#i can go ON about their characters and their actors

[prokopetz]

So what about FATE? How is it not universal as an RPG?

The biggest non-universal dimension of FATE – at least in its modern incarnations – is that it has a very strong set of baked-in assumptions about the relationship between players and player characters.

This is something I've talked about in the past; to somewhat oversimplify, there are roughly four ways for a player in a tabletop RPG to relate to their character:

The Isekai Stance: I am my character, and my character is me. I'll have my character do whatever I myself would do if I happened to be, for example, an elf wizard.

The Actor Stance: I'm an actor, and my character is my role. I'll have my character do what I feel it would be psychologically realistic for them to do under the circumstances.

The Storyteller Stance: I'm a narrator telling a story, and my character is the co-protagonist of that story. I'll have my character do whatever I feel would make for the most interesting story.

The Gamer Stance: I'm a person playing a game, and my character is my playing-piece. I'll do whatever it takes to win.

This generally isn't a useful way to classify either players or games; games typically have weak baked-in assumptions about which stance their players will adopt, and to the extent that these assumptions are present, a game may make different default assumptions for different parts of play. A common set of assumptions is actor mode outside of combat and gamer mode in combat, for example.

FATE is, of course, an exception to the rule, in that it has very strong baked-in assumptions about what stance players will adopt toward their characters, and further assumes that play will occur at least mostly in this mode. The Fate Point economy that forms the core of the gameplay loop 100% assumes that you're going to be playing in storyteller nearly all of the time – the types of decisions it's asking players to make on a moment-by-moment basis are frequently straight up unintelligible from any other perspective.

This is a big part of why suggesting FATE because it can "do anything" can go over like a lead balloon: the folks making this suggestion aren't taking into account the possibility that a given group's players may not vibe with the system's assumptions about how players relate to their characters. Storyteller-mode-all-the-time is actually a fairly uncommon group play style, and it often seems that FATE fans don't realise this!

[yanderedrabbles]

Yandere Actor

The Golden Age of Hollywood. Stars are born every day and you're desperate to become one. Thanks to @laboodanda for requesting this!

Yandere! Actor who's well established in the industry - his name on the Walk of Fame, his face on all the posters, his agents calling day and night with new offers.

Yandere! Actor who meets you on the set of his latest movie. You're barely even part of the main cast - just a side character with a few lines. But you sparkle.

You have that razzle dazzle in you that makes a true star.

Yandere! Actor who knows it's just a matter of time before you make it big. You've already got your foot in the door and all it takes is a lucky break.

Yandere! Actor who comes up to talk to you during lunch, winks at you and grins at the way you blush. You're in awe of him and it takes a second before you can answer his questions.

Yandere! Actor who's used to starstruck fans, to women who shriek when he looks their way. But, it's somehow new and endearing when you're the one looking at him like that.

He can hear the other extras rushing to your side when he leaves, babbling about how lucky you are that he talked to you, the big stars never notice the little fish.

On the final day of filming, he congratulates you on your first ever role and invites you to dinner to celebrate.

Yandere! Actor who takes you to a cozy restaurant in a quiet seaside neighbourhood. He doesn't want to be interrupted by fans, but he also doesn't want to be seen in public with you. At least not yet.

You really impress him. You know quite a lot about acting techniques, about getting into and maintaining character, about catering to the camera.

But it's clear you're still a rookie. There's a slight nervousness to you that veteran starletts don't have. It's alright - he'll train it out of you in no time.

Yandere! Actor who shares he milkshake with you and offers you his jacket when the sea wind starts to nip.

When he drops you off, he squeezes your thigh and says he'll talk to his agent about you, that there might be a role in his next movie for such a pretty little thing.

Yandere! Actor who sees the innocent, love struck look in your eyes and revels in it.

Pretty soon he calls you and tells you about a private audition with some studio execs.

"Keep your hair loose and wear that short sundress you wore on our date."

It should be friendly advice, so why does it sound like an order?

The audition is in one of the studio's offices. A room filled with big shot executives and egotistical directors. Men in suits who are high on their own power, their own genius. They've seen a thousand hopeful girls and to them you're no different.

The way they look at you makes you feel like dirt, like the most untalented person in the whole world. You would have walked out then and there if it wasn't for him.

Yandere! Actor who volunteers to read the lines with you. He winks and smiles at you and by just being there makes you feel so much better. And a few sentences in, you find your stride. Immerse yourself in the scene.

You're playing the part of a jilted lover, a woman who gave everything to her man and has her heart shattered when he leaves. In the final act, you grab his collar and look up at him with tears in your eyes, your voice shaking.

"Please, please don't go. I love you. I need you."

You raise one hand to his cheek, your fingers trembling. "Don't you love me too?"

Yandere! Actor who actually forgets his line.

You're looking up at him so weak, so vulnerable that his mind goes blank. His director calls out the line and he repeats it blankly.

"And...End scene!"

Yandere! Actor who doesn't look away from you even when the directors start clapping and you turn to give them a bow. You were so raw that it didn't feel like a performance. The tears, the desperate way you pulled at him... It felt so real.

It's only when his agent slaps him on the back that he manages to snap out of it.

The director is already grabbing your arm and insisting to the studio executives that he needs you in his next movie.

Yandere! Actor who comes up behind you and drapes his arms around your shoulders. You don't realise it but he's staking his claim, showing all these rich and powerful men that anything to do with you has to go through him. He grins at his agent.

"She's perfect, isn't she?"

The man lowers his shades and drags his eyes across your body.

"You need to clean up her look a little, but you were right. She's the perfect girl for you."

You feel like there's more behind their conversation, things they've discussed that you aren't privy to. But you don't have the nerve to ask.

On your way out of the studio, Yandere! Actor curls his arm around your waist.

"You're gonna be a lead actress soon baby. The execs want you in a few supporting roles first, just to get you used to the camera, but the director has his mind set on you."

You smile at him, a megawatt grin filled with the thrill of having your dream come true. It makes him feel like the centre of your world, makes him feel like a man.

You throw your arms around his neck and hug him. "I owe you! Thank you thank you thank you thank -"

He cuts you off with a kiss. And in that moment you really do feel like the luckiest girl in the world.

Yandere! Actor who slowly takes over your beauty routine. Who tells your hairdresser exactly what shade to tint your hair, exactly what shape to thread your eyebrows. Who buys you new clothes and tells you exactly how to style them.

You don't realise it, but he's shaping your look into something that compliments his own.

Yandere! Actor who almost invites you to his movie premiere until his agent advises against it. Who kisses you and apologises and says he'll bring you to the next one.

You understand, you really do. You're still relatively unknown and having you on his arm would just invite gossip. But it still stings watching him go to the premier on his own, his arm around his beautiful co-star. You go to bed that night with doubts nagging at your mind.

It's only when you hear him knocking at your door at three in the morning that your insecurities go silent.

Yandere! Actor who's still wearing his tuxedo from the red carpet. His hair falling out of its slicked back style as he dangles a bottle of champagne in front of you.

"Gotta celebrate with my girl."

He's barely three steps into your apartment before he's kissing you, his hands on your waist and dropping lower.

You try and push him away. Tell him it's your first time.

Yandere! Actor who nips at your neck. "Don't worry, 'm gonna be so gentle."

When you still try and slip away, he pulls back to look in your eyes. Despite the haze of alcohol, there's something piercing about the way he looks at you.

"How many girls can say their first time was with a Hollywood star?"

Yandere! Actor who let's his fingers climb higher up your thighs.

"I've been workin' so hard to make you an actress. Don't I get a reward?"

How are you supposed to say no to a man who holds your future in his palm? You nod your head just the slightest and he's back to kissing you, back to drawing you hands to his belt, back to growling in your ear.

Yandere! Actor who's a shameless liar. He isn't gentle with you at all.

Yandere! Actor who wakes up all groggy and hungover the next morning. Who pulls you closer to him and falls asleep again with his head on your chest. You look down at his dark hair and his chiseled features and for a little while, it doesn't feel like such a bad deal. Love him in exchange for a career.

And he is so easy to love.

Yandere! Actor who encourages the director to start filming your movie as soon as possible. A romance between a thief (you, in your very first lead role) and a jaded detective with a heart of gold (him, who's had so many lead roles he's lost count).

The schedule is gruelling and the director is a tyrant, but this is your big break. You give it everything you have. You learn the script inside and out, badger the screen writer until she discusses your character arc with you, follow the director around and beg him for tips.

Yandere! Actor who adores working with you. You're sweet and pliable and the chemistry between you is sizzling. Every scene with you makes him need a cold shower and a priestly intervention.

Yandere! Actor who pulls you into his trailer every chance he gets to "read lines." But it always ends with him holding you down and kissing you, claiming it's good practice for the camera.

"Character building," he pants from between your legs. "Just getting into the mindset."

Yandere! Actor who watches with satisfaction as the movie comes along. You remind him of himself when he just started, raw talent and a burning desire to please.

Yandere! Actor who is next to you every moment he isn't needed on set. Who gives you endless advice and makes you laugh with his stories about bad takes and wardrobe malfunctions.

Part of it is to keep an eye on you - there's a jealous bit inside him that thinks of you as his creation, your talent a reflection of his training - and part of it is to spark rumours.

It works exactly as he intends. Pretty soon the magazines and radio hosts are blabbering about a possible romance between him and his relatively unknown co-star.

Yandere! Actor who's determined to make this movie a success. On the premier night, he walks down the red carpet with his arm around your waist. When the cameras are at the height of their flashing, he takes your chin in his hand and kisses you.

The next morning, the papers are raving about it and the theatres are sold out before midday.

It's a critical and commercial success. Yandere! Actor who's high on the thrill of it. Who loves driving down Hollywood Boulevard and seeing you on the billboards, who loves having Hollywood's newest darling on his arm and in his bed.

But then the letters start coming.

Yandere! Actor who snarls at the piles and piles of fan mail you receive. Maybe, if it was all innocent praise, he could have accepted it. But most of the letters are absolutely filthy.

Men writing to you from all over the country, all over the world. Describing in detail all the things they want to do to you, all the ways they want you speared on their cocks. Men who promise to treat you so sweet you'd never want to leave them and men who threaten to whip you over their knee if you don't learn to say please when they fuck you.

Yandere! Actor who's never received mail with such perversion. His fans are mostly sweet young girls who timidly describe how nice it would be to find a man like him, to get taken to prom and courted.

Yandere! Actor who becomes suspicious of every man he sees. The gaffer that looks at you too long becomes the guy who promised to find you and fill your cunt with his come. The driver who holds your hand when you climb out of the car becomes the stalker who followed you home the other night.

Yandere! Actor who keeps his arm around you whenever you're outside. Who starts keeping his gun in the glove box of his car.

It's not only strangers he needs to worry about either. The studio executives keep pressuring you with stricter and stricter contract offers. The director wants you starring in a romance role with another man. Two dozen talent agencies are crawling over glass to try and sign you.

Yandere! Actor who tells you to let him handle the contracts and paper work.

"The bastards will try and trick you out of your money and your clothes. Trust me baby, I've had to deal with plenty of shitty deals. I don't want that for you."

Yandere! Actor who knows exactly how tightly binding a contract is. And it's no coincidence that the one he has you sign binds your career almost entirely to his. It ensures that the bulk of your roles are alongside him, that he has the final say in studio disputes, that he owns the rights to your name.

The studio executives might normally never sign a deal like that, but they're desperate to get you under contract. You're a blazing star and they aren't going to lose you to a competitor.

Yandere! Actor who drinks a toast to your success and kisses you infront of all those high flying executives. Despite all the attention and awards you've earned, you still look up at him with a blind sort of hero worship. He's the goal you've always aimed for, the standard you've tried to reach. To be his girl is still so dizzying you almost can't believe it.

In bed that night, Yandere! Actor thinks about proposing, about wifing you up. The wedding would be huge, generate massive press. His next big project with you is scheduled for half a year away. Maybe do a proposal during opening night? Or better yet, at the Academy Awards? Yeah, that would get cinemas sold out even faster than kissing you on the red carpet did.

Save the wedding for a few years down the line. When your career is more established and your image might need an upgrade.

You curl against his side and moan in your sleep, brow scrunched. Cute, naive little thing, aren't you? Hollywood would swallow you up and spit you out if it wasn't for him.

Yandere! Actor who kisses your forehead as you dream about cameras and lights and action.

"Don't worry baby, I'll take extra good care of you."

Yandere! Actor who's curated his image so carefully. Who wants a girlfriend who's light and talent make him shine all the brighter.

And who better than someone who owes him her career?

Extra!! Here's a short drabble I wrote when I was brainstorming the idea with @laboodanda

[queenkatluv]

I'm Back

Hey everyone! After stepping away from social media for over a month, I feel like now's a good time for me to finally come back but with some ground rules.

I will be following artists for TLAE/TSAMS again, but only artists I have interacted with/seen before. I will not be seeking out new TSAMS/TLAE focused posts/blogs and I will be keeping my engagement to a minimum.

Following the previous point, just because I am allowing myself a small glimpse into the community that does not at all mean I am welcoming people to my blog to ask questions or talk about TSAMS or TLAE show/characters. If I see it on my timeline and I don't like it or feel it's negative I'm just going to be blocking accounts.

I will be opening my asks again but turning off anonymous questions, if you want to talk shit please say it with your chest and don't be a coward.

I will only be engaging/answering questions regarding my OWN content. I have my own channel and my own projects that I work on, and I want to talk about them.

I hope you guys can continue to support and respect me, not just for what I do for TLAE but as myself as a person, actor and writer.

Thank you.

[bemusedlybespectacled]

The context you're missing is that the reason the person is immoral or corrupt is their genes. The word originally meant "someone who is worse than their ancestors" (so definitely still related to ancestry, even if they didn't know what DNA was). Essentially, the reason you're a bad person isn't because of your actions; it's because you were born that way, and nothing you can do can ever change it. And, conversely, being a good person is also genetic, and nothing you can do can ever change that, either.

Why is that a problem? Well, in the late 1800s/early 1900s, eugenics (the opposite of degeneration; "de" means down, "eu" means "good") became a popular "scientific" theory. It's the idea that every bad thing that happens to or is done by a person is actually a result of their genes. Not just actual genetic disorders, like Tay-Sachs disease, but also being poor or committing crimes. Literally, their thought process was, "We see that the children of poor families tend to also be poor. That must mean that poverty is genetic." (this was actually pretty well debunked in like 1911 but weirdly it kept being popular in/promoted by super racist people hmm I wonder why that would be)

If you were genetically perfect, then of course you'd be healthy, strong, intelligent, hardworking, wealthy, moral, and, most importantly, white; lacking any of those qualities meant that there was something wrong with your DNA somewhere. The best way to ensure that everyone was successful would be to just get rid of anything – that is, anyone – genetically bad, so that only the best people could breed with each other and have perfect children.

How do you do that? Well, for one, you make it illegal for anyone to marry outside of their race, and you make the requirements to be white incredibly difficult to prove (it wasn't based on skin color, but on any non-white heritage, no matter how white you actually looked) and draw the lines for everyone else very broadly (in the US South, it was literally "white" or "colored," with "colored" meaning anything from "just immigrated here from Africa" to "mostly white with a bit of Native American"), and require all of them to have some kind of identifying document or badge so that you can tell which is which. And you make it legal to sterilize undesirables: disabled people (both physical and mental), nonwhite people, and people of poor moral character (remember, being bad is genetic, and also in this era you think being gay is also a sign of poor moral character), just to ensure that there's absolutely no chance that someone might accidentally or deliberately sneak in.

(Eventually, you can also just kill them. Because that other stuff is taking too long.)

But remember! Evil is genetic! So of course there are always going to be nefarious actors deliberately trying to bring the whole race down and make it worse/weaker! And what's their evil plan? They'll encourage mixing good people with bad people with diabolical schemes like "making modern art" and "thinking it's okay for white people to listen to jazz" and "promoting civil rights for minorities." And what do we call "people who bring the whole race down"? Degenerates!

this was my thesis in college before i had a nervous breakdown so i know a lot about it. don't even get me started on how birth certificates are racist.

DNI lists on this website are fucking insane

[cheezewhis]

I'm going to regret this.

Sometimes the iwtv fandom makes me worry about the future of diversity in media. I mean I expect the racist assholes to pop up and bother everyone. That happens all the time and while it sucks, there are ways to filter those people out.

My big worry is honestly on the other end, where people are so desperate for harmony they end up treating minorities like monoliths of purity. Seriously, we have a show with morally grey characters of a variety of colors, a color conscious writing team, actors who constantly discuss the nuances of their characters, and people still find a reason to fight about this. Wasn't this the ideal we were asking for???

How are we supposed to evolve the representation in media if we can't go 2 seconds without fighting about which characters you're "allowed" to like?

You can't like Lestat because then you're condoning his behavior, but you can't condem anything Louis does cause then you're racist, but also you can't like Louis more than Armand because Louis was a pimp, but also you can't like Armand because he killed Claudia, but also that was all Lestat's fault and Armand did nothing wrong and if you don't ship Loumand it's because you're racist and if you do ship Loumand it's because you just hate Lestat and Anne Rice and puppies??? or something, and Clauida is the only character you're actually allowed to like except you are not allowed to like her unless you hate Lestat or Louis because as we've established it's really Lestat's fault she died and also Louis was a bad father and is responsible for Clauida's death so you cant like him either but also you are racist for thinking Louis did something wrong because black characters are not allowed to make mistakes or be nuanced or be human but also you don't get nuance if you like 1x05, you have to hate 1x05 because that episode of the toxic abusive vampire show dared to show toxic abusive vampires and ruined your precious precious perception of Lestat but also if you still like Lestat after that then you must hate Louis because Louis is 5 fucking years old and needs to be coddled but also he's a piece of shit and you cant like him and idk i don't really hear people argue about Daniel but maybe I'm just not looking hard enough and who ever cares cause I lost the plot about 100 fucking words ago.

Like jesus fuck we'll never weed out the racist people in the fandom cause we're too fucking busy fighting each other about, like, if we should let black characters be nuanced and interact with white characters who are mean??? Istg half this fandom thinks Louis (and Jacob Anderson for that matter) is like a battered helpless child who has never been able to stand up for himself. Louis is a character built from very real pain, he's always going to be kind of sad by virtue of that, but he's not 5, he can make decisions for himself.

How the fuck are we supposed to normalize diversity in media if we can't be fucking normal about diversity in media.

Fuck. Everything. And. Everyone.

[hotvintagepoll]

Donald O'Connor (Singin' in the Rain, Francis, Call Me Madam)— LOOK AT HIM. Those giant blue peepers. Those tappy tappy little feet that don't quit. The ears that stick out like little wings, ready to lift him up to goofy heaven. The way his face contorts into the strangest yet most endearing expressions. His ability to sing and dance alongside the hunk that is Gene Kelly and yet pull all attention away with his big-eyed buffoonery. The way his energy is unmatched in songs like "Make 'em laugh" - bouncing off the walls and tumbling through the air straight into my cold cold heart. Who else but a true scrungly lil guy would sit upon the witness stand and defend a talking mule with all the love and affection in the world - staring out into the court room with his bright wide eyes and eternally mouse-like expression, openly admitting that the mule is his best friend?!??! I see him and I want to pull him from the screen into my hand and just squiiiiiiiiiiiiish with all my might. I want to pinch his cheeks and have him bat those eyes at me. He just makes me go "eeehehehehehe" every time I see him and his silly little self. He is pure chaotic, ridiculous, scrungly perfection!

Mantan Moreland (Mr. Washington Goes to Town, Cabin in the Sky)—i love mantan moreland SO. MUCH. and he is the pERFECT scrungly little guy!!!!! like a lot of black actors at the time he was always getting sidelined into small parts, but unusually he also managed to become a star in his own right and was almost one of the three stooges! he was a groundbreaking comedic actor known for his distinctive stare (very good for the horror movies he did), and he always is way more fun to watch on screen than anyone else. he had a famous double-act where he perfected this technique of non-conversations (where both people keep finishing each other's sentences before any actual information is conveyed). a lot of his movies are free on youtube and i really enjoy seeing him do his silly little guy thing in all of them!!! anyways yeah please include mantan he deserves some recognition as peak scrungle

This is round 3 of the contest. All other polls in this bracket can be found here. If you’re confused on what a scrungle is, or any of the rules of the contest, click here.

[additional submitted propaganda + scrungly videos under the cut]

Donald O'Connor:

My silliest little guy. My funnyman. My horsie. I have watched many a bad movie for this man. The scrungliest fact I know about him is that he was supposed to star as Danny Kaye's role in the iconic White Christmas (1954), as he had known Bing Crosby since he was a child, but couldn't because he caught a mule disease while working on those Francis the Talking Mule films Universal endlessly made him do. I wouldn't exactly recommend those movies, but Don's character getting psychologically tormented by a sardonic mule does make for quite a good movie night, if you know what you're getting into. Are You With It? is another one I don't exactly recommend, but it does open with Donald as a math genius actuary who is about to kill himself over a displaced decimal point before getting taken in by a traveling carny instead. His more well-known and beloved roles have plenty of scrungliness too, in my opinion. This man slapsticked so hard he wound up bedridden for his physical exertion! Rather than submitting Make 'Em Laugh, which the electorate has likely already seen (I hope), I'm submitting an underrated dance number of his, where he explains maths through tap dance. That movie is Not good, but god do I love him in that role.

I think it's arguably very scrungly to seemingly be a real life cartoon character made out of rubber, as proven by how slapsticky the list of scrunglies is so far. In which case, Donald O'Connor? He scrungles supremely. He even played Buster Keaton in a movie (that apparently can't be recommended, but still).

Mantan Moreland:

here's his double act in action!! [editor's note: Benson Fong cameo too!]

He just had a scrungly look about him and he played big with his roles so any of it became especially scrungly. Plus he was very funny in the way only scrungly people can be.

the FUNNEST GUY TO WATCH ON SCREEN. he was an immensely gifted physical comedian, able to convey loads with his eyes, and while some of his parts are so sad and cringeworthy, I feel like he always brought a humanity and humor that lifted them beyond cheap stereotype.

[d3lly1000]

I finally watched Sonic 3!!!!! (IT WAS ONE OF THE BEST EXPERIENCES OF MY LIFE)

I had been holding back so I could talk without worrying about spoilers, but I think I can now comment on my general opinion of the movie.

There will be spoilers, so you have been warned!

I’ll admit that I found the first act a bit rushed. I understand that they had a lot of characters to “reintroduce” and new ones to add (especially Shadow), but I felt a bit lost with what was happening—it was really convenient how the script handled a lot of things just to get to the point.

For example: Shadow attacking in Japan with no real explanation, Rockwell quickly finding Sonic and the others. Even Commander Walters showed up just to explain what happened in the past, only to die unexpectedly right after. Even though he's not a particularly memorable character, I felt like his death didn’t carry the weight it should have, even for Team Sonic who witnessed it.

There was also the fact that a lot of what happened in the first act had already been revealed in the trailers and TV spots, which kind of deflated my excitement, knowing what was going to happen. But as I said, things were happening so fast that I couldn’t process all the information right away! XD

I have to say, I absolutely love the interactions between all the characters. The relationships and how they were developed felt so unique to me. I’ve always had the headcanon that Knuckles, Tails, and Sonic acted like siblings, and in the movies, I got to witness that in a meaningful and very loving way (shoutout to Tails saving Sonic and Knuckles protecting them, my boys <3).

One of my favorite scenes is definitely the argument between Knuckles and Sonic, as it really shows their maturity. It shows how much they are changing with each movie, which is so valuable to me because it demonstrates that the characters are really learning from their experiences. In a franchise, this deepens their moral journey and enriches who they are — it’s truly wonderful.

Speaking of siblings, I can’t not talk about Maria and Shadow. Right from the beginning, I could already feel the heartache hearing Live and Learn in an acoustic version. I think for fans who know how iconic this song is for the franchise, the idea that MARIA COULD HAVE BEEN THE ORIGINAL COMPOSER of it (at least in the SCU) hits so hard.

The narrative of Shadow talking about Maria always moved me, and the film managed to emphasize what she meant to Shadow in such a sweet way. Seeing the scene where Shadow recalls the day of the accident and then carrying the Eclipse Cannon gave me chills.

The parallels between Sonic/Shadow and Tom/Maria were something I was really looking forward to! The franchise often makes these types of comparisons between characters, not just in the games but also in the movies. As I mentioned before, I think this makes everything richer — it gives you a new perspective and helps you understand the complexity of characters by revisiting the "same memory" through a different person. I love when they do that!

ABOUT THE FIGHT SCENES, ALL OF THEM. I was breathless! I have to confess I was cursing A LOT during the third act. It was so epic, something you wouldn’t even think you'd see! Super Form battles were such a great concept for the situation, seeing Sonic get so angry really fed my fan dream of seeing him want to destroy everything XDD. Shadow literally crushed him, both physically and mentally. He REALLY IS THE STAR of this movie. The whole year was his. And he delivered in every possible media!

((I screamed so much when they did the pose, Live and Learn, it was so epic.))

Jim Carrey’s performance is always amazing. I’m still stunned at how naturally Gerald and Eggman felt together. It really seemed like a completely different actor, and that’s insane! I think the only thing I wish we’d seen more of was scenes between Gerald and Maria in the past, but who knows, maybe they’re planning something for a "Shadow solo spin-off."

The light shines, even when the star dies. – I was already emotionally losing it inside, there were just so many things to process.

AND THE POST-CREDITS SCENE HAUSFHSAIFHGVSNUHGUSAHGUSAH

OK OK I’M >TOTALLY< NORMAL ABOUT MY BABIES

Literally my two FAVORITES showed up. METAL WILL BE THE MAIN VILLAIN, I have so many theories and DEFINITELY it will be an adaptation of Heroes and CD. I CAN'T WAIT to see him in action, the whole Artificial vs. Natural thing is something that really resonates with me in the rivalry between him and Sonic.

AND HAUSHFUASFHUASFH AMY MY GIRL!!!

She’s so cool, she appeared in SUCH A UNIQUE way, the cracked moon in the background, revealing herself by taking off the hood... I can’t wait to see her in 2027... I need it so much aaaaaaaaaaaaaaa

I definitely loved the movie a lot. I still want to rewatch it in English since I saw it dubbed in my language, but I think I’d give it an 8.5/10 or 9/10! YOU HAVE TO SEE THIS MOVIE!! I’m still shaking remembering the action scene sahufzahghaghs

[insertshimselfwhere]

I'm sooooo angry guys

I mean, I have mixed feelings, I am so so so happy for Nic but at the same time happiness is not complete because Luke deserved EVERYTHING!

The work he did with Colin deserves recognition from at least a nomination. They are very unfair and it breaks my heart because he is an incredible actor and also and amazing guy and deserves to know that his efforts are recognized (not only by us who clearly love him and admire all his work)

I am so sad. Honestly. He deserves more

I need him to know that he deserves more

I need to fill the nominations post with comments about why he's not included. I'm going to freak out at any moment and hate them on their shitty nomination post. Ha

I'm so happy for Nic, she deserves it so much and I'm so PISSED for Luke guys.

I want to see the world burn because they don't recognize anything from this babyboy😭

I mean, look at him🥹

I have NEVER in my life seen someone act out so many emotions with just their face. I'm serious, every rewatch I do of S3 I discover a new expression of him and they all make me emotional in different ways. This boy made me cry like no character ever managed to do before and that is 100% MERIT TO LUKE

As you can see I'm very angry

Am I going to calm down? Of course not

Bye

[mysoftboybensolo]

Things I Don't Understand of Audiences Reaction of Nosferatu 2024

Complaints of how this is a ripoff of Dracula, and I am like, of course it is! The original 1922 film is the most famous ripoff in the history of cinema, but it is also one of the best ripoffs ever. Maybe know your history just a bit.

Why are people saying that Ellen dying was stupid or unnecessary? Firstly, that has been the ending in the 1922 and the 1979 film, this wasn't just anything Eggers pulled from nowhere. Secondly, people don't seem to understand that the Gothic genre never not one that allows it's characters to walk away unscathed, whether it is physical damage or mental damage. Blood is demanded, and hardly a truly happy ending is found, at best a bittersweet ending or at worst an ending where everyone is unhappy. I think not only is it true to the films this one is based on, but also the only satisfying ending. Ellen wouldn't have been truly happy if she had survived, because she still will be a seer, she will still have darkness looming inside, and Thomas is either incapable or unwilling to accept it. He's belief that killing Orlok will bring a reset to everything, even bringing Ellen back to how she was before, but the Ellen she was before was still suffered. He brushes aside her nightmares without comfort, he doesn't take into account how she views their marriage (when she insists that she doesn't need material things but he acts as if he knows better), and when she tries to express her suffering, he would prefer her to suppress it. She would never be truly free, but to die doing a good thing, to have control over her death the way she didn't in life, it's an empowering end, if bittersweet.

People complaining about the pace of the film, saying it starts off fine but then drags in the middle? I think the film flowed wonderfully, there was never a moment when I was thinking how much longer to the end or felt it rushed in the story. I personally cannot wait until we get the extended version, but I am happy with how it came out.

Where are people getting "Orlok groomed Ellen" from? Grooming is when someone goes after a minor and gets them to be emotionally attached to them for a long period of time in order to achieve some sort of goal (often times sex). People have been saying Ellen was a "literal child", but we don't know that for certain. Yes, Ellen described herself as a child, but it seems that the term child is used more as a synonym of "inexperienced" or "young". Also, we are not sure how old any of these characters are. If we were to go by actors ages as guidelines, Lily-Rose Depp was 24 when filming this, and all we get in between the first scene to the present day is merely "years later". That can mean two years or ten, we cannot be sure. And while Lil-Rose Depp can look younger than her age, no one better try and say she was playing a 12 year old or whatever in that first scene, because there is no way you can convince me she is as young as that. Also, Ellen hadn't been emotionally attached to Orlok between the years to make it grooming. I can make a better argument of grooming in another famous Gothic movie the 2004 "Phantom of the Opera" then I could with "Nosferatu".

Listen, this movie won't be for everyone, that is fine, but what I have an issue with is saying people are dumb or evil for thinking Ellen x Orlok is interesting/has romantic elements to it. One person commented on another's post about saying that the cast are dumb for seeing this as a love triangle, especially Lily-Rose Depp for not seeing Ellen as a victim. The director, who also wrote it, wanted this version to play up the Death and the Maiden themes, that was their vision, and I don't think it's right or fair to say they are dumb because the original movie wasn't a love triangle. If we were to be really anal about it, so many pieces of media we have we wouldn't be able to enjoy because it's origins are not the same. Sorry Disney's Hunchback fans, you can't enjoy the happy ending because the original was a downer. Sorry Wicked fans, it's nothing like "The Wonderful Wizard of Oz", so it shouldn't be enjoyed. See how ridiculous it sounds? You can debate if whether or not they managed to achieve their goal, but you can't deny that was the intention and say people are dumb for picking up what they had intended.

I also feel that it's quite hypocritical of people to say that the relationship between Orlok and Ellen is evil and creepy, but then go off and say that the scenes where Friedrich has sex with Anna's corpse as "romantic" and Thomas' couch scene as "hot", when both deal with dubious/no consent at all. Just admit it, you are fine with dubious stuff so long as it's a hot guy doing it. The couch scene was quite uncomfortable for me, Ellen is clearly not in her right mind, even if not by some kind of possession, but emotionally, and it didn't sit right what Thomas did. I am not saying he raped her, but she wasn't in the right mind space to have this be a passionate moment. And he wasn't doing because of love or passion, he was doing it because he didn't like hearing Ellen say how he couldn't please her like the Count could. We had seen what they are like when they are in a good head space and the feeling mutual, as we saw in the den of the Harding's home. I feel like this scene wasn't meant to be a hot and sexy moment, but a incredibly distressing moment when two individuals are acting at their worst.

I don't understand how people feel that this film isn't a feminist film. I've seen people claim that the movie shames Ellen and that her not finding out how to stop Orlok is robbing her of her agency. Here's the thing, yes, many characters shame her for what she feels, but the narrative doesn't. As the audience, we feel sorry for her, feel bad for everything she is going through, and given the time period, of course there would be many people (mainly men) who will shame her passions or deny her darkness in favor for a more "womanly behavior". We are meant to see how the human world would never understand Ellen the way Orlok would understand her, why she would have called out a force that is inhuman, because humanity has turned her away. What's fascinating is that Ellen has control of Orlok, being able to call him, speak to him as an equal, and get him, a powerful centuries old being, to admit that she is his affliction, his weakness, and in the end, it's proven right. This mortal woman is able to defeat a supernatural being, all the while him loving her, how is that not awesome and feminist?

In regards to her finding the cure; true, in both the '22 and '79 film, Ellen figure out on her own what needs to be done to stop Orlok, but that doesn't mean '24 Ellen isn't smart or in charge of her own actions. We've seen Ellen say what the future holds multiple times, so it isn't crazy to believe that she would have seen what her fate would have been as it drew closer, and her need to talk to Von Franz read to me as her knowing the cure. When Ellen walks Von Franz to his home, she says that she knows what must be done, and they work together to make this happen, with him promising to keep Thomas away. Out of all the men, Von Franz had been the only one to take her feelings and thoughts seriously, and he does so here, including her in the plan (where Thomas had refused her to help), even giving her the chance to be stop Orlok without interruption. He isn't denying her agency, he's keeping others at bay so she can be the hero.

I like the moustache, just like a Romanian nobleman would have had, exactly what the director wanted. After leaving the theatre, my friend and I were discussing the film, and of course the design of Orlok was brought up, and she said "I liked it, especially the moustache, very Vlad the Impaler". She isn't a massive Dracula fan but she understood what was the inspiration behind it. Y'all are just uncultured swine.

In the end, I love this film, and wanted to just share my two cents.

[b-skarsgard]

https://parade.com/movies/bill-skarsgard-nosferatu-interview-exclusive

Skarsgård's vampiric transformation does make him virtually unrecognizable. Combining full-body prosthetics and elaborate costumes, the actor built the character with Eggers over a 10-year period, even working with an operatic vocal coach on a completely new voice. If you're able to spot Skarsgård in the film, hats off to you.

Of course crafting a new version of Dracula/Orlok was certainly a momentous task. Skarsgård's been told there were already over "170 different adaptations" of the character prior to his own. He's humbly giving much of the credit for his own transformation to Eggers' screenplay, though.

full article at the link and under the cut

"I read Robert's Nosferatu script almost 10 years ago, and it hasn't changed all that much in those 10 years," he says. "So the version of Dracula was already different on the page."

Step one in the transformation was the voice. "I was really enamored by Orlok's language," Skarsgård says of Eggers' script. "He's technically speaking German in the movie, but it's English. I think he's learned German just from reading all of these texts and old books. It's this awkwardly constructed English that came out of that."

Orlok's voice was especially important in this film as the character spends much of the film hiding in the shadows to keep his true form hidden from Thomas Hutter (Nicholas Hoult). "The movie monster tends to not have much dialogue, but in this case he has a lot," Skarsgård reflects. "So the voice became my way of expressing the character."

The deep gravely voice in the film was the product of acclaimed Icelandic opera singer Ásgerður Júníusdóttir. "We explored the voice together, but also the technicality of using your entire body when you speak and placing the voice as low as you can in your body," Skarsgård says. "It's a new world for me, and I love voice work. I was just absorbing all of these tools that I'm going to use as my career progresses."

Layered on top of the vocal work were Linda Muir's costumes, what Skarsgård describes as "historically accurate costumes that a 16th-century Hungarian nobleman would have worn. They're the clothes he would have worn when he was a man."

While Focus Features is keeping Orlok's appearance under wraps for as long as possible, you can see the massive fur coat Skarsgård donned in the shadowy poster.

"I knew the shadow was going to be an ally for Orlok, especially in the scenes with Thomas, where he's hiding his appearance," he says. "So he lives in the shadow, and he uses his big fur cape and the hat to not give away what he is. The shadow became a friend."

Perhaps the most impressive element of Skarsgård's transformation, however, was David White's prosthetic makeup, which took hours to apply each day, was difficult to act through and painful to wear. When I ask if he was able to cheat on days he was in the shadows, Skarsgård says no with one exception: "Every single shadow in this movie is also me puppeteering behind camera. That was the only time where I didn't need to have the full regalia on.

"The full prosthetics would take six hours to apply. "It's just uncomfortable," Skarsgård says of having to sit in the chair that long. "And any sense of privacy goes out the window. You become very close with the team that's applying this makeup. They're really getting up in there with a brush in your ass crack. They become your little safe space."

And the six-hour application process was just the beginning of what could be long, physical days on set. The film's final moments involve a sex scene between Orlok and Lily-Rose Depp's Ellen Hutter, which Skarsgård performed in head-to-toe prosthetics.

"I don't know her perspective on, 'I'm going to kiss this monster,'" Skarsgård says about his (fully clothed? skinned? suited?) sex scene, "But for me, when we shot, I was Orlok, and I really, really, really wanted to devour her."

If performing a sex scene in a hot latex bodysuit sounds miserable, that's because it was. "The actual final moment of Orlok was incredibly physically exhausting because there was a lot of technical camera work," Skarsgård says. "What's in the movie, I had to do that 30 times." If you've seen the film, you'll know how truly arduous that experience must have been.

The most difficult day on set for Skarsgård, however, involved a sequence filmed on a boat during Orlok's transfer from his castle in Transylvania to the German harbor he plans to terrorize next. In one scene that involved "pretty tricky advanced camera work," a seaman descends into the hull of the ship to "rid the boat of this demon." As the camera follows the sailor, Skarsgård's Orlok is initially seen behind the man in the shadows.

"Then I have to exit frame, run around and enter my position for when the jump scare pans down to the rats and then pans up and I'm standing there," Skarsgård remembers. "So it's very physical, but I was covered head to toe, except for my eyeballs and the soles of my feet. Even my palms and my hands are covered. That was a 12-hour day."

With that many prosthetics on, there's nowhere for all that sweat to go. "It doesn't breathe, and I don't think it's healthy," Skarsgård confides. "Your body's probably absorbing all those f--king toxins and glue and sh--, plastic and latex and whatever."

During the 12 hours running around the hull of a ship, Skarsgård remembers thinking, "I don't know what's happening, but my body is not doing well."

"You know the skin is your biggest organ right," he says. "So it needs to breathe. I got flashbacks from that urban legend about the woman in Goldfinger being covered in gold and actually dying. I'm like, 'Okay, this is how I go.'"

Obviously, Skarsgård did not die of heat exhaustion in a latex Dracula suit like that one cameraman in the 2022 film Babylon.

"At that point I told them—because it was a long day and I was waiting around—'We need to open it up so my body can breathe,' and then they found the pockets where I could open up and my body started to breathe."

Skarsgård compares the agony of the shoot with what he thinks childbirth would feel like. "They're not on the same level, of course. I've seen childbirth, but it's as close as I can get to giving birth as a man, as these f--king monsters I'm portraying," he says.

When I ask him if there were any other iconic monsters on his bucket list, he says he's done for now. "To play Orlok in Robert Eggers' Nosferatu is the holy grail," he says. "It's kind of the peak and, in a way, the nail in the coffin."

[weirdagnes]

Mouthwashing: The Musical

cant get it out of my head so dumping some ideas in a non-arranged way:

SONG NUMBERS

The songs ABSOLUTELY has to derive leitmotifs from the original soundtrack. It has to be 80s inspired dark synth-heavy with a little industrial/experimental touch. Maybe some of the songs are titled after the actual track titles (“Heroes”, “Here, On Earth”, “Bad News” - very theatrical titles).

Every character gets a soliloquy (ofc)

I can see Swansea having 3 leading songs. One will probably have the motif of “Close your eyes” (character introduction song), two is the reprise (Daisuke death scene), three is the speech he gives to Jimmy.

Anya’s solo comes in the “Dead Pixel” scene, but maybeee it can be a duet with Curly;

Daisuke will have the silly song and dance number that becomes sad mid song when he talks about his insecurities as intern (but it still ends with a bang).

Jimmy and Curly will absolutely HAVE to duet in the “I want to go home” We ARE home” scene.

I can envision a lengthy number heavy on spoken featuring Anya, Curly, and Jimmy during the scene where Anya reveals her pregnancy and the talk before the crash.

Curly could have a solo song with post-crash actor on upstage while in his headspace, his pre-crash actor sings on downstage.

There has to be a painful Anya, Jimmy, Swansea and Daisuke number on the scene when Anya locked herself in the medbay except this time! we get to hear Anya sing her side of the story (maybe Curly’s precrash actor is standing at the side too while Anya sings her last moments but he’s unseen by her, ya know like implied “audience sees, characters dont” thing)

LIGHTING/SCENES

Lighting has to be the peak highlight of the play, like in the game! Instead of black curtain bg, there’s a projector and screen as background that’ll display the day/night/sunset screentime.

Floor lighting is going to be used a LOT for dramatic scenes, like in Curly’s blood sea hallucination, floor lighting could be red as like, reflection of the blood sea.

Light direction goes INSANEE during crash reveal, imitation of emergency lights.

Can you IMAGINE Swansea’s speech scene on stage with projector and screen??? I cant explain because i never studied stage lighting but OUGH PLS IMAGINE HOW COOL AND DOABLE IT IS -

SET DESIGN

This is kinda hard because with set design, you have to be creative limiting stage props while keeping imagery of the set so changing set isn’t troublesome. There’s 6 sets: lounge, medical bay, cockpit, utility, cargo, and hallucination areas. But we can cut it down to:

SET 1 - LOUNGE + MEDICAL BAY. Both have screentime so they can be the same set, maybe Medical on stage right and Lounge on stage left. I think this format will make the “Anya locks herself” scene flow better. Anya is singing her final thoughts stage right, spotlight focus on her as she slowly moves downstage while the crew changes the set to Utility so after Anya takes the pills, the transition to Jimmy and Daisuke entering the Utility is quick.

SET 2 - UTILITY + COCKPIT. The set is pretty unique because of the cryopod and the vent, but it can share set with the cockpit since they have the common design of pipes and screens. The difference between the set are objects that can be easily taken away or added during set change, which is the pilots’ chairs in the (Cockpit) and the cryopod (Utility).

SET 3 - CARGO + HALLUCINATION AREAS. These set are mostly dark in lighting and not much prop other than boxes or shelves (with wheels underneath for easy pushing) of mouthwash and TVs. Scarce lighting and mostly empty stage allows free space for imagination which is perfect for hallucination scenes. The cargo area doesn’t have much design variety anyway.

[glassladyoftheopera]

In Stars and Time as a Musical Follow Up: Costumes

Okay, a topic I may have enough thoughts on to make a full post about; costumes! (and a little bit stage craft in some places.)

This is mostly about what people would do if they wanted to actually put on a live version of this, versus treating it like a concept album. I am however going to mostly ignore cost restraints outside of like, truly ridiculous stuff.

So first, some general notes.

The color palette: we will still have all of the costumes and sets be in grayscale, with the red used in the 'say it's name' and Act 5 sequences probably mostly being done through lighting. We will not have the actors use skin paint though. I'm not that mean. The audience can buy the idea that the world is meant to be black and white just fine without it.

Materials: I would avoid overly synthetic looking fabrics to maintain the 'vaguely fantasy medieval' vibe, but I wouldn't worry about using actual natural fabric. Comfort and cleaning are higher priorities.

Ensemble: Not much to say about them! Just that the production would have to be careful to make sure everyone is in truly neutral grayscale and not let too warm / cool of grays slip in.

Okay, let's talk characters.

Siffrin is tricky basically every option for interpreting the cloak has it's own pros and cons. Having sleeves means better movement options for the actor, but they only show up in a handful of images in the game. Full poncho means we get Full Triangle Vibe, but it would hamper movement a lot. Cloak with a pinned closed front means we see more of the rest of the costume more often, which I wouldn't mind, but it does break up the classic triangle silhouette. It's honestly still my pick though. Then there's the eye patch. I know some shows just give characters eye patches, and as long as you're careful staging the dances it will probably be fine? But I assume semi-mesh eye patches for performers are a thing, so I'd try to find one of those. Lastly, hat. It probably couldn't be as absurdly big as in game without casting major shadows we don't want on Siffrin's face, so they'll need a slightly narrower brim and we'd keep the hat pinned in a more back position.

Mirabelle's outfit probably wouldn't need to change much, but her little fingerless gloves would need some reinforcement at the top to keep them from falling down her arms. There's also the matter of her needing to have her sword with her most of the show; it might need to be a little smaller than a true rapier, but Shakespeare shows have duels and such so we can make something work.

Odile wouldn't be particularly difficult to costume as long as you don't make her sweater / jacket too heavy and put some straps on her shoes. Fake glasses aren't hard too bad, but some rigging in the back to keep them on will be helpful.

Isabeau I'm sorry but your sleeves have to be a little less gigantic, it will get in the way of the audience being able to read your gestures / get caught on stuff. They can still be long and loose though. Also, in real life the stripes on his pants being that wide could be an issue in terms of reading where he is on stage with the set / looking kind of goofy, so I might make them just a bit thinner.

Bonnie... I do not know how to make your weird pillow hat work in real life. For most game accurate version you'd have to make it completely from scratch. Something like a beret in terms of construction but... big. And probably held up internally with stuffing and wire. The alternative would probably be a big sunhat, and if you want to include Bonnie getting a new hat just slightly redo that scene to find something else that's similar.

Heck yeah its time for Loop! Now, we're definitely not doing a full star head, that wouldn't let the actor do any of that good emoting. But! I think a lower face mask could still work. You might have to hide the actor's mic under there to make sure they could be heard, but it's definitely possible. They would definitely need a custom wig for spikiness, plus a star-like head piece to top it off. Now the rest of it... I mean, you could go full body suit. I'd probably do that as the first choice, though maybe adding a wispy loin cloth or tie around the middle for modesty depending on your performer / venue. But! Different productions could get really creative with it, as long as the base still has them black and covered with stars and there's the star in their chest. Add in some specific design quirks that are only elsewhere found in Sif and The King's costumes, but just tiny little detail type things? Chef's kiss.

Speaking of the King! He unfortunately does need to be Very Big, but thankfully Broadway shows can pull that off! Something similar to the Wizard head in Wicked could work here, where only some parts of the set piece move (mechanically or via puppetry) and the actor is a voice over. The hair could be a mix of practice and projections. The tears that show up in the fight would probably also need to be projected. The hard thing would be getting it to disappear quickly enough. Maybe the last bit before the loop resets is always in front of the curtain? Could be cool. A less well funded production would probably have to either use mostly projections or re-work to use less moving parts.

Last up Euphrasie! Since she has a long dress getting her some extra height wouldn't be too hard, and she doesn't have to dance or anything so that helps. But! She does need to do the Act 4 finale dramatic kneel down, which is harder to work around. If we cast a tall actor and just use lifts in her shoes, it could work. She wouldn't be as super tall as she would be if we used hidden stilts, but I like the image of her cupping Sif's face, it goes all the way back to the comics, I gotta keep it.

What about y'all? How would you dress everyone? Any little details you'd want to see? And tricks to deal with the problems I thought of? Have fun!

[lunabug2004]

Reblogging this bc the current reactor I'm watching just gave me a prime example of this!

She watches the scene with Nancy & Steve dining with Barb's parents and cries with Nancy, talking about how she has no one she can talk to about her feelings (her survivor's guilt). She's legitimately so upset for Nancy (rightfully so).

However, when it cuts to Mike's own depressive episode about El, she pretty much immediately starts acting like he's being dramatic. She starts saying "Michael" in a disappointed-esc tone, and even specifically says he needs to take the fort down because it's been long enough. She makes the connection of his "rebelling" being because he "misses El" (her words exactly), but doesn't go any farther than that. She doesn't seem to catch onto his grieving, at least not to the same extent that she did Nancy's.

She knows El is alive for sure, despite never seeing the show past season 1, because she'd seen promo stuff for s4 all over the media. I fully believe this is why it's so much harder for her and a massive portion of the GA (bc anyone who watched the s2 trailer knew El was alive as well) to see the connection between Nancy's and Mike's survivors guilt.

And while I don't know for sure if this was on purpose (I'm leaning towards yes bc it was very hard to believe El wasn't still alive at the point of the first episode coming out), I do think it's pretty unfair towards the character of Mike. Plus adding his dislike of Max into the mix, which is mostly due to all the emotional pain he's in, made people start to dislike him in this season.

I just think with how much the Duffers (& all the actors) claim to love Mike, these were very strange choices to make.

Something I've noticed recently is the difference in which people notice or think/talk about Nancy and Mike's survivor's guilt.

People seem to be much more open to the notion of Nancy having survivor's guilt, also they tend to pick up on it easier, and I think the reason for this Nancy actually kinda demonstrates herself in s2, when talking to Jonathan when she says "Yeah, but it's different for you. Will came home."

Now, Mike feels survivor's guilt in connection to both Will and El, and Nancy for Barb, and the difference between them is that both Will and El actually survive. But the thing that people tend to forget is that Mike saw Will's "dead body", he saw El disappear in front of his own eyes just to not hear from her for almost a year, he saw his best friend's body and mind be taken over by a terrifying monster (who he had just told he wouldn't let happen to him a day or so before). So, yes, El and Will may not be dead, but in any case, esp in Mike's 11-14 year old brain, that doesn't really mean much at all. Mental illnesses don't go away just because the thing that caused them did. I mean, that's legitimately what PTSD is!

Talking about s2 specifically for example, even at the beginning of the season, most of the GA already knew that El was still alive, but knew for sure that Barb was dead. The show parallels Nancy and Mike in ep 1, with Nancy crying in Barb's house and Mike looking terribly upset while boxing up toys in his basement. Despite this parallel though, most people I've watched only pick up on Nancy's survivor's guilt. Even though Mike goes on to try and contact El, who he still (mostly) believes is dead, lots of people just go "aw that's sad" or "aw that's sweet" and move on.

Idk if it's just because he's younger, or that, as I said before, the audience knows El is still alive, but it's always seemed to me that people don't take Mike's mental health problems as seriously as they take Nancy's when really, they're in a very similar boat.

[mrs-stans]

Inside Sebastian Stan’s Winning Look at the Golden Globes 2025

With help from Frank Sinatra and hopes of a postshow burger, the Prada- and Cartier-clad Stan prepared for his first major awards show victory.

BY SAVANNAH WALSH

Sebastian Stan entered the Golden Globes 2025 with two chances at winning—nominated for both his portrayal of Donald Trump in The Apprenticeand his more comedic performance as Edward, an aspiring actor living with neurofibromatosis, in A Different Man. But in the lead-up to his big night, Stan was eager to put his double nominations into perspective, instead focusing on what he could control: a hearty postceremony meal. “You always read about people having burgers or somethingafter these award shows,” he told Vanity Fair.“I mean, that sounds kind of nice, to be honest.”

A celebratory nosh was well-earned by Stan, who won best actor in a musical-or-comedy film, his first-ever Golden Globe. After thanking A Different Man filmmaker Aaron Schimberg and his costar Adam Pearson,who has the genetic condition neurofibromatosis in real life, Stan advocated for more inclusive narratives onscreen. “Our ignorance and discomfort around disability and disfigurement has to end now,” he said. “We have to normalize it and continue to expose ourselves [and our children] to it. Encourage acceptance.”

A Different Man languished for two years before it debuted at the Sundance Film Festival, and the A24 movie later landed Stan the Silver Bear for best lead performance in Berlin. But The Apprentice, directed by Ali Abbasi and written by Vanity Fair special correspondent Gabriel Sherman, also endured a beleaguered road to distribution in the weeks before the 2024 presidential election. “Both of these films started out as major risks,” Stan told VF shortly before the Globes. As such, he’s not taking any of the recent accolades for granted.

“I feel very blessed that I have good people around me, friends who I’ve had for 20 years at this point, who remember as much as I do what it was like to be in New York City and going out to auditions and not getting it,” said Stan. “Even my mother, who has been with me over the holidays, I was growing up with her in Vienna, Austria, and not even really knowing that I was going to get to America. So when I think about those moments,” he continued, “I’m immediately humbled and on the ground. Because even as it is currently, without anything happening on Sunday, it already feels like such a win.” Stan dedicated the award to his mother and stepfather during his acceptance speech, also taking the time to profess his love to his girlfriend, actor Annabelle Wallis.

Stan spent hours in prosthetics for both A Different Man and The Apprentice, getting comfortable with a bit of metamorphosis. “I kind of liken it, for better or worse, to being in a relationship,” he said of transitioning back to himself postproduction. “I always remember somebody telling me, ‘However long you’ve been with somebody in a relationship, take away half the time, and that’s how long it’s going to take for you to get over them when you break up.’ It’s a little bit like that. It doesn’t just go away suddenly, I guess. There’s a process…that happens with it. It’s sort of a slow, gradual disconnection.”

But does Stan find it harder to disappear into a character or present as himself at an awards show? “That’s a very good question,” he said with a laugh. “Sometimes it’s easier transforming into a role…. Being yourself at an award show, it can be quite tricky, because I’m not going to an award show [thinking], Oh, I’m a funny, interesting guy. I’m feeling self-conscious.”

Nevertheless, Stan was excited to venture beyond his comfort zone in custom Prada. “It’s really fun and different, and it’s something I’ve never really worn before,” he said, crediting stylist Michael Fisher with steering him toward a different era in Hollywood. “You get romantic sometimes when you see clips in black and white of the Oscars and how people dressed up. So I think I’m more old school like that in my mindset rather than, Hey, let me take a crazy swing on this red carpet. Even though, once in a while, Michael has definitely had me in pink.” This time, though, Stan opted for a black mohair coat and trouser with contrasting white piping detail, paired with a black knit wool sweater and white poplin shirt, plus black brushed-leather lace-ups.

The “timeless and classic” vibe continued with Cartier accessories, including a [Sur]naturel transformable brooch made of 18k white gold, diamonds, and black lacquer, as well as a 1968 CartierCollection wristwatch made of 18k yellow gold, sapphire cabochon, and leather. This collaboration marked a full-circle moment for Stan, who fondly remembers wearing Cartier at May’s Cannes Film Festival, where The Apprentice premiered.

Stan’s vintage-Hollywood vision also extended to his pre-Globes playlist. “I don’t mind a little Frank Sinatra,” he told VF. “We’re going to be getting ready at the Hotel Bel-Air, and that hotel itself has such history and that Old Hollywood classic style. I might be playing some ’20s or ’30s music, something that will at least keep me under the illusion that I’m in a different time, because it does feel like a different time.”

As for grooming, Stan said that with age, he’s embraced more facial hair. “I used to be more clean-shaven when I was younger, but it also depends on what I’m working on at the time,” he said. “A lot of how I was looking this year was informed by the fact that I was shooting Thunderbolts, so there was not much I could do. Even with the hair, I don’t always want everything to be perfect or slick. Maybe that just reflects my attitude in terms of staying flexible in the moment with these things—to go, All right, keep it loose and keep it fun.”

Stan never dreamed that A Different Man and The Apprentice would debut in the same year, but they have been in conversation with each other this awards season by virtue of his involvement. “Both films, to me, are about the loss of identity and the loss of self, and to some extent denial of reality and denial of self-acceptance,” said the actor. “Both of the films focus in different ways on characters that go to great lengths to abandon their true selves.”

Stan’s searching, self-conscious characters in the two films meet ego-driven fates. Edward is “obsessed with what he doesn’t have, and then he spends the rest of the film trying to deal with the shame that he’s buried, the shame that he’s never really accepted himself,” said Stan. “Then the Trump story is very obvious to me—it’s a total loss of humanity, empathy and vulnerability, and any morals, sort of at the hands of this very self-indulgent, self-narcissistic way of life. It’s also about how far one can go to deny the truth, deny reality, and lose humanity as a cost.”

Stan’s performance in The Apprentice, which was bested by Adrien Brody’s in The Brutalistfor best male actor in a drama film, has faced a particular uphill battle given the utter Trump fatigue in many circles. “Trump is part of our lives. It’s inevitable that we’re talking about him. You go to a coffee shop, and someone’s talking about him; you open your phone, the news, whatever—he’s everywhere, even in the award season,” says Stan, who believes his film will stand the test of time for boldly “challenging, or at least the attempt was to challenge, history as it’s happening rather than waiting.”

With Trump’s second election to the presidency, it feels as if perception of The Apprentice has shifted, as evidenced by its awards season embrace so far. (Stan is also nominated at the upcoming Independent Spirit Awards.) Would that be the case had Trump been defeated? “I don’t know if I know the answer yet to that,” said Stan. “We’re all still trying to figure out how to feel, or to think, about the election and what happened and the next four years.”

In the days before his first Golden Globe victory, which involved a lively backstage reunion with his frequent Marvel costar Anthony Mackie, Stan was similarly open-minded about what’s next. “[In] Eastern Europe, we grow up with a lot of superstitions,” he said. “But this year I just basically surrendered to whatever’s going to happen. Wherever this wild sort of ride I’m on is taking me, I’m just going to kind of follow and really try to be in the moment as much as possible.”

[weclassybouquetfun]

With the debut of M. IL FIGLIO DEL SECOLO / M. SON OF THE CENTURY

with a shiny new clip

nearing there are more articles/interviews with Luca Marinelli coming out and even though he has been promoting this series for some time now, I guess the Italian public is waking up to it and Luca talking about how difficult for him to step into the mindset of Benito Mussolini is shaking the table.

Luca is getting the Jeremy Strong (SUCCESSION, THE APPRENTICE) treatment. Jeremy, a method actor,

He's a serious actor...don't let this outfit fool you.

gets a lot of guff for taking his craft so seriously. Well, now people are slagging off Luca for taking the role to heart.

Luca, get behind me!

More hateration and more Luca

We have such a culture of grinding and doing your best, but for some reason people don't respect that in actors. It's their job to make things truthful and each actor has their own yardstick on how deep they want to go. I don't understand why people act like they don't comprehend how roles can imprint on an actor? James McAvoy talked about doing (the great) film FILTH and that his then-wife Anne-Marie Duff would have to rein him in because he started acting like his foul and crass character Bruce. I need people to act like they have some common sense.

Anyhoo...

And in non-Luca news, Marwan Kenzari and Nora Ponse (finally) tied the knot!!!

[crowleysgirl56]

Good Omens season 3/finale thought of the day:

Quite a while ago I saw a theory about Michael being secretly involved with Ligur. It goes that in S1, there’s a scene where Michael calls someone on the phone but it’s never shown who, and then almost immediately after Ligur is melted by the holy water. Considering it’s Michael who brings the holy water to destroy Crowley seems to further prove that there may have been some kind of attachment between her and Ligur. Perhaps even a romantic one. The fact that Doon Mackichan is one of the only other confirmed actors to be returning for the finale (so far), makes me believe that Michael is an incredibly important character.

So what theories do we all have about what Michael will do in the finale? Will she gleefully emotionally torture Aziraphale in heaven, and just behave insubordinately towards him the whole time he’s attempting to be in charge? Is she going to seek revenge against Crowley for the destruction of her friend/potential lover? Will she be instrumental in trying to destroy Crowley and/or Aziraphale? Will she be the reason why one of the Ineffables gets to play Hero in rescuing the other (because I god damn want something like that so badly!)? Will she go against orders and either fuck things up even worse than what heaven planned or do a complete 180 and help our Ineffables instead? Tragic demise or redemption arc?

Love to hear your thoughts and theories on this one? She’s such a complex character.

Edit: coincidentally, after I had drafted and queued this post just before Christmas the ever awesome @vidavalor posted their own thoughts and it was like they read my mind! You can find their much more detailed and longer meta here!