#he looks like michael sheen robot in passengers

[jevilowo]

Watching Emesis Blue finally and

WHAT DO YOU M E A N, "SWORDVAN IS COMING THR *illegible*

[dreamy-pill]

I’ve been imagining another AU, one that starts, unfortunately, with the tragedy of Stanford Pine’s twin brother, Stanley Pines. He hears about his brother’s demise from his mother. Most likely, Stanley died before Stanford arrives in Gravity Falls. That’s just the basic plot for the beginning.

So…I was reviewing Passengers, the one with Jennifer Lawerence and Chris Pratt? I became inspired when I saw the robotic bartender, played by Michael Sheen. And it had me thinking about DBH (aka: Detroit(:)Become Human), the game about AI sentience created by this guy called Kamski. And then I also just thought about Astro Boy and Ex-Machina, too.

You’ll most likely know about the Frankenstein AU for Gravity Falls, right? Kudos to the creators, that’s a lot of really impressive and interesting art.

Well, what if Stanford went about developing an android with the initial intent to revolutionize humanity while in Gravity Falls? During the daytime, he’ll focuses on research of the local ecosystem, while in his pass time he’ll be pouring research theories into blueprints for the robot. And when he gets Fiddleford to help him with his project, the robot is molded into Stanford’s likeness because why not? And, for selfish reasons Stanford will keep to himself, he starts referring to the robot as Stanley. Then, you know, Fiddleford will most likely just assume his partner is becoming narcissistic because he doesn’t know about Stanley yet and that Stanford lost his twin brother.

Is it almost morbidly contrived for Stanford to reshape the android to share the same likeness to his brother from the last time he saw him, which was during his wake?

Then, just when the android finally emerges and his processors are all switched on from an unknown power source, Stanley is awoken once more. He just doesn’t realize that yet.

For a shorter explanation for further plot, Stanford won’t be able to handle being in the same room as the android and Fiddleford will have to assume caretaker to the robot while running tests. Stanford will most likely be feeling guilt because he just brought a dead ringer of his brother back from memory. He’ll feel like he’s disrespected his brother’s memory and can’t handle it because he’ll sometimes forget that the android’s not Stanley. While talking with him, Stanford will unconsciously ask what the robot thinks, only to be met with confusion, then Stanford will look at the android for any signs of familiarity on his face. He forgets sometimes that the android doesn’t share any memories between him and Stan. That really bums Stanford out. The android notices but doesn’t know how to help.

Think of this as an alternate version for Wax Stan, except with robots.

Now, imagine if Bill wanted Stanford to build him a body at first when he finds out about his project, only to be rejected. I don’t know how to carry on more with that. I just became inspired by Avengers(:)Age of Ultron.

[muslim-flint]

If one were to watch a Michael Sheen thing what should one watch after Good Omens?:)

ohhhhhh honey

if one desires to experience the FULL whiplash, they might want to start with the show Masters of Sex. it's a period drama show set in the 50s, about Bill Masters and Virginia Johnson, and the groundbreaking research they made about sex. Bill is Michael's character.

you're gonna love him, you're gonna hate him, you'll want to punch him in the face almost every single time he opens his mouth and it's gonna be DELIGHTFUL. it's not on Netflix, but it is on streaming : try the website dwatchmovies.net

(tw for nudity tho, quite obviously)

now, i haven't seen this yet (if you're one of my followers, anon, you might have heard me bitch about my broken laptop this last couple of weeks). but for Thirsting Purposes, i've been recommended to watch the third movie of the Underworld saga. sexy ass werewolf who looks like he hasn't slept or showered for the last decade, probably smells like a rain-wet dog, and he looks like This

so, y'know. bon appétit

he's a MINOR character in this but i have to mention the movie Passengers cause it's the first thing i've ever seen him in, and he plays a robot there, Arthur. gosh I love him

LOOK AT HIM HE'S SO CUTE. A H

aaaaaaa and OF COURSE you HAVE to see the bake off show thing he's been in. if you go on the "ask" tag here on my acc i think you'll find it after scrolling down a little. he's just so funny and SOFTE in it, and also peels a fucking onion with a potato peeler, which i'll never forgive

I would expand the list, but i haven't seen anything else or know too little about the rest of the stuff he's been in. hope this will sustain your wishes tho, anon

[upstartgeek]

livenudebigfoot replied to your post “passengers good omens au where they both wake up at the same time and...”

crowley strikes up a friendship with michael sheen-bot because ~this is all he can have~ and meanwhile aziraphale's like "i can't believe we're the only two people alive and he'd still rather date the robot who kinda looks like me and also has no lower half"

aziraphale: i’m getting so bored i have no idea how to fix this arthur what do i DO??

crowley: i’m so fucking lonely i can’t stand it arty what the fuck do i do???

arthur, who’s been listening to these two idiots slow-burn for 2 years straight:

[briangroth27]

Passengers Review

In Passengers, Jim (Chris Pratt) and Aurora (Jennifer Lawrence) wake up 30 years into a 120-year trip to a colony planet and can’t reactivate their cryogenic sleeper pods. As the two fall in love, it becomes increasingly apparent there’s something wrong with the ship and they have to save it, or they and the 5,200-something other passengers and crew will die. This is a good hook, but the film has taken a critical beating since its release just before Christmas. I enjoyed it, though there's definitely a moral question to the film that could either spin things into creepy territory or inspire your compassion (or at least understanding) for the choices made by one of the characters. Your enjoyment of the movie may rest entirely on how you feel about that particular plot point, but I think you’ll definitely leave the theater thinking about what you’d do in these characters’ shoes, and that’s great.

Pratt and Lawrence had good chemistry and were both very good (as are Lawrence Fishbourne and Michael Sheen in smaller supporting roles). Aurora could’ve used a bit more introspection from the writing to balance out the internal monologues (and screentime) we get from Jim, but I felt like we knew both of them well enough to empathize with and understand them. Aurora could’ve also been given a little more to do in the climax, but I get that her skill set as a journalist didn’t lend itself to repairing a failing spaceship (so maybe write her a different one…more on that below). I do think her character was underserved, but not enough to make her one-dimensional or to seriously hurt the movie (and again, Lawrence is good with what she’s got). Michael Sheen makes a great character out of a role that could be very limiting—the ship’s robot bartender—and Lawrence Fishbourne gets a brief but challenging role as one of the ship’s crew who may not have much time left. I haven’t seen desperation from Fishbourne often, and I liked how he played it here.

The ship—the Avalon—looked realistic, appropriately ultra-high-tech, and very cool. Likewise, the special effects were definitely convincing. The humor in the first parts of the film gave it a nice sense of levity, while the third act has solidly increasing danger. The story's pretty simple, and that's fine. Not everything needs to be a complex conspiracy or epic tale told over a trilogy. This is a one-and-done “people vs. the elements” movie and it's all the better for it. I think they should’ve pushed the release date back a month or two, because opening a space movie the week after Rogue One was not the shrewdest box office choice. Fellow sci-fi genre film The Space Between Us gave Star Wars a wide berth by moving closer to Valentine’s Day and this should’ve followed suit.

Passengers is a solid sci-fi movie with an interesting moral question at its center. I definitely think it’s worth a watch, and I’d be interested to hear how you respond to the central moral dilemma.

3.75/5

  MAJOR SPOILERS...

The trailers are very misleading, and that may have put off anyone looking for a straightforward romance in space. There’s not a larger “reason they woke up” and I’m not sure why that line was in the trailer. The concept has enough of a hook without it, and it lends the movie an air of expectation for some grand conspiracy or meaning, when really it’s just about what two people will do to survive.

The twist—that Jim wakes up due to the ship’s damage and then, a year later, wakes Aurora on purpose—seems to be the big sticking point of the film for many. I don’t agree with his choice, but it’s an interesting ethical question: waking her up sentences her to death of old age after a life alone with him since they're 90 years from their destination, but if he stays by himself, he will kill himself due to the isolation. Ignoring the fact that it takes both of them to save the ship by the end, if you could radically change the course of someone’s life to save your own, would you do it? It’s true Jim robs Aurora of her choice in waking her up and I understand the revulsion that comes with his decision: what he does is not OK. However, I don’t agree with the reviews that claim the movie doesn’t treat this like the awful mistake it is: there’s plenty of time spent with Jim alone as the seclusion slowly drives him to the point of attempting suicide and the film never lets him forget what he’s done. It’s always treated as a big problem and it does have real ramifications: he knows the implications of what he did and doesn't like that he did it, while she's justifiably pissed and horrified. When she tries to murder Jim for what he’s done, he accepts it and the movie never allows him to self-righteously admonish her for that. Aurora doesn’t forgive him until he’s forced to sacrifice himself to save everyone—she had truly fallen for him in their year together—and again, I think the movie played that very well. Even after he’s saved the ship and she’s saved him, the movie throws another curve ball to deny Jim some twisted “reward” of Aurora’s love: they discover that with higher clearance, they can convert the medical bay pod into an emergency cryo-tube, and Aurora is given the decision to leave him or stay.

I wish they’d shifted to her point of view almost completely once she found out (and even before then, it would’ve been fun if Aurora wasn’t what Jim expected at all, to comment on the validity of “love at first sight”). There are bits of what she feels—while she jogs, she literally can’t escape his apologies over the PA system in the ship, for example—but I wanted more, especially right before she tried to murder Jim and once they’d established themselves living apart. We knew Jim so well that the movie makes its biggest mistake in not letting us get to know Aurora too. How does she think she’d handle such extreme isolation had she woken up first? She suggests waking the crew up at one point to help, but that moment of desperation leading her to make the same move Jim did is glossed over. They also could’ve had her come to a place where she could forgive Jim before he got to play hero and save the whole ship (perhaps she’d have done the same thing he did), diving into humanity’s more forgiving side as well as its desperate one as part of the need for companionship the movie explores. I would’ve understood and been satisfied whether Aurora got into the medbay pod or stayed with Jim, but I think we should’ve seen her making a diary entry or something to see her thought process on choosing to stay rather than playing it like a surprise to Jim (again, too much from Jim’s point of view). I almost wonder if we were kept so much in Jim’s frame of reference to keep him from becoming the truly despicable bad guy he could’ve been had we gotten inside Aurora’s head after she found out. If that was the case, they should’ve trusted Pratt to do his job and remain sympathetic (and to his credit, he does) while allowing the audience to fully assess the situation. Regardless, I think we should’ve seen things from both their perspectives to retain Jim’s self-loathing acceptance that what he did was wrong as well as gaining insight into Aurora.

The Bitter Script Reader worked out a way Jim and Aurora could share the medbay pod and make it to Homestead 2 alive, and I think that could’ve been a nice coda to the movie. It—and the way the movie actually ends, with Jim and Aurora living out their years onboard together and dying before the ship gets to Homestead 2—are far better options than the apparent original ending, which sounds awful. Let’s not accidentally slaughter everyone on board and then populate a planet via incest.

Despite their chemistry and the believability with which Aurora falls for Jim—and I did believe he truly fell for her too once he got to know her—the romance was spoiled for me by knowing what he’d done. I understood their love, but I wasn’t rooting for it; the facts that he’d fallen for her writing rather than her and woke her up on purpose kept me from fully investing in their love story. That said, I think it would’ve been much worse had the audience not been in on the secret until a third act reveal: showing his time alone on the ship in a flashback montage wouldn’t have been nearly as effective or as emotionally resonant as experiencing it with him in “real time.” I’d have come away hating Jim had they gone that way.

There are ways they could’ve softened the morally sticky aspects of this. If Jim had known her before—if they were married, for instance—then you could play much the same moral quandary of waking her up or not and you’d dodge the “fell in love with her writing and her pretty face” issue altogether. If, again, Aurora had been something totally different than Jim expected, they’d have undercut the Snow White/Sleeping Beauty syndrome and I don’t think the romance wouldn’t have been as off-putting to some because you could comment on that sort of presumptuousness. At the very least, they could’ve swapped their professions. If Jim is the reporter and Aurora the engineer—and Jim has access to the instruction manuals for the pods, as he does in the movie—it’s conceivable he could follow instructions to initiate an emergency wake-up call in her pod with the hopes that she can restore both their pods once she’s awake. His first thought upon realizing what’s happened is to wake up the crew to do just this, but he can’t access the crew sleep pods. In this scenario he’s not a drowning man grabbing the nearest person and dragging her down with him, he’s a drowning man grabbing the nearest lifeguard. When she can’t put them back to sleep, you still have the implications of him losing his bet that she could help…but maybe softening the moral quandary isn't the point.

Maybe the writers don’t need us to keep liking Jim the entire movie and didn’t want to go for the easy answer, or even a softer question. They certainly didn’t choose the method of sharing the medbay pod and just getting older on the ship rather than dying there, opting for an all-or-nothing life together or apart. I don’t think you have to agree with—or even like—the central characters of a movie to make it a good or interesting film, and waking up a total stranger who can’t help you to survive beyond basic human interaction is definitely the hardest and most morally gray choice. I think it's a great question that challenges the audience by asking us what we'd do. So, ignoring the fact that if he doesn't wake her up, he kills himself and then later everyone dies due to the ship’s damage (and no matter what, he can't save the ship alone), what would you do in his shoes? Do you keep to yourself and very likely eventually commit suicide? Do you transport someone to the deserted island with you? What would you do in Aurora’s shoes, suddenly woken up and then lied to while you fall in love?

I think if I were in his shoes, I’d try my hardest to not wake anyone up. There’s a lot of reading to do (at least the life stories of thousands of people on board, if not a full library), so that’ll burn a few years. Does the Avalon have a tv/movie library? I’d teach myself new skills. I’d write. A lot. There could be an alternate take on this story where the settlers reach Homestead 2 and discover the tales whoever woke up early wrote; maybe letters to them, maybe adventures he or she had saving their lives while they slept, maybe fiction that could only be inspired by the things they saw on the trip, which no other human will see. Anyway, I tend towards being a loner most of the time as it is, but I can’t imagine a lifetime without seeing or talking to anyone ever again. According to isolation experiments, humans can’t handle being alone for very long. Would these activities be enough to keep me from committing suicide? Would a robot bartender be enough to avoid that fate? No matter what, I couldn’t forgive myself for stranding someone else. In Aurora’s place, I’d be furious. I don’t think I could kill the person who woke me up either, but I’m absolutely certain I’d be angrier than I can ever imagine being. I’m pretty sure I couldn’t get into the medbay pod fast enough, but I’d also wonder if leaving the person I’d fallen in love with alone for the rest of their life is a hellish thing to do, even if I only met them because they woke me up. Would that be like killing them, since they’ll probably go insane from the isolation? What if their solitude causes them to wreck the ship somehow, endangering everyone’s lives again? Should you be responsible for keeping someone sane and alive when they put you in that position to begin with? I don’t think so, and I’d probably get in the pod.

 What would you do?

[fatfreddysreviews]

Passengers

As entertaining and fun as this movie is, at the core is a very strong moral and ethical dilemma – should I or shouldn’t I?? Live alone for the rest of my life or share it with someone who I think will be perfect for me? Even if this person winds up being my soul mate and the love of my life, the trade-off is that the person doesn’t live the life they planned, they’ll live the life I made for them.

Quite a heavy concept but for me this was the crux of the movie, Chris Pratt’s Jim wakes up 90 years before he should have from his hibernation sleep en route to his new home on Homestead Colony.

Unfortunately for him, a stray meteor has breached the spaceship’s shields and has caused a malfunction in the ship’s operating system, meaning he’s the only one who wakes up and what’s worse, he’s still 90 years from arrival, which clearly ain’t going to work. Being an engineer, he sets out to ‘science the shit’ out of the situation, much like Matt Damon did in the Martian. However, there’s only so much he can accomplish and the main area he needs to get into is completely sealed, and he can’t get in.

The only other ‘living’ creature is Arthur, a robot-waiter (played brilliantly by Michael Sheen) who becomes his confidant. After about one year alone, life is becoming quite unbearable and there’s not a lot more Jim can do to overcome the loneliness. Even the space walks he takes cannot make up for being alone. He comes very close to committing suicide by opening the air hatch and being blown into space. His not doing this leads him to stumbling over a bottle and landing next to the pod of a fellow traveller, Aurora (Jennifer Lawrence), and he’s transfixed. He does some research on her (she’s a writer who’s looking for a new challenge, Earth wasn’t enough) and he’s smitten by her beauty, sense of humour and personality. And this leads to the moral dilemma – improving my life means ruining someone else’s – which is the dilemma faced by Jim.

At this stage, you’re rooting for Jim because he’s a nice guy trapped in a situation not of his making, and you can see the conflict he’s facing but he can’t take it anymore, and who can blame him? But on the other hand, you’re saying “don’t do it man, you’re destroying her dreams and she’s going to find out!!”, but you know it’s going to happen. Even the non-human Arthur is questioning this decision.

Now Aurora is going through the same process as Jim, but at least she has someone to help her out in her initial confusion. Jim is feeling great because Aurora is exactly the type of person he was hoping she’d be, and they are getting along really well, love seems to be blossoming for these unfortunate lovers. Of course the truth has to come out at some stage, but Jim wasn’t prepared for the when (just as he was about to propose) and how (Arthur spills the beans, as Jim said there were no secrets between them, when previously he had asked Arthur to keep a secret, so in is cyborg mind it was all sweet). Obviously she’s furious, as her dreams of being the first writer to write space travel, have been destroyed by Jim’s selfishness.

So now our star-crossed lovers aren’t talking to each other, in fact there’s quite a lot of hostility coming from Aurora, but this where things get interesting, as another pod opens early, this time one of the crew. This happens just in time, as numerous systems begin to fail at the same time, putting the safety of the ship, passengers and crew. So now the three who are awake need to work together to figure out what’s wrong and then how to fix it. This isn’t helped by the fact that Mancuso’s (Laurence Fishburne) pod somehow malfunctioned, making him terminally sick, so he has very little time left before dying. Now Jim and Aurora are left alone and need to work together to save everyone, and in spite of what he did to her, it’s clear she really loves him, demonstrated by saving his life by grabbing him from space (to save the ship, he has to go outside the ship to open a hatch, but he’s blown out to space and cannot get back) and then putting him the ‘medical pod’ that resuscitates him.

Of course they end up together and the final shot is of the ship arriving at its final destination, there’s a message from Aurora and a tree that Jim planted for Aurora has grown to become a forest, which is what greets the passengers and crew.

Genre: Action/Adventure/Drama

Watchability factor: 4.5/5 – I really enjoyed the movie, it had a good mixture of action, humour, and drama, and the actors were fantastic. I will definitely watch this movie again.

Standout performances: Chris Pratt, again, is excellent (I’ve said this in previous reviews and I’ll say it again). He imbues Jim with a sense of despair but with a layer of honourability that still makes you root for him, even when you k now what he’s doing is terrible. Jen Lo is a great actress and her magnetism comes out really strongly in the movie and the chemistry between Pratt and Lawrence is palpable, there is a clear attraction and they obviously got on really well from the interviews I have seen. Michael Sheen’s robot is an important cog in this complex machinery but on top of that there are great special effects and the sets are amazingly realistic and just add to a great movie.

That’s all folks.

[fanslabyrinth]

Passengers

Very curious. I came out of Passengers thinking that I’d had a pretty alright time having seen a pretty bad movie. Aside from being confused about what kind of movie it wanted to be, there was also a good portion of heinous writing, dodgy visual effects and bloody awful music. So, to borrow a metaphor from Jennifer Lawrence’s hack journalist script of cliches, why didn’t that sink the ship?

two and a half out of five

Maybe there is some inherent fun in a space romp. The plot-hole laden premise of Passengers is that a spaceship transporting 5000 passengers and a handful of crew people in hibernation towards an Earth colony some 120 years away has started to malfunction. It begins with a random mechanic waking up 90 years too soon with no explanation - this is Jim (Chris Pratt). The good-ship Avalon is running entirely on autopilot, and no amount of automated luxury services or even information sources are able to help with Jim’s predicament. Alone and wallowing for about a year, he makes the desperate and frankly creepy decision to awaken a fellow passenger from her slumber, Aurora (Jennifer Lawrence); Jim had stumbled on the young, wealthy and ambitious writer in her sleeping pod and has spent much of his isolation by her side, lusting for an imagined life and romance with the beauty. That Jim is absolutely responsible for Aurora’s now certain lonely death aboard the Avalon is a secret only shared with the ship’s single robot with a human face, Arthur the barkeep (Michael Sheen, who is pretty annoying). As long as Jim’s moral slip-up is kept quiet - oh, and the ship doesn’t blow itself to smithereens - love can blossom between the two.

So yes - corny, creepy and a touch confused. Is Passengers meant to be an Interstellar level prestige sci-fi? Director Morten Tyldum - Oscar nominated for The Imitation Game for some reason - seems to think so; there are these stretches of cerebral cinematography a la Kubrick and plenty of musings about loneliness and human life, all as if Passengers has something important to say. It’s fine, to me anyway, that it doesn’t, and it should be blatantly obvious in the presence of such lame action and thoughtless romance, but I would have liked if the director had enough gall to keep it meaningless, and to relish in the silliness. For example, late in the piece I broke out into church giggles - in a flurry of sirens and debris Aurora and Jim hurry into the engine room to look for “something that is broken...” - cut immediately to Jim looking at something metal and Aurora screaming “is it broken?” - how great would that have been if Tyldum had intended for that to be hilarious rather than by accident? And, crucially, any hopes your picture has for poignancy and greater meaning come its conclusion are immediately dispelled when the credits are coupled with a truly appalling Imagine Dragons original song.

More troubling, perhaps, is that in playing the film straight and serious it would appear to condone Jim’s actions, without which there would be no film but that are undeniably messed up. Yes, the loneliness must have been unimaginably tough in this imagined universe, but it to awaken Aurora and for romance to inevitably ensue plays towards a kind of male privilege outlook that feels icky, and was only really superficially dealt with later in the story - what stopped him from defrosting two kids and a puppy while he was at it?

That the film can get away with such poor judgment at its helm is due in no small levels to its main players. These are the kind of stars whose acting can go unappreciated because of the distraction that is their charisma - yes, Chris Pratt and Jennifer Lawrence often appear on the screen in some iteration of what we know Christ Pratt and Jennifer Lawrence to be, but that doesn’t mean that it is without work. Lawrence in particular is given much of the inane quasi-philosophical dialogue that she miraculously is able to sell as if it might be profound, and the pairing of stars here makes for a natural, easy and likeable chemistry. Minus a brief montage of Jim’s year of loneliness and poor hygiene, they are always attractively dressed and handsomely photographed, and that doesn’t hurt.

Passengers presents its audience with many a problem, both in troubling themes and misguided filmmaking. In my case, as a film it at least seemed to make the effort to dance around the edges of these problems with some nice performances and a kind mindless vapid and digestible plot development. At its worst it is irksome, pretentious and lazy, but I guess at its best it is a shiny distraction.