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spryfilm · 7 years ago

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“In Plain Sight” (2008 – 2012)

Television/Action/Thriller

61 Episodes

Created by: David Maples

Featuring: Mary McCormack, Fred Weller, Nichole Hiltz, Todd Williams, Lesley Ann Warren, Paul Ben-Victor, Cristián de la Fuente, Rachel Boston

Mary Shannon: Since 1970, the Federal Witness Protection Program has relocated thousands of witnesses, some criminal, some not, to neighborhoods all across the country. Every one of those individuals shares a unique attribute, distinguishing them from the rest of the general population. And that is, somebody wants them dead.

There is no doubt that there are far too many scripted television series being produced than any one person can watch from week to week without making it a full time job. So it is great when something surfaces that did not get an airing here in New Zealand, then turns up on a secondary source such as what is considered an old fashioned medium, the good old DVD. I am pleased to say that is exactly what has happened with “In Plain Sight” (2008 – 2012), a vehicle for the excellent character actress Mary McCormack who came to fame as Howard Stern’s wife in “Private Parts” (1997), then going on to appear in a variety of projects. Here McCormack gets to not only play drama, but comedy as well as kicking ass as a US Marshall, a cleaner female counter-part to “Justified” (2010-2015) if you will.

The series itself revolves around Mary Shannon (Mary McCormack), a Deputy United States Marshal attached to the Albuquerque, NM, office of the Federal Witness Security Program (WITSEC), more commonly known as the Federal Witness Protection Program. Shannon must find ways to balance her professional life of protecting witnesses, her professional relationship with her work partner as well as her problematic personal life.

This is for all intents and purposes an episodic show with procedural elements that begin and end in the same episode (with few exceptions) much like many shows of its ilk. What “In Plain Sight” does extremely well is to balance the main characters personal life with her working situation in a way that leaves you wanting more – it really is less about being a US Marshall than it is about a daughter, sister, partner and lover, struggling with life as well as dealing with people who have been shunted out of their own lives many times because they have been in the wrong place at the wrong time.

The very defining thing that I found to be different from other shows that revolve around either the police or crime or both are the characters that have been created as well as the magnificent casting that has occurred to bring these to life as well as inhabiting them with some honesty that can be lacking in other generic shows.

Firstly, the main character Mary (Mary McCormack) is a completely capable officer, a nonconformist and uninterested in typical feminine wiles. Mary has trust and abandonment issues that lead her to have difficulties with relationships due to a difficult childhood resulting from her father’s abandonment and her mother’s alcoholism. Secondly there is Marshall (Fred Weller) who is a fifth-generation Deputy U.S. Marshal, Marshal Mann is Mary’s partner, as well as her best friend, and occasionally appeared to desire more than her friendship as the series progressed. He seems to know a little about everything, what Mary calls “useless information”, and is rarely ever speechless. The only time this has ever happened was in the season-three episode “Whistle Stop”, when he discovered Raphael and Mary had broken up, leading her to declare him “verbally impotent”. Friction between Marshall and Mary occurs at times, often due to Marshall’s cerebral approach and Mary’s gut instinct, though both are extremely protective of witnesses and each other. Lastly there is their boss Stan McQueen (Paul Ben-Victor), : As chief inspector for WITSEC’s Southwest region, Stan is Marshall and Mary’s boss who is flexible and a stand-up guy, quickly backing up both Marshall and Mary when they hit trouble. Stan likes to stick to official WITSEC doctrine as often as possible and is reluctant to bend the rules without authorization.

That leads us to Mary’s relationships at home, these are lead by her mother Jinx (Lesley Ann Warren) who is an alcoholic as was abandoned by her bank-robbing husband to raise her two daughters alone. Finally there is Brandi (Nichole Hiltz) Mary’s younger sister who is very much her mother’s daughter and the baby of the family. She lives in the moment and was originally involved with a shady man named Chuck. Despite this, she looks up to Mary and, at times, sees her as an example. She also tends to be the more mature figure in her relationship with her mother. Brandi is loyal to a fault, but is slowly developing a conscience independent of others’ approval.

My stand outs as well as scene stealers for the entire series are the well cast Nichole Hiltz and the amazing as well as legendary Lesley Ann Warren who not only are foils for Mary McCormack, keeping her on her toes not only in character but she cannot afford to fall asleep or coast with these two as scene partners because they are that good in their jobs. They both know their own characters inside out, they breathe them, with what could have been cut out archetypes, these two actresses from very different generations own them as well as feeling plugged in to what they need to do in each scene they appear in. This show is worth watching just for them.

The series is very well directed, mostly by Dan Lerner, but eagle eyes will spot episodes directed by veterans, as well as film directors such as John Badham, Ernest Dickerson, Stephen Hopkins and various other great television directors – this leads to well rounded and inventive episodes. Not only that but they are also able to bring the best out in not only the cast but the crew who work behind the scenes. I am a big fan of many of these directors and after watching episodes that could be humdrum in others hand you will appreciate may of these, particularly if you binge this show, like I did.

If you are looking for a new cop show that is just waiting to be discovered then I recommend this highly, it will keep you entertained with fairly simple storylines but it is the characters that will keep you coming back with all of them facing real growth through the four seasons that are available right now.

“In Plain Sight” seasons 1 to 4 are available now in a box set on DVD now.

DVD review: “In Plain Sight” (2008 – 2012) “In Plain Sight” (2008 - 2012) Television/Action/Thriller 61 Episodes Created by: David Maples Featuring: Mary McCormack, Fred Weller, Nichole Hiltz, Todd Williams, Lesley Ann Warren, Paul Ben-Victor, Cristián de la Fuente, Rachel Boston…

#dvd #dvd review #DVD reviews #DVDReviews #in plain sight #in plain sight dvd #in plain sight dvd review #in plain sight review #in plain sight television #in plain sight television review #Mary mccormack

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adamwatchesmovies · 4 years ago

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The First Deadly Sin (1980)

I gave The First Deadly Sin a chance. For a while, I embraced it despite the flaws. I tolerated the slow pace, believing it was deliberate; a way to build up tension. I liked Frank Sinatra as the veteran cop but eventually, I had to cave. The movie's dull.

Detective Edward Delaney (Sinatra) is weeks away from retirement when he notices a strange series of murders. He becomes determined to get to the bottom of things despite the higher-ups urging him to relax and wait it out until retirement, and his wife (Faye Dunaway) lying in the hospital, slowly dying.

This is a generic "serial killer" meets “the veteran cop’s last job” thriller but in slow motion. Delaney goes around picking up clues and slowly piecing things together while a killer we don’t care about bides his time. Meanwhile, you're (at best) mildly interested in whether Faye Dunaway’s character will ever get out of bed. You're not anxious wondering who the next victim will be. You're not horrified by the murders. There's no reason why this movie needs to be 112 minutes long.

To keep myself invested in this review, I'll shine a spotlight on some of the bizarre and unfortunate choices that drag this film down. Firstly, the killer is not interesting. Think of some great serial killers we've seen on the silver screen. The guy from Seven; Hannibal Lecter and Francis Dollarhyde from Red Dragon; even Jigsaw or that creep from The Cell. They all have two things in common. First, they have an identity. Even if they don’t have a name, something about their methodology makes them stand out. You wonder what makes them tick. There’s nothing to the sinner in this picture. He kills with a mountain-climbing hammer and then cries about it. Big deal. I was more interested in why the camera was constantly obscuring his face than his mental state. David Dukes (who plays the killer) isn’t a cop working next to our hero or someone visiting his elderly mother in the room next to Delaney’s wife’s; his identity is not a twist, so why pretend like he's hiding in plain sight?

Another problem is our lead. Compare this film's cop on the edge of retirement to the one in Seven. Morgan Freeman's character was partnered up with a newcomer. Why? Because old men like Frank Sinatra don't do well in chases or fight scenes. You know exactly how their final confrontation will end because there's no way this detective could go toe-to-toe with anyone, least of all a lunatic who works out and kills people compulsively.

While your curiosity might be peaked enough by the mystery to keep you going, the side characters are the best part of the film. Delaney is helped by a number of interesting men and women while on the case, including a coroner who isn’t very excitable, even when it comes to dead bodies being exhumed (James Whitmore), a victim’s widow (Brenda Vaccaro), and a museum curator who really wants to help the investigation (David Dukes). They bring excitement to the table by serving as backdoor resources for our hero who is cut-off by his superior at the police headquarters.

In the end, the dramatic moments fell flat because I didn’t care about the characters. Many scenes are supposed to be heart-wrenching but add nothing to this bloated plot. This was Sinatra’s final performance. It's not an embarrassing choice but the picture's a letdown. No one cares about this movie and you can tell by the bare-bones DVD release it's received. Not even subtitles or a trailer! I've got to throw extra tomatoes at those who put together the cover. It gives away a large chunk of the mystery! The first few scenes do too (meaning you're sitting there waiting for everyone else to catch up) but that's beside the point. The First Deadly Sin is completely forgettable. (Fullscreen version on DVD, June 16, 2015)

#TheFirstDeadlySin #movies #films #reviews #movieReviews #FilmReviews #FilmCriticism #BrianG.Hutton #SerialKillerMovies #MannRubin #FrankSinatra #FayeDunaway #JamesWhitmore #DAvidDukes #BrendaVaccaro #MartinGabel #ANthonyZerbe #1980movies #1980films

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fearsmagazine · 4 years ago

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ANTIDOTE - Review

DISTRIBUTOR: Uncork’d Entertainment

SYNOPSIS: Sharyn is admitted into a hospital for an emergency surgery, but she wakes up in a bizarre medical facility where patients are treated like lab rats as mysterious doctors are trying out a cure for all ills. The clinical research is brutal -- human endurance is put to the test and she must find a way to escape or continue to be used as a human Guinea pig.

REVIEW: ANTIDOTE is a horror, mystery, thriller, that plays out like a twisted version of “It’s A Wonderful Life, with a somewhat equally optimistic ending. Instead of the main character having to go back to review their life, they are faced with trauma and curl therapy sessions with a demented therapist as they try to figure out the issues with their life.

The grizzly special effects help balance out the minimalistic location where much of the story takes place, Many of the visual aspects offer clues as to the true nature of Sharyn’s situation then clues from the plot or dialogue. At its core ANTIDOTE feels like an episode of “The Twilight Zone,” or maybe more like “Tales From The Crypt,” given its violent nature. However, the more optimistic ending places it more in the league of “The Twilight Zone.” I wouldn’t go so far as to say there is anything groundbreaking with the story, but there is a fresh redesign on the elements that should keep the view guessing as to what is going on and where the story is heading.

I enjoyed Ashlynn Yennie’s performance. She creates this level headed fighter who is doing her best to think and fight her way out of this nightmare. Even as the mystery is revealed as to the “why” behind her peril, you perceive the sincerity of her repentance allowing you to accept the plot points that build to the climax. I enjoyed the other actors as well but their characters were a bit flat even though this is Sharyn’s story.

Director and co-writer Peter Daskaloff keeps the film moving at a nice space as I never felt bored or checked the time. There are some graphic effects sequences that he does an excellent job of piecing together so they look realistic. He nicely exploits this limited location so it feels like a massive labyrinth that the characters are trapped in and you are left guessing as to what Sharyn might encounter as she explores other areas. He skillful job of hiding the clues in plain sight to provide the viewer with “wow” moments as he peels back the layers.

I enjoyed ANTIDOTE. It features a talented cast, a compelling score, interesting production values, and an effective visual narrative. Clearly not a studio picture, but a solid film that I would be proud to have in a festival. Be interested to see what Peter Daskaloff does next.

CAST: Ashlynn Yennie, Louis Mandylor, Scott Alin, Yorgos Karamihos, Augie Duke, Christos Vasiloppulous; Elli Rahn, and Olive Hoffman CREW: Director/Screenplay/Producer - Peter Daskaloff; Screenplay - Matthew Toronto; Producers - Alexi Stavrou & Ashlynn Yennie; Cinematographer - Lucas Pitassi; Score - Ryan Harrison; Editor - Vanagan Gaboudian; Special Makeup Effects Artist - Maurie Davidson OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/yH8P-puEO-0 RELEASE DATE: On Demand & DVD May 11th, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike) Reviewed by Joseph B Mauceri

#film review #movie review #antidote #uncork’d entertainment #peter daskaloff #ashlynn yennie #louis mandylor #horror #supernatural #thriller #joseph mauceri #joseph b mauceri

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letterboxd · 4 years ago

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Seeing is Believing.

The relentlessly hellish 1985 war film Come and See has marched to the number two spot on Letterboxd thanks to a stunning restoration, digital availability and pandemic-panic. Aaron Yap surveys the community’s reviews of Elem Klimov’s “mortar-blast of a masterpiece” for insights into its importance—and our psychic states.

War is hell—fundamentally the principle behind every anti-war movie, but there’s arguably never been one that conjures this state of being as convincingly as Elem Klimov’s 1985 Come and See (‘Idi i Smotri’) does. And it’s a hellscape that appears to be wildly resonating with the Letterboxd community—the film has now unseated The Godfather to take second place in our Official Top 250 Narrative Feature Films list, just behind Parasite.

For those yet to surrender to this mortar-blast of a masterpiece, Come and See plunges the viewer into the chaos and devastation of the 1943 Nazi invasion of Soviet Belorussia. Based on Klimov and writer Ales Adamovich’s own experiences during World War II, and the accounts of genocide survivors, it’s almost an anti-anti-war film. There are no professional actors. No battle scenes. No digestible history-pedia plot beats. No heroic feats of courage. Our guide into the harrowing void is a fourteen-year-old partisan adolescent named Florya (Aleksey Kravchenko).

Joining a troop of resistance fighters against his mother’s wishes, he embarks on an unnervingly subjective odyssey that leaves him a shrivelled, visibly aged husk by the end. It’s without question one of cinema’s most heart-breaking, unforgettable transformations.

Come and See is not a standard art picture per se. Klimov’s vision contains traces of Andrei Tarkovsky’s poetic, deep-dream sensibilities—many images assume otherworldly, psychedelic qualities that lodge in our mind and occasionally temper the pools of screaming despair around it. But the film is also as immediate as the lacerating scald of a flamethrower to the face. It possesses the grubby, cult-ish midnight-movie energy of something you should probably not be witnessing.

Awareness of the film’s infamous production lore—the plan to hypnotize Kravchenko, the use of live ammunition and real Nazi uniforms—only adds to the whole unshakeably surreal experience. Perhaps only Threads comes close to its singularly nightmarish, nearly unbearable grip.

While the film’s detractors point to a certain misery-porn obviousness (“a Disneyland dark-ride”, writes Nick), the majority of Letterboxd reviewers are unable to deny the sheer, overwhelming, scorched-earth impact of the film:

“It’s just so utterly fucking relentless.” —Andrew

“I am shaken to the core. Come and See is the only war film anyone needs to watch.” —Matt

“It is—through and through—a physical experience. It can be felt all the way to the bone. At a certain point it just stops being a movie, it leaves the screen and begs to become a part of you.” —Anna

“It’s no joyous or action-oriented trip of entertainment: it is authentic horror, flawlessly filmed. Be prepared.” —Edgar

“The most horrifying non-horror horror film of all time.” —Anton

In a more measured take, Mike D’Angelo questions the value of recreating this savage piece of history: “It’s undeniably powerful—so much so that it’s pretty much the sole memory I retained from my first viewing—but enduring it a second time made me more sympathetic toward the ‘some things are too monstrous to function as art’ camp than I’ve generally been in the past.”

Likewise, Robb struggled, preferring a more nuanced depiction: “I don’t want the easy release of thinking that there are strictly good and evil people. I want to know how all-in-all normal people, not monsters, commit monstrously heinous crimes. The alternatives, of just having throat-stomping scenes one after another, feels to me like an evening at the feelies.”

vimeo

To be clear, Come and See isn’t some underrated, recently unearthed discovery. It was released in the United States in 1987 and officially submitted as the Soviet entry into the Foreign Language Film category of the 58th Academy Awards. It’s been featured on Roger Ebert’s “Great Movies” series, and best-of lists from Empire and Sight & Sound magazines.

In Hollywood, the likes of Steven Soderbergh and Roger Deakins have been vocal in their praise of Klimov’s film. “What I saw will stay with me forever; it is a masterpiece not only of filmmaking, but of humanity itself,” Sean Penn once said. Films such as The Thin Red Line, Schindler’s List and Saving Private Ryan all owe a little something to Come and See in their respective cinematic representations of WWII.

But as we’ve seen in the recent surge of Studio Ghibli viewing—and with Soderbergh’s Contagion back in March—it’s sensible to hypothesize that the combination of increased media availability and a tumultuous socio-political atmosphere can contribute to the most dramatic of Letterboxd activity spikes.

Our data shows a clear correlation between Come and See diary entries and screenings of the stunning Janus Films 2K restoration that appeared in select theaters earlier this year—a big spike, in particular, after the screening at New York’s Film Forum on February 21. And Criterion Collection’s DVD, Blu-ray and digital release—a true revelation for those who’ve only ever watched the film via the 2003 Kino Lorber DVD—has positively pushed the film into the stratosphere, with a huge jump in numbers in late June, and holding steady ever since.

Given present circumstances—an out-of-control global pandemic with no discernible end in sight; Nazi sentiment and systemic racism still thriving in plain sight—Come and See’s petrifying apocalyptic wallop may not exactly be comfort viewing, but it does serve as a sobering, industrial-strength reminder that this is definitely not The Good Place and we should be concerned. As Lizzy asks in her ominous review, “What urges could turn men into such beasts?”

The film’s original title is the agreeably pointed Kill Hitler (“I think that’s beautiful” —Muriel). But its current beckoning, lifted from the Book of Revelation, is the more provocatively accessible invitation of the two: once you come and see, you can’t unsee Come and See.

Related content

100 Soviet Union Movies You Must See

Letterboxd Showdown: War Films

The films of Larisa Shepitko

You’re not the same person once the film has finished

Josh’s Complete Criterion Collection list

A list of Criterion DVD-only out-of-print films

A list of Criterion films on Blu-Ray

Films currently available on HBO Max from Janus Films

Follow Aaron Yap on Letterboxd

Images courtesy of the Criterion Collection.

#come and see #elem klimov #letterboxd #letterboxd top 250 #letterboxd highest rated #war films #war movie #criterium #criterion channel #criterion collection #janus films #film restoration #kino lorber

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kurtty-drabbles · 4 years ago

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Postwoman au (Part III)

N/A: So, here we go. Show don´t tell is one of those things I want to perfect and I hope I can do ok here.

@dannybagpipesarecalling @djinmer4 @bamfoftheundead @muninandhugin

Going to a new job is always brings new sensations. Hopes. Maybe even dreams. And Kitty Pryde would like to say she´s ready to begin this new journey with a big smile. "Oh God, what the hell I get myself into?!" she says as her mirror shows her reflection with a nervous smile and swallows hard as once again Kitty is in the waiting room- the waiting room has no signal of the big wedding and in exchange, there´re magazines covering the new sensation. A Hollywoodian celebrity is dating a mutant- inhales and exhales.

Is all Kitty can do. The receptionist appears to be a succubus- is not something to point out, but, the receptionist looks way too much Like Gloriana If, and is a big if here, wasn´t be the eyes. Her eyes are too unnatural to belong to Gloriana- and well it gives ideas as if this is a look a succubus would dig or if is about her "dates"

"Good morning, Miss Pryde, right on time...good, he loves people that are punctual," she says with an upward smile. She types something really quick in her laptop. Once the laptop gives a small sound more or less like "Blink" the receptionist gives her total attention to Kitty. "Mr. Krampus is in room 23. He´s moving out thanks to his work...he´ll need space" and she gives her a key. And nods as if this end the conversation.

"What? how I get to room 23?" Kitty asked confused. And the receptionist has a resting bitch face- or, maybe, the receptionist thinks poor on Kitty´s intelligence and Kitty will have none of that- she punches the table site separating Kitty and the so-called succubus hard. The succubus couldn´t care less.

Kitty holds the key and channels all her unfamous "mean cat spirit" to deal with this situation. "Listen, How in the hell I´ll go to a room 23 if ..." the words die off as Kitty is teleport right away. The succubus shakes her head and continues to do her work.

"Pff, mortals"

_____________________________________________________________________________________________

Room 23 is an oval room. The prominent colors are coffee-colored and a soft tone of blue. And a curious sight caught Kitty´s eyes- not the many strange objects that must remain nameless for now- it was the window...It is dark and snowing, yet, Kitty is 100% certain of the weather. "But...it was sunny this day...what happened?" and she looks at the window to see snow, and what appears to be a village. "Did I time travel or teleport?"

"The latter, Katzchen!" a voice whispered in her ear and is more than enough to cause Kitty to jump in her feet and gest away from the space she was, even if was a little-and turning to see her boss would be a good thing if this was a normal situation. Now, all Kitty wants to is one thing- "AHHHH I´ll not torture children" she exclaims.

Inwardly, Kitty will slap herself for being so brash. She had a big speech about this and even rehearsal that with Doug, and yet, she goes to the most cliche. For shame!

The woman pulls the Davi star out of her shirt and looks at her so-called boss. "Did you heard me? I´ll not torture children!" and if Kurt was seething and ready to mayhem, well, he´s looking perfectly calm as he takes a small candy, unwrapped, and eat it.

"Oh, I was wondering when you would found out" his smile is too charming for one who works as a tortured and Kitty´s hair goosebumps. "Ok, let´s make things clear. You´re not here to torture kids nor people. I´m. I need you to help my agenda and sometimes deliver things to the others" his golden eyes look at the key on Kitty´s hand- a small key that looks ordinary and plain- "and only that"

"Oh, but you´ll torture people? Great...want me to bring coffee to you too?" Kitty took a small knife and points at Krampus. The deity/fairy is too amused. Too amused and Kitty won´t speculate about why the man seems to happy to see a knife pointed at him.

"I´d not torture the innocents, Kitty, I torture those who have wicked souls. The children I took...is not little ones who watch porn or forget to do chores...no, I´m talking about kids who killed their younger brother, pets just because" and with a snap of his fingers the room changes and images of a young boy drowning a baby is showed much to her displeasure.

"I´m not a monster, Kitty, mere a force to punish the wick. Nothing more or less." Krampus concludes. His golden eyes seem ancient now. And an animalistic smile plays off. "I can show more of my victims...A man who shot his entire family for money. A woman who tried to murder her lover and his wife..." and Kitty raises her hand.

"STOP"

"That´s my work, Kitty...I see this every day and I´m very good in what I do"

"Could have told me" she faces him. Gritting her teeth as the room finally returns to normal. "I didn´t like to know what you do ...by a friend"

"Galaticus indicate you....this is new to me, and you´re right. I should have been more honest" his tone is full of mirth. "Do you still want to work with me?"

Yes?

No?

"Will I not have to torture anyone?"

"Yes, like I said...I only need you to organize my agenda and deliver things...only this"

Kitty exhales and slowly lower the knife. "If I stabbed you...would you felt any pain?"

"Oh, I would feel something but not what you´re imaging"

"Uhm...I think is what I´m imaging" she says holding the key closer now. _____________________________________________________________________________________________

By perchance Doug has an old movie about Krampus- well, old is an ambiguous term to use. The movie has not even 5 years old but as is the first Krampus movie...and the first to get not so favorable reviews...is easy to believe the movie is ancient-and Jubilee, Kitty, Bobby and Doug are invited to watch the movie.

"So...you´re working with Krampus?" Bobby asked bemused. "And Galaticus indicated you?"

"Yes...I have a magical contract if you want to see" Kitty responds a bit grumpy. "By the way, how are Scott and Jean?"

"Oh...yes, how are the couple?" Jubilee pipes as Doug is putting the movie on the DVD player.

"Scott and Jean are rightly pissed. They even refuse to use Prof X´s honeymoon vacation...instead, Doom...yes, I know...even they´re shocked, Doom over a nice honeymoon vacation to them and well, they´re traveling to Paris, Italy and Spain. I know, odd"

Doug then sits on the couch. "Odd love confessions aside...the movie will begin, let´s watch Kitty´s future working with Krampus"

And they silently watch the movie, especially the final part, where Krampus put all members of the family in a snowglobe.

"Well...Kitty, please don´t put us in a snowglobe"

"Speak to yourself...I can be in a snowglobe"

"Bobby, shut up"

And Kitty wonders if perhaps Galaticus hates her.

______________________________________________________________________________________

Krampus is cleaning his tools when his friend, Santa, arrives at his office offering some snacks. "So, still wanting to keep Kitty as your secretary?" and Krampus stops what he was doing to gaze seriously at the old man´s piercing eyes.

"She really had no idea what I was...that was really new to me...and as I mentioned before...yes, I´ll keep her until the contract breaks"

"You think you two may get along?"

"I think she´ll have questions. I think she won´t bide her will to mine and that" Krampus licks his dry lips and shows all his teeth in a big grin. "and I like that very much....way better than the last one"

Now Santa scowls him. "You mean that poor and delusional witch from the wind ways who wanted to sleep with you and turn you in her personal dog? No shit, Sherlock"

____________________________________________________________________________________________

Amanda Szardos screams in fury when she got the word that Krampus got a new assistant. "A plain woman like her? Replace me?" and Amanda has to plot, has to be the smartest because she still needs Krampus to do her bidding and sex is not a viable coin for trade anymore.

"Then... the best thing to do is sabotage her work and Krampus will return to me"

#Postwoman au #kurt wagner #Kurt!Krampus #Kitty Pryde #Kurtty yet #Yes the keys are teleportation device #always anti amanda #yes Krampus enjoys some BSDM and knife play #and Kitty will have lots of questions #Krampus likes people like Kitty more than Amanda #even if Krampus did slept with Amanda

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weerd1 · 5 years ago

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Star Trek DS9 Rewatch Log, Stardate 1909.28: Missions Reviewed, “Extreme Measures,” “The Dogs of War,” and “What You Leave Behind.”

(Note: as we are in the last nine episodes which run as a continuous storyline, these three will be summarized together.)

Kira and Garak return an ailing Odo to DS9, and his condition is far worse than Bashir expected. Odo asks Kira to return to Damar so she doesn’t have to watch him die, and so Kira’s grief won’t be the last thing he sees. Bashir and O’Brien reveal their plan to Sisko who though angry, gives his approval. They also reveal they have Romulan mind-probes to use if the Seciton 31 agent does not want to be helpful. Soon enough, Sloan himself arrives, and Bashir springs his trap. Realizing he’s cornered, Sloan triggers a suicide device.

Bashir stabilizes him, but they have about an hour before he dies. Bashir re-rigs the Romulan probes to create a mind meld, and he and O’Brien go into Sloan’s brain to find the material. At first there is little resistance, but the longer they stay the worse it gets until they are shot by a “guard.” They realize that must symbolize where the information is. Trying to enter, they find themselves awakened by Sisko, who puts and end to it. In his quarters, Bashir tries to read, but the book just starts over again right where he left off, and he realizes they are still in Sloan’s brain; Sloan can’t replicate what Julian has not read yet. He gathers O’Brien and returns to “the room,” finding Sloan inside surrounded by documents. O’Brien finds the cure for Odo, but Bashir does not want to leave given all the other information.

O’Brien talks him out, and they wake up, really this time, as Sloan dies. Bashir replicates the cure and saves Odo. Starfleet however does not want to share the cure with the Founders, and Sisko follows those orders, asking Odo not to do it either. Odo mentions how the Federation wrings their hands about a Section 31, but they still allow them to do the dirty work, and accept that work. On Cardassia, Damar’s resistance cell is in trouble when betrayed by one of the officers he tries to recruit. Soon, it is just Damar, Garak, and Kira hiding in the basement of Garak’s childhood home, tended to by Mila, the servant to Garak’s father Enebran Tain, and likely Garak’s mother. ��The ailing Founder decides to pull Dominion forces back into Cardassian space, solidifying their position, and allowing them time to build more ships and Jem’Hadar and extend the war. The Federation Alliance decides not to let this happen, and prepare to invade Cardassia. Kai Winn takes Dukat, whose sight is restored, back in, and the two plan to take the book of Kosst Amojan to the Fire Caves to release the Pah-Wraiths. Quark gets a message from the Grand Nagus that he’s going to be made the next Nagus, and begins to plan. Brunt shows up, ready to suck up, and tells Quark about the various reforms Zek has made, like taxes and wage guarantees and free healthcare.

Quark vows to return Ferenginar to it’s corrupt, greedy glory. Ezri and Bashir begin to talk about whether or not they should pursue a relationship. Initially they decide not to ruin their friendship, but soon they are making out in a turbo lift. The Nagus arrives, and reveals that he thought he was talking to someone else when he named Quark Nagus…Rom. Rom becomes the Grand Nagus and Quark vows that HIS bar will always be the greedy and corrupt tribute to what Ferenginar should be. Dukat and Winn find the right place in the caves, and reading the right spell, they burst into flame. They await the moment. O’Brien makes the decision that he will return to Earth after the war and take a teaching position at the Academy. Kasidy reveals to Ben that she is pregnant.

The invasion of Cardassia begins. On the planet, Damar reveals he is alive, and the people begin to rise up against the Dominion in the name of Damar. In response, the female Founder orders a city destroyed. She promises every act of betrayal by Cardassians will result in another razed city. Jem’Hadar forces find and capture Darmar, Kira, and Garak.

They are about to be executed. The Alliance fleet enters Dominion space and the fight is on. Things are not going well for them. Winn on Bajor proposes that Dukat drink with her to celebrate, but he realizes too late that she has poisoned him and his death is the sacrifice that brings forth Kosst Amojan. Just as the Jem’Hadar are going to gun down Damar and crew, the Cardassian guards turn on the Jem’Hadar, and declare their allegiance to Damar. They prepare to raid the headquarters. In space, the Cardassian fleet turns its guns on the Breen and Jem’Hadar, turning the tide. The Alliance fleet pursues the Dominion to Cardassian orbit. There are thousands of ships and orbital emplacements there. The fight is not over but becomes a stand off.

Given the Cardassian change of sides, the Founder orders the elimination of all Cardassians on the planet. The world begins to burn. The rebels hit the HQ, but Damar is killed in the process. Kira and Garak make it into the control room, and Garak kills the last Weyoun.

The Founder refuses to call off the attacks on Cardassia or surrender the fleet, telling them they will have to fight to the last Dominion soldier. Odo beams down from the Defiant, linking with the Founder, curing her in the process. In the seconds they are bound together, he negotiates a treaty between Dominion and the Alpha Quadrant. The war comes to an end. The alliance beams down to find the Dominion has killed 800 million Cardassians. Odo reveals the Founder will stay and face war crimes trials, but he will go back to the Great Link and cure his people, teaching them about the Solids. Kira asks when he will come back. He reveals he won’t.

On DS9, everyone gathers in Vic Fontaine’s lounge, realizing it is likely the last time they will all be together. Worf takes the position as Federation ambassador to the Klingons. Garak has stayed behind to rebuild Cardassia. O’Brien gets ready to leave to Earth. On Bajor, Kosst Amojan returns, but rather than come into the Kai, he reanimates Dukat, restoring him to his Cardassian form.

Sisko senses it from the station, and goes there. Dukat/Amojan disintegrates Winn as she tries to stop him, distracting him enough Sisko can tackle him, and taking the book, knock Dukat, himself, and sacred evil text into the flames. Sisko is suddenly in the Celestial temple. Sarah/Prophet is there and tells him that he has fulfilled his duty, Dukat will forever be imprisoned with the Pah-Wraiths on Bajor. But Ben’s corporeal form has been destroyed. He is now to stay in the temple and learn, so he may one day return to Bajor as Emissary. He reaches out and brings Kasidy into the temple, telling her what has happened, but telling her to make sure everyone knows Benjamin Sisko, The Emissary, promises to return.

Kira takes Odo back to the Great Link, where he changes his appearance to look as if he is in a tuxedo one more time and bids her farewell. He steps into the dying link, and it begins to heal around him, but he can no longer be differentiated from his people.

Kira returns to DS9 where she has assumed command of the station. She finds Quark has started a betting pool on who will be the next Kai, which she immediately shuts down. Quark realizes he’s going to have to stay crafty to keep ahead of the new station commander. “The more things change the more they stay the same,” he says. Kira sees Jake Sisko, standing on the upper level of the Promenade, where he and Nog (Kira’s new Ops officer) used to look down on the others. Now he’s looking out, toward the wormhole, knowing his father is in the Celestial Temple. She joins him there, and the two look out as we pull away. Deep Space Nine, formally Terok Nor, hangs in space at the mouth of the wormhole, and as it has for the last seven season…it waits.

I’m not sure how you mourn a show that ended two decades ago, that you know is on Netflix, or that I know I have upstairs on DVD. It’s a show I can revisit anytime I want to in any amount, and dammit, I am sad it is over. I want more, I would watch all of these people carry on tomorrow if I could. We’ve lost some of them, but dear lord how this all ends, enough to satisfy, but I would return to Bajor in a heartbeat if they announced it.

There are some things here I might have done differently. I still think Kira should have killed Dukat rather than Sisko, and with all the talk of the Alamo, it seems like the final battle of the show should have happened at DS9, surrounded by insurmountable numbers of Dominion ships, but perhaps that would have been too much like the battle that opened Season 6. The culmination of the Damar storyline, from “Cardassian Bridge Officer” to Dominion toady, to hero of Cardassia is so pitch perfect as to need the climax on his world. The fleet battle so ridiculously epic to this day, despite 20 years old effects, you need it to be where it is so you can cheer when the Cardassians turn, and be horrified when the Dominion turns its guns on Cardassia…formerly the villains. What a change from the first episode, and what a journey.

What a journey for the Ferengi as well, as Rom goes from “Pit boss” to Quark’s brother to engineer to Nagus. Or Nog as he goes from child thief, to Cadet, to DS9’s operations Lieutenant. Garak, as the plain, simple, tailor with a mysterious past to the defacto ruler of a smoldering Cardassia. As great as all the main character arcs where, those supporting characters are what really makes DS9 great. Brunt, Weyoun, Martok, Sloan, Cretak, Winn, Bareil, the list goes on. A couple of particular things I took away from the finale, the final battle between Sisko, Dukat, and Winn struck me this time as a nearly beat for beat homage to the final scene of the Classic Series’ second pilot “Where No Man Has Gone Before,” where Kirk has to face his friend Gary Mitchell who has developed god-like power along with ship’s psychologist, Dr. Elizabeth Dehner. The dynamic where Dehner realizes she’s wrong as she watches Gary force Kirk to bow to him as a God is remarkably similar to Winn watching Dukat do the same to Sisko. More on that in a minute. Another character note I love, and something I missed 20 years ago, Worf becomes Ambassador to the Klingons…the same position once held by Curzon Dax. What a fascinating extension of his relationship to Dax, even as Dax’s current host Ezri has chosen Bashir.

Kira Nerys: Former freedom fighter, who may have delved into terrorist one time too many. Woman of faith, surrounded by a scientific world. Woman who owns her sexuality and her femininity, and is perfectly happy to kick your ass when you need it. A woman we watch grow from ready to kill every Cardassian she sees to co-liberator of their world. Who loved and lost a Changeling, but whose love will set the stage to bridge Odo’s people with the Solids. Who served next to her Emissary, and stands now in his place waiting for his return. Rewatching DS9 absolutely reinforced my feelings that Kira Nerys is Star Trek’s best character.

Hindsight allows me to see what DS9 foreshadowed in television as well. Complex characters in morally ambiguous situations; long story arcs dependent on you seeing each chapter, and each episode leading into the next; women as leaders and peers who are not marginalized by the story; a brown man who is presented as a good father AND as the Messiah: Deep Space Nine is not just progressive for its time, it helped define what television would become. It’s continuity replicated in a thousand binge-worthy streams on Netflix like “Stranger Things.” Representation for women on shows like “Jessica Jones,” or “Game of Thrones” or of course “Star Trek: Discovery.” Though honestly, we have perhaps not learned enough from DS9, as there has never been another character quite like Benjamin Sisko, and all he represents. We can still learn from that; as I have said many times in this rundown, “Star Trek is always relevant.”

So now it is over, and I find that yes, DS9 holds up pretty well 20 years later. It’s still ahead of its time in some ways, and in those things that aren’t, serves as a roadmap of where we have been, demonstrating why we needed to move beyond such tropes. But in questions of faith, what it means to be human, and how one doesn’t have to be perfect to be better, nothing quite examines the human condition like DS9 does; and that’s why, hands down, at least for now, Star Trek: Deep Space Nine is the very best Star Trek has to offer.

NEXT VOYAGE: After 173 episodes, 124 pages, and 71,819 words about DS9, how is there a Next Voyage? Join me one more time for my review of “What We Left Behind,” this year’s DS9 documentary. But let’s face facts: I will never be done talking about DS9.

#Star Trek #Star Trek: Deep Space Nine #DS9 Rewatch

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loverboy4650 · 5 years ago

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Santa Fake Movie Review

https://youtu.be/CZgULmbrghQ SANTA FAKE came out on DVD and digital on December 3. It is a great movie to enjoy with the family over Christmas break! My spouse and I and our three children just watched the copy I was sent to review tonight. In this title, Pat Kelley (Damian McGinty, "Glee"; Celtic Thunder) is an undocumented immigrant from Ireland. He was orphaned as a child and managed to travel over to NYC. He finds a job working at a bar/pub and his boss (John Rhys-Davies) becomes like a dad to him but Pat's place of employment is not his boss's only business. One night, the boss instructs Pat to take two suitcases a few blocks away to the train station and will be paid a large sum for his work. The boss tells him he must not open the suitcases. Shortly after, Pat is walking down the street and almost becomes paranoid about those he encounters on the street being out to get him or being part of the police. In a panic, Pat boards the bus and ends up traveling all the way to Santa Fe, New Mexico. He calls the boss to tell him what he is done. Not too long after, Pat calls his boss again and his boss tells him that he knows where he is, presumably from the payphone number he is calling out on, and is sending two of his henchmen to get Pat with the assumption that Pat has already spent what was in the suitcases.

Pat is taken by Ms. Ortega, the owner of a bed and breakfast he is staying at, to the local mall to buy new clothes. While there, he stumbles into a job at the mall as a Santa Claus and discovers that this may allow him to hide in plain sight with wearing a costume if the henchmen are on their way. Pat plays the part of a mall Santa very well, but will it be enough to keep him safe? I wasn't sure what to expect with this movie because I hadn't heard anything about it from friends or television. It was a great film. We all liked it in my family. There is singing and a bit of adventure and suspense with the feels of the heartwarming holidays wrapped into one. SANTA FAKE features an all-star cast including Damian McGinty (“Glee;” Celtic Thunder), Heather Morris (“Glee”), John Rhys-Davies (Lord of the Rings, Indiana Jones), Judd Nelson (“Empire;” The Breakfast Club; St. Elmo’s Fire), Jeff Fahey (“Lost;” Alita: Battle Angel, Machete), Tony Amendola (The Legend of Zorro; “Stargate;” Blow; Annabelle), Gary Farmer (Dead Man; “Longmire;” “The Red Road”), Soledad Saint Hilaire (Real Women Have Curves; Ocean’s Thirteen), and Pancho Moler (“Ray Donovan;” “American Horror Story”). Also on its way in Santa’s sleigh, as companions to the film, are the EP “Songs of SANTA FAKE” by Damian McGinty, “SANTA FAKE: The Movie Soundtrack,” and the children’s picture book: SANTA FAKE: You Are Never Alone at Christmas, which will be available in e-book and print. Run Time: Approx. 86 minutes Rating: Not Rated FOR MORE INFORMATION Twitter: @SantaFakeMovie Instagram: @ santafake_official Facebook:facebook.com/SantaFakeMovie/ Read the full article

#SantaFakeMovie #christmas

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arplis · 5 years ago

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Arplis - News: Pictures Ikea Cube Storage Bins

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useyourrwords · 6 years ago

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Top Ten Tuesday // Screen Adaptations I LOVED, Ones I NEED & And Ones I NEED NOW – Page to Screen

I’m a lover of screen adaptations

Look we had a run of ones that weren’t…great. But the last few years have more than made up for it!

Honestly, it’s just made me more excited for screen adaptations to come!

The rise of limited series have made it even more possible for the industry to get our favourites right.

I must admit, lately I have become someone who usually even prefers the screen adaptation. But that being said, some of my favourites have been ones I hadn’t even read the book for first!

But I really do think that the watch first, read later thing works for me. If I see a screen adaptation coming out for a book I haven’t read yet, then I’m not someone who rushes out to read the book first.

In fact, I will purposely wait until after I’ve seen the adaptation because nine times out of ten it means I��ll be able to appreciate the adaptation for what it is instead of constantly holding it to the high standards of the book. If I go in relatively blind first than I don’t know what I’m missing. Ignorance is bliss, as they say.

So in this post I’m going to be listing five adaptations I have seen and LOVED, Some of which I haven’t even read the books for yet! Shhh, I’ll get to them, five I NEED to happen and how I would want them handled.

And of course it wouldn’t be a Grey Top Ten without some honourable mentions at the end, this time of screen adaptations that are coming but that I’m impatient for and want NOW.

If you would like to buy any of the following books please consider using my Book Depository Affliate link!

Past Top Ten Tuesdays

Top Ten Tuesday // Fave Short Stories and Anthologies – Magical Doors, Radical Women, Villains and the Ultimate Heart Break

Top Ten Tuesday // My Back List Books – I’m Publicly Shaming Myself

Top Ten Tuesday // Audible and Overdrive Are My Lords & Saviors – My Audiobook TBR

Screen Adaptations I LOVED

│To All the Boys I’ve Loved Before│Jenny Han│Screen Adaptation│

Lara Jean: I wrote five letters, so don’t go feeling too special. Peter: You wrote five love letters? Lara Jean: Yeah. Peter: Damn, Covey, you’re a player.

This one is the most recent one I’ve seen and I adored it!

Lara Jean is sweet and adorable and Peter is everything a teen girl could dream of.

I recently read the book in December and I think the movie did it justice.

Also Lana Condor played Lara Jean perfectly. Like every little detail was just right. I loved discovering that after seeing the film because it made me appreciate it even more.

│Big Little Lies│Liane Moriarty│Screen Adaptation│

Madeline: They say it’s good to let your grudges go, but I don’t know, I’m quite fond of my grudge. I tend it like a little pet.

Big Little Lies captivated me from the first fucking episode.

This is another one where I saw the adaptation before the book and this is actually one of those times where I couldn’t tell you which one I prefer. Maybe it’s just been too long since I’ve consumed either?

I really loved how the story is told and I was obsessed with it, jamming it down everyone’s throats after I binge watched the show.

I need season 2 like, yesterday!

│Sharp Object│Gillian Flynn│Screen Adaptation│

Amma Crellin: Don’t tell Momma

This limited series made me want to die. But in the good way.

It just—I was not ready in the slightest.

Amy Adams fucking killed it as Camille and deserved all the awards. She’s become one of my favourite actresses because of it.

I’m even willing to possibly watch the Woman in the Window because she’s in it even though the author of book is absolutely a dumpster fire.

Everything about Sharp Objects was a knife to the throat.

I need to read the book SOON!

│Dumplin’│Julie Murphy│Screen Adaptation│

Willowdean: As far as I’m concerned, a swimsuit body is a body with a swimsuit on it.

I cried so much watching this film. Like sobbing, I couldn’t stop.

It was what Sierra Burgess should have been but could never be.

Also it features one of my fave actors Bex Taylor-Klaus and their v. fake teeth.

I haven’t read the book but i probably won’t read it because it doesn’t seem as good as the film.

│Love, Simon│Becky Albertalli│Screen Adaptation│

Emily: As soon as you came out, you said, “Mom, I’m still me.” I need you to hear this: You are still you, Simon. You are still the same son who I love to tease and who your father depends on for just about everything. And you’re the same brother who always complements his sister on her food, even when it sucks. You get to exhale now, Simon.

Hello and welcome to my favourite film, possibly of all time.

I would have sobbed while watching this the first time but I was in a packed theatre so I had to settle for subtly tears. But GOD DAMN IT if that wasn’t the most perfect film.

Okay so it wasn’t perfect, there were some things that weren’t the best BUT we finally got a LGBTQ+ film where nobody fucking dies. That’s a win for me.

I just loved it so much I bought like the collector’s edition of the DVD it’s ultraray or something, I have no idea but I sobbed through the whole re-watch.

It’s just the perfect movie for when you’re sad and need cheering up.

Screen Adaptations I NEED

│Sadie│Courtney Summers│Limited Series│

I wish his darkness lived outside of him, because you have to know it’s there to see it. Like all real monsters, he hides in plain sight.

So everyone knows this book has become one of the best audiobooks of all time. I mean, I haven’t listened to is yet but I have zero doubts.

But I think Sadie would also make the perfect limited series, think Big Little Lies and Sharp Objects.

Perfection.

│The Seven Husbands of Evelyn Hugo│Taylor Jenkins Reid│Limited Series│

“Don’t ignore half of me so you can fit me into a box. Don’t do that.”

I cried when I finished the book and had to come to terms with the fact Evelyn Hugo isn’t a real fucking person because she should be and Reid made her feel realer than any person I actually know.

Also I changed my middle name to Evelyn to honour her.

This would make an amazing limited series! Can you tell I love limited series yet?

Honestly I just want to be one step closer to make Evelyn as real of a person as possible.

Also the actress MUST be queer and Cuban. I won’t have it any other way.

Basically I just want the adaptation Jamieson @ Jamishelves described.

│Dangerous Girls│Abigail Haas│Film│

Wouldn’t we all look guilty, if someone searched hard enough?

This book was so un-put-downable I could scream.

Honestly it was one of my favourite reads for 2018 and I read a lot of good books last year.

I would love it to be filmed documentary style. I think it would be really cool to do it that way as if it’s a real crime being covered.

I don’t know, I just want it.

│Genuine Fraud│E. Lockhart│Film│

For anyone who has been taught that good equals small and silent, here is my heart with all its ugly tangles and splendid fury.

Jule is honestly a fucking monster and I need to see her on my screen.

I don’t know how I want it, I just know I need it.

│All For The Game│Nora Sakavic│Netflix Series│

“Fight because you don’t know how to die quietly. Win because you don’t know how to lose.”

My co-worker and I have gone over what we want from this screen adaptation so many times and it includes a Netflix series, Troye Sivan and Alison and Renee need to be canon and NO WHITE WASHING!

But also I’m in love with Jamieson’s @ Jamishelves casting.

Honourable Mentions

Screen Adaptations I Need NOW

│The Rook│Daniel O’Malley│Stan Series│

“You look like Cinderella,” said Val in awe. “Yeah, if she’d been into bondage and had Christian Dior for a godmother.”

I was scrolling through the Stan (Australian streaming service) Facebook page, when I saw a trailer for a new series they have coming out called The Rook.

Boy, was I surprised to find out that one of the very first books I ever read because of Goodreads, specifically because of Emily May’s review, was being made into a screen adaptation.

I loved the plot and the world and our main character.

It was whip smart and magical and thrilling. It was such a great genre cross-over and I loved every second of it.

I can’t wait for the series and I am in physical pain because they haven’t actually announced a release date yet. I cry.

Writing this post made me want to reread it, so I read it in April for a readathon!

│Shades of Magic│V.E. Schwab│Film Rights Sold│

“I apologize for anything I might have done. I was not myself.” “I apologize for shooting you in the leg.” said Lila. “I was myself entirely.”

My love for this series will never die, and neither will my mum’s.

After all, she took Lila’s name as her own middle name when she changed her name earlier this year.

We basically have matching literary middle names now because you can’t tell me that Lila and Evelyn aren’t the most Slytherin women you’ll ever read.

I feel like I’ve been waiting for this screen adaptation forever and I’ll probably still be waiting for it forever.

But I don’t care because there is hope and I need it.

Also I want Piera Forde as Lila Bard.

│Grishaverse│Shadow & Bone│Six of Crows│Leigh Bardugo│Netflix Series│

“When everyone knows you’re a monster, you needn’t waste time doing every monstrous thing.”

I’m so excited I could scream!!!!

I mean I haven’t read the Shadow & Bone series yet but I have read Six of Crows like every other person and their dog.

Things I want;

No white-washing

No straight-washing

And give us FAT NINA, you cowards. Barbie Ferreira, preferably.

Dark

V. v. dark

Also check out Jamieson’s @ Jamishelves post on this.

│The Raven Cycle│Maggie Steifvater│Series Rights Sold│

“Way back before you were born, Calla and Persephone and I were messing around with things we probably shouldn’t have been messing around with—” “Drugs?” “Rituals. Are you messing around with drugs?” “No. But maybe rituals.” “Drugs might be better.” “I’m not interested in them. Their effects are proven— where’s the fun in that? Tell me more.”

I’m currently reading this series and it’s just so brilliant.

It has to be big on characters! yes, the world is magical and incredible but the characters should always be first.

Also I wanna see lots of the psychics because they’re fucking funny and wise and honestly I just need Persephone and her whimsy self.

The relationship dynamics between all the members of the Gansey Gang are important. Don’t fuck with it. Any of it.

Past Top 5 Tuesdays

Top 5 Tuesday // Books I Would Save In A Fire – Fuck Everything Else, Let Me Save My Books…And Cat

Top 5 Tuesday // Incredible Introductions – An Excuse to Share More Quotes

Top 5 Tuesday // Character Driven Books – The Books with My favourite Monsters

I have thought about these far too much

What screen adaptations have you loved? What ones have you hated? What ones do you want to see? Which books did you want to never be touched by Hollywood at all?

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popculturebuffet · 4 years ago

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The Jeffersons: Sorry, Wrong Meeting (Comission by WeirdKev27) (Black History Month)

Welcome on up! HAPPY BLACK HISTORY MONTH! Yup i’m going to spend a good chunk of the month celebrating the best and brightest in black characters in animation, amid valentine’s coverage in the first half and a few bits of the usual stuff throughout. But i’m still throughly dedicated to showing off some of the finest media about black struggles and starring black characters, and going through it the best I can as a white dumbass. If I slip up or misinterpret something, never be afraid to call me on it, but I feel I can still try my best to honor these amazing characters who’ve brought such joy to my life and these wonderful stories. So starting us off is a commission from Kev that’s been sitting in the queue for far too long. And it’s not due to lack of intrest: While before today I’d never seen an episode of the Jeffersons, I had seen the live performance of an episode done for that live with norman lear thing nbc did in 2019, and it was excellent and piqued my intrest. But with me never thinking to get the dvd’s, and not having Starz nor really wanting starz, there was no real easy way to stream it. But a few episodes were on DailyMotion, so I was fine with reviewing it for Kev and giving this series an honest try and the fact the episode dealt with white supremacy, at a time where we’d JUST gotten rid of a bigoted, white nationalist backing, piece of shit president, I was naturally all for it, I just never thought to clear space on my schedule and by the time I was scheduling things better, I purposfully saved it for this month as while the Klan isn’t as prominent, assholes like them sure are. And given the Captial Riots last month with sedionsits shitheads proudly waving the confederate flag around, I’d say this episode is even MORE relevant than ever.

But before we can dive into why this one is so good, yeah i’m not going to hide it this is a really fantastic episode of television, we have to talk about the series itself. The Jeffersons was created by Norman Lear, a progressive and prolific television writer and producer who is a legend in the business for damn good reason. He created All in the Family, which shattered norms and standards for the time, and would go on to create Sanford and Son, Maude and Good Times, all to massive sucess. However this show came about because the Black Panthers showed up one day at his office to raise a valid point: While he did have black characters in his tv shows they were mostly poor and barely scraping by, with his two black lead sitcoms dealing with characters in object poverty. And while this was still a worthy subject to tackle.. they were absolutely right there should be a counterbalance to that, to show the obvious truth black people CAN be successful. Norman agreed and set to work. Norman already had the perfect lead for that: George Jefferson, an opinnated dry-cleaner with several sucessful stores. George was, and still is, a fascenating character with lairs: being cranky and curmodgenly as you’d expect with some fairly average sitcom quirks: He loves money, often overspends on flashy stuff to revel in his sucess, snarks at his maid and likes to scheme as a sitcom character can. He’s also in the early seasons a bigot himself, not really fond of white people or interacial marraige, which naturally makes living next to an interacial couple and their daughter marrying his son thorns in his side. But as far as I can tell from looking on wikipedia he does soften with time and grow as a person and by this episode he’s fine putting up with both his neighbor Tom, said guy married to a black woman and his goofy british neighbor, if snarky as hell because hey, that’s who he is. I bring this up for reasons related to the climax, trust me.

So eventually the Jefferson's moved on up to that deluxe apartment in the sky, hell of a theme song, and got into their own adventures with the aforementioned supporting characters.. and so here we are. And after the cut we’ll take a look at just why this sitcom is awesome, why I desperately want to get some dvds for it at some point now or a starz trial, and how much the klan sucks.

We open at the Jefferson’s Deluxe Apartment in the Sky. where his wife Wheezy and aforementioned maid Florence are preparing to take a CPR class.. which were that possible I certainly would after this episode, as I feel Florence is right in stating it’s a skill everyone should have. She also remarks that George had every employee at his drycleaners take it, even if it was because he got an insurance writeoff. But hey, doing something that can help your workers and customers in an emergency even if i’ts just to save money is sitll better than MOST businesses these days so props to him. There’s also naturally some banter and it’s really damn funny. As with my Darkwing Duck reviews,, I won’t be going into it bit by bit, but it’s good stuff and holds up REALLY well. To me that’s the mark of a good sitcom, one that can show it’s age.. but still make you laugh, think or cry all the same. So yeah in less than a scene the show had won me over. So as the ladies depart for CPR class, George’s peace is soon interupted by Harry Bently, british person and wacky neighbor. Aka me if I were british and lived in the 70′s. He returns a tv guide, last weeks hence why he’s done with it, and ther’es some schtick and what not before Tom Willis runs in, upset because he’s been robbed. They took all his stuff, and while he’s thankfull his wife’s gone for the week so she didn’t have to be there for this, he’s obviously worried and suggests forming a building watch to prevent this, with Harry on board. George.. has no time for this nonsense, and after making a joke about Florence in curlers scaring them of, bredguringly agrees to attend if someone else starts it then slams the door on them once their out the door. At CPR, our heroines volunteer enthusastically and meet the cpr dummy. resuscannie.. I don’t know how to spell that and frankly I don’t wanna because she is FUCKING terrifying.

She looks like she’s going to come to life and strangle me. She looks like a hollowed out corpse doll a serial killer makes. She looks like something Charles lee ray would rnasfer into. She looks like Micheal Meyers grandmother. She looks like the corpse of Jason’s mom come back for revenge. She looks like sue sylvester transferred herself into an auton. Look I could go on, but the series does make jabs at the thing and most cpr dummies are objectively terrifying, so fair play to them. After some more gags, things.. take a turn. Part of what makes this episode so effective to me is this turn. It starts with, and even goes back to after this for a bit, some sitcom gags and cliches.. but it lulls you into thinking this will be an average episode... so when the instuctor asks two men to go next, an older man and his college age looking son refuse to participate.. and their reason is he refuses to touch anything tha’ts been touched by a ... well he uses a certain word and let’s just say you know what it is, I know what it it is and if I could’ve reached inside my computer and choked the life out of hte man, I fucking would’ve.

Yeah turns out these two are KKK, with the older asshole leading the local chapter and their about as reasonable or likeable as you’d expect with Wheezy BARELY holding Florence back from giving them a well deserved thrashing, and only doing so because it’d both sink to their level and because they’d just use it as more fuel for their racist bullshit. And that’s WHY this works so well: It seems excactly like a normal episode.. until it suddenly isn’t. Until suddenly things are a lot darker, a lot more tense, but the easing into it means it still feels like the same unvierse. To me the good “very special episodes”, are the ones that use this: that ease into the heavy topic before punching you in the face with it and tackle it with nuance and skill. A Diffrent World has a TON of episodes like this, and it’s why it’s one of my faviorite sitcoms: it tackles a lot of really heavy topics with a steady brush and while it can be heavy handed, sometimes heavy hands are necesary to carry a heavy topic. The racists showing up suddenly also fits because Racists hide in plain sight. You don’t know someone you know is prejudice or some stranger is till they reveal themselves. They could show up any time anywhere and you can’t be ready. And I cant possibly claim to know what that’s like, but I’m sad that in this nation of ours this shit has never, and probably will never go away. So it fits that our antagonist shows up out of nowhere, having until now perfectly blended in with the other suited white guys in the class. Naturally, the instructor orders them to fucking leave and naturally klan monster makes some big white suprimacist speil. And being a sitcom he runs into Tom, with Tom mistaking him for talking abotu the crime and White Supremacist mistaking Tom for a fellow racist. Tom decides to invite george.. and while it’s clumsily framed as a wacky sitcom misunderstanding.. it’s very clear things just got VERY dangerous.

Speaking of George he’s awoken from his nap by the ladies who are both still worried and while he goes into his usual digs on florence, and questions why she needs her bat... he instnatly sides with her and prepares to go kick some racist ass once he finds out what happened. It’s a nice shift, as it once again breaks the tranquil normalcy of this sitcom with the violence of racisim. And while there was no phsyical violence form the asshole.. to me racisim itself is still a form of violence. Thinking you are suprerior to another race just because your skin’s a diffrent color and wanting them gone or not to be near you is in itself violent to me. And while Wheezy again has good reason for holding George back, tihs is just what the fuckers want, Geroge is also right: right NOW it’s talk.. but how long before they start burning stuff on thier balcony or come for htem in the night? there’s.. no easy answer her, no easy solution.. just a man fearing for his life justifably whose probably been through this time, and time, and time again, dealt with his buisnesses being vandalized and his life being threatend and probably been beaten some too JUST for being a black business owner. So it’s understandable he’s fucking fed up and just wants them gone. Tom naturally invites him to the meeting., and harry agrees, botht hinking i’ts just a floor meeting and not a disguised KKK Rally.

So at the meeting, the KKK Fuck does his spiela nd tries to assure them that “what you’ve heard about us is wrong”. And again this si part of what makes the episode resonate: guys like this try to make themselves seem resonable. THat “Their not racist” their the right ones and your wrong for wanting equality. It’s why these movements gain traction, they tap into people’s inner ugliness and disastifaction with life and give them an easy target for it. It’s what the president did for four years, i’ts what his sycophants at fox news CONTINUE to do: try and present being a racist, homophobic, xenophobic peace of shit as a viable and stable option when all it makes you is a racist , a coward and a dinosaur who can’t accept change or things difffrent than you. When this guy eventually goes into a rant, as George showing up triggers it and Tom and Harry dont’ take his shit for as econd, with tom proudly mentioning his black wife, and both holding George back for the same reasons Wheezy did with Florence, he talks abotu them “taking our property and destroying our homes”.. and it all sounds EERILY like when Tucker Carlson went on about property damage during the black lives matter protests last year... and as a wise tucan in a suit once said, fuck you tucker. And as John didn’t say but I certainly will, I Hope you choke on your own spray tan you racist seditionist prick. My point is this sort of rhetoric, trying to frame black people as the enemy.. never fucking went away and is on cable news every night. It was in our white house for four long years. It won’t go away and probably never will and everyone of every race has to be on guard to find these pricks and make sure their message is drowned out with love. And that’s what makes this whole thing relevant: that these pricks hide in plain sight and mask their arugments with civlities.. but at the end of day are just hateful monsters who just want a scapegoat for their problems or even may just hate because it’s easy, or because they just wnat to and don’t need an excuse to be the worst human garbage imaginable.

It makes what happens next all the better: Asshole has a heart attack, HORAY, and no one knows CPR since the kid walked out on the class with his dad before they actually learned it. George relucntantly sighs.. and knows what he has to do. He goes and saves the fuckers life. And that, friends, is why I brought up George’s racist past and i’m glad I knew about it giong in: because it shows how far he’s come. From hating white people.. to saving the WORST of the WORST of white people. He regrets it of course, saying the guy should’ve died, and that he won’t be greatful and he’ll just keep on hating.. but his friends point out the truth: George was the bigger man. He saved the life of a man who hated him just for existing and who’d gladly have him lynched if he could and was trying to run him out of his rightful place in the building, because it was the right thing to do. Because that fucker sure as hell wouldn’t. Because despite being a monster.. it’s still a life.. and he can waste it however he pleases.. but he’ll now ALWAYS know a black man saved it. George may regret his decison.. in the dark, where no body would blame him for letting the fucker die or even know he could’ve saved him until he got home, and his wife would’ve barely blamed him, he still choose to save the worst of humanity proving depsite his curmodgnley nature, he’s some of the best of it. It dosen’t change the asshole, he leaves on a gurney telling his son “You should’ve let me die”. George is unsuprised and leaves with his friends. And I do like this: the racist dosen’t MAGICALLY change because he’s saved by a black man, he’s still a fucking monster. And that is what sets him apart from George: Whiel George was a bigot, he not only never went as far as this monster, but he changed. He learned to let go of his hate as it was eating him alive, and while he certailnly and rightfully won’t let go of his resintment for white people, he’s accepted he can’t hate ALL of them for what some did to him. This asshole has no such excuse and no such growth, he probably died being the same miserable piece of shit he was , resenting forever a black man saved him. And that’s hwo it should end.. youc an’t save everyone and you can’t change a person that dosen’t want to. George changed only because he wanted to and he realized he was wrong evne if he’s loath to admit it. This guy wont’ and never will becuse some racist pieces of shit just will never accept the truth that all people were created equal.

His son though clearly has, thanking George before he leaves, and later as the rest of the meeting, realizing what these people are and what they plan on, leave as the assholes right hand man tries to continue said son refuses to acknowlegde him rips up the poster and leaves. See the old man not changing worked.. but so too does this.. showing some simply dont’ know better and some CAN change.. but like George.. they have to WANT to change. Only you can change you. And hopefully it’s for hte better.

This episode was excellent as i’ve made clear, and I don’t have honestly much to add to it. It was a pleasure and black lives matter.

#the jeffersons #george jefferson #wheezy jefferson #black lives matter #black history month #norman lear

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donovanvstm601-blog · 6 years ago

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Your Best Guide To Decorate Your Home

I can not claim that my house is completely minimal, however it certainly isn't littered, and also most individuals I recognize would certainly call it a rather minimal house.

One current site visitor saw my cooking area as well as mentioned, "I've never seen a kitchen area that looked so tidy, so clear of stuff!" Well, I do my ideal to keep it clean, yet the secret is to eliminate the unnecessary stuff.

On the flooring of my kitchen/dining room area are simply a couple of basics: dining table (clear of any kind of clutter), chairs, some counter stools, a high chair, a step stool for the youngsters. On the counters are only the toaster oven, coffee maker as well as microwave.

Is this type of minimal home without personality and enjoyable and also life? Some may believe so, yet I get a weird complete satisfaction, a gratification, at looking around and also seeing a home free of clutter. It's soothing, as well as liberating, and also just wonderful.

Advantages of a Minimalist Home

I can cheap home decor ideas possibly go on for awhile concerning this, but allow me simply detail a couple of essential advantages:

1. Less stressful. Mess is a type of aesthetic disturbance, and whatever in our vision pulls at our focus a minimum of a little. The less mess, the less aesthetic stress and anxiety we have. A minimal home is relaxing.

2. Much more appealing. Consider photos of houses that are cluttered, as well as photos of minimal homes. The ones with practically nothing in them except some beautiful furniture, some nice artwork, and also a really few pretty designs, are the ones that interest the majority of us. You can make your house much more attractive by making it a lot more minimal.

It's tough to cleanse a whole bunch of items, or to sweep or vacuum cleaner around a number of furniture. Think concerning exactly how easy it is to clean up a vacant space compared to one with 50 things in it. That's an extreme example, of course, as I wouldn't recommend you have an empty area, yet it's just to highlight the distinction.

What a Minimalist Home Looks Like

This would vary, obviously, depending upon your taste as well as exactly how severe of a minimal you intend to be. I am a minimalist, however not to any type of severe. Below are some features of a minimalist residence:

A minimal area would just consist of a couple of vital items of furniture. A living room, for instance, may just have a couch, one more chair or love seat, a coffee table, a minimal entertainment stand (not a big one with a lot of shelves), a television, and a couple of lights.

- Clear surface areas. In a minimal house, flat surfaces are clear, besides a couple of decorations (see next item). There are not a whole bunch of knick knacks, as well as certainly not heaps of documents or publications or various other things.

- Accent decorations. A residence completely clear of things would be a little bit boring, in fact. Rather of having a coffee table totally complimentary of any type of objects, you might have an easy vase with a couple of flowers. Or a clear workdesk could simply have a household image. An or else vacant wall may have an attractive item of art (I utilize my father's artwork, as he's a terrific artist).

- Quality over amount. Instead of having a great deal of stuff in your home, a minimal would select simply a few actually great points he loves and makes use of often. A really good table, as an example, is far better than 5 items of press-board furniture.

The image at the top of this post is a great instance of a minimal residence (it's not my residence, however I desire it were). Traditional-style Japanese residences are another excellent instance of minimalism, as is this great spread.

Exactly how to Create a Minimalist Home

There are really no set actions to making your home minimal, except to change your approach and also aim for the ideals in the previous area over. But right here are some pointers that I would offer to any individual trying to aim for minimalism:

One room at a time. Focus on one space, as well as let that be your facility of tranquility. Use it to motivate you to streamline the following space, and also the following.

The biggest points in any kind of space are the furniture, so you must always start streamlining a space by looking at the furniture. The fewer pieces of furniture, the better (within reason, of program). Go for a couple of pieces of plain, straightforward furnishings (instance of a minimal coffee table) with solid, restrained shades.

3. Only the essentials. Whether checking out your furniture or anything else in the area, ask yourself if the thing is truly necessary. Get it out if you can live without it. Attempt to strip the area down to its fundamentals-- you can always add a couple of selection items beyond the basics later on.

Except for the furnishings, your floors ought to be totally clear. As soon as you've obtained your furniture down to the bare essentials, clear whatever else on the flooring-- either contribute it, trash it, or discover a place for it out of sight.

Clear surface areas. Don't have anything on them, other than one or two easy decorations (See Tip 9 below). It will make every little thing much, much more minimal-looking.

6. Clear walls. Some people hang all kinds of stuff on their wall surfaces. No can do in a minimal house. Clear your wall surfaces besides one or two straightforward pieces of nice artwork (see Tip 8 listed below).

Shop stuff out of sight. Bookshelves can be used to store dvds or books or CDs, but should not have much else other than a few simple decors (not entire collections of things).

8. Declutter. If you are clearing level surface areas and also the flooring, and also saving stuff in closets as well as cabinets, you'll probably wish to declutter your storage locations as well. You can do this in a later stage if you want. See How to Declutter for more.

Easy artwork. To maintain an area from being monotonous, you can place a simple paint, drawing or image, mounted with a subdued, strong color, on each wall surface if you want.

As mentioned in the above ideas, one or two simple designs can offer as accents for a minimalist area. If the remainder of your room has actually suppressed shades, your accents can utilize a brilliant shade (such as red, or yellow) to attract the eye as well as provide an ordinary area a sprinkle of energy.

Bare windows, or easy, solid tinted drapes, or basic, wood blinds are good. Also much ornate stuff around the windows is clutter.

12. Ordinary patterns. Strong colors are best for flooring (if you have any kind of), furniture, etc. Complicated patterns, such as checkers or blossoms, are visual mess.

13. Subdued colors. As stated in Tip 9 above, you can have a sprinkle of bright color in the room, however most of the area must be a lot more refined colors-- white is traditional minimal, but really any type of solid colors that do not worry the eyes is great (planet colors enter your mind, such as blues, browns, tans, eco-friendlies).

When you've streamlined a room, you can probably do more. Offer it a pair of days, then look at every little thing with a fresh eye. You can come back to each area every couple of months, as well as in some cases you'll find points you can simplify also much more.

15. Area for everything. I've reviewed this in various other posts, but in a minimal house, it's crucial that you locate a location for everything, as well as remember where those locations are. Where does you blender or food processor go? Give it a spot, and also stick with it. Go for logical places that are close to where the important things is made use of, to make things much more efficient, but the secret is to designate a spot.

Sit back, kick back, and also delight in. When you've streamlined a space, take a minute to look around as well as appreciate it. Wonderful!

http://www.bbc.co.uk/search?q=home decor ideas

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#home decor #Home Decor #decor #home #home design #Home Designing #Design #Design Home #home designs

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savetopnow · 7 years ago

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2018-03-09 01 MOVIE now

MOVIE

Birth. Movies. Death.

Check Out The Trailer For TRAILER PARK PRINCESS, The Latest From Emily DiPrimio

Not News: INDIANA JONES 5 Allegedly On Track To Open In 2020

Sundance Review: Spike Lee’s PASS OVER Is More Than Just A Filmed Play

HAVE A NICE DAY Review: Coen-esque Antics And Ugly Imagery

LIKE ME Review: NATURAL BORN KILLERS For The YouTube Age

CineVue

Film Review: Bombshell: The Hedy Lamarr Story

DVD Review: La Prisonnière

Oscars 2018: The Shape of Water wins Best Picture, Best Director

Film Review: Annihilation

Oscars 2018: Our final predictions

Cinema Blend

John Williams May Be Done With Star Wars After Episode IX

Jon Favreau Is Writing A Live-Action Star Wars Series For Disney

New Avengers: Infinity War Covers Reveal Iron Man's Spectacular Upgrades

Joaquin Phoenix Explains Turning Down Doctor Strange

The Cord Cutter Podcast #43: Mute And Seven Seconds Reaction

Cinema Scope

Madame Hyde (Serge Bozon, France/Belgium)

The Green Fog (Guy Maddin, Evan Johnson, Galen Johnson, US/Canada)

Cocote (Nelson Carlo de Los Santos Arias, Dominican Republic/Argentina/Germany)

The Uses of Disenchantment: Guillermo del Toro’s The Shape of Water

3/4 (Ilian Metev, Bulgaria/Germany)

Comicboook.com

New 'Avengers: Infinity War' Photo Teams Magic And Science

Save Up to 86% on Some Very Geeky Stuff for Your Kitchen

Avengers: Infinity War - Winter Soldier's New Code Name Revealed

Avengers: Infinity War Covers Released

Joaquin Phoenix Doesn't Regret Passing on Joining the Marvel Cinematic Universe

Film Comment Magazine

Interview: Ashley McKenzie

Festivals: Berlin 2018

The Film Comment Podcast: Personal Problems (The Movie)

Interview: Lynne Ramsay

Film of the Week: Rey

Film Inquiry

RALPH BREAKS THE INTERNET: WRECK-IT RALPH 2 Trailer

The Successes & Failures In Adapting I AM LEGEND

NOSTALGIA: Looking For A Chance To Be Remembered

OPERATION RED SEA: The Definition Of ‘Action-Packed’

LET THE SUNSHINE IN Trailer

Film School Rejects

What Can We Expect from a Movie Combining Home and Alien Invasions?

Michael Bay is Unfortunately Taking Over Steven Spielberg’s ‘Robopocalypse’

Elizabeth Banks is Reuniting With ‘Slither’ Director James Gunn for a New Horror Film

33 Things We Learned from Joe Wright’s ‘Darkest Hour’ Commentary

‘Mohawk’ Review: The Director of ‘We Are Still Here’ Explores the Horror at the Heart of America

Reddit Movies

'Wolf Of Wall Street' Producer Ordered to Pay $60 Million in Corruption Case

Michael B. Jordan says his company will use inclusion riders for all projects

'Wonder Woman' Composer Rupert Gregson-Williams Set to Score 'Aquaman'

Tom Hardy Confirms Al Capone Film Fonzo Is His Next Project

Paul De Meo Dies: ‘The Rocketeer’ Screenwriter And Producer Of The ’90s ‘Flash’ TV Series Was 64

Roger Ebert

We Have to Choose Love: Forest Whitaker on "The Forgiven"

True/False 2018, Part 2: Breaking New Ground

A Wrinkle in Time

True/False 2018, Part 1: Bucking the Trend

Preview of the 21st Chicago European Union Film Festival

Screen Rant

The Best Moments in Agents of SHIELD So Far

Avengers: Infinity War Artwork Highlights Shuri & Okoye

When Will We Learn Snoke’s Backstory?

Men in Black Spinoff/Reboot Will Begin Shooting This June

Last Jedi Deleted Scene Reveals Phasma’s Alternate Death

Slash Film

‘American Crime Story’ Review: ‘Ascent’ Marks the Beginning of the End

Jon Favreau Will Write and Produce a Live-Action ‘Star Wars’ Series for Disney’s Streaming Service

What ‘Star Wars: The Last Jedi’ Borrows from Akira Kurosawa’s ‘Rashomon’

Is ‘Avengers: Infinity War’ Hiding the Final Infinity Stone in Plain Sight?

LOL: ‘Drunk History’ Celebrates Fred Rogers’ Historic Victory for Public Television

#movie

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jmertss · 8 years ago

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Sherlock presumes that deception is a beautiful, ugly thing in “The Lying Detective”

SHERLOCK: “THE LYING DETECTIVE” REVIEW

*****SPOILERS FOLLOW*****

I had acknowledged in my review of "The Six Thatchers" that Mary's death could be good for Sherlock in the sense that Holmes and Watson's relationship could once again become the focal point. It's a shared character arc with a relevant history; one that we, as fans, have greatly appreciated since the moment they took on their first case together. Considering the separate instabilities of both gentlemen (Holmes and his drug problem, Watson and the loss of his beloved wife), it's only appropriate that the show hone in on their woes, and "The Lying Detective" does that with impeccable craftsmanship.

There were many defining moments in "The Lying Detective" that convinced me of Sherlock's return to form, but those mean nothing without the episode's mesmerizing first thirty minutes. The way Sherlock mentally undresses the state of his latest client, “Faith”, and then quickly becomes keen of her suicidal disposition is wonderfully presented with the visual of his heroin usage hindering his thinking process. The casual stroll down the streets of London is book-ended with a pair of fantastic scenes where Sherlock continues to peel off more underlying factors in his client's life while she acknowledges his growing empathy for her. Sherlock visually deciphering the dimensions of her apartment in-between all that is a marvel for the eyes to behold, especially when considering the heightened presence his drugs have started to take. The twist at the conclusion of this act, with Mrs. Hudson apprehending Mr. Holmes and interrupting Watson's therapy session, brings every element the episode initially touches on together. From this point on, I was virtually at the edge of my seat in a way Sherlock hasn't demanded in quite some time.

For pretty much the entirety of this week's episode, everything seemed to just...click. Even if you took out the discovery that Faith the client was actually Sherlock's secret sister, Eurus, I'd still love the way she quietly encouraged Sherlock's explicit curiosities and suppositions. Seeing Sherlock both remain on the Mount Olympus of deductive reasoning and establish his genuine care for her well-being, even in his relatively unstable state, was remarkably effective. Ditto for Holmes's elaborate scheme revolved around Watson, which would have been pretty darn enthralling even without the exposition of Mary's "Miss Me?" DVD. His uncanny ability to both surmise Culverton Smith as a serial killer and manufacture a proud display of media-crazed contempt against him perfectly aligns with the fractured condition of his friendship to John.

The brilliance in this specific series of events was hiding in plain sight, but Sherlock makes it work in cohesive bliss by playing off of tired tropes. Toby Jones's gradual descent into revolting maliciousness makes it far too easy to bet on Smith's wicked turn against Sherlock at the end - yet that's the point all along. Holmes drags John up, down and around Culverton's hospital to milk every ounce of festering vile the foul-toothed gentlemen possesses, knowing that his immense wealth and social stature will retract all of the detective's hostile accusations. Watson is little more than a witness to the increasingly intense animosity between Holmes and Smith, yet that's exactly what Sherlock wants.

The drug-infused disposition coupled with the publicized baffling Sherlock generally experiences during this sequence is the perfect fuel for John's eventual lashing out, and the show gets there at the height of his anger. The residual effects of watching Culverton do stuff like proudly advocate a discussion about serial killers in front of innocent, young children still lingers with Watson. However, the moment where he punches his longtime partner in the face is produced from an exclusive outlet of emotions; this couldn't be more personal. Here, Watson truly realizes what it's like to be in a position to make a difference, and decides to act on that impulse. Mary is dead in part because he didn't do enough to protect her, but Sherlock - regardless of his efforts - shares some of that responsibility, yet here he stands wasting his genius and making a mockery of himself. For Sherlock, that feeling, that perception, is the expectation of weeks' worth of planning; for John, that's the reality. (Side note: Having re-watched this episode, it's really impressive how layered [and how much more enjoyable the second time around] Sherlock's plan is.)

Mary's overall involvement in all of this is very polarizing, but I can't help but be among the minority who are neither pleased nor bothered by her hallucinogenic appearance. I kinda see what Sherlock was after by giving Watson a voice in his head that he could see, but this is such an overused technique that it became frustrating to have at all. Personally, I don't think Mary was around long enough to be a convincing figure in this light, and I felt that both the therapy sessions and the reluctant team-up with Holmes carried enough emotional ties to Watson's pathos; there's not much else we could've possibly gotten from seeing him mentally wrestle with a ghost. This is a complaint that's pretty much cancelled out, however, by Watson's reveal that he merely cheated on Mary by simply texting the girl on the bus, and that he is prepared to be the man Mary "thought he was"; a gripping little instance that hits home thanks to Martin Freeman's touching delivery.

That and Benedict Cumberbatch's predictably brilliant performance headline an extraordinary tabling of acting in "The Lying Detective" that elevates the rest of the episode's shifting plates. Sian Brooke faces no easy task as the secret Holmes sister, but she champions the role with a gravitating, deceptively commanding approach to the script. Whether she's parading around glaring vulnerabilities to Sherlock as Faith, or slowly taking over an innocent-turned-tense therapy session right before Watson's eyes, Brooke quickly leads us to determine that Eurus is quite the compelling individual. The aforementioned Toby Jones comes off a bit stale at first, but once the script grants him more flexibility later on he absolutely takes off with the character's malevolence. We even got Una Stubbs stepping out of the Baker Street residence and into an Aston Martin(!), showing us a more refined side to Mrs. Hudson ("You're not my first smackhead, Sherlock Holmes!") and flaunting that endearing chemistry she's always shared with the main cast.

Few episodes in this entire series could top the highs displayed here, and part of that has to do with the excellent way it closes out. Sherlock and Watson's hug not only resurfaces their relationship back on solid ground, but gives it an added depth: by seeing the worst in each other, they've emerged more enlightened than they once were, and are more emotionally entangled. To snatch that away so suddenly with Eurus murdering Watson would be a stretch - even for a show of this caliber - but I love the volatility behind the cliffhanger. We have to question the note and the tiny living space in which it presided, as well as the former lover Eurus once had - all of which could factor in the season finale in a huge way. There's an open-endedness to those final seconds that should have many heads spinning, because if nothing else Eurus could be synonymous with far more variables than we could theorize.

Here are a few extra notes I'd like to cover before I conclude:

"And you know why they dropped you, dear? Because they know you."

The scene where Smallwood leaves her private number with Mycroft is obviously an invitation for something more than a few drinks, but I can't help but think that there's a deeper intention at play. I have terrible memory with secondary characters, and I haven't seen "His Last Vow" since the night it originally aired, so I have very little to tack on my suspicions - but surely this potential fling Smallwood is pursuing is for non-intimate reasons, right??

I'm still bothered by the severe lack of supervision over Sherlock on Myrcroft's part. At one point, he says that Sherlock going rogue is a legitimate security concern, yet his little brother is roaming the streets high off of heroin with a roommate who supplies him behind closed doors. I get that Sherlock purposefully used as a part of his grand scheme, but I would think big brother would be on top of keeping him clean above all else.

Mrs. Hudson reaches unforeseen levels of badassery this week, and it really doesn't stop with the car. The way she effortlessly figured out where Sherlock laid out his latest "unsolved problem" was just awesome, and she even had a chance to embarrass Mycroft ("He has no idea what an idiot you are!")

Watson now knows that Irene Adler is still alive, and the first thing he tells Sherlock to do is text her back. This was a proud moment for me, seeing as how John uses the tragedy of his own marriage to give his close friend solid insight. He wants what's best for Sherlock, and realizes that he may be missing out on the kind of special relationship he had just lost with Mary. If Sherlock could also have that, John would rather he did; stubbornly brushing it aside with occasional texts seems insulting to Watson.

The Verdict:

Sherlock came back in full form this week, placing its attention back on its central dynamic in a dark, riveting ninety minutes of expertly-written entertainment. The use of this week's latest bad guy lent to the growing conflict between Holmes and Watson in the best possible way, while the eventual resolve was met with a brilliant character reveal and a (potentially) devastating cliffhanger. "The Lying Detective" still consists of a few ill-advised decisions, but I can't remember the last time I watched Sherlock and was as immersed in what was currently unfolding and excited for what's to come afterward.

RATING: 9

+ Toby Jones as Culverton Smith

+ Sherlock's grand scheme to get Watson to his boiling point

+ Faith, and then that Eurus reveal!

+ Basically every scene with Mrs. Hudson

- While not a terrible idea, I wasn't the biggest fan of Ghost Mary

- Would like to see Mycroft watch over Sherlock more intently, drugs or no drugs

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ladystylestores · 4 years ago

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Good sci-fi speaks to the times, and Domain has done that twice in four years

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The email hit my inbox in mid-May. The reader kept things succinct.

Subject: Remember Domain?

Body: I’ve been thinking about this a lot lately:

https://arstechnica.com/gaming/2016/12/the-domain-review-the-internet-can-be-worse-than-humanity-ravaging-epidemics/

Two months into a global pandemic obviously sticking around for a bit, I can’t say I had put much thought into a sci-fi B-movie I saw once several years back. But upon mention, I did instantly and vaguely remember Domain. I caught a screener for Ars ahead of a small sci-fi-only film festival in December 2016, and the premise stuck with me more than the plot or any single performance. In this unabashedly indie film (read: high-concept, super specific, and low-budget aesthetic), a viral pandemic called the Saharan Flu keeps racking up a body count. “The World Health Organization says it’s potentially civilization-threatening,” public broadcasts declare within the film’s opening minutes after 5,000 deaths (only!) sweep across Germany, Egypt, and Italy.

Ho-hum, another pandemic film, you say. We have a million of those. In fact, not even writer/director Nathaniel Atcheson had been recently thinking about Domain in light of our current predicament (I called and asked in June). But what happens in-film after its fictional pandemic makes Domain disturbingly prescient four years later. The movie follows seven people from across the United States, but most of the action takes place in similar-looking bunkers because humanity has been forced to quarantine en masse. And in this alternate version of the present day, the government requires these groups to keep tabs on each other by communicating through ever-present video chat—it’s not Zoom, FaceTime, Google Meet, or Skype; it’s the titular Domain.

“It was probably two or three weeks into [the pandemic] before I realized and put the connection together myself,” Atcheson tells Ars. “I literally made a movie about this exact scenario: people are home for a very long time and all they have is this Web interface. The real-world logistics are a bit different—obviously we can go outside, we just aren’t supposed to. So maybe that kept me from making the connection sooner, but I’m sort of embarrassed how long it took for me to think of it. I have the poster on my wall in my living room/dining room, and I was sitting here eating and looking at the poster. ‘Oh my god.'”

Talk about a 2020 logline: “After a deadly virus wipes out most of humanity, the survivors are forced to wait in self-sustaining bunkers with a networked video interface for communication, but one by one, they start mysteriously disappearing.”

Denver trying to send some long-distance love to Phoenix using the Domain video chat.

Maybe Domain isn’t a perfect movie, but it is definitely an interesting movie.

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A lot of reviews from 2020 for a film from 2016…

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Like the anonymous Ars reader above, others who had seen the movie had been making the connection, though. Domain hit DVD and VOD back in 2018, and the film sat on Amazon Prime waiting in plain sight as all of us started having more living room time than we bargained for this spring. Atcheson has since noticed an uptick in user reviews saying as much. And when we revisited our review of the film this spring, phew, does it make you do a double take.

If deadly flu destroys the world and we’re all left together on Skype, it won’t end well…

As the film’s reliance on a social network plot point may indicate, Domain has something to say about the nature of our interactions through digital means. It’s a place that empowers consequence-free action for trolls like Orlando, a place that can feel so isolating that suicide seems viable, and a place where a real mystery can propagate endless fear-mongering theories…

Domain‘s fictitious president oversees a US that is ransacked by viral outbreak and choses to save everyone by only focusing on a select few. And within this new world, bullying and fear could run wild. As with any good sci-fi, there’s probably a lesson somewhere.

Of course, when Atcheson was writing Domain sometime before 2015, he had no intention of predicting or speaking to life in 2020 (or to the very unexpected changes in the fall of 2016 when Domain debuted, for that matter). Without spoiling anything, neither viral pandemics nor the horrors of always-online life actually inspired Atcheson to sit down and write Domain. Instead, a separate subject still on the public’s mind did: the criminal justice system. Domain turns out to be a twist movie, a concept Atcheson has a love/hate relationship with. It can make a film more complex and interesting, but “they’re usually so often just a ‘Gotcha!'” he says. “They don’t always have thematic relevance, so I wanted this one to make you go back and think about everything else you saw.”

Making an indie film he knew would struggle to get footing since it didn’t feature a star, Atcheson ultimately kept Domain at a tight ~90 minutes to maximize his chance for finding an audience and earning festival showings. As such, the twist may not be as fully explored as some viewers would like. But the filmmaker told Ars he actually had a sequel in mind if the opportunity came about, and that story would lean much more into the ideas in Domain‘s final act. And if Atcheson had the opportunity to remake things (or to turn Domain into a series on Netflix or Quibi or whatever), those ideas would be emphasized faster and further.

“The virus stuff is interesting, but pandemics have happened. People have made movies about people waiting in isolation from viruses or viruses ravaging the world. For the original concept, I was inspired by this novel Station Eleven, which is about to be adapted into a TV series,” Atcheson says. “The concept is: everyone loves a good viral thriller. And for me, I wanted to set that apart from the crowd by having this other thematic thrust, which is this one-two punch of the virus and then [what happens in the end, #NoSpoilers]. Today’s Black Lives Matter and justice-reform protests have strangely made the movie more relevant than I could’ve ever expected. I never wanted it to have a happy ending, because that didn’t feel appropriate for the story. I couldn’t see a way for it to resolve into something positive for these characters.”

Given the odd state of cinema in 2020, revisiting small, possibly overlooked titles from recent years has become one of the few, reliable ways to see new (or at least new-to-you) films. And revisiting Domain, which is still available on VOD and Amazon Prime, actually took my mind to a few other recent smaller films. The stylish and claustrophobic High Life, Claire Denis’ space flick with Robert Pattinson, shares a similar high aesthetic and vibe (“I actually watched that at the beginning of quarantine,” Atcheson says. “I was definitely going for a similar thing, at least with the art direction, though obviously I’m not Claire Denis. I thought it was great”).

But Domain makes me think most about another Amazon Prime flick—The Vast of Night. These two films share an approach to storytelling: take a known archetype (pandemics and aliens), apply your vision and voice, and give audiences just enough to think about without offering an explicit message, thus allowing viewers to draw their own conclusions.

When Ars spoke to Vast of Night filmmaker Andrew Patterson last fall, he believed that should be the goal of both good sci-fi and of good films in general. They have captivating central stories and timeless-enough ideas and themes for different generations or time periods to see their reality within. “Good films will be about something else depending on the era they’re watched in. They can kind of meander through time,” Patterson said, citing a Lawrence of Arabia rewatch that brought the film’s LGBTQ undertones to his attention. “So I hope we made a movie that in 40 years is about the definition of a family or in 30 years is about something else.”

It’s only been four years for Domain, but already the film has lived through and resonated within two potentially historic and distinct times in US (if not world) history. Not bad at all for a young filmmaker’s little sci-fi B-movie.

Listing image by Fons PR / Other Worlds Austin

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