them stars. He brought in exotic animals and displayed them for the audiences of the cold New England coasts for the first time. He brought the idle whims of the aristocracy to the people.

He also made his performers to go on stage in cages, and can without a doubt be called a profiteering exploiter. The film portrays him as a philanthropist and early champion of what we would now consider rights for the differently-abled. His performers are his friends, and the ensemble cast includes dazzling performances by Sam Humphrey as the famous General Tom Thumb, Keala Settle as bearded lady Lettie Lutz, and Zendaya as black trapeze artist Annie Wheeler, whose race alone kept her off any earlier stages. The only time it is intimated that Barnum forgot they were human is during a period when he hires famous, respected singer Jenny Lind (Rebecca Ferguson) to tour the world and bring him the respect he craves from titans and queens (there is a wonderful exchange between Tom Thumb and none other than the Queen of England herself).

 In reality, the man whose second-most-famous line was “There’s a sucker born every minute” was very, very in it for a buck, and while it can be fairly said that his performers lived much worse lives before he found them, that was hardly his intent. He didn’t use the term “freaks” affectionately.

What “The Greatest Showman” does is what “Moulin Rouge!” and the supremely underrated “Marie Antoinette” did: it helps to shine a light on a mostly forgotten period of history by modernizing it, and it mostly does this through music. The film opens with “The Greatest Show”, as rousing an intro as any musical has ever managed. Every song is good, but the standouts comprise the center section of the film. “This Is Me”, nominated for a Golden Globe and a safe bet for Oscar, features the under-valued Keala Settle leading Barnum’s army of “freaks” in a rousing celebration of being yourself. This theme has gotten tired but is given new life with the performance of an ensemble cast and a stellar visual production by an army of technical maestros far too extensive to list in a review. Rebecca Ferguson lends a perfect physical presence to Loren Allred’s vocal performance of “Never Enough”, a solo act that gives musical voice to Barnum’s escalating needs for adulation. My favorite number, visually and musically, is that of Zac Efron and Zendaya’s interracial love song, “Rewrite the Stars”, which explodes off the screen without the benefit of tons of props or multiple flashy costumes, and ought to puncture the stoicism of all but the most stubborn tough guys.

We can debate whether Barnum’s legacy was for good or ill; the film doesn’t even claim the often-laughable “Based on a True Story” appellation, so for me it’s not really important. I loved La la Land, and contend it only took so much flack when people thought it would out-Oscar Moonlight, and I loved The Greatest Showman for the same reason: it made me want to celebrate how awesome life is at the same time it got me weepy at how hard it can get. I don’t need accuracy. After all, I have a broom closet full of history books for that.

 Verdict: Highly Recommended

[varietyofwords]

Heartbeat, Epilogue (Chicago P.D.)

Title: Heartbeat

Chapter: Epilogue

Fandom: Chicago P.D.

Rating: T/PG-13

The jab of a sharp fingernail into his eye jolts him away, but it’s the trailing of wet, sticky fingers from closed eyelid down his cheek and across his nose that causes his eyes to fly open. The heavy blanket of sleep being shaken off quickly as his eyes adjust to the darkness of the room; the deadpan look on his face morphing into a smile as those sticky fingers are softly patted against his cheek.

“Boo,” he announces with overly exaggerating wide eyes, and the owner of those little fingers reward him with a giggle and another smash of sticky fingers against his cheek. This has become the little boy’s favorite game over the past few days, and he’s taken to demanding the two of them play it at every turn. Peeking around the porch railing while his father and uncle shoot the breeze, twisting his head around while he eats dinner at the counter in anticipation of being snuck up on, and, now, sneaking into bedrooms trying to get one more round of the game in.

“Jah!” The little boy squeals as he drops back down off his tiptoes and lets his gaze level with the blue sheets covering the mattress. Leaves the man lying in the bad staring at the cowlick of red hair atop the ittle boy’s head for the briefest of moments before he pops back up and screams, “Oooh!”

The older man’s eyes widen in mock surprise once again, and he rolls slightly backwards onto his shoulder. Throws his hand against his naked chest as though he’s clutching his heart while proclaiming that the little boy got him good. That he was so surprised to see the little boy standing there.

It’s not a complete lie, the man recons as he reaches over to scoop the little boy up. Merely a reordering of events because was surprised to find the little boy standing beside his bed this morning, surprised that the eighteen-month-old has mastered opening antique doorknobs in the last three days. His admiration of the little boy’s skills and intelligence is short lived, though, as he rolls onto his back and notices the door is propped wide open.

There’s no way the little boy could have managed that. The time-warped door far too noisy for someone without any practice at being stealthy to be able to push open without him noticing; the river stone used to prop it open far too heavy for someone below the age of five to be able to move into place.

“Who you let you in here? Huh, Sammy?” he questions as he moves to plop the little boy onto the bed beside him. Short, stubby legs rest against the twisted blue sheets and the multicolored quilt for only a moment as the little boy twists his head side to side to survey the new vantage point afforded to him. But the attention span of a goldfish that he inherited from his father eventually kicks in, and Sammy rolls onto his hands, starts inching his way towards the edge of the bed.

“Bye-bye, Jah,” the little boy says as he reaches his destination and begins to tip head first over the side of the bed, and any residual sleepiness blanketing his uncle’s reflexes are tossed aside in the lightening fast way that Jay’s fingers reach out to hook his index finger around the belt loop of the little boy’s khaki shorts.

“Oh, no, you don’t,” Jay replies over the little boy’s protests as he pulls Sammy back towards him. The little boy’s limbs flail in protest as Jay turns him around, as he slides his hands under the little boy’s armpits and lifts him up so the two of them can look eye-to-eye. “Your old man busted his chin on these floors. You don’t want an ugly scar like his, do you?”

“No, you want to have a razor sharp mind and rugged good looks like your Uncle Jay,” Jay answers on behalf of the little boy before bending his head to blow a raspberry against the patch of exposed skin peeking out between Sammy’s shorts and his Sox’s t-shirt. He takes the shriek of laughter as his answer; blows one last raspberry against the boy’s stomach before he lets his feet slide out from under the warm covers and hit the cold, bare hardwood floors.

It takes a little bit of jostling and maneuvering to adjust the low-slung waistband of his sweatpants, to toss some of the pillows on the floor back onto the bed, and to hold onto his squirming nephew, but he somehow manages. Barely gives a thought to the t-shirt lying haphazardly on the chair in the corner as he steps out of the bedroom and into the hallway, as he begins to question his nephew on what the little boy has made for breakfast to justify waking him up.

The floorboards squeak with each step, and Jay is careful to avoid the sagging one in the middle that’s needed to be replaced since the eighties. Careful, too, to avoid stepping the green, plastic Army men set up in a less than precise formation in the middle of the hallway.

He probably should have taken the time to talk Owen through some of his formations, to advise his oldest nephew on the exact way his biological father would have lined up in the Army. But there had been some daggers from his sister-in-law and some sharp words barely muttered under her breath when Owen found the old box in the closet of the bunkroom, and Jay wasn’t about to willingly walk right onto that landmine. And, besides, the formations weren’t wholly wrong – the calvary and the heavily artillery should be switched in order to avoid firing cannons on one’s own troops – and some of the soldiers look like they’d fallen in battle to big feet and annoying little brothers  more so than to the violent imagination of a nearly eight-year-old kid.

Small scale carnage compared to the state of the kitchen, Jay decides as he rounds the corner. A half-packed cooler sits on the counter surrounded by an assortment of juice boxes and lunch meats, suitcases are precariously stacked by the front door of the cabin, and dirty dishes remain spread across the wooden table. A large dollop of strawberry jam probably about an hour away from leaving its mark on his grandma’s custom made table.

“Your parents are pigs,” Jay informs the little boy as his gaze sweeps across the room towards the series of windows above the sink overlooking the riverfront property. Except, today, a big, black SUV blocks his view of the river and the bald eagles and the hammock perfectly positioned for optimal viewing of two of the things that draw him to this remote corner of Wisconsin. That convinced his grandfather to hire a team of mules and haul the whole cabin over five miles to sit in this spot.

Instead, it is commotion around the SUV’s open doors that offer unplugged, off the grid entertainment, and Jay’s lips quirk into a laugh as he watches his brother struggle to cram a large, red rolling suitcase into his tetris game of a trunk. Two tours overseas with Doctors with Borders and his brother has still never mastered the art of packing light and stacking efficiently. And Jay gives his nephew a sad shake of his head when the whole mess comes collapsing down out of the SUV and onto the dirt path in front off the cabin.

The log walls may have survived over a hundred years of Wisconsin winters, but voices still manage to float through, and Jay listens as his brother tells his wife that he should have started with the larger suitcases still the house. Watches Will clomp his way back into the cabin, and greets the opening of the squeaky screen door with raised eyebrows.

“Forgetting someone?” Jay quips with the upward jostle of his nephew that seems to startle both Sammy and Will. The oldest man in the room does a quick take; his gaze jerking from the stack of suitcases by the door to look over where Jay stands by the kitchen sink.

“Nat knew where he was,” Will smoothly replies, but the shift in his gaze is less than subtle and Jay knows that he brother isn’t entirely confident about what he’s claiming. It had been that way most of the weekend; Will and Natalie yelling back and forth across the property asking who had Owen or Sam or Emily. Three kids – two born nearly close enough to be qualify as the Irish twins that dominated Will and Jay’s neighborhood growing up – outnumbering and outmaneuvering their parents.

“She’s got Emmy and Owen out in the car, if you want to say bye,” Will says with a jerk of his head before struggling to lift up two of the three suitcases stacked by the door. There’s a wheeze of air from Will – three kids and a job working as an attending in the ED making it difficult for him to squeeze in time at the gym – and Jay contemplates whether he should put down Sam and help him. Whether he even needs to put down the kid and, instead, can carry one of the suitcases with one hand. “Grab that cooler, will you?”

“Sure,” Jay replies, but his words are muffled by the slam of the screen door behind his brother. It takes him a moment to toss the juice boxes, pre-packed sandwiches, and a couple apples off the bowl on the counter into the cooler. Gives his brother and sister-in-law time to stack at least three suitcases into the back of the SUV before he steps out onto the porch.

Jay’s watch still sits on the nightstand in his bedroom – unless Emily got ahold of it again – and the clock on the stove in the kitchen stopped being accurate back in the late nineties so Jay relies on the warmth of the morning air skimming across his bare chest to help establish a rough estimate of the time. It’s later than he normally sleeps, but still earlier than he thought his brother and his family would be heading out, and he can’t help but inquire about the hastiness of their exit.

“Maggie called,” Natalie replies as she steps forward to take her youngest son from him. And, as tight as he and Sammy are, the boy leans away from Jay and towards his mother with arms outstretched because he’s yet another youngest Halstead boy who’s an unapologetic Mama’s boy. “Schedules got mixed up and she needs us back in the ED tonight rather than tomorrow morning.”

“Hmm,” Jay hums out in reply before silently holding up the cooler to enquire where he should put it.

“Just stick in the front passenger’s seat,” Natalie replies pointing unnecessarily over in that direction. “Owen and Emily are on that side, too.”

“You need some help with that?” Jay questions when Natalie has stepped over towards the back door of the SVU leaving Jay to watch his brother struggle to cram that same red suitcase from before into the trunk.

“You put a shirt on and maybe I’ll consider it,” Will breathlessly quips as he finally manages to shove the heavy bag into place. “No one needs your muscles flexing in their face.”

“Speak for yourself,” Natalie cheekily quips from the backseat of the car where she’s trying to buckle Sam into his carseat, and Jay barely manages to suppress his laughter as Will throws his wife an exasperated look. Their teasing argument about Will having enough muscles , thank you very much, grows fainter as Jay rounds the car. His gaze and, therefore, his attention settles on the Adirondack chairs  out on the dock and the hammock swaying gently in the breeze down by the river drowning out the last bit of Will and Nat’s bickering.

There’s a couple of beer bottles still cluttered around one of the Adirondack chairs, and Jay figures that Will must not have grabbed all the ones he drowned before the two of them retired late last night. But all the toys – the ones more at home on a beach in Florida than a riverbank in Wisconsin – have been picked up, and the children’s swimsuits left to air dry on the line have been pulled down. Presumably packed away in one of those suitcases his brother is audibly struggling with, Jay decides as he yanks open the passenger door and hears Will’s mutterings once more.

Jay quickly drops the cooler into Natalie’s seat; he’ll let her figure out how best to position it amongst her stack of medicine journals and overflowing bag of diapers and wipes. And he instinctively makes sure to shut the door in order to keep the mosquitos out. To keep those bird-sized bloodsuckers from terrorizing his sister-in-law long after she’s crossed over the Wisconsin border.

The baby, for her part, seems unfazed by the large welt on her right cheek where one of those insects managed to get ahold of her yesterday, and she offers her uncle a large, toothy grin when he yanks open the car door and stares down at her. When he skims his fingers against the top of her forehead under the auspicious of saying goodbye and lets the headband encircling her bald skull to hook onto his fingers and be dragged backwards. He doesn’t understand why Will and Natalie keep forcing these flowery headbands on her; she doesn’t look that much like Will.

“Hey, Owen,” Jay calls out trying to get the seven-year-old’s attention. It’s hard to compete with video games, particularly if long car rides back to Chicago are the only time one gets free rein with them, but Owen manages to drag his gaze away long enough to give his uncle’s fist a pound. “See you for the Cubs game next Saturday?”

Will had managed to get ahold of some tickets that a patient of his had gifted in a likely less than kosher transaction, but Jay hadn’t really questioned it when Owen called asking if he wanted to come with. Played more into teasing the kid about the Halsteads being Sox fans and whether or not they can even step foot into Wrigley than worrying about whether or not his brother would be reamed out by Goodwin come Monday morning. Continues to cling to the truce that he and Will had settled upon after he and Will had caught a Blackhawks game last winter and Will refused to believe Jay hadn’t scammed the center ice tickets using his badge.

“Uh huh,” Owen replies ducking his gaze and, therefore, his attention back to the game console in his hand. And Jay takes the dismissal in stride; leans over Emily’s carseat to bump his fist against Sam’s. Offers the little boy one last round of ‘Boo!’ before he says goodbye and slams the car door shut, before he rounds around the car to help his brother and Natalie shove the last suitcase into the car.

“Thanks for letting us crash your weekend,” Natalie says once the trunk has been slammed shut, and she steps forward to offer her brother-in-law a warm hug goodbye. “We’ll see you back in Chicago.”

“Did you say bye?” Jay replies with a jerk of his head towards the river as Natalie slides out of his grasp, and his sister-in-law bites her lip as she nods her head yes and then explains that the whole family did so in between bites of breakfast this morning.

“See you Saturday, man,” Will interjects as he steps forward with his arm outstretched. Jay takes it, pulls his brother in for a quick hug, and then releases him when Will winces at the touch of Jay’s palm against his back.

“Make sure you wear sunscreen,” Jay quips with a smirk as he takes in the splotches of red across his brother’s face, “and a shirt.”

“Eh,” Will draws out glancing up to the sun hovering overhead, “it’s Chicago. It’ll probably be snowing by then.”

The younger of the two Halstead brothers grimaces, and the older takes that as his cue to leave. Offers his brother one last wave before rounding around the SUV, climbing into the driver’s seat, turning over the ignition, and slowly driving off down the dirt road to the county roads that will, eventually, lead them back to the highway.

The car, of course, moves too quickly for Jay to catch up to it when he spots a stuffed bear left sitting on the porch swing or when he realizes the family of five drove off without taking care of their breakfast dishes. He’ll give the bear a lift back to Chicago and, with a glance towards the cabin, decides to deal with the dishes later. Decides to forgo seeing if the coffee pot is empty or grabbing a t-shirt to protect him against the sun or the mosquitoes as the noise of the engine eventually fades so that all Jay can hear is the rustle of the wind through the leaves and the babble of water over rocks in the river.

His bare feet are tickled by well-trampled grass as he makes his way over to the river’s edge, and he stops to wipe some of the morning dew now clinging to his feet on the leg of his sweatpants. Stops to admire the tuff of dirty blonde hair being blown side to side with the sway of the hammock before padding the rest of the way over to it.

“Pretty sure you could have hung around and gotten a goodbye hug or two,” Jay announces as he reaches the hammock, as it swings right into his thigh. He watches as her eyelids flicker in acknowledgment of his voice, as her lips quirk upward into a smile at the reminder of how she needed a hug all those years ago to say a proper goodbye to him.

“Already did,” Erin replies without opening her eyes. “Your nephews and I were out here fishing at daybreak. I’ve got the mosquito bites to prove it.”

Her hand moves quickly with that comment to smack against the patch of skin left uncovered by her flannel shirt or the black orthopedic braces around her wrists, and his gaze immediately snaps to watch for a twinge of pain to flicker across her face. Nothing comes, though, and he feels the tension in his shoulder muscles immediately relax as he questions the validity of her statement in a disbelieving tone. As her eyes open and that smirk of hers that he loves so much is thrown back at him.

“Why? You angling to count them?”

“Thought I did I pretty thorough job of that last night,” Jay quips, and he reaches out to stop the hammock before it can slam into his thigh once more.

“Hmm,” she noncommittally hums in reply. Neither of them bothers to count, to offering a numerical warning that he’s about to collapse onto the hammock beside her and risk tossing them both out onto the grass. And yet somehow they managed to do so fluidly, to do so without a wince of pain on her side as she pushes one palm down against the fabric of the hammock and curls the fingers of her other hand around the edge to brace herself. To roll towards each other so his arm ends up looped behind her back with his left hand resting on her hipbone and her head ends up resting on his chest with her left hand resting on his chest opposite her gaze.

They both know she’s not wearing the falsie. The way her body curves into his and the way the pocket of her flannel shirt rests askew against chest are all telltale signs. And Jay immediately bends down to press a kiss against the top of her head, to feel the wisps of slowly growing hair graze against his lips because he knows  the forging it in front of their family after forging it in front of him last night takes a lot of courage.

Or, maybe, this is just one another example of one of fucks she claims she doesn’t have to give anymore. Because neither he nor their family give one about whether or not she wears it. So long as she’s here and she’s healthy and she’s willing to stomach sticking worms on a hook and shoot them all daggers over calling her a girl about something far less gross than some of crime scenes she’s been to.

“Hank and Danny get on the road okay?” He questions when her cheek nuzzles  against his bare chest, and she hums out her reply once again. Eventually elaborates that Hank’s already back in Chicago and plans to get Daniel back to his mom and stepdad in St. Louis by dinner time, which means that Hank either set a speed record on I-41 or it’s later in the day than Jay figured.

“Thanks for letting them crash this weekend,” Erin murmurs as she flexes her fingers against his chest and rolls her head up to look at him.

“They’re family. They should be here,” he replies catching that flicker of something – thankfulness? excitement? understanding? – in Erin’s eyes before she stretches upward to press a kiss against the line of his jaw. If it’s thankfulness, she doesn’t need to feel that way.

Because, if the last ten years of being her partner have taught him anything, it’s that Hank Voight is her father and Justin Voight’s son is her nephew. If the last seven years of  being her boyfriend, fiance, and then husband have taught him anything, it’s that Hank Voight is his family, too. And he’s the one that should feel thankful for that.

But, if it’s excitement in her eyes, he’s gonna have a problem with that. Not exactly the reaction one would expect to having your dad crash the celebration of your one year wedding anniversary and your six months of being in remission. The latter celebration, of course, being the reason why her dad and nephew and his brother, sister-in-law, nephews, and niece were eventually offered invitations to this weekend getaway.

“You’re amazing,” she replies as she settles back down against his chest, as her fingers beings to trace light circles on his chest and the sunlight pouring between the leaves of the trees bounces off the gold band on her ring finger.

“Yeah, I know,” Jay responds with a cocky grin that’s rewarded with the roll of her eyes and the smack of her hand against his chest. It stings for just a moment, but it’s the good kind of sting. The kind that tells him that despite the chemo damaging her carpal tunnel and despite the wrist braces, she’s still gonna keep him and anyone else who crosses her path in line.

“You’re just wearing those so you can really kick my ass later at the gun range, aren’t you?”

“Oh, yeah,” Erin replies. The addition of the braces had been a breakthrough after two consecutive pisspoor showings at the gun range back in Chicago. Wearing them had put her score just barely below his; wearing them and then taking them off had given her a modicum of hope that she’d one day get back to where she was before all this. It had also given her a C-Note and bragging rights over dinner at the Purple Pig.

She still had a few months before she’d have to prove she could put in a fifteen hour day without the braces or risk riding a desk for the rest of her career, and he’d do whatever he could to help get her back out on the job. To get them both to the point where his transfer papers would be put through because Voight and Platt and the Ivory Tower weren’t going to look the other way while he rode shotgun like a house husband with his actual wife.

“So kicking your ass at the gun range, trout dinner,” Jay interjects after a long pause. “Anything else you want to do on our last day alone in paradise?”

She snorts at his use of the word paradise, and he can’t help but smile because he knows that it’s all for show. Knows that despite the massive mosquitoes and the way the smell of cheese curds lingers at the only restaurant for twenty miles, she actually does enjoy coming up here. Enjoys playing with his and her nephews in the river; enjoys sitting by the fireplace inside with him at night without the glow of a flatscreen TV or the threat of a cell phone ringing with the announcement that they’ve caught a case.

“Go back to bed,” she answers, and his eyebrows immediately pitch upward as his lips twitch into a suggestive pitch. But she doesn’t bother to look at him as she moves to swat away a mosquito buzzing near her face, as she tells him that they already did that enough last night and she didn’t get to sleep in afterwards.

“Is that why you sent Sammy in to wake me up?”

“Nope,” Erin replies popping the ‘p’ with exaggeration. “He must have a tracking device on you. Finds you all on his own.”

The second part of her statement isn’t a total exaggeration; Sam does seem to possess an uncanny ability to locate his uncle any time, any place. Which is fun up until he’s hitting the head and the kid is standing outside the door banging on it.

“You’re a good uncle,” she informs him, and her voice cracks as an emotion that has no place encroaching on this weekend sneaks in. “I’m glad you have him and Owen and Emily.”

The rest of her meaning – that it’s been months, that Irish twins probably aren’t gonna happen for them – hanging in unspoken words between them, but he refuses to let his rebuttal go unspoken or misconstrued. Lifts his right hand up so he can gently tip back her jaw and hold her gaze.

“I’m glad I’ve got you. Everything else is just…icing on the cake, okay? You and me? In Wisconsin? That’s all I’ve wanted since twenty-fourteen.”

“Twenty-fourteen?” She questions with a single, pitched eyebrow and a laugh. “I’m pretty sure you’d been in love with me for at least a year before you brought up Wisconsin.”

“Yeah, well,” he murmurs, “had to make sure you weren’t just using me for my rugged good looks and razor sharp mind.”

“Uh huh,” she replies with a roll of her eyes before reaching out to run her thumb against the cluster of gray hairs sprouting near his ear. The ones that had appeared when she took a turn for the worst nearly a year ago to the day; the ones that had appeared when he hit forty last December.  “Good thing ‘cause those certainly aren’t gonna be around once we retire.”

Despite the dig, he can’t stop his mouth from stretching out into that same grin he gave her when he first told her out this place or stop himself from leaning down and pressing a kiss against her lips. Because she’s here with him; because she’s looking to the future with him.

Because her heart is thudding through the light fabric of her flannel and he can feel it beating against his thumb after he moves his hand upward to help steady her as she moves to straddle him. As she lifts her right leg to join her left on the other side of his body and informs him that she loves him, but there’s no way she’s going to risk mosquito bites in certain places because he’s too old and decrepit to make it back to the cabin.

Fin.

[aion-rsa]

The Best Geek TV Deep Dives on YouTube

https://ift.tt/eA8V8J

From the heyday of Television Without Pity to niche podcasts that cover every small screen angle you can think of, TV show deep dives have always thrived online, and popular platforms like YouTube and Vimeo provide opportunities for talented creators to add a visual angle that can often make a well-edited analysis of your favorite series even more compelling.

YouTube is positively teeming with potential rabbit holes for TV obsessives to fall down. Sometimes at 3 a.m. Sometimes after a few beers. Sometimes when you should be working (couldn’t be us) but whether you’re drawn in by a near-obligatory shocked reaction thumbnail or you accidentally stumble across an interesting take on something you’re passionate about, there’s usually a rabbit hole waiting that feels like it could have been made just for you.

With any luck, falling down one of those rabbit holes ends with you landing far away from the world of destructive opinions, of which there are many, and not just on YouTube. Most of us have probably seen a clip floating around of someone spouting the most harmful, misinformed nonsense at one time or another, and asked ourselves whether giving that person a platform was really the best idea.

Well, this isn’t that. Instead, we’ve pulled together some weighty YouTube-accessible examples of what happens when someone loves a TV series or franchise so much, they can’t stop talking about it – even decades later. Most of these deep dives are a labor of love, which is not to say that they always have a happy ending.

The Retrospective

Ian Martin, who runs the YouTube channel Passion of the Nerd, says his journey began rather accidentally in his early 30s when he found himself feeling a little lost in life. He admits he tried a variety of ways to rid himself of the sensation, including “too much alcohol,” but after deciding on a career change and fruitlessly looking for ways into the voiceover industry, he decided the best course of action was to go ahead and just …make stuff. After all, this course of action didn’t require anyone else to give him a break, and made him the master of his own destiny.

“I sat down and wrote a script about a show I’d become consumed by and edited it into a video called Why You Should Watch Buffy the Vampire Slayer,” he wrote. “In that video, I mentioned that Buffy’s first season was a little rough and, for people who just wanted to get into the show, I would create a short little episode guide just to get them through the first season.”

Six years later, Martin is still at it, and his audience has grown into a supportive community that includes over sixty thousand subscribers, propped up by funding from Patreon. Not only is he still covering Joss Whedon’s first series in depth, episode-by-episode, he’s now delving into spin-off show Angel and Firefly.

Martin’s videos don’t pore over every aspect of these shows, and rarely does an instalment hit the 30-minute mark. Rather, they tend to examine the philosophy behind their themes, citing absurdist and existentialist influences. The host himself doesn’t push these ideas on his audience, but if you don’t end up buying a copy of Jean-Paul Sartre’s Nausea by the time you get to the end of Season 3, it may be that you’ve missed out on a pretty essential element of Buffy’s enduring appeal.

“It took me a long time to figure out what Passion of the Nerd was but I started to find its shape through the journey it was taking ME on,” he explained. “On any average day it’s a chance to make someone laugh over our shared interests. But my favorite experience of art is the one in which we find ourselves. That movie, piece of music, performance, or show that makes us feel like its creator opened up our heart to take a picture of its inner depths. And I love talking about why media MATTERS and finding those moments in popular culture. Sometimes I get to distil those moments for other people and when I do, I hope it does for them what the channel has done for me.”

Martin’s coverage of the very first episode of Buffy lies below. If you continue watching his series of videos after that, it’s unlikely you’ll want that time back. They’re incredibly thoughtful and, frankly, an absolute joy.

The Deconstruction

Ah, Twin Peaks. The show that changed television forever, and one that has been hard to forget ever since. You’ve not been able to throw a golden shovel without hitting a Twin Peaks deep dive online in the last three decades, but occasionally one arrives and threatens to pull apart the backbone of its dreamscape for good.

Twin Perfect’s Rosseter turned in a Twin Peaks deep dive last October with a running time not for the faint of heart. His deconstruction of David Lynch’s endlessly puzzling mystery, supported by myriad quotes from its beloved co-creator, is over four-and-a-half hours long, but its length certainly hasn’t put off curious viewers – over a million people have already chosen to hear what Rosseter has to say about the real meaning behind Twin Peaks.

“Garmonbozia, the Black and White Lodges, Mike, Bob and the Little Man, Judy, Audrey and Charlie, Season 3’s ending… The mystery of Twin Peaks has survived for nearly 30 years… until now,” the video promises, which is a tease that even casual fans of the series can’t possibly resist. Their mileage may vary with the host’s loud impression of Lynch throughout the video, however, even as he produces what feels like a fairly accurate interpretation of Twin Peaks’ initial intentions, its ongoing message in the prequel film Fire Walk with Me, and a gut-punching look at 2017’s The Return.

Rosseter starts out by warning his audience that if they haven’t consumed all three Twin Peaks seasons and the film, they should consider stepping back until they have, which stands to reason: he’s about to spoil most of their various twists and turns. But he then goes on to say that die-hard Twin Peaks junkies should also reconsider watching the video, because after they’ve heard him out, they might never be able to look at Twin Peaks the same way again.

For many, the temptation to potentially peek behind the red curtain has been too great to ignore, and the comment section is filled with people who sat through the whole thing, having felt truly changed by the experience.

“David Lynch didn’t even know what this show was about until he saw this video,” someone joked, while another added more solemnly “I just feel regret. I appreciate the show on a whole other level but the haunting magic that it had for me is gone.”

One viewer thought that Rosseter’s comprehensive offering “may legitimately and unironically be one of the most intelligent and well-constructed videos ever put on YouTube,” but others hit the nail on the head when they realised that unwrapping Twin Peaks’ clues over the years had only led to one significant discovery: “we were controlling Twin Peaks the entire time.”

So, what’s at the heart of Rosseter’s theory? You may want to find out for yourself, and he certainly makes an incredibly detailed case for it. In this event, a brief explanation in the next paragraph will be a SPOILER.

While it’s common knowledge that David Lynch didn’t want to reveal who was responsible for killing Twin Peaks’ central victim, Laura Palmer, and that he was forced by TV bigwigs to wrap up the storyline and the investigation into her murder during Season 2 in late 1990, Rosseter posits that the reason we were never supposed to uncover the mystery of who ended her life and get closure on her death is because Lynch fundamentally believes that consumable TV violence is rotting our brains, and that’s why he created the series in the first place.

Still intrigued? Take a look…

The Discussion

Two-time Shorty Award winner Kristen Maldonado launched her YouTube channel in 2014 as a place where pop culture meets community, and she has the kind of drive, ambition and fast turnaround skills that make other creators look like they’re napping on the job, frankly.

While working as a social media manager for MTV, she’s used her YouTube platform to support women, diversity, and LGBTQ+ representation, discussing everything from the acknowledgement of Kat’s identity on The Bold Type, to the highs and lows of TV’s YA-skewed failures, emphasising the importance of why representation matters “on screen, behind the scenes, and critically.”

Along the way, she’s become a notable queen of deep dives, and not just where TV or movies are concerned – at one point she was even documenting her own musical journey on Spotify, where she was keen to bring attention to emerging artists. Discussing TV still feels like Maldonado’s reigning passion, though, and she usually explores her favorite shows in bite-sized segments that add up to a comprehensive look at their subjects.

One show she’s been extremely passionate about is the Charmed reboot, which she was beyond excited to see come to fruition on The CW. The fantasy drama series originally ran for eight seasons between 1998 and 2006, and CBS had tried and failed to reboot it before, but this time The CW intended to get the job done, bringing the story of magic and sisterhood back to TV and hoping to entice both fans of the old series and a new, younger audience.

The reboot was initially touted across industry trades as a project that would star three Latinx actresses, and that casting choice meant a lot to Maldonado. When news later emerged that only one of the new Charmed sisters would be played by a Latina actress, she posted a video addressing her feelings of confusion about how the show was originally announced, her disappointment that the roles wouldn’t be filled by three Latinx performers, and why series creators need to start using valuable representation opportunities properly.

Maldonado has covered the Charmed reboot comprehensively since it began in 2018, and this year has moved into livestreaming her reviews, switching from shorter videos to longer discussions about the episodes. If you’re a fan of Charmed, or any of the other series she covers (and there are quite a few) you might well find her channel to be an insightful addition to your subscription list.

The Takedown

Chances are, a TV show has pissed you off or upset you before. That Game of Thrones ending? Probably. Bobby Ewing stepping out of the shower? Sure. Quantum Leap? We’re not over it. Only a few of us take the time to make a video detailing just how upset we are about a show and upload it to YouTube, though.

Mike Stoklasa is likely to be a pretty familiar face to some of the Very Online movie and TV addicts reading these words. He’s the founder of production company RedLetterMedia, through which he’s been creating content and offering his desert-dry opinion on various facets of pop culture for well over a decade.

On YouTube, Stoklasa is regularly accompanied by cohorts Jay Bauman and Rich Evans as they take a hard look at some of their favorite films from the past, some of the worst straight-to-video movies of all time, and some of the bigger releases, too. He also voices a character called Mr. Plinkett, and when he does, viewers know that they’re about to peer screaming into the void, because ‘Mr. Plinkett’ does not hold back, especially when it comes to Star Wars or Star Trek.

Stoklasa is one of the most vocal Star Trek fans alive, and is known to consistently derail otherwise unconnected discussions with his Trek references, often explaining how Star Trek may have influenced the subject’s storytelling, and how it might have been – or should have been – a positive lesson from TV past.

To say that he’s not a fan of Star Trek’s fairly recent resurgence under the eye of executive producer Alex Kurtzman is probably an understatement. He covered CBS All-Access’ Star Trek: Discovery, a series that has, for the most part, chosen to abandon Trek’s previous lean towards standalone stories and episodes in favor of season-long arcs, and he seemed interested but trepidatious ahead of Star Trek: Picard’s arrival on the streaming service. But after the show had run its course, he uploaded a 94-minute takedown called ‘Mr. Plinkett’s Star Trek Picard Review’.

The broader world of YouTube takedowns is, objectively, a cesspool – misogyny, racism and homophobia have often run rampant – but Stoklasa has been in the business of keeping more of a constructive balance going for a long time, so when ‘Mr Plinkett’s’ review of Picard appeared online towards the end of May, anyone with even a little backstory on his recent problems with Trek’s TV universe suspected that the fresh adventures of the aging ex-Enterprise captain had finally pushed him over the edge …but they weren’t quite prepared for the ‘Dear John’ letter that ultimately arrived.

Whether you enjoyed Picard or not, Stoklasa makes some constructive points in his video review, and his breakup with the current Star Trek TV world is one for the ages.

The Art of More

If it’s the visual element of a TV show deep dive you’re into, YouTube has plenty to offer.

Art meets skill as Skip Intro takes a fascinating look at the editing behind David E. Kelley’s Big Little Lies, Ladyknightthebrave spends the best part of an hour pondering how Fleabag’s gimmick of breaking the fourth wall serves the show’s characters and story, and balancing ‘point of view’ vs ‘the big picture’ becomes the focus of Lost Thoughts’ It’s a Mad, Mad, Mad, Mad Island.

Here, Thomas Flight explores how HBO’s award-guzzling Chernobyl became a masterclass in perspective…

We hope you found something worth your time in this piece, and writing it up wasn’t really an excuse to discover more of them, but it also wasn’t NOT an excuse to discover more of them. So, if you’ve found any notable examples to keep us busy, please direct our attention to them in the comments, thank you.

The post The Best Geek TV Deep Dives on YouTube appeared first on Den of Geek.

from Den of Geek https://ift.tt/3eddPoI

[eddiejpoplar]

The House of KITT

There’s no sign announcing Don Colie’s shop just south of Roanoke, Virginia. He doesn’t need one. The driveway’s full of third-generation Pontiac Firebird Trans Ams, all black, all unusually clean, all with a telltale scanner illuminated in the front valance, the red lights sweeping back and forth. The scanner’s swishing sound calls up a hundred Friday evenings watching Michael Knight battle bad guys with his intelligent self-driving car. If you lived through the 1980s, you immediately know what you’re seeing. This is this house of KITT.

Mark Murdock’s One-TV KITT is as close to show-correct as possible. He uses a KITT app to allow the car to “speak,” though a true voice recognition program is the next upgrade.

Colie’s been building “Knight Rider” replica parts and vehicles for 20 years, fabricating everything you need to turn a 1982-1992 Firebird into the Knight Industries Two Thousand. It’s too simple to say that’s the only thing his company, Advanced Designs in Automotive Technology, does. The one-bay shop off a country two-lane is a full restoration and prop production house, all helmed by one man; fiberglass, electronics, paint, and interior work fall under his domain.

It’s hard to pin down exactly where Colie got started. He mocked up his first KITT dash in high school for a project, assembling an instrument panel from 2-inch furring strips, bits of wood paneling, and poster board. After graduation, he bought a 1982 Firebird Trans Am of his own and set about building the real thing, or as close as he could come.

“The very first dash I built was kind of my interpretation,” he said. “I was pulling everything off of a VCR, freeze-framing it. I located what type of LED they used, got the measurements for it, and then multiplied that so I’d know how long each bar graph was. Then I would take that measurement of a single LED and see how many I could fit between the rows so I would know how to space them. That gave me a general description of how big to make the overall display board.”

Years later, Colie met a friend who was close with original KITT designer Michael Scheffe, who generously lent him a set of schematics. Scheffe was the mind behind a number of famous vehicles from TV and film, including Doc Brown’s time-traveling DeLorean from the “Back to the Future” saga.

“I took the one-sixteenth plastic Ertl model and measured everything out in millimeters, then I scaled it up 1:1 and sculpted it on a car.”

Colie spent his early 20s working first in sales then in production at a prosthetics company, all the while modifying his own car. It wasn’t until he made his first bumper that he realized he might be able to make a full-time go of building “Knight Rider” replica parts.

Dante Colie, known as Don in the KITT car world, is a fiberglass master. “Everything I do is glassed and rolled by hand,” he said. “It’s a nice, strong product when it’s done.”

“I took the one-sixteenth plastic Ertl model and measured everything out in millimeters,” he said. “Then I scaled it up 1:1 and sculpted it on a car.”

He says this was the first truly accurate, show-quality reproduction bumper. Although there were other pieces floating around, some of which had been made from original molds, they were rough. These were props designed to look great whipping through an action shot, not sitting at a car show. This was in the late ’90s, years after the last “Knight Rider” episode and in the early days of the internet. When Colie began sharing photos of his car on a replica enthusiast website, he received a flood of requests asking him to build individual pieces. A business was born.

Now 48, Colie has perfected his craft. He does everything in-house, forming fiberglass bumpers, dashes, consoles, and switch pods for both the first version of the car and the final version used in season four. He also builds KITT’s unique steering wheel from scratch using a two-part urethane foam. Like all great fandom, the “Knight Rider” universe has its own language. Early cars are “Two-TV” models, so named for the two screens mounted in the dash. They also feature six foglights mounted in the lower valance. Later cars use four foglights and only have one screen in the dash. They are predictably referred to as “One-TVs,” which Colie favors for the cleaner design.

But the fiberglass and foam are a small part of what makes these cars special. A surprising number of the gauges and readouts work, including speedometer, tachometer, odometer, trip meter, oil pressure, water temperature, and estimated range. Colie builds his own printed circuit boards, starting with big, blank sheets of copper and finishing with fully populated boards; he solders each diode and processor by hand. Each board might take him up to two days to complete, and each dash uses a stack of them.

“By using all my own techniques, if I want to update something, I can just go to the computer, make my updates, and come out with a fresh board,” he said. “Every single board I make, I can make again a year later, two years later, or 20 years later. I have everything there that it takes to do it.”

Helpful, given that his replicas come with a warranty.

Colie invited two of his customers to join us for our visit. Mark Murdock and his wife, Melissa, drove their 1985 One-TV car up from Raleigh, North Carolina, and Chad Pulliam came north from Fayetteville, North Carolina, in his 1990 Two-TV machine. Pulliam’s a big guy hiding behind mirrored shades, and it’s easy to take his shyness for brusqueness. But he warms up, revealing a broad laugh once we start talking about the car and the show. His KITT was a father-son project that began eight years ago.

Although any third-generation Trans Am can serve as a donor for a KITT build, later cars first have to be backdated to 1982 specification before any further modifications can be made. Pulliam isn’t a stickler for show accuracy, but it’s clear he adores his KITT. It’s one of three TV cars he owns; he also has a General Lee replica and a KARR, KITT’s evil twin.

For Murdock, his KITT is the only one he’s ever wanted. A few years back, an on-the-job accident, resulting in multiple rounds of surgeries on both shoulders, brought his 32-year EMS career to an end.

“The doctor says, ‘You’ll never work again. You’re on a 30-pound weight-lifting restriction for the rest of your life,’” he said. “I told my wife, ‘I’m suffering through surgery after surgery. I want something out of this. I’ve always wanted a KITT, so when I get the settlement, I’m going to take part of that money and buy one.’ And I did it.”

Every electronic component that Don Colie makes comes through this tidy solder bench. A single circuit board could take him two days to complete.

But of all the things, why this? Why an aging, third-generation Trans Am with a body makeover and a new dash? Murdock says part of it runs back to his childhood, when he saw a KITT replica at a car show and had the chance to sit behind the wheel. But now, it’s about sharing the joy with other people.

“A lot of people love the show and love the car,” Murdock said. “It makes me happy to see them happy and to relive their childhood. Everybody’s got to get a picture.”

To that end, Murdock has made certain his car is 100 percent TV-correct, right down to the missing Pontiac arrowheads on the hubcaps. Both his car and Pulliam’s were partially completed when they came to Colie for interior work.

Colie will do turnkey conversions, starting at $55,000. The work is extensive and starts with a near-complete disassembly. It’s one part conversion, one part restoration, and he says the work can be done in six to 12 months depending on the donor’s condition.

Colie’s devotion is astonishing to see, a faithfulness to functionality and the original source material that likely explains why he’s been able to make a living at this. Wandering around his shop, looking at the bins of resistors and switches, it’s clear he could have done anything he wanted with his life. Everything he does here, he taught himself. In another life, he could have helped put men on Mars, ushered in our autonomous future, or simply made a tidy fortune building props in Hollywood. Instead, he dedicated his adult life to “Knight Rider.” When asked why, he doesn’t have a ready answer, talking around the question, explaining the steps that led him here rather than the motivations behind them.

Watching “Knight Rider” now, 32 years after the series finale first aired, it’s difficult to understand. The show is riddled with cheesy effects, questionable plot lines, and gimmicky stunts. Young David Hasselhoff comes across more as an obtuse goofball than a handsome man of mystery. It takes some effort to look past all that, to see what sits at the show’s core. It’s the same thing that hangs at the center of all good science fiction: genuine optimism. It’s the belief that with a little cleverness and the right car, there’s nothing we can’t overcome, no situation so bleak or so dire that we can’t triumph in the end. Who wouldn’t want to spend their days keeping that alive?

IFTTT

[acsversace-news]

For “The Assassination of Gianni Versace: American Crime Story,” set to premiere in early 2018, Murphy insisted that his crack research team chase down the most trivial of factoids: the backpack and shoelaces favored by killer Andrew Cunanan, the ashtray where Versace stashed his keys, the orchid plant on his dining room table.

“Detail is everything,” said producer Alexis Martin Woodall, who has worked with Murphy for a decade. “If you have to stop in the midst of a great moment because you’re looking at the artifice, then we’re not doing our job. Every bit of polish has to be there so the minute you hit ‘play’ or turn on the TV, you’re in it. We’re all obsessive about that.”

With at least three series in production at any moment, Murphy doesn’t have time to personally sweat over every prop and color scheme. He’ll meet with department heads months before the cameras roll, offer general notes and then have his team report back with miniature models and storyboards a few weeks later. Even after the sets are up, Murphy still must give his stamp of approval — and a thumbs down can come at any time.

Mossa, for example, had to pull a driftwood sculpture in the “Cult” living room because Murphy decided it didn’t fit.

“He makes decisions very quickly, which I find great,” said set designer Judy Becker, who is overseeing the look of “Versace” and whose work on “Feud” is up for an Emmy. “I don’t take things personally. If he doesn’t like something, I’ll say, ‘Fine,’ and find something else. It’s the people who are indecisive that are hard to work with.”

For “Versace,” the film crew shot scenes at the designer’s home in Miami Beach, capturing his lavish swimming pool (now part of a hotel). Becker made sure that the decorated picture frames in his hallway mimicked Versace’s taste.

Film crews won’t actually shoot in Minnesota, where Cunanan’s killing spree began, but they scouted areas of Los Angeles that could double for downtown Minneapolis and screenwriter Tom Rob Smith pored over 400 pages from Twin Cities police reports to help shape the interior scenes featured in two of the 10 episodes.

Being detail-oriented doesn’t always mean historically accurate, however. Becker and Murphy took liberties in reproducing Versace’s Milan workplace.

“He and [his sister] Donatella worked in a bare white space. We felt we had to improve upon reality to make it interesting to a TV audience,” said Becker as she showed off the Italy-based set, which is so swank it could double as a nightclub. “In ‘Feud,’ Hedda Hopper really lived in a ranch house. That wouldn’t have looked good on-screen. I like to know what reality is and then we can decide whether to go with it or not.”

That philosophy may not win Murphy and company any hurrahs from historians, but it’s made his shows catnip to viewers. In addition to “Cult” and “Versace,” he’s developing miniseries about Hurricane Katrina and Princess Diana’s divorce.

Expect the details to be dazzling.

“That, to me, is one of the joys of the work,” Murphy said.

[jordoalejandro]

The Sixth Annual List of Movies I Saw the Past Year

Year six. Movie ranking time. Not much up here because I wrote a lot on the actual list. Let's just get to it.

Here are all the films I've seen that have come out since-ish the last Oscars ceremony (2/28/16).

29. Fences - The biggest problem with this film is that it's not really a film. Fences reads more like a filmed play, which makes some sense, because it started as one. Still, when adapting anything from one medium to film, you have to add some, for lack of a better word, movie-ness. Fences doesn't. With the exception of just a few scattered scenes, the film takes place in and around the family home. Important scenes happen off-screen because they didn't happen on-stage in the play. Actors go on long, strained monologues about life because that's what happens in a play (they have that play cadence to them that constantly reminds you you're watching people act in a production). I mean, look, Denzel Washington was, as they say, a force. When he's on the screen, he's commanding. And Viola Davis is the only one who can keep up with him. But I wouldn't say I particularly enjoyed their acting. I think they did a good job for what they were going for, but they were definitely playing to the back rows too much for my taste. There's maybe something here if you like big performances, but I found this to be a real slog, like sitting through a show you didn't really want to see.

28. Jackie - This was, at the very least, a good looking film. And Natalie Portman does a solid job as Jackie Kennedy, shining in the prerequisite shock and horror scenes, though she does give off a strange vibe in many of the other scenes. I confess I don't know what the real Jackie was like most of the time, so maybe it was on the money, but Portman's Jackie, with her affected -- though from what I've heard, apparently accurate -- voice comes off as a bit peculiar. I couldn't quite put my finger on it, like she was air-headed, but not dumb; present, but not wholly there. Chalk it up to being in a bad state following (spoiler?) JFK's death, maybe? Anyway, the movie itself was not great. I think the problem is that not all real life stories necessarily deserve the movie treatment. There's certainly some interesting stuff in the immediate aftermath of the assassination, but around that, it's just kind of a series of disjointed scenes of Jackie being upset in a passive-aggressive, standoffish way. This and Manchester by the Sea are both movies about dealing with grief, but Manchester deals with it in a much more human, grounded, emotional way. This film feels like it's expecting the fact that it's about the first family to do the heavy lifting. Also, I have to note the score. It was this loud, avant-garde style music that reminded me of Philip Glass's work in Koyannisqatsi (that's right, I went to film school). It frequently felt at odds with the movie and was fairly distracting. A weird choice by the director, one of many weird choices made in this film.

27. Lion - This was another true story that I wonder if it was worth making into a film. There's just not that much here. (SPOILERS) The movie is essentially three parts: the first 45 minutes, Saroo, the main character, is a child in India. He is separated from his family and gets lost and wanders around India's streets getting into perilous situations. He eventually gets adopted by an Australian couple. The next 45 minutes, you have Saroo as an adult in Australia. The last 20 minutes is a lot of Googling and then a quick trip. Now, there's certainly some interesting stuff in the first 45 minutes about poor children in India (though, if I'm being honest, it's a little well-trodden ground. Hell, Dev Patel even starred in one of the films I'm thinking about that handled this subject matter better). But the second 45 minutes were just a whole lot of nothing: a guy living in Australia wonders about his previous life, decides he wants to know more about it, and then just acts aloof for a long time for kind of no reason. Saroo mentions at one point in this segment that he doesn't want to tell his adopted mother that he's looking into his former life in India for fear it would hurt her. So instead, he separates himself from his family and friends and retreats back to his dark apartment to obsessively Google stuff and set up a Homeland-style board of clues. Unsurprisingly, this makes his friends and family worry about him. I mean, was it really so hard to just tell your mom, "Hey mom, I'm curious about my past. I'd like to look into it." But then, that might've been a quick discussion, and how else do you stretch out the middle section of a film without creating unnecessary drama? So, then, the last 20 minutes (SPOILER warning again, because this is going to be about how the film ends), Saroo goes on one final, looooong Googling binge, figures things out, flies out to India, finds his hometown almost immediately, finds his mother almost immediately, has a quick reunion, and the movie ends. (END SPOILERS) I think there's a premise here could've been something much better. Instead, it was a strangely structured, fairly unsatisfying film. On the bright side, decent acting from both Nicole Kidman and Dev Patel.

26. Captain Fantastic - I think this is a movie about how being born into a cult might ruin a person for life if they don't get out fast enough. I’m not entirely sure. I really don't know what this movie wanted from me. Viggo Mortensen and his family live out in the woods and learn survivalist techniques and do gardening and discuss literature. I think the film wants me to sympathize with Viggo but he and his family come off like annoying weirdos and he's training them to be survivalists for reasons I don't quite get. On the other hand, it obviously doesn't want me to identify with any of the "normal" people, as everyone Viggo’s family comes across in the real world is either wildly antagonistic or an easily knocked down strawman or both. The film has some funny and/or entertaining bits and decent acting from Mortensen and the kids, who did a good job by making it through most scenes without reminding me they were child actors. The kids, though, are not really developed as characters. They’re mostly interchangeable and are pretty much just used as props to showcase what a good dad Viggo is, and how smart he's making them. The movie is essentially lots of insufferable people trying to prove their extremely polar opposite views on life are the right ones, and (SPOILER) it ultimately decides that it's okay to be forest people, just as long as you also sometimes go into the real world, which… OK.

25. Now You See Me 2 - I feel the same way about this movie as I felt about the first one: they’re both nuts. First, this is one of those exhausting movies where every character is four twisty, chess moves ahead of one another. Like, not just the good guys... the bad guys, the side characters, the background characters, people who appear in just one scene... they're all part of the game. Also, the world the movie takes place in is this insane world where Las Vegas magicians are, apparently, the biggest rock stars in the world, so much so that they have news channels doing live reporting on their tricks and every time anyone sees them they lose their minds. I mean that almost literally. The crowds in this film are crazy for these magicians. They scream and laugh and cheer and gather around in huge, enthusiastic mobs in a way that has never happened in real life for magicians, ever. But here's the thing, too. These magicians? They're also on like, the FBI's most wanted criminals list from their escapades in the first movie. So they appear randomly and put on these huge shows, and then inevitably have to take off running because the feds start closing in on them. The real world equivalent is like if Beyoncé randomly popped up at parks around the country, started singing to the quickly amassed mobs, and then took off running after a few songs as large groups of feds showed up and chased her. I can't even pay attention to the story because this film world is so crazy I can't figure out if it takes place on this Earth or a parallel universe Earth where any of this makes sense. I'm find myself wondering who was asking for this world. Who was thinking, "Well, if no one is going to put to screen the story of criminal thief secret society rock star magicians, I'll be the one to do it. It's what the people want. No! It’s what the people neeeeeed!" The movie also kind of nails that cringey, awful magician speech pattern, where you force a story to go with the trick and make cheesy quips and try to add flair to make it seem cool and mysterious. I really can't tell how far the filmmakers have their tongues in their cheeks here. Did they do that awful magician talk because they thought it would be funny how bad it is and accurate to real life magicians, or did they legitimately think it was cool? I mean, some of the stuff they do seems to indicate they know and are playing, but the finale of the film comes across so sincere that I'm thinking, "Oh no. No. They meant everything." One last thing, because I can't finish this review without mentioning it: Woody Harrelson plays dual roles in this film, as his character from the original and as his newly introduced evil identical twin, which appears to be Harrelson doing something of a Matthew McConaughey impression, including wearing a Matthew McConaughey curly wig. It stands out as one of the nuttiest choices in a film chock-full of them. All this being said, I don't know if I would tell you not to watch this film and its predecessor. They aren't good films, but they're so absurd that they're kind of entertaining. I found myself laughing and somewhat captivated, despite the awfulness. You know, like watching Russian dashboard camera compilation videos.

24. Batman v. Superman: Dawn of Justice - Okay, here are some positives: it’s a visually interesting film, it has an interesting take on Batman (though less so than Burton’s and Nolan’s takes), there’s a fun sequence with a bunch of real world talking heads that takes on the philosophical debate about how Superman fits into society, and there are some decent action scenes (the scene in which Batman infiltrates the warehouse to get Martha is the high point). Now, negatives. Most of the action is unspectacular. The big final fight, similar to the final fight in Man of Steel, is too CGI-y, which made it hard to focus on (on the bright side, seeing the big 3 of the Justice League together is a pretty cool moment). The actual Batman v. Superman Dawn of Justice fight itself was plodding and bland and the reasoning behind it was contrived. Batman’s motivation for wanting to murder Superman wasn’t strong enough and Superman likely could’ve prevented the fight altogether by articulating a few thoughts before throwing fists. And the ending to the fight is even more contrived and nonsensical (SPOILER: sure is lucky for Superman he was adopted by a Martha and not a Susan or something. Or that Batman’s mom didn’t go by a nickname. END SPOILER). Another negative: Jesse Eisenberg’s Lex Luthor is an insane, cartoon character, down to the voice, which I can't fully place my finger on, but I wanna say... half-Snagglepuss, half-Wally Gator? I don’t know what he was doing. I think he was trying to go for an over-the-top, chewing-the-scenery villain, but he didn’t stick that landing and, in fairness to Eisenberg, it was never going to work with Zach Snyder’s vision of this world, which is: grim, dark, and no fun at all. This world is also filled with wanton destruction. People had issue with the ending of Man of Steel for similar reasons (though it had much to do with Superman causing most of that destruction and not saving people), and you might think this almost universal negative reaction would cause the filmmakers to reconsider their approach. Their solution, however, was to have the same wanton destruction (they level like three different neighborhoods in the third act) but just, this time, keep having characters say, “It’s fine, there’s no one in the area.” At one point someone mentions that this whole huge swath of downtown is empty because it’s an office district and it’s after work hours. Oh, okay, that’s reassuring, I guess, unless there are people working late, or janitors cleaning the building, or any bars or restaurants at all in the area where people might’ve gone after work. Whatever. Here’s the biggest issue with the film: it is way, way, way too overstuffed, likely the result of trying to do what Marvel did in five films in, like, one and a half. I mean, this is a two and a half hour movie where every scene feels cut like a montage and lasts about 30 seconds (except for Bruce Wayne’s dream sequences, which are meaningless and go on forever). There’s just no time to breathe in this film. You never really get to appreciate that we have BATMAN AND SUPERMAN ON THE SAME DAMN SCREEN. Oh, and HERE’S WONDER WOMAN, TOO. We should get to savor this more, but we can’t because we need to keep moving, more story, more dream sequences, more explosions leveling blocks of abandoned buildings, more of Lex Luthor's affected monologues, more pointless cameos from other members of the Justice League. And my big worry is that this isn’t going to get any better in the next movie. This movie tried to tell a story (and not a simple one, either, one with grander DC Extended Universe implications) while introducing Lex Luthor, Wonder Woman, and Batman (and all his mythology) to Superman’s world. By the time Justice League comes around, they will not have laid any more groundwork. They’ll have released Suicide Squad (which doesn’t figure to have any significant impact on the overarching film universe) and Wonder Woman (which will at least flesh her out a little more). That’ll leave Justice League to tell a complete story while introducing Flash, Cyborg, and Aquaman into the world (their two second cameos in this film were cute little Easter eggs that tell us nothing about the characters), and catching up on whatever the previously established heroes and their friends and love interests are up to, and introducing whatever villains will show up. There’s a lot of potential here to create an even bigger mess. It’s okay. I trust the filmmakers to not try and cover up any shortcomings they have in the story and character departments with more and bigger explosions. My God, this review has gotten as bloated and nonsensical as the movie itself. Uh… I didn’t hate this movie, I just didn’t like it.

23. X-Men: Apocalypse - This was another superhero movie that was kind of a mess. It's weirdly structured. The first hour is all team building for both the good guys and bad guys: new mutants showing up, meeting each other, interacting, yadda yadda. The next 30 minutes are a side mission that doesn’t serve the greater narrative of the movie at all and seems to have old been added so they could pay some fan service with a short cameo (which, in fairness, was one of the more fun parts of the movie). The last 45 minutes are the big final battle, which isn't particularly memorable and not set up well enough to really feel important. There's the obligatory shots of some cities being slowly destroyed, but we don't really know or see any characters in these cities so it feels somewhat impersonal and makes it hard to care. There's just nothing really remarkable at all about the film. There are also a lot of retreads of things we've seen in previous X-Men films: a “Cyclops's powers awaken” scene, a “Weapon X facility” scene, a “Quicksilver does a bunch of stuff really fast while era appropriate music plays” scene (though, again, in fairness, this scene is just about as fun as the last one and probably the high point of the film). There's even the "emotional appeal to Magneto" scene. Magneto’s arc in these movies is the same thing over and over again. He starts out an okay guy, then turns into an asshole, then at the last minute, becomes okay again, before leaving to go be a loner again at the end of the film. It’s getting tired. I also had a problem with how imbalanced the X-Men's powers are. The bad guy, Apocalypse, is like a God that can destroy worlds. Meanwhile, the X-Men have Beast, who is strong. And Mystique is just about worthless except to pull the one-time-per-movie trick where she walks up to a villain disguised as an ally, only to surprise attack. That, and she's good for leading the emotional appeal to Magneto to stop being an asshole. X-Men Apocalypse probably should have been two movies: one about the new class of X-Men so we get to know them better (which, granted, would've been a hard sell considering they just did a first class of X-Men movie not that long ago and we sort of already know most of these X-Men), and one about fighting Apocalypse so his plan and danger actually connected with the audience. Or maybe they just shouldn't have spent so much time retreading familiar ground.

22. Ghostbusters - This was a decent sci-fi action flick that was passably funny, which is a huge disappointment given the film's pedigree. Paul Feig, Kristen Wiig, Melissa McCarthy, and Kate McKinnon, some of the finest people working in comedy today, should've been able to cook up something much better than this. Instead, the Ghostbusters themselves are pretty bland and deliver very few laughs throughout. Honestly, the best and most consistently funny part of this film is somehow Chris Hemsworth. And he's great, but how does that happen with all the other comedy superstars in here? The main crew is even shown up by cameo roles on more than one occasion (Cecily Strong, Zach Woods, and Steve Higgins all produce solid laughs in just their short times on screen). Ultimately, this was a pretty average film that I cannot believe people fought a culture war over. Well, I mean, I can believe it because that's where we are in society, I guess. But, you know... Come on.

21. Jason Bourne - This one had some solid action and I like that Bourne only says about 25 lines throughout. It fits his character well and doesn't bog down the film with too much exposition. But overall, this isn't a great movie, which is so disappointing because I love this franchise. The directing and editing makes for good action films, but smart writing is what made the original trilogy into great films. Maybe it was Tony Gilroy's absence, or maybe it was just trying too hard to force a story for this character, but the writing just wasn't up to snuff here. The story is slow and, even worse, feels unnecessary, created just to allow for Matt Damon to travel around Europe and the world and kick ass. I mean, I can appreciate that. That is almost all that I want from a Bourne film, but it still left me feeling a bit hollow. I will always welcome more Bourne, but if they can't find a good reason for him to continue, then perhaps Jason's story should have ended with Ultimatum.

20. Central Intelligence - You kind of know what you're going to get. This is a decent buddy cop movie with some good laughs and serviceable action, though it has a fairly predictable plot and a few really lazy "lol so random" jokes in it. Kevin Hart does his Kevin Hart thing just fine. To be honest, I actually didn't care for The Rock's character. I didn't know what he was supposed to be: shy loner, obsessive weirdo, or even possibly slightly autistic? He was reading real strange, and I just don't think The Rock was able to pull it off. He has charisma, to be sure, and I generally like him in things, but he might not have enough range to give this character that roundedness it truly needed. Either that, or it was just a poorly written character. Fun movie in general though, and good enough to watch if you catch it on cable one day.

19. Hidden Figures - This was a nice, inspirational movie, even though it felt real dull around the edges, like it was almost made for children. The plot is very paint by numbers and there aren't a whole lot of surprises here. You do get some good acting from the cast, though (of note: Taraji P. Henson, Octavia Spencer, Janelle Monáe, and Kevin Costner), and that helps to carry the film all the way across the finish line.

18. Deadpool - Well, I will say this, this is certainly the funniest movie to ever feature a horrific, 20 minute segment of medical torture. The humor, in general, is very quantity over quality. There are a few really good jokes that land well and the film is at its best when it's making fun of superhero tropes, but there are so many goddamn dick jokes and topical jokes that will date super poorly: Rosie O'Donnell references? Jokes about the Taken movies? These aren't exactly fresh and hilarious now. If you rewatch this film in a few years, they'll make you cringe. The film has some decent, if sparse, action and Ryan Reynolds and Morena Baccarin had good chemistry. It's fun to get a different take on the superhero world every now and then, but I don't know that this film is, or even should be, the game changer that people were saying.

17. Keanu - This movie's got a handful of genuinely funny moments and some great running jokes, though there are parts where the comedy really slows down as they try to ratchet up the drama. Keegan-Michael Key and Jordan Peele have fantastic chemistry and the kitten is an amazing actor, just heart-meltingly adorable. Fans of the Key and Peele show will enjoy this the most, but it plays well to all audiences.

16. Arrival - Arrival looks great and has some excellent acting, especially from Amy Adams, who carries most of the film, and Jeremy Renner, who does a good job without a whole lot to work with. The villains of the piece, though, are a little too one-note, on-the-nose bureaucrats. I was enjoying this film through the first two acts or so, but I had major problems with the ending. (SPOILERS) It's, as my brother put it, "future ex machina." The film essentially uses the causal loop as a way to resolve the plot. The causal loop is cute in movies like The Terminator as a way to make you reconsider elements from the film, but I hate it being used as a linchpin to make the plot work. This film perhaps might have been better served by focusing on communication and our issues with language, which is a subject it plays with well. I would've avoided the issues of time altogether because time travel movies rarely, if ever, are told without getting messy. (END SPOILERS)

15. Hail, Caesar! - This film's story is pretty weak, but all the things that happen around the story are fantastic. Hail, Caesar! is at its best when it's paying homage to old Hollywood with really well done song and dance pieces or sending up the business with excellent comedic bits. The film looks fantastic and gets strong performances out of Josh Brolin and Alden Ehrenreich. It's a love letter to the olden days of the film industry that's not as great as the sum of all its parts. Its parts, however, add up to a very high sum.

-Okay, break time. We're about half-way done with the list so here's where I'll stop to mention the two documentaries I saw this year.

Weiner was like watching a fascinating, slow motion train wreck. It makes you sad about what a good politician Anthony Weiner could've been if he could've kept his dick in his pants. It also helps you see that his passion and inability to back down from anything -- a big part of what made him a compelling politician in the first place -- is also what makes him constantly get in his own way. It's probably what also led to him to allow a documentary crew follow him around as he ran for mayor of New York, and stay around even after his second texting scandal broke. Also, my God do you feel bad for Huma Abedin.

O.J.: Made in America is a wide-spanning, masterpiece of a documentary that presents to you, in compelling fashion, everything you ever needed to know about O.J. Simpson. It covers him from childhood through his recent second arrest and conviction and touches on every part in between, including painting a vivid picture of race relations in America at the time of the trial. This documentary is about eight hours long, but you never feel like there's any stretching. In fact, you sort of wish there was even more. It's a gripping and tragic story and Ezra Edelman did a fantastic job putting it together.

I'm not going to try and fit these two documentaries into the list of narrative films, but I will just say I thought both of them were excellent and recommend them.

All right. Let's get back to it. These last 14 films all received A-minuses or better in my invisible rating scale that I use to help me order the list, so here, in my opinion, is the good stuff.-

14. Doctor Strange - This was a very fun, visually extraordinary ride. The action scenes were excellent, making clever use of space and time. The film is well directed. There's a lot of interdimensional traveling and warping of space in this movie that could've been a mess, but it's actually surprisingly easy to follow. Benedict Cumberbatch is very charismatic, though I felt he could've used some more character building (he just kind of goes from slightly a jerk to not such a jerk). There's lots of setup and exposition about Doctor Strange and his mythology, so there's less time to really develop Mads Mikkelsen's villain, Kaecilius, which feels like a missed opportunity. Otherwise, though, there are quite a few good supporting characters, including The Ancient One, played with some depth by Tilda Swinton. Another strong addition to the Marvel Cinematic Universe.

13. Whiskey Tango Foxtrot - Or as I called it, Zero Dark Thirty Rock thank you, thank you very much. What? Roses? You're too kind. Thank you! Whiskey Tango Foxtrot is an excellent comedy/war drama, with some great dialogue, solid acting (of note: Tina Fey, Christopher Abbott, and strong bit roles from Billy Bob Thornton and Evan Jonigkeit), and surprisingly touching and/or dramatic moments.

12. Popstar: Never Stop Never Stopping - There are just so many jokes in this. They come at you a mile a minute, so there are bound to be a handful of misses (mostly when the jokes veer into the too silly, 14 year old boy stuff) but there are a lot more jokes that hit and hit hard. The best come when the film is sending up the music industry, especially using real, big names from said industry in faux interviews. The songs are a real high point, too. This was definitely the funniest movie I saw this year.

11. The Nice Guys - This one's the ol' Shane Black special: mismatched buddy "cops" (not really cops, but for lack of a better cliché), witty dialogue, violence, mystery, physical humor. It's expertly done all around from writing to acting to directing. If you're a fan of Black’s work, this is a quality addition to his oeuvre.

10. Other People - This one treads on somewhat familiar ground but does so in a smart, well-crafted way. It's a film about watching someone you love die, which makes it a hard film to watch, especially because it hits on this nugget of truth: living through the death of a loved one is weird. I mean, sure, it's painful and heartbreaking, but it's also often awkward and frustrating, and sometimes, even darkly humorous. Loss is a part of life we all must experience, but we never really know how to deal with it perfectly and this is a film that touches beautifully on that. Great acting from Jesse Plemons and Molly Shannon at the center of this.

9. Rogue One: A Star Wars Story - A great take on a war movie in the Star Wars universe, with some excellent visuals, a fantastic third act, and a breathtaking sequence featuring Darth Vader. The film has a good score but I felt it was sometimes overbearing to the point of distraction -- there's a scene where a bunch of rebels are just debating at a table and the score is playing loudly like a battle sequence. Felicity Jones was a strong lead but, and maybe this is just my own issue to get over, Diego Luna just does nothing for me. The CGI Grand Moff Tarken was a little too CGI-y for my taste. He almost felt like a Jar Jar Binks-type full CGI character that wasn't actually there. I thought it could've used some scaling back but others who saw the movie with me didn't even notice he wasn't real, so maybe that was just because I went in with the knowledge the real actor had died years ago. Ultimately, this movie presents some cool ideas and offers a different, more grounded take on the Star Wars universe, but I have to say, I did kind of miss some of the Star Wars of it all: Jedis and lightsabers and such.

8. Moonlight - A beautifully shot, well written and directed film that touches on some familiar movie themes -- being poor and coming of age, being black and coming of age, and being gay and coming of age -- but combines them in a way that is more rarely seen. It's artfully done and without excess melodrama, though it's, let's say, methodically paced (the whole movie is maybe 10 segments). The acting is wonderful all around. The main two characters who we see grow up through the film are cast well. Chiron, especially, was a rich, full character created by three different actors doing the lifting. This film also received great supporting performances from Mahershala Ali, Janelle Monáe, and Naomie Harris. There isn't really a sour note in the whole ensemble.

7. Hunt for the Wilderpeople - This one is equal parts cute, funny, and touching, and is presented in an interesting style (very Wes Anderson-ian in camera, music, and color). At times, the plot isn't as tight as I'd like it to be, sometimes becoming almost dreamlike, moving from vignette to vignette, as the heroes encounter strange people and situations that don't always make sense. Still, there's a lot of heart at the center of this strange film, and it makes for an excellent movie going experience. Sam Neill and Julian Dennison give excellent performances.

6. Zootopia - I was not expecting to love this movie as much as I did. It's funny, sweet, and very imaginative. The little world that's been created for this film is fascinating, with clever parodies and animal gags (sloths running the DMV, for example). The film provides a pretty decent mystery thriller as well, while managing to touch on issues of classism, sexism, and racism (little on the nose though they might be - it is a kid's movie after all). It's impressive considering there are seven different writers credited on the story. That's normally a bad sign, but this movie worked. If you're looking for things to watch with the family, you could do much, much worse.

5. Manchester by the Sea - As a movie (that is, a story with a beginning, middle, end, 3 act structure and all that), it doesn't quite come all together for me. I wish the story was more solid. It almost feels like a visual novel, in a way, as weird as that sounds. I wish the music, beautiful as it was, was quieter or not there, allowing us to be fully with the characters more. I think these, for lack of a better word, shortcomings, as a movie prevent me from moving this film higher up the list. The reason I have this as high as it is, though, is because if you see this not as a film but as an examination of life, it's incredible. It speaks to how life can be unfair and unbearably painful and yet still humorous (sometimes morbidly so). How love and family can be the greatest sources of strength in our lives, and the things that cause us the most pain. How we deal with tragedy, and how in life, things don't always work out. Sometimes, there isn't character growth. Sometimes, we just find ourselves drifting, trying to make it through life as best we can. Manchester by the Sea is beautiful, and real, and emotionally gutting. Casey Affleck is amazing, his pain just simmering under the surface at all times, constantly affecting him. Lucas Hedges and Kyle Chandler were both excellent in supporting roles. And Michelle Williams, in her one big scene, is heartbreaking. That one big scene, too... my God, it's devastating. Affleck and Williams made me feel more emotion in that scene than any other scene in any film this year did. Don't be discouraged from watching this film because people talk about how depressing it is. There is sadness, to be sure. It isn't a light watch. But there's levity in here as well. There's both. That's life.

4. Florence Foster Jenkins - Another movie that took me by complete surprise. You see the commercials and think this is just a film with Meryl Streep singing bad and that's the joke and that's it. And sure, there's some of that. But this movie, at its core, is a beautiful, lovable movie about chasing your dreams. About making an effort to create, and being vulnerable, and trying things, and being a positive influence on the world. It's also a story about love, and what you would do to protect and support those you love. And finally, it's a movie about empathy, and about how we should treat one another. You get some fantastic acting from Streep, of course. I mean, yeah, she's good in everything, but what she did here, with what could be a one-note character, is made a full human. Streep plays Jenkins with a kindness that makes you love her, and a dauntless attitude that makes you respect her. You want her to succeed, and, knowing she can't, you want to protect her. There's solid supporting work here, too, from Rebecca Ferguson and Hugh Grant (who does an excellent job as a man of contradictions, but one who cares deeply for Florence and will go to great lengths to protect her), but I was most surprised by Simon Helberg's Cosmé McMoon. He brings a meekness and sweetness to his role that really humanizes his character. Look, your mileage may vary here. I’m not blind to some of the issues of this film, but it just hit me in such a wonderful, unexpected way and I enjoyed it immensely.

3. Sing Street - This is a fantastic little indie film with some great music and original songs, really funny bits, and good acting (especially from Jack Reynor, who plays a mentor older brother with a little extra bubbling under the surface). The film touches on the importance of music in life (especially as a form of escapism or a way to speak about love), about taking risks, and chasing dreams. I don't have a whole much else to say about it. It just works on every level and accomplishes everything it sets out to do. One of the most enjoyable films of the year.

2. Captain America: Civil War - The most fun I had in a movie theater this year. It's filled with great action sequences, including the awesome airport fight scene (the best action sequence of the year), that actually have some strong emotion behind them and consequences because of them. It also has some excellent bits of humor sprinkled throughout. There's a huge cast here, but they are used well and play well off of each other. Robert Downey Jr., who is always good as Tony Stark, shows a little bit of range, flashing some of his acting chops in a couple of family-related emotional scenes. Tom Holland is an outstanding Spider-Man and his interactions with Tony Stark and the rest of the Avengers are some of the high points of the film. Finally, I think it's an impressive bit of writing to establish both sides of the civil war as reasonable and somewhat unreasonable. You get why the heroes pick the sides they're on, and why they don't understand how their friends could pick the other side. Their reasons for fighting each other make sense and the fight feels like an inevitability instead of a obligatory point we've been forced towards. Another hit for Marvel.

1. La La Land - Feels like this Damien Chazelle guy might be someone to watch. This movie is pure, wonderful fantasy. It's just a delight. I loved it. It's brilliantly directed and cleverly written. Every shot and scene is so visually interesting and vibrant. There's some great choreography and the music is pretty good, though I actually think it could've been better. It's enjoyable while you're in the film, but outside of "City of Stars," none of the songs really stuck with me in a way I wish they did. Also, (SPOILERS) the ending is so emotionally crushing. I get it, I accept it, it's beautiful and bold in its own way of looking at life, but, come on, if you're going for a throwback musical, end it like a throwback musical. I mean, yeah, it's a throwback musical with a modern twist and in modern life, things don't work out all the time. Okay, okay, fine. But I say leave that stark realism to Manchester by the Sea and leave this film with the magic, happy ending. That’s the effect this film had on me. I know, in my head, the ending makes sense, but this film had me by the heart so badly that I couldn’t deal with it. I was so damn emotionally invested! (END SPOILERS) Ryan Gosling and Emma Stone are incredible. They have the best on-screen chemistry of any couple on film this year. This film filled me with joy and left me in awe. I don't know how you could watch it and not have a smile on your face. That's why it's my #1 film of the year.

All right. Let's wrap it up with some individual awards.

Best Actor

5. Sam Neill, Hunt for the Wilderpeople 4. Jesse Plemmons, Other People 3. Denzel Washington, Fences 2. Ryan Gosling, La La Land 1. Casey Affleck, Manchester by the Sea

Best Actress

5. Taraji P. Henson, Hidden Figures 4. Viola Davis, Fences 3. Amy Adams, Arrival 2. Emma Stone, La La Land 1. Meryl Streep, Florence Foster Jenkins

Best Supporting Actor

5. Hugh Grant, Florence Foster Jenkins 4. Simon Helberg, Florence Foster Jenkins 3. Alden Ehrenreich, Hail, Caesar! 2. Lucas Hedges, Manchester by the Sea 1. Mahershala Ali, Moonlight

Best Supporting Actress

5. Octavia Spencer, Hidden Figures 4. Janelle Monáe, Moonlight 3. Molly Shannon, Other People 2. Naomie Harris, Moonlight 1. Michelle Williams, Manchester by the Sea

Best Director

5. Ethan Coen and Joel Coen, Hail, Caesar! 4. Taika Waititi, Hunt for the Wilderpeople 3. Barry Jenkins, Moonlight 2. Kenneth Lonergan, Manchester by the Sea 1. Damien Chazelle, La La Land

Best Screenplay

5. Shane Black and Anthony Bagarozzi, The Nice Guys 4. Chris Kelly, Other People 3. Kenneth Lonergan, Manchester by the Sea 2. Damien Chazelle, La La Land 1. John Carney, Sing Street

There we go. Way too many words about movies. If you stuck around this long, I apologize for the insane rants about some of those movies up in the 20s.

Also, if you stuck around this long, what are you doing? You're crazy and I love you.

- - - - -

Read More:

Annual Lists of Movies I Saw the Past Year