#it’s a fun movie with a (mostly) great cast

[the-woman-upstairs]

Glen Powell is not working his ass off to bring romantic tension and visible yearning back to movies only for his kissing scenes to be left on the cutting room floor!

[james-bucky-barnackle]

I mean?

Synopsis: On a press tour with your co-star Sebastian Stan, the interviewer asks you a question about another film he did and the answer surprises him.

Pairing: Sebastian Stan x Actress!Y/N

Word Count: IDK I'm too sleep deprived to count.

A/N: Bro I am on a resurgence. Might just fuck around and continue writing more fanfics or whatever.

It’s another busy day promoting your new movie with Sebastian, The Road Trip. It's a funny romcom about two best friends going on a long trip to see another friend who your character is dating. Interestingly enough, the guy who plays him is Chris Evans. The interviews are currently being done in pairs, and you're with Sebastian.

You've always been candid, speaking your mind without feeling shy. Deep down, you're a bit of a pessimist, accepting things as they are. When you first heard from your agent that you were cast in The Road Trip alongside Sebastian Stan and Chris Evans, you laughed hysterically. The idea that you, an unconventional beauty, were chosen to be on screen with those two seemed surreal. You never really think about dating co-stars, which helps with acting in general. The media is impressed with how chill you are around A-list actors, and even though it hasn’t fully sunk in yet, the industry has started promoting you to that list.

The interview has been going on for about 15 minutes when another journalist joins, mostly asking about the experience of working with the cast.

“It’s my first romcom, can you believe it?” you say.

“First?!” Sebastian stares in mock disbelief.

“I know, right?!” You feign surprise.

The interviewer continues, “How does it feel to do something lighter and a bit comedic for once?”

“You mean, a movie where no one dies?” Sebastian covers his mouth at your response.

“I mean essentially,” the interviewer laughs. “Wait, no one dies?!” They nudge you playfully.

“I mean, I’m not sure, no spoilers,” you say, breaking the fourth wall and looking into the camera. Sebastian cackles. “It’s definitely refreshing. It feels like going to school for some reason. Like I don’t want to miss a class just because I might miss something wild happening.”

“What?” Sebastian glares. “What school did you go to?”

“I mean, aside from the learning stuff…” You grimace. “It’s fun, honestly. I’d love to do more romcoms. It’s very down-to-earth and just resonates with you so much. I don’t wanna get too cheesy, but I’m such a hopeless romantic—this is my jam.”

“Sebastian, how’s your experience working with Chris again, this time outside of the Marvel universe?”

“Wait, this isn’t in the Marvel Universe?!” you butt in. Sebastian again, fakes a loud gasp. You two laugh. This interview feels like it’s going nowhere.

“It’s totally fun, as Y/N mentioned—it really is like going to class. But most of my scenes are with Y/N, so she’s like the lab partner I’ve never had. Chris was always texting us, checking which location we’re going to be at, making sure we’re scheduled on the same day. It’s fun when we’re both on set.”

You nod in agreement. “Yeah, we’ve got a good rhythm going. It’s like having a little family on set. Plus, Chris is always the one who brings snacks, so that’s a bonus.”

Sebastian laughs. “Oh, absolutely. Chris and his endless supply of trail mix.”

The interviewer chuckles. “Sounds like you all have a great dynamic. Was there a favorite scene you both enjoyed filming together?”

You think for a moment. “I really loved the scene where we’re stuck in the car during that rainstorm. It was so chaotic, but we had a blast improvising and just playing off each other.”

Sebastian nods. “Yeah, that was a good one. The rain machine was going full blast, and we were just trying not to crack up the entire time.”

The interviewer smiles. “It sounds like it was a lot of fun. And the chemistry definitely shows on screen. Speaking of different roles, Y/N, Sebastian’s been in the movie Fresh where he plays a sociopathic killer who preys on lonely women pretending to be a genuine guy.”

“I don’t like where this is going,” you say, laughing, as Sebastian shakes his head.

“Would you, like Noa, fall prey to Steve’s antics?” This question gets a louder laugh from Sebastian as your face shows pure shock. You hold him back with your hand and say,

“I’ve thought about this, to be honest,” you start, looking at Sebastian as he raises his eyebrows, impressed.

“Oh, you have?”

You laugh and continue, patting his thigh and looking back at the interviewer. “Me and my friend talked about it a while back. And it’s frightening because I would’ve probably ended up on a chopping block.”

“Noooo!” Sebastian shouts, “I was rooting for you.”

“No! But, like, you are incredibly good-looking and charismatic. It would be hard not to give my number at the grocery aisle.”

He tilts his head at your response. “Surely not good enough to get yourself killed?!”

“You’d be surprised how far I’d even go,” you say, as the interviewer laughs with you both. “Oh god, I need to call my therapist,” you add, ending the topic with the three of you gagging.

“Might just have to talk to mine too, after hearing that.”

You can already feel TikTok saving this clip and turning it into a meme.

You notice, after you call Sebastian good-looking, he’s been eyeing you sideways and biting his lip. As if he’s suddenly gone bashful. You can’t help but feel a boost in your ego. Could it be that Stan is shy? You make it a point to tease him for the remainder of the interview.

“What’s something funny or unexpected that happened on set?”

“Oh, there were so many moments,” you start. “One time, we were filming this really serious scene, and out of nowhere, a bird flew into the set and landed right on Sebastian’s shoulder.”

Sebastian laughs. “Yeah, I had no idea what to do. I just froze, and then Y/N started making bird noises to try and get it to fly away.”

You laugh, nodding. “It took a good ten minutes to get back into character after that. Everyone was cracking up.”

The interviewer grins. “That sounds hilarious. It’s great to hear that you all had such a good time. Speaking of moments on set, were there any funny or awkward moments while filming the more romantic or intimate scenes?”

Sebastian raises an eyebrow, smirking. “Oh, plenty. Like the time we were shooting that kiss scene in the rain, and Y/N kept slipping on the wet pavement.”

You roll your eyes playfully. “Hey, it was slippery! You were the one who can’t stop laughing during takes.”

Sebastian laughs. “True, true. But come on, we both know it was because you were so nervous about kissing me.” You notice him biting back.

You gasp in mock offense. “Excuse me, I was not nervous! I was just...distracted by how ridiculously good-looking you are. It’s hard to concentrate when you have that face right in front of you.” He smiles uncontrollably again, feeling defeated by your nonchalance. He wonders, how are you so good at this?

The interviewer laughs, clearly enjoying the banter. “So, who do you think had the hardest time keeping a straight face during those scenes?”

You both point at each other simultaneously, then laugh.

Sebastian leans back, shaking his head. “Definitely Y/N. There was this one scene where we were supposed to be having this deep, romantic conversation, and she just couldn’t stop giggling.”

You nudge him playfully. “Well, you weren’t helping with all your ad-libs! You kept whispering things like, ‘Is that your stomach growling or are you just happy to see me?’”

Sebastian laughs. “Hey, I was trying to lighten the mood! And let’s not forget the scene where we had to stare into each other’s eyes for what felt like an eternity. I swear, Y/N, you blink more than anyone I know.”

You smirk. “Only because I was trying to avoid getting lost in those baby blues of yours.” At this point, Sebastian was laughing hard, but feeling nervous at your jokes. He secretly wished it were all real, his ears were red and hot. He’s already thinking of how to approach you after the interview and get himself out of the friend zone which he didn’t even thought he’d be in, having found a new interest in you. 

The interviewer looks between the two of you, amused. “It sounds like you both had a lot of fun with it. Do you think all that chemistry will translate to the screen?”

Sebastian nods. “Oh, definitely. I think our off-screen dynamic really helped make the on-screen relationship feel more genuine. Plus, Y/N here is an amazing actress. She made it easy.”

You smile, feeling a bit bashful. “Well, Sebastian’s not too bad himself. It’s hard not to enjoy working with someone who’s so talented and, let’s be honest, ridiculously attractive.” 

Here she goes again .Sebastian grins. “Right back at you. But let’s be real, we’re both just incredibly good-looking people trying to make a movie here.” The internet is gonna have a field day.

The interviewer laughs. “Sounds like a tough job! Any last funny or romantic moments you’d like to share?”

You think for a moment. “There was this one scene where we had to dance together. Neither of us are professional dancers, so there were a lot of missteps and toe-stepping. But it ended up being one of the sweetest scenes because it felt so real and unpolished.”

Sebastian nods. “Yeah, that was a great scene. It was supposed to be this perfectly choreographed dance, but it turned into us just goofing around and having fun. I think it really captured the essence of our characters' relationship.”

The interviewer smiles, clearly delighted by your stories. “Well, thank you both for sharing these wonderful moments. It’s been a pleasure talking with you.”

As you and Sebastian leave the interview room, you head towards the lobby where a few other cast members are mingling. The energy is still high from the fun and laughter of the interview. Sebastian nudges you playfully as you walk.

“Hey, remember in the interview when you called me incredibly good-looking and charismatic?” he teases, a mischievous glint in his eye.

You roll your eyes, grinning. “Oh, come on. Don’t let it go to your head, Stan.”

He chuckles. “Too late. I’m pretty sure I’m going to bring that up every chance I get now.”

“You would,” you laugh, shaking your head. “ It’s not like I was lying.”

Sebastian stops walking, turning to face you. “Well, thank you. And for the record, you’re pretty incredible yourself. Both on screen and off.”

You feel a warm blush creeping up your cheeks, putting a palm to your chest as if to continue the gag. “Thanks, Seb. That means a lot.”

He smiles, his eyes softening. “No, really, it’s been really great working with you. I think we make a pretty good team.”

“I think so too,” you agree, feeling a flutter in your stomach, you realize he’s actually serious now. There’s a moment of silence as you both just look at each other, the playful teasing from earlier now replaced with something more tender.

Sebastian breaks the silence first. “So, what do you say we celebrate wrapping up the promotion tour? Maybe dinner tonight?”

You raise an eyebrow, teasingly. “Is this your way of asking me out, Stan?”

He grins, a little sheepishly. “Maybe it is. What do you think?”

You pretend to think about it for a moment, then nod. “I think it sounds like a great idea.”

“Perfect,” he says, looking genuinely pleased. “I’ll pick you up at eight?”

“Eight it is."

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[thankskenpenders]

At long last, the trailer for Sonic movie 3 is here, giving us our first look at Shadow! It looks like a fun time, though my excitement is probably more tempered than a lot of peoples' due to a few things I have mixed feelings on. Here are my off-the-cuff thoughts about it.

Shadow

Yes, it does seem like they've really nailed Shadow here. Fowler's attachment to the character clearly shows. The action looks cool and really sells Shadow as a serious threat. He's got his bike, he's doing Chaos Control all over the place, it's great. Keanu is very much just doing his regular voice, but it fits well enough. The backstory from SA2 seems to mostly be there, though I'm sure some details will be adjusted. Mostly I'm still just amazed that we're getting a major tentpole blockbuster movie this Christmas starring Shadow the fucking Hedgehog that treats him as a serious character worthy of respect. We've come such a long way...

I mean, just... what an image to see on the big screen.

I also really like the way they're setting Shadow up as a foil for movie Sonic, kind of his dark mirror image as a Mobian hedgehog whose family life on Earth ended in tragedy and turned him into a vengeful antagonist. It's pretty straightforward, but it works well.

Robotnik(s)

Welp. They put Jim Carrey in a fat suit. I suppose we knew this day would come eventually.

I guess a small part of me is glad that movie Eggman finally actually looks like Eggman in every way that matter, but they're completely playing it as a joke at his expense here. And, yeah, the Sonic franchise isn't immune to fat jokes, the early years of the franchise (particularly Western adaptations) gave Sonic tons and tons and tons of jabs about Eggman's weight. But I thought we'd moved past that. But here we are with a depressed movie Robotnik binge eating and gaining a lot of weight like Fat Thor and the other characters think he's so GROSS and look his clothes don't even fit him anymore, haha! There's so much of this crammed into the trailer. I can only pray they don't do this in every fucking scene he's in in the movie.

I do like the plot of Sonic reluctantly teaming up with Robotnik to try and stop Shadow, though. It's very different from SA2, but we knew it would be, and I think that gives the movie some potential for Sonic to have kind of a dark turn of his own that mirror's Shadow's. I have a feeling that Sonic will try to get back at Shadow for something he does - maybe hurting Tom or something like that - and in the end Sonic sympathizes with Shadow and decides they have to stop their cycle of revenge, teaming up to stop some final threat.

Oh, and, of course... Jim Carrey is also playing Professor Gerald. Who might still be alive? Or maybe it's a hallucination on Ivo's part? I don't know, but either way, I'm here for it. Everyone joked about them doing it and then they went and did it. Yes, it risks playing him as a joke character, but the shot of him and Shadow mourning Maria while surrounded by GUN soldiers makes me believe he won't be a total joke. I wouldn't be surprised if he was the true final antagonist of the film, which would diverge a lot from the games but would work as its own version of the story.

And again, WHAT an image to see on the big screen lmao

Everyone else

The human cast is VERY downplayed in this trailer, but let's not forget that they're still going to get a lot of screentime one way or another. The Sonic 2 trailer barely showed anything from Hawaii. Where oh where is my best friend Wade?

Speaking of the Wade show, Knuckles... frankly still seems to be mostly a comic relief character heavily influenced by MCU Thor here, getting some jokes in the trailer but immediately getting Worfed by Shadow when it comes time to fight. Tails seems to be flying the gang around in a real-ass helicopter, and his big pilot's helmet is funny, but otherwise he doesn't really do anything here aside from getting stomped by Shadow. I really hope they don't get sidelined too hard, but frankly I fully expect them to, Tails especially.

And, of course... I can't help but think about who isn't here. Namely: the girls. Yes, three movies and one streaming miniseries into this film franchise, exactly zero of the female (animal) characters from the games have made the jump to live action. Please allow me to bitch about this.

Despite her being both 1) a main character in the game this movie is loosely adapting and 2) my fave, I suppose I can understand why Rouge isn't here. Paramount took one look at that bat cleavage and went "nope," cowards that they are. There was some speculation that Kristen Ritter could be playing Rouge, but we now know she's just playing someone at GUN. But, again, I at least get why they'd be hesitant to include her.

But Amy... Amy is such a glaring omission at this point. There's no excuse. She's the female lead of the franchise. She's one of Sonic's closest friends. (Honestly, these days it's more accurate to say Team Sonic is Sonic, Tails, and Amy, not Knuckles, especially in the comics.) And she's also a key player in Shadow's arc in the game. Shadow has his change of heart because Amy reminds him of Maria! And yet, she's nowhere to be seen. It sucks.

(I know some fans are still holding out hope for Amy, but the toys for the movie already leaked and she didn't get anything, so I have to assume she's not in it.)

It's not like I really expected either of them to be in this movie, but that doesn't make it less disappointing that they set up the film franchise in a way that makes it logistically difficult to include 90% of the characters and conveniently managed to leave all of the girls in the "low priority" pile. Yes, I know everyone points to how much Tails was downplayed in the third act of Sonic 2 as evidence that it's just so impossible to introduce more than one new Mobian character in each movie and give them the focus they deserve. Yes, I know having to come up with a story excuse to bring more characters over to Earth is an obstacle, especially when they're gonna have to devote time to Shadow's backstory. But these are excuses. It's a writer's job to figure out solutions to problems like this. They could make it work if they really wanted to. I'd take Amy having a suboptimal amount of screentime over her not being in it at all. It's just not a priority for them. That's what disappoints me. You can justify these absences from a logical perspective, but I just care way more about Amy and Rouge as characters than I do about Shadow, so there's no way for this to not sting.

But, at the end of the day, for what the movie is actually trying to do, it seems to be pulling it off well. Aside from the fat jokes. I don't like the fat jokes. But the Shadow stuff is good. As always, this live action version of the franchise is never going to be my ideal version of Sonic, but it's turned out far better than it had any right to, and I'll probably have fun when I go see this in theaters and hear Live and Learn.

[italiansteebie]

It was a thing, to not touch Steve’s hair. Like a “hands off,” “Your ass is grass,” thing. And as adamant as he was, Steve never gave a reason. Just a wave of his hand and a simple, “Just don’t.” Now, some of the kids, well most of them, were respectful enough to follow that one simple rule, Mike had tried it once. 

The grip around his wrist and the fire in his babysitter's eyes was enough to drive the nail through the head. For the kids, that is. Eddie, however, thought it was funny, and he was determined to find why Steve was so protective over his “precious” hair. 

He tried bugging him, annoying him to the point where he just got fed up and told him, and he tried making up crazy conspiracies like a 100 Karat gold shampoo that “us mere mortals were not worthy enough to touch.” 

Robin tried to tell Eddie to just back off, tired of hearing Steve gripe about it all day at work, but of course it didn’t work, until Eddie suffered the same wrath Mike had. And god. He didn’t know King Steve had that much in him, but he saw how much it bugged Steve so he finally let it go. 

It wasn’t long after that that everybody found out just exactly why Steve hated them touching his hair. 

They were all piled up in Eddie’s trailer, kids on the floor buried in a mountain of blankets, respective couples holding hands and chatting, and the older kids up on the couch in their very own mountain of blankets. 

Robin and Nancy were wrapped up in eachother, not bothering to pay attention to the movie, let alone anyone else in the room. Steve and Eddie, who were curled up together, had already shared a smug smile in their direction, but they too got caught up in each other quickly following that. 

Steve had rested his head on Eddie's shoulder, reveling in the feeling of his gentle hand running up and down his back. Eddie, in no mind of his own, buried a hand in Steve’s hair just at the nape of his neck and tugged on it gently. A weak noise came out of Steve after a few minutes, when Eddie finally realized what he was doing.  

He moved to stop but cast a quick glance at Steve’s face, preparing for the anger that faced him, but to his surprise, he saw Steve blissed out in a way he’d never seen before. That is, at least with the children around. He knocked that thought out of his head before gently kicking Mike who was propped up against the couch below him.

The grimace on the kids face was hilarious but the way it transformed into some kind of smug, awe, was even better. Eddie kept the movement up, Steve slipping further into that melty, dreamy, headspace, unbeknownst to the attention that was being cast at him. “Watch this,” Eddie whispered.

“Hey Stevie,”

“Hmm?”

“Can you drive all the kids up to Indy tomorrow?”

“Mmmhmm.”

The kids thought this was the best thing ever, Nancy and Robin watched for a moment too, with slight grins before they turned back into their own little world.

“Hey, Steve. Can we burn your house down?” Dustin piped up.

“Yeah. Mmmmmmhmm.” was all he got in return.

“No way! He’s like putty in your hands Eddie! This is great! Ask him if we can host Hellfire at his house.” Mike said, already forming the plans in his brain. Eddie rolled his eyes, and cut them off with minimal whining from Micheal. 

When Steve was coherent again, he was subject to relentless teasing, mostly from the kids and a little bit from Robin. He hushed them, just a tad annoyed, but that went away when Eddie whispered his plans for Steve’s hair in his ear. Suddenly he wasn’t annoyed at the kids’ antics, but his face was redder than a tomato. A reaction in which Eddie had more than enough fun with.

[drabblejester]

I love your impression of Sampo!! Like yeah, he'd do This™ and That™ as according to your posts. Like, I think yours has the most simplest yet most accurate depiction of Sampo here!

Could I request Sampo, Gallagher, and Mr. Reca would do on their first date? Inspired from the other ask you did for 'overhearing the confession'

-G⭐

what VARIOUS HSR GUYS would do on your FIRST DATE!

requested by: G⭐️ !!

pairings: sampo, gallagher, and reca x gn!reader

content warnings: none!!!

comments: TYSM FOR THAT MY LIEGE.. i usually ‘dumb’ my sampo down actually bc theres no way i can fit all my thoughts on him into one little postHEEHE!!!

GALLAGHER:

he’d take you to his bar!! easy as that. it’s nothing grand or special, just his good ol bar. he serves you up a few drinks and you have a great time!

mostly, you guys talk. gossip about people, random tabloids you both found, fun facts about the other, etc. that’s also how you get to find out about misha and sleepie (and you adore both of them <3)

he’s much more gentle and warm towards you, quieting down his voice a bit so he isn’t that startling. he still has his drawl and everything, just in a lighter tone. in general it seems like he just got a bit younger!!

he jokes about you helping him out with the bar later, and you agree. so as a ‘second’ date, you guys get to work together! yippee! you get paid with free drinks and your first kiss with him <3

SAMPO:

you guys go visit some historical sites in belobog together!! he’s VERY knowledgable in them, and takes his time with you. you cruise through museums and even out in the cold, pointing at abandoned machinery and cool architecture

he absolutely talks more than you no matter how talkative you may be. partially out of ‘i want this date to go well and for them to see how cool i am’ and also out of ‘I AM SO NERVOUS RN’. thankfully he has a very engaging voice, and you love listening to him ramble :3

he tells a few tall tales in between, typical stories and fairytales that kids would like to hear. makes sense seeing as how he does talk with hook a lot.. and even at your age, they’re still fun and interesting! he’s an incredibly good storyteller

and at the end of the day, he wraps his dingy little jacket around your shoulders and takes you back to wherever he lives. he gives you a few snacks and the most delicious DIY hot chocolate ever before asking you SO many questions about how you thought of the date. you mumble something good before you fall asleep, which is enough for him <3

MR. RECA:

as he said before, he wants to cast you in the starring role of a romance movie with him as your lovely boyfriend. he makes PLENTY of jokes about it too, constantly rambling about how fun it’ll be. it counts as a first date i guess???

you two are an AMAZING duo together onstage and offstage!! his performance is amazing to the point where you actually feel like you’ve fallen for him impossibly more… the role he’s playing is a cheesy romantic ol guy, and AEONSS ABOVEE if you don’t treasure it

he lets you customize your role however you want! so you decide to simply play as yourself to max out your reca romance exposure. he plays along and switches the script around just for you, before going on set to dance around with you a while more

at the end of the day, both of you make lovely comments on your acting (although you weren’t really playing a character), laughing about certain moments in the scenes before he sends you home. and of course, he waits for you to enter your house before he leaves, just like his little gentleman role in the movie <3

i’m going to make some ramen my lieges do you want any

[warpcoreweirdness]

just finished season 2 of Lower Decks and i'm SO glad i tried this show again

i actually started the show a while ago, but the constant easter eggs put me off.

(i still don't know how non-Trekkie viewers are meant to get the jokes where the punchline is "reference!! 😂", but lots of people enjoy it so ymmv).

i stopped a few minutes into episode 2 after Rutherford agrees to quit his job as an engineer so he can watch the Trivoli pulsar with Tendi.

i honestly thought it was going to be a storyline about a guy giving up a job he loves and making his boss angry so that he can spend time with a female friend he has a crush on, because that's the plotline i've been conditioned to expect from tv. i wasn't feeling excited about the show, so i put it on pause.

but if i'd watched for about two more seconds before noping out for a few months, i would've seen this:

when i started watching again, i realised that the episodes never bog themselves down in drawn-out, uncomfortable storyline or character staples - they're actually incredibly well-written, tightly paced, and tell their stories in just the right amount of time. Rutherford wants to be Tendi's friend (at least for now), his boss Billups is really supportive, and Tendi brings a PADD into the Jefferies tube so they can both do what they enjoy, separately but together.

another great part about that scene with Rutherford and his boss is something that Lower Decks does a lot, which is make jokes that actually rely on subverting audience expectations. a big example - and a way of referencing other parts of the Star Trek franchise that does work for me - is when the creators gently poke fun at or subvert common story beats, emotional arcs, or dramatic moments from other parts of Trek.

like when Rutherford loses his memory and Tendi is excited to get to know him again, rather than devastated that he doesn't remember her.

or when they save themselves from being smooshed by Dooplers by dramatically ejecting the warp core of their tiny model starship.

or when Tendi goes on an arc of significant personal development over the course of one (1) whole episode.

they're general enough that even people who haven't seen other Star Trek shows (or movies) can still recognise and appreciate them.

beyond this, the show also has great moments where they (lovingly) cast a light on some of the flaws and foibles in the franchise, often in subtle or comedic ways.

like showing people in beep chairs living their best lives (in contrast to TOS and SNW's view of the beep chair as a tragic, doomsday fate for Pike).

or using Tendi to comment on Trek's depiction of Orions specifically as all pirates and slavers, and alien cultures more generally as monocultures.

or even just acknowledging that Trek shows mostly focus on the bridge crew doing heroic first contact-esque adventures, when that can't be all there is to Starfleet.

heck, they even have Rutherford go on a journey of acceptance and self-discovery after a permanent memory wipe (in contrast to Uhura in TOS, where it's never mentioned again).

another reason i really appreciate the show is that the creators have taken the time to think through what a more inclusive future could look like, in ways that are noticeably lacking or absent in many other Trek shows:

beyond exploring diversity through explicit identity representation (which is still very important), it does this through its world building as well.

i love this communal sonic shower scene for what it says about gender and body politics in Trek. in the future, why would we still separate bathrooms and changing rooms by gender? and why would we have the same views and expectations around bodies that we (by "we" i mean Western countries) do now?

this short scene dismantles the idea that nudity is inherently sexual, that gender is binary and biological, that some genders can't be trusted around other genders while naked, and that heterosexuality is the default (and when you bring dozens of alien species into the mix, why wouldn't we have more and newer ways of thinking about gender?). it even has a little mention that Boimler prefers not to shower with others, leaving space for people to act however feels most comfortable for them.

it's such a little thing, but after years spent (lovingly) yelling at the screen during TNG, TOS, DS9, etc saying, "why are they assuming everyone is straight? WHY would people be this sexist?", i noticed it immediately and appreciated it immensely.

(this isn't related to the storytelling, but i also have to say - the animation in Lower Decks is so pretty???):

this isn't a perfect show, but it's funny, has fantastic storytelling, and it loves the source material without worshipping it. (which is not something i expected to say, given how it started).

plus i love these characters SO MUCH.

so far, so very good 🤞.

(image descriptions in alt text)

[vidavalor]

I've had to disconnect from my dash because of all the negativity; I honestly do not get why people are acting like a semblance of justice+a movie is the worst thing in the world?

I'm mourning for the full six-episode season we lost because ng couldn't pass the utmost basic sub-zero bar for not acting like scum and of course I wish amazon had kicked him out and then sprung for it anyway (and honestly, as long as you're blaming the right person, I think it's fine to feel upset? We deserved better, the cast and crew deserved, Terry deserved better, and this one guy ruins it for everyone because the bar was buried six feet deep beneath the ground and he still managed to go lower, and that does suck, and it is miserable and unfair, so take a moment if you need it 🤷‍♀️) but let's face it, we got off lucky. Arguably, considering this was a standalone novel from the nineties, that then got made, in one of the best book adaptations I've ever seen, into a limited standalone tv miniseries (and, again, emphasising the standalone here, so even if it all goes to hell in a handbasket, we'll still always have S1 and the book; people have been ignoring the Jurassic Park sequels for nearly three decades), and then got a surprise sequel, we were pretty lucky the whole way through.

And regarding the whole what if it's bad thing, I was always going to be worried: I was anxious long before this shit went down, and I was anxious before S2 and even S1, as well. It's not like we ever had any guarantee it was going to be good beforehand either, and at this point, knowing what we do now, I'm not at all sure I'd have trusted ng to write this anyways. So while, yeah sure, I'm maybe a little more anxious now, I trust Michael and David with these characters and I trust Rob and Rhianna with Terry's legacy and story and that they wouldn't have fought so hard for this ending unless they planned to keep fighting and thought they could pull it off. Isn't the problem with this kind of thing normally that what happnes is the creator who cares deeply about the work gets pulled in favour of someone out-of-touch who cares not a jot about the story and needs to leave their own grubby fingerprints all over it? More the other way around here, no?

Anyway, what I also wanted to say was that I really appreciated your 'think of it as the final two episodes of season two' (and all your takes on this situation so far, very level-headed and optimistic, thank you). I mean, you're right, and it's hardly wildly out-there for a series to finish on a feature-length special, and although the filler material in S2 and the compression of S3 maybe means it doesn't exactly resemble what the second book would have been, it was only ever meant to be two books. (Don't get me wrong, I enjoyed S2 and was very glad to get it, even though I am a book/S1 fan and also had the most fun in that time fandom pre/post/around the time of the S1 release, but why does it exist? Ego? You can't tell me you couldn't have fit the important parts of S2 into one season with the S3 plotline.)

Basically, I'm grieving the could-have-beens (imagine if he'd been exposed way earlier and the TP estate had had control of this whole production from the very start!) and I'm a little worried that that hurt'll stick around no matter how good S3 is - which I need to fix, because that's more power over my favourite show and what it means to me that I want to give anyone, let alone someone like that - but at the end of day, I do think it definitely can be done with what we have, and I'm choosing to be hopeful it'll be done well, because, well, why wouldn't I?

(I will say this hasn't been great for my faith in humanity, because I really want to believe not all men are shit and some of them are making it very difficult right now, but that's an entirely different problem and so far believing most people are mostly good has always prevailed in the end so. y'know. we'll get there. might reread discworld, that's always good for that.)

Sorry for venting all this at you! I just kinda felt the need to write it all down once to get it off my chest... have a snack on me? I'm partial to cherry tomatoes, green melon and mandarines at the moment (I stop eating salads in winter, which means I default to eating even more fruit) but I can also offer homemade baked goodies fresh from this morning? 🥧

Hi there. 💕 You are welcome to vent away & thank you for the delicious-sounding snacks and kind words. I'm glad my posts on the movie boosted your spirits about it. I agree with and can relate to almost everything that you said here so assume that anything that I don't address just has a 'yes, absolutely' nod happening. 🙂‍↕️

The one thing I want to touch on here is S2 and this idea of it being "filler" that you mentioned that I think might not be quite accurate. I think you (and anyone else who reads this) might feel more enthused about the idea of a good ending in 90 minutes after reading this so hopefully this'll be another way that I can help?

On why S2 is really the whole story and actually had a lot more going on in every way than S1...

Ok, I'm going to explain something that drives writers like myself bonkers 😂 and that is how some readers or viewers of fictional stories mix up plot and story.

Nothing grinds our gears than reading things like "filler" and "unnecessary subplots" because, while everyone is within their rights to have an opinion on written works, 95% of the time, the person who says phrases like this isn't talking about the quality of the work but of its very existence. They're saying "why did we have to read/watch this? it didn't connect to anything" and that's where they are very, very, very... argh, just tell them, Crowley...

...thank you, dear. Right, so, why is it wrong?

Because what many people who don't write don't understand about subplots and more character-driven story arcs is that the writers sat down and decided to do that stuff for very, very specific story reasons. Readers and viewers mistake plot for story. Plot only exists in service of story and, so, all plots exist for a purpose in the story. They're all relevant. In fact, the stuff people usually label as "filler" in a story is really exactly where they should be looking to figure out what the story is saying. If you're big mad about all this time you spent with Maggie and Nina in S2, I'd say you might not still understand what S2 was about because you won't understand Aziraphale's story without understanding both Maggie and Nina's struggles in S2, for example.

A story is the whole, overall thing. It's the meanings, themes, and messages in the work. It's what's being said. It's the ideas being put forth by the piece. It's what it's about. It's different from plot, which is just the stuff the writers are making the characters do or not do in order to tell the story that they are looking to tell. Story is the art; plot is a tool used to make that art. Fiction writers can come at their story from almost anywhere to convey what it is that they are trying to say so there is meaning in the fact that they are choosing to tell their stories the way that they are telling them. They came up with these ideas for reasons.

When you dismiss stuff as filler, you're saying that it's lesser than more in-your-face and bigger plots (when, often, it's very much not), and you're telling a writer how they should have written their own story-- most of the time, without even fully seeing the ending of that story or giving any consideration to why it is that the writer wanted you to read or watch the stuff you're saying wasn't necessary. I'm not arguing that every story is perfect but you aren't getting anywhere near close to being able to evaluate a story if you're not willing to dive into what you were given and consider why it was that you were given those things and what they might mean.

Until the main question that you're asking about every single aspect of a story is "what is this saying?", you're not really fully engaging with a work. You won't get there by dismissing what the artists are telling you is important.

The secret sauce to interpreting fiction are subplots, actually. They exist to help highlight the themes of the main story, often in a slightly more direct way. If you want to understand Good Omens, starting with Ineffable Bureaucracy is actually one of the best ways to get at the core of the themes of the story. It's far from wasted time in the story.

There's actually a funny nod to the importance of subplots in 1941 when Aziraphale references Sophocles, the playwright who basically created the concept of the supporting character whose story mirrors and parallels the main character(s). The mention of Sophocles shows up in S2, the season that brings Gabriel more fully into his purpose as exactly that.

The reason why S2's plot is centered around the honestly pretty easily solvable mystery as to what's happened to Gabriel is because Gabriel, from the get-go, has been the entire story distilled down.

If you follow nothing but Ineffable Bureaucracy in Good Omens, you're going to be closer to getting what it's about and where it's going and what its end game is than you are if you are dismissing it as wasted time when we only have few episodes left. If you haven't yet seen the secret wisdom in Jim-- not to mention understand that Jim and Gabriel are the same person-- then you're probably wigging out more about the movie.

You likely think that S2 was wasted on stuff like Gabriel, or Maggie and Nina's romance, when they should have been getting to Armageddon and The Second Coming already!

You haven't yet noticed that Armageddon has more than one meaning in the series.

It's not always the literal destruction of Earth but also a person's own life crisis. We are all worlds of our own and those worlds can be put at risk if we don't let others in and take care of ourselves and those around us.

When you realize this, you can start to see that S1 goes hard with a freight train of plot all over the place that is related to Armageddon in a more Biblical, apocalyptic sense while it establishes its universe for us but that, once we know how it all works, we can get something like S2... a time where we can step back and start using Armageddon in the more figurative way that the story is also presenting it.

We need to because the story isn't about Heaven or Hell-- it's about being a person. S2 is emphasizing the deeper aspects of the themes and rolling that out at a pace more in line with a person having a few days of inner crisis. When you see that Aziraphale's crisis is the point then you can see how S1 can be about The Four Horsepeople riding to the end of the world and S2 can show War (inner conflict), Pollution (mental health issues), and Famine (symptoms of the other two; lack of food and pleasure and connection; self-starvation and self-denial) as a mental health crisis.

The point is that if you're thinking these characters need to come together to overthrow Heaven and Hell and get to the South Downs Cottage and there's no time slajdflkfwjlkejlje!?!?, then you aren't realizing that not every revolution involves guns and bombs.

People all over the world can start a love train that's far more effective. You might think a subplot about The Hellhound and The Ginger Cat learning to play nice and that they have a fuckton in common and should maybe bury the hatchet and just become eternal bffs already is filler but Crowley and Gabriel aligning is set up for the end game. It's strength in numbers and finding peace and family. They can't overthrow Heaven/Hell without help and Gabriel is the Supreme Archangel. They literally will never have a South Downs Cottage ending without a plot that helped Crowley and Aziraphale see that Gabriel and Beez are on their side.

This is the revolution in Good Omens:

It will take all the characters coming together to overthrow Heaven/Hell and set up something new for us to get a happy ending and we absolutely will. S2 is Gabriel-centric because Gabriel is the key to all of the characters getting a peaceful ending and because he's a split-directly-down-the-middle mirror of both Crowley and Aziraphale. In a season that is more about Aziraphale's inner Armageddon than about an external threat, Gabriel is vital to telling that story. The plot of S2 is every bit as important to the story as S1. I'd argue that it's even more important because takes the time to go at the themes in a slower, deeper way. It needs to because it's a story of a fall that sets up for a story in S3 of a recovery from one.

Good Omens is the absolute perfect combination of a show that is both very, very detail-oriented and full of depth while also being, secretly, an incredibly simple story. I do not mean simple in a negative way but in a chef's kiss sort of way. Simple in a tight and elegant sort of way. This is something that I think some people might not see when they're theorizing but it's something to keep in mind ahead of the movie. Not just because the movie is shorter-- this would have been relevant if we were having a longer S3, too.

Good Omens has a very engaged fan base that looks for the details, yes. *raises hand* I'm one of them lol. And there will be plenty to pour over in the movie, but... the big thing to keep in mind is that your theory needs to be something that is simple, that can be explained in under a handful of scenes, tops, and that is focused on where Aziraphale's story arc is going above anything and everything else.

If you're beginning with time loops and the birth of a new antichrist baby, I'm telling you from ages of experience reading and writing stories, you're going to be way off. If you are over here composing theories of the story that you are arguing are correct and this theory involves, idk... *makes something up* Crowley is really Elvis and Elvis is really The Bentley and when a rainbow hits Whickber Street at exactly 4 minutes into the new season, Satan will be revealed to really be Jesus, I think maybe you might be missing the point of the details that the show has given already. Like the plot, these details exist to reinforce the themes of the story. Story beats everything else-- it's what this is all about.

And what Good Omens is about? Is best summed up by Michael Sheen, in this single sentence that I really, really agree with and have paraphrased more than once in posts:

Good Omens is about the business of living. It's about the human experience, which is the experience of being a person. Everything related to Heaven and Hell and good and evil and Armageddon and supernatural things is plot that only exists to highlight a story about the complexities of being a person.

The supernatural is human and the human is supernatural.

That is what Good Omens is about.

While Crowley and Aziraphale are built as two halves of a whole and are both main characters, Aziraphale is the main character from a technical, story perspective, because he is the character whose story arc is driving both the plot and story forward. He's heading for a happy ending with Crowley in the South Downs by the end of the film. If you're making theories, start with what kind of plot would truly get him there and still fit with all of the themes of the story.

This 'it's about being a person' business is why if you look at S2 as filler and not as a season that is exploring the continuing themes on a deeper level, you're still worried about things like there being no time in a movie to show the story of a new antichrist kid being born or how they're going to fit the whole Second Coming into the movie. You don't yet see that Aziraphale parallels Adam and that being an antichrist is basically just being a person and that Aziraphale is presently the antichrist in the story. There is no antichrist child yet to be born. They won't be cutting it because it's not the story.

Armageddon since S2 has been Aziraphale's own personal one and the story from the end of S2 on is now how, if all the other characters can't come together to help him, it could also trigger Armageddon of the S1, Earth-destroying kind. It's tying a more literal Armageddon into a more figurative one. Because this story is about being a person so Armageddon is just metaphorical for going through a mental health crisis and shutting people out.

This story's themes include that every person matters and we all have to let others in and look out for one another. That there's strength in numbers. That found family and adopted family is as much family as biological family-- often, even more so. That labelling and categorizing people is bullshit and you should always open the cover and read the first sentences of people and help people whose stories begin with the same letters find one another. That it might be surprising who has things in common. It's about all of Heaven and Hell versus all of humanity, in the sense that ideas of being a perfect angel or being seen as an evil demon are concepts felt by human beings that get in the way of peace and healthy, happy living, but that fighting them is a common, human struggle, regardless of from where you come.

If you are too focused on the religious plot being the center of the film, you haven't yet seen the meaning of why the end of S1 was an eleven year old kid saving the world by telling off the bio-dad that was never there for him. You might be one of the people who thought this a silly, anti-climatic ending to that story, and don't yet realize that this is the entire story in a nutshell.

Adam can only reject Satan and keep the darkness at bay because he is surrounded-- here, literally-- by a family that supports him. He has good people for parents and was lucky enough to grow up with resources that all kids in this world should have. He has an absolutely terrific group of friends. He has this witch lady and her boyfriend and these two gay uncles that just showed up out of nowhere 😂 and his human incarnate self has what it needs to make it through this crisis, in this moment, even if he'll probably have others throughout his life, just like all of us. He's not evil incarnate and he doesn't have to be perfect-- he's just a person.

Aziraphale tells Adam this but struggles to see himself in the same way. That's what S2 is about.

S2 is about that other kid who, like Adam, breaks the season down into a single line of dialogue, David Tennant's apparent favorite from the season:

Jemimah knows who she is and she is happy to claim ownership over her art and contributions to the world. She's living her life with excitement and enthusiasm in a way that gets more complicated as we become traumatized adults. Crowley and Aziraphale struggle with this. They have been making a life together on Earth for thousands of years and each struggle, in their own ways, to truly accept that they are people who are allowed to have a life because they struggle to accept that they are people, just like everyone else.

Their story is about getting to a better place with that. That's really all Good Omens fundamentally is. That's why their ending is going to be to go live in a little cottage together that isn't a business that covers up an angelic embassy that covers up a secret love den. It's just their house-- theirs together for the life they're going to live openly together.

If you want some peace with the film, I'd advise throwing over your theories about The Second Coming and Armageddon needing to happen and antichrist kids and how Jesus fits into everything. Jesus in Good Omens is Crowley romancing Aziraphale at the crucifixion and Aziraphale using what Jesus said to Crowley to reject temptation as invitation to fuck him. I thought Jesus in a single scene or less was the most likely thing for S3 and the same holds for the movie. It's not the story. The only time The Second Coming is mentioned in S2 is by the villain and, to get there, Earth would have to first be destroyed. It won't be.

If the story is about being a messy human walking the Earth and we're in the end game now, then the story is about Aziraphale and only Aziraphale. Everything-- everything-- will be in service of Aziraphale's story arc. We already had just a few episodes with S3 and we now have even less time but the way this is going is still the same. The story is Aziraphale's fall and the other characters coming together to challenge Heaven to keep Aziraphale from eternity in Hell. That's how Armageddon is stopped this time around-- overthrowing Heaven with Aziraphale's fate as the motivation to take on The Metatron. It's nothing to do with Jesus. It's everything to do with Aziraphale.

When you see that, you can see how feasible that is in 90 minutes, with plenty of time for things like 1941, Part 3 and other flashbacks.

I think, when all is said and done, you might wind up appreciating S2 more after the film but you can get there already if you start looking at it less as meaningless fluff and start asking why it is that we were shown this story, in this way, and what that can tell us about the story we're watching.

[flownwrong]

chaotic ckr c6d squee propaganda (?) post

This, started half a year ago for @ds30below, was initially a general c6d short reviews post but kinda skewed majorly towards CKR's repertoire and wasn't too review-y. So I gave up on making sense and on including the non-CKR works. I don't know who the audience for this is, because I never give basic details for people who don't know about this stuff but say too much for those who do. I giffed what I could and tried to avoid what I know a lot about but haven't actually seen. Here goes.

Frank's Cock (1993)

Not much to say. It's only 8 minutes, it's beautiful and you should see it if you haven't. I won't spoil the subject, but you can likely guess. Watch it, cry a little. Then go watch some more of Mike Hoolboom's stuff, the vimeo link above is from his channel.

Two X-Files episodes (1994 – 1995)

Well, I haven't actually seen X-files since I was about fifteen and watched the like two seasons, and I remember none of it. I rewatched the two early episodes CKR appears in and they were fun. I did not watch the, the movie or whatever where he's doing the evil gay thing. But really, this one is on the list so I can show you this self-indulgent gif of him being Very Long:

Double Happiness (1994)

You shouldn't watch this one for CKR. I mean, you absolutely should see him here, looking like he's barely out of his teens and playing up the insecure act and having devastating chemistry with devastatingly beautiful Sandra Oh, but this is not why it's great. And it's really, really great. It's touching and funny and sincere. If you wanna have some feels about complicated family relationships and identity and growing up (at any point in life), you'll find them here.

Curtis's Charm (1995)

Don't regret watching it, can't recommend. Not gonna lie, I was emotionally affected. But I usually am by things as in-your-face bleak as this. Mostly, it's trying very hard to be smarter than it is, I think.

However: CKR's One Wild Curl is everything to me (see above, on the right. It was, like, actually curly. I was rendered speechless). And like two seconds of Hugh Dillon made me do a double-take, lol. Incredibly weird knowing this was shot like half a year before HCL began shooting. Feels like it must've been a decade earlier.

Hard Core Logo (1996)

I could make three separate posts about this one, so of course I have no idea what to say.

This one, you should watch for CKR, actually, he's something, but so is every single other aspect of this film. I wouldn't change a thing about it. It hits you like a 16 wheeler. Perfectly cast, unimaginably beautiful, hysterical and melancholy and disgusting and compelling.

Related recs:

A wonderfully fun article/retrospective/interview for its 20th anniversary a while back.

You should also absolutely read Hard Core Roadshow if you enjoyed the film. It's a book documenting the whole thing from conception to release. It touched me for its own sake, not just a backstage glance, full of love for the craft and the people and carrying this tangible bittersweetness about the heightened and fleeting nature of this kind of work.

(here, I feel compelled to include a quote from another c6d-related interview on Slings & Arrows, which I read after the book and went like man, it's really a universal experience isn't it.

Coyne: <...> But I also think, and this is my experience, what we were all experiencing, because we were all talking about our lives, our life in the arts — there’s something very melancholy about doing something you love, because it will never be good enough, it will always break your heart.

McKinney: Or it will be fleeting.

Coyne: It’ll be fleeting. You come together with people you feel passionately connected to and two weeks later they’re tearing down the sets.)

Quotes from the article and the book respectively include:

McDonald: So there was a kind of mutual dependency society with Hugh telling Callum, “Don’t worry, man, I got your back, I’ll tell you how high or low to wear your guitar, I’ll tell you how you should dress, I’ll tell you what you should drink…” and Callum was like, “I’ll tell you what hitting your mark is, I’ll tell you why they pull out fucking tape measures, I’ll tell you why you have to do it again, I’ll tell you about not overlapping dialogue..” and you know they clung to each other, like the other one was gonna fucking save them.

And:

A final gathering at the back of the tour bus with Bruce, Callum, Hugh, Bernie. We listen to the tape of HCL songs, all the way through, one last time. And we belt the words out. Bernie sings loudest, performing for Salerno's camera. Hugh and Callum sit back, looks of sadness. I get the sense that if they could do it, they'd chuck their lives and be Joe Dick and Billy Tallent forever. Callum leans to Bruce and says exactly what everyone else is thinking: "I don't want it to end."

There's much more to both texts than *gestures* the whatever those two had, but it certainly doesn't hurt.

And Xeriscape is the best HCL fic I've read. Granted, I read very few because it's not a source that creates in me a craving for fic. But this one perfectly matches the film's fucked up beauty with its language while also adding a quieter, more fraught layer of humanity that we only get glimpses of in canon and that perfectly fits John. 10/10, would recommend.

Anyway. Watch it. Read it. If you haven't. Otherwise, come scream with meeee! And go reblog my gifs or something. Idk.

Letters From Home (1996)

Mike Hoolboom strikes again, with another short. This goes into the "don't watch it for CKR, watch it because it's great" box. Yes, you will cry.

For Those Who Hunt The Wounded Down (1996)

Another bleak one! It sucked to watch, I mean, on purpose. There were a couple of very effective scenes. I really enjoyed the opening. They say the book is decent too, I haven't checked that out.

Actually, let's just switch back from coherent thought to undignified staring at his mouth with this one. What the fuck is that cigarette thing. I couldn't help myself.

Last Night (1998)

These gifs are not representative of the whole movie. There is more happening than CKR kissing or hugging people. He's also doing more than just kissing and hugging. It's all very... impressive.

Guess who's also here again? Sandra Oh! And say hi to Don McKellar, who is an absolute champion for writing/directing/starring. You'll be seeing more of him.

Another one for the "watch it for its own sake" box. Seriously, that late 90s indie stuff is banger after banger. It's so beautiful! Look at those colours! Look at those shots! It's very uneasy and charming and melanchioly and itself in the best way.

Twitch City (1998 – 2000)

Don McKellar is back to murder you with discomfort! Bruce McDonald lends a hand. Molly Parker is also here. And Daniel McIvor, who'd go on to direct, for example, Wilby Wonderful. It's a party. If you watched some stuff from above (or below) on this list, most faces and names will be familiar to you, tbh (another Hugh Dillon double-take happens).

If you liked Spaced, you'll love this. You might also love it because it commits to its weirdness with an admirable resolve and is genuinely hilarious. (Honestly, CKR's outfits alone warrant a watch.) The idiosyncrasy is definitely Don McKellar's doing 200%. It couldn't be more different from Last Night, but if you've seen one, you'll recognise the other.

Battlestar Galactica (2003 – 2009)

I don't think a person should be allowed to look this pretty in the sweaty-and-dying makeup in that light (this sentence probably looks very weird to those not under the CKR magic spell).

I don't know what to say about BSG because I really, really enjoyed early it initially, but by the middle of S2 it got... well, whatever that was. If you know you know, if you don't, still give it a go. You might get invested enough to suffer through it all, as I have been, slowly.

The unfortunate thing is that CKR got to be there mostly in the "what the fuck" years and not the "wow that's so cool" years. That, as you might be aware, is a pattern with him. But! When he was here, he was so genuinely, wonderfully creepy not in the typecast-baddy way, but in this slow, half-absent way, which really worked. You can also see him tortured a little, as a treat!! <3

Also, a wild John Pyper-Ferguson appears! If you're looking at him thinking you know him from somewhere but not immediately remembering, you'll figure it out, I believe in you. I was very happy to see him.

Wilby Wonderful (2004)

Another win for the put CKR in more good shit team!!! Guess who's here again? Sandra Oh! Also, Paul Gross. Don't watch it for him either though haha.

Another one for whoever wants to look at pushing against the weight of others' (or your own) expectations and growing into who you are or reconsidering who you are or finding meaningful connections with others even when you're kind of a mess and they are too.

Not nearly the first time CKR's gotten to play a queer character, but man, this one really is the heart of the in-universe community, and, through that, of the film. A rare chance to see him so far out of the prickly persona! He's just so solid and calm and there for others in this one and, and soft, ough. It's awesome.

By the way, if any of you have the commentary track or know someone who has, please drop me a line here or on discord (emotionalrisotto), I really wanna hear that.

Supernatural (2005)

I love Supernatural a lot. It was a formative experiences (albeit a very late one) and I owe a lot of my favourite stuff about fandom-ing to the buddies I met through it. I can't believe I'm telling you this (because who hasn't seen it, not because I'm reccing it), but you should really try it if you haven't. It's pretty rad.

I had no idea who this guy was when I saw that episode (the second ever one!), though. I simply cannot fathom what @nigeltde-fic felt when she first saw it. I think I personally got very lucky she didn't combust on the spot. It would've been unfortunate.

On a sillier note, CKR's character has weird tension with both Sam and Dean in this episode, which is par for the course. I personally think they should've... no, I shan't say it. You can probably imagine.

Californication (2008 – 2013)

I haven't actually seen it, lol (and I suspect I won't enjoy it, but I'm very curious and also CKR looks really really good).

The real reason for this one on the list is to share a fic rec. Really, it's a due South F/K fic featuring Lew Ashby. It's ridiculously hot and very satisfying in its romantic resolution, too (but then, I'm kind of big on selfcest. And consensual voyeurism. And pretend relationships when done like this. And sublimated yearning. Erm.)

Shattered (2010 – 2011)

I wish this never happened. I badly, badly wish this never happened. I can't turn back time, but I can warn those luckier than me: do not go there. Yes, even for this dude. You'll sleep better not knowing just what it is he was the EP on. And the only important part — the mascara — can be seen above (yes, the show does look that bad, it's not just the gifs).

Just kidding — I watched it, didn't I? You'll have fun hating it! Just prepare for industrial grade cringe, lower your expectations (No, lower. No, still lower than that. And just a bit more.) and you'll have a great time!

Star trek: Discovery (2024)

Or, as I call it, Star Trek: The Mediocre Show. Discovery S5 was... what it was, but it was a wonderful viewing experience — mostly thanks to the gang (@kittkatk and @feroxargentea especially!)

What a joy it is, to follow a show week by week, yelling and laughing and discussing the whole time. And giffing, too. I was very happy to contribute to the Disco fandom from my own little obsessive corner, and I was glad to see people adoring Rayner, haha.

He's a pretty neat character — very much a stereotype, yes, but with CKR's usual twist of odd vulnerability and weirdness. Also, I loved the ears. I miss the ears. The ears were great.

I even wrote a fic! Although it's not within my usual range to write for canons and universes I don't know well — and back then, I'd only seen S5 of Disco. It was a lot of suffering, and a lot of fun.

Closing thoughts

I'd really love the dude to get a better agent. And possibly better taste, but I realise that's a tougher ask. Seriously, it's been too long since he was in something majorly cool. I'm grateful to him, at least, for not making terrible music on the side. And I still have a lot of his back catalogue to get through, some of it even good, so there will be more insanity. Until then!

[disneytva]

Disney Announces Jam-Packed D23 Fan Event Lineup With Many Animation, Muppets Panels And Screenings

With less than one month to go to the highly anticipated D23: The Ultimate Disney Fan Event presented by Visa, Disney today revealed details about what fans will be able to experience at the Anaheim Convention Center during this sold-out event, which will include an outstanding lineup of over 230 panels and presentations, show floor offerings and Talent Central interactions. This announcement builds upon plans previously shared about this year’s D23 gathering, which is set to be bigger and better than ever before.

Animation on Stage at D23

30 Years of Toy Story Celebrate 30 Years of Toy Story with filmmakers and Pixar Legends as they reflect on the making of the groundbreaking classic nearly 30 years ago and share never-before-heard anecdotes about how the historic film came to be. Exploring New Parts of the Mind: Behind the Design of Inside Out 2 + a Dreamy Surprise! Join Inside Out 2 production designer Jason Deamer as he gives an in-depth look at designing the new emotions joining Headquarters as Riley enters teenagehood. And stick around for a special dreamy sneak peek of an upcoming Pixar series! Marvel Animation Sneak Peek See what’s coming next to Disney+ from Marvel Animation, with special guests and first looks at hotly anticipated series including Your Friendly Neighborhood Spider-Man, Eyes of Wakanda, future seasons of What If…?, X-Men ’97, and more! The Animation Greats + Cast and Creator Sessions featuring Bob’s Burgers, Futurama and The Simpsons Presented by Hulu Animayhem & 20th Television Animation Four of the most influential creators in the world of animation — Matt Groening (The Simpsons, Futurama), Seth MacFarlane (Family Guy, American Dad!), Mike Judge (King of the Hill) and Loren Bouchard (Bob’s Burgers, The Great North) — come together for a historic and extraordinary conversation you won’t want to miss. Then, the voice talent and creative teams behind Bob’s Burgers, Futurama, and The Simpsons take the stage to entertain with clips, conversation, and fan Q&A. Whether you’re a longtime fan or an aspiring animator, this is a must-see panel for all! Behind the Summer Shenanigans with the Phineas and Ferb Creators Join Dan Povenmire and Jeff “Swampy” Marsh, the masterminds behind the beloved animated show Phineas and Ferb as they look back at the creation and legacy of this pop culture phenomenon. Hear behind-the-scenes stories and get ready to laugh! Making A Goofy Movie: The Road to Lake Destiny The creatives behind the A Goofy Movie phenomenon reunite, reminisce, and share clips from a new documentary about the incredible origin story of this beloved cult classic. Stay Tuned: You’re Watching Disney Channel Join beloved Disney Channel stars on the Walt Disney Archives Stage for a look at some of the iconic series and movies that have created generations of fans. Stay tuned for laughs, fun and moments you won’t want to miss! Big City Greens the Movie: Spacecation Screening Blast off for a hilarious outer-space adventure with a screening of the animated comedy Big City Greens the Movie: Spacecation, introduced by the talented creative team, including creators and executive producers Chris and Shane Houghton. Restoring Disney Animation Classics Director of Restoration Kevin Schaeffer and Disney Animation artists Eric Goldberg and Michael Giaimo will delve into the history of Disney’s preservation program, showcase before-and-after clips, and share how classic films are brought back to life. The Muppets 70: A Glamorous Miss Piggy Retrospective Join Walt Disney Archives Director Becky Cline and The Muppets Producer Dani Iglesias for a fabulous look back on the past 70 years of the Muppets, but mostly Miss Piggy! We will dive into the vaults to uncover nostalgic artifacts along with how we preserve this collection today! Disney Epic Mickey: Rebrushed – The Return of a Beloved Classic Wield the paintbrush once more in Disney Epic Mickey: Rebrushed out this fall! Join Disney Games, Epic Mickey Creative Director Warren Spector, and more special guests, for a conversation that delves into how this beloved classic adventure came to life.

[technicolorfamiliar]

Der Student von Prag (The Student of Prague) Dir. Henrik Galeen 1926

So I'm going back and rewatching a handful of the titles from the initial 50+ film journey into Conrad Veidt's filmography. Some I'm revisiting because they made such an indelible impression on me the first time, others because I want to give them a second chance. The Student of Prague was among the first films on what wound up being a year-long deep dive into Connie's work and history. I loved it then, but even more so now.

I want to live inside this movie. Galeen and his crew made a hell of a picture, made all the more special by Conrad Veidt doing the literal most.

There is a bewitching quality to The Student of Prague, from Conrad Veidt's dual performances as both Balduin and his Double to the atmospheric cinematography and special effects. It's a dreamy film that really sets itself apart as a dark and lovely supernatural period piece.

Despite some very minor issues, over all it's genuinely pretty perfect. It's one of those films that, even with its faults, sweeps me effortlessly into the gothically Romantic world of the story.

Maybe the film could have benefited from tighter editing, cutting some of the longer sequences and unnecessary shots. But an argument could also be made that these longer scenes aid the spell the film is casting over its audience, the way Sciapinelli weaves his spell on the hilltop to draw Balduin and Margrit together.

The cinematography by Günther Krampf and Erich Nitzschmann is really something special. Shadow was a big motif and standard tool filmmakers used back then, especially those working in the Expressionist style, but for 'Student, maybe because of the early 19th century setting and the proximity of the natural world (both real and fabricated), the use of shadow here makes the film feel more like a fairy tale illustrated by Arthur Rackham than the Uncanny Art Deco of classic German Expressionism. The digital restoration really highlights how successfully they worked with value and contrast to create such a visually rich film.

And it fucken WIMDY. The use of wind throughout the film is really effective -- Sciapinelli's coat billowing out behind him on the hilltop, the rustling foliage behind Balduin after the duel, dead leaves blown into the Countess's bedroom, and the gales that follow Balduin through the city in the film's final act. Whether used on a studio set or in location shots, wind here feels not only atmospheric but also supernatural; it's Sciapinelli's invisible presence when he's not even in the shot.

Even the relatively minimalist score works. It's mostly piano supplemented occasionally by one or two other instruments, a flute or an accordion, and there are only a handful of repeated themes. Apparently the music that's in the most recent restoration was composed only a few years ago by Stephen Horne, so it's really anyone's guess what the original soundtrack by Willy Schmidt-Gentner was like. Regardless, the new music definitely feels appropriate not only to the period the film was made but also the overall Vibes.

On my first watch about a year ago, I was struck by the special effects used in this film. For the time it was made, the effects had to be incredibly impressive. The transitions where the Double appears and disappears in a ghostly fashion are fun, but there's an especially cool shot where he appears to walk through an iron gate, and a really great close up dolly shot towards the end of the film where the Double appears to float toward the back of the room. And I don't know if this was something they touched up in post-production or if the lighting on set was chef's kiss perfect, but Connie's eyes literally glow. There are shots where his eyes, especially as the Double, are like two beacons set in the shadows.

The other performances… they're fine. I mean, everyone who wasn't playing Balduin has to have known it wasn't their movie. Except for Werner Krauss as Sciapinelli who looks like if Alfred Molina was sent back to the 1920s and did as much cocaine as he could find. He's so creature coded that I genuinely don't know what to make of his performance. Everyone else, including Connie, is kind of doing a riff on realism to varying degrees of exaggeration but still relatively tame for the era (compare the acting in 'Student to The Hands of Orlac just two years earlier). But I guess Werner Krauss didn't get the memo, or because Sciapinelli is a supernatural character it's ok for him to be a little out there. He does some really delightfully creepy and borderline upsetting stuff especially in the scene when he makes the deal with Balduin. It's all very weirdly sexual and I hate it. Otherwise, there's unfortunately very little of note in the other performances. Elizza La Porta as the flower girl does the pathetic-cute thing well, but Agnes Esterhazy's Margrit is sadly pretty forgettable.

But the Balduin of it all. This is truly a groundbreaking role for Conrad Veidt at this time in his career. I feel like this film alone slingshot him into his meatier and more interesting roles in the late 1920s. Sure, Connie was doing some interesting and versatile stuff around this time (Ingmarsarvet and Carlos & Elisabeth come to mind), but this just hits different. Everything kind of lines up perfectly for him as this character, and the story is that unique Poe-inspired blend of the uncanny and capital R Romance that really suits him. Because of the nature of the story itself, Connie's free to play big when it works for the character, but also works in these incredibly vulnerable and subtle moments as well. I don't know if this is thanks to the director being hands-on with Connie or just letting him do his thing. Whatever the case, it works.

It's maybe worth mentioning Connie was 33 when they shot this. I don’t know how old Balduin's supposed to be, but he's probably at least ten years younger than Connie was at the time. And I buy it, I buy that Balduin is a young man, foolish and naïve in the way only someone that young could be. His youthfulness isn't just suggested in the character's decisions but also in his physicality. When we first meet Balduin, Connie's doing this sulky, pouty, petulant thing that I love for him. In the first act, he's clearly beloved by his fellow-students and by the flower girl, and he easily slips out of his misery about his money problems into a more lighthearted mood. He's moody one moment and playful the next, joining in a low-stakes fencing match for fun when just moments before he was brooding alone full Morrissey style in the garden. This initial lightness about the character sets him up for his eventual inevitable hard fall into shame and helplessness.

I'm afraid to admit it took me a whole 24 hours after watching this a second time to realize that Balduin is kind of a dick. But Connie's performance is so good and so empathetic that I didn't notice right away. He himself is stunningly, Byronically beautiful in this film. He's like a painting of a tragic, Romantic hero come to life, I can’t even handle it. And, my god, the yearning! It's palpable. In the wrong hands, I would probably hate this character. I haven't seen Wegener's or Walbrook's versions, but I can't imagine they're as charismatic as Connie is in the role.

But what I love even more than Connie as Balduin is him as the Double. I am FASCINATED by this performance and this character. I have SO MANY QUESTIONS. The way he consolidates his movements so that he practically glides through the frame, the way he keeps this performance distinct by slowing everything down and keeping a lot of the Double's anguish internal… it's so good.

I think we only see the Double four times before the last act of the film: first when he steps out of the mirror; much later outside the Countess's party; in the graveyard; and after he kills the Baron in the woods. Initially, when the reflection steps out of the mirror after Balduin signs Sciapinelli's contract, the Double seems pretty soulless. His dead-eyed, mask-like expression as he stalks out of the room makes it seem like he's just going to be a mindless puppet Sciapinelli can use to torment Balduin. And certainly in their first two encounters, Balduin's mirror image slinks out of the shadows as a reminder of his Faustian bargain but also as something of a stand in for his conscience. The first two times we see the Double out in the world are when Balduin is at his happiest, in his most romantic moments with Margrit, who is not only completely out of Balduin's league but also promised to someone else (even if that some one else is her cousin...). Nothing about the Double's presence in these scenes suggests that he's anything more than a phantom, a specter to haunt the protagonist from a distance.

But then, something changes. The Double isn't just a ghost that only Balduin can see; he's just as real as his counterpart, and his actions have consequences. Balduin promises Margrit's father, the Count, to spare her cousin-fiancée in a duel the Baron knows he cannot win -- Balduin is, after all, the best swordsman in Prague. They even say the fight is supposed to be with heavy sabers, which sound like they could really mess you up. But when dueling day arrives, Balduin is delayed by the wheels inexplicably coming off his carriage. He races through the countryside on foot in order to make his appointment, but it's too late. He stops dead in his tracks, frozen in fear, as the Double appears, approaching him slowly from the tree line. When the Double reaches him, Balduin sees the bloody sword and immediately recoils, fearing the worst. But what's most interesting about this scene is that, when the Double finally looks up, his expression is not that of a mindless zombie. When he looks up, the Double looks horrified. Realization slowly rises in his face, and he turns to Balduin with this look of abject horror and helplessness while Balduin cowers in fright. And as the Double turns to walk out of the clearing, he hangs is head in pained resignation and I AM OBSESSED. There are no intertitles in this sequence, but the anguished look he gives Balduin says, "Do you see now? This, and worse than this, is going to keep happening." Connie's performance in this scene suggests the Double may not be able to control his actions but he certainly has feelings about them. So does this mean the Double is in fact Balduin's soul? His goodness? His innocence? I NEED TO KNOW MORE.

The Double is also consistently dressed in the student costume Balduin wears at the beginning of the film. After Sciapinelli gives Balduin the money, Balduin buys a whole new wardrobe (honestly, who wouldn't?). But the mirror version of Balduin doesn't change to reflect Balduin as he is in the present; the Double wears the clothes of a student -- the cap, the velveteen jacket -- because he represents who Balduin was. He's the boy, the youth uncorrupted by excessive wealth and privilege, now made to do horrible things because Balduin so easily handed him over to Sciapinelli when they made their deal. UGH.

The final time Balduin sees his Double, his mirror self hounds him with measured steps, pushing him away from the fragile security of wealth and opulence back to his abandoned student flat. And the expression on the Double's face now is grimly accusatory, it's deeply solemn disappointment, it's a final judgment before an inevitable end. There's sorrow and resentment in the Double's eyes, but kept restrained and subtle, gradually building in wordless intensity until Balduin must finally face himself, literally, in order to end his torment, finding a pistol and shooting his mirror image and therefore killing himself.

Maybe a lot of the descriptors I use for Connie are hyperbole, but his work in this film is remarkable. Anyone interested in getting to know him as an actor, hell, anyone interested in film history period, absolutely should watch The Student of Prague at least once.

Final thoughts: For real, though, it would suck to not have a reflection. I recently had a whole conversation with my (straight, cis male) family members about this; not a one of them owns or even sees the need for a full length mirror. And maybe the big mirror in Balduin's student room came with the place when he moved in, but you get used to having something like that. I know it would drive me crazy not being able to check my whole outfit to make sure I don't look like a doofus before leaving the house.

[goldensunset]

@the--plant in response to your tags on my khux post. 'is this game free?' i guess you could say that. it's something even more fun! it's

✨ defunct ✨

yeah uh. the app ended its service back in 2021 shortly after the ending to its story was released. what's left of it is basically a dress-up game and a theater mode (aka you can still create your own character and then watch all the story cutscenes with them in it). but even that recently was taken away from us! a few months ago it was quietly and unceremoniously removed from the app store! a lot of people still have the app (holding on for nostalgia's sake, i guess. nothing is playable and it's not like the cutscene movies aren't on youtube) so as long as we don't delete it we can keep it but like no new downloads... 😔

that said. IF you have an interest in khux. if you would like to jump down into this weird delightful rabbit hole with all us other insane people. we can make that happen! there are two particular options i’d recommend:

firstly! the cutscene ‘movie’ from everglow. yes it is like 5 and a half hours long it’s a whole game story of course. you don’t have to watch it in one sitting or anything lol. this is a pretty cut-and-dry compilation of every story relevant cutscene in the game, in the official order they were released in. (this being kingdom hearts, there’s some in-between stuff where the player goes and visits disney worlds. unfortunately almost none of it has any bearing on the actual plot or characterization in this particular game… so this uploader has opted to cut it out. but it is important to know at least that it all exists.) this vid below is what i would consider the most authentic experience!

option two is the fandub movie! see these mobile games don’t have voice acting, which turns some people off of taking an interest in them. but this here is an incredible fan-made project that took auditions for each character, cast voice actors, collected their dubbed dialogue, and neatly edited and mixed the video all together. it took a ton of time and effort to put together and it came out incredibly well!

that said, i personally wouldn’t recommend it for a first time experience (unless you really, really can’t bear to do a lot of reading without voice acting). see, damo279 did things a little differently. a lot of cutscenes in this story weren’t released in chronological order- which is sometimes narratively appropriate, of course, but in other places it gets confusing. he rearranged some of these scenes to try to make the story a little more coherent. which imo mostly was fine, but it very much does change the audience’s experience (such as with the whole entire strelitzia thing. originally that entire section was a flashback and we didn’t know she existed until she was already long dead). he also kind of like ‘added’ a few scenes of his own with narration by one of the characters to summarize the disney world stuff. mostly at the beginning of the game bc the plot starts slow and then picks up the pace exponentially. but like if you don’t care about authenticity though that’s fine lol

the other thing is that like there is also a fully animated fully voiced movie featuring the foretellers (the masked cult leader furries lol) that exists as supplemental background material. chronologically that stuff all goes first, but it would be a reeeeeally really terrible boring weird introduction to the story imho. it’s better to just come back to that afterwards if you’re curious. and see the fandub project mixes the movie and the game together in chronological order to tell a full story. again- it’s great if you’re an existing rabid fan! i love it! but probably weird if you’re a new fan tbh. unless you’re very open minded and patient. in any case here’s part 1 of it! part 2 should be easy enough to find off of this video

and with that said. if you decide to check khux out PLEASE keep talking to me and asking questions! i know it’s a lot. there are even questions that we existing fans don’t yet have the answers to so like don’t feel bad if you don’t understand something! that’s part of the fun… this series is ongoing… hehe

[ponett]

I have now finally seen the Mario movie. It was Pretty Good. Here are my wordy thoughts on it. (I am going to spoil the entire movie. Duh.)

In many ways, the Mario movie does what I wish the first Sonic movie had done. They just took the characters and the premise and the world from the games, and made it a straightforward animated adventure movie. It's bright and colorful and remixes things JUST enough to include fun elements from multiple games, and it doesn't make Mario get adopted by James Marsden or whatever. It even has the music!

That's all you really need, right? Right...?

I'll get this out of the way up front. Chris Pratt was fine. He's fine

If anything, it really feels like they did the movie a disservice by letting us hear so little of the Mario voice in the previews. It took one scene for Pratt to disappear into the role for me. It was totally fine. If anything, I found Charlie Day's normal voice coming out of Luigi WAY more distracting, even if I did like him in the role.

Everyone else was pretty good, for the most part. Jack Black was obviously very good as Bowser, but I'm biased. Seth Rogen does the Seth Rogen laughs as Donkey Kong, but I thought DK was fun, too. (I liked his little rivalry with Mario where he was just constantly giving him shit.) The only casting choice I truly hated was Fred Armisen as Cranky Kong. I hated every line that came out of his mouth. He sounds atrocious. Just the worst. I swear to fucking god if they do a DKC movie and we have to hear him for 90 minutes

I did think Peach was lacking, but that was on the script, not Anya Taylor-Joy's performance. It's cool to see Peach fight, but it's one of those all too common instances where the writers put so much effort into making the main girl kick ass and be an effortlessly confident girlboss that they forgot to give her an actual personality. Not that I'd point to Super Princess Peach and its mood swing superpowers as positive representation or anything, but there's a happy middle ground, surely. Shrek was 22 years ago, just having the princess do flying kung fu kicks isn't enough.

Okay. With the voices out of the way, let's talk about the big picture:

It's way better than the words "Illumination Mario movie" implied, and I mostly enjoyed my time with it. The spirit of Mario is there 100%. But I'd also describe it as "ruthlessly efficient."

This was perhaps the main complaint critics had, and they were absolutely right. People have responded to these totally average reviews with "Well, what did you expect? Shakespeare?! It's MARIO!!" Like, yes, I would prefer it if the movie I paid to see had writing that was good instead of bad. What a shocker. My issue isn't that it's not "high-brow" enough. The problem is that it feels mercenary. It feels like an editor went through and deleted almost every line of dialogue that isn't some form of exposition, at the expense of the pacing. Any scene that's not a montage or some sort of action is kept as short as they could make it, with barely any room for embellishment, character interaction, or anything other than the bare minimum word count to hit all the typical Save the Cat Hollywood screenwriting 101 story beats to the letter. There aren't even as many jokes as you might think (and the ones that are there are extremely hit or miss, including a lot of the slapstick with Mario himself).

Mario and Peach's little arc together in the front half of the film is probably the worst example of this pacing. Even having read reviews that complained about how fast Peach goes from meeting Mario (by her admission the first other human she's ever met) to deciding to train him as the new savior of the Mushroom Kingdom, I was SHOCKED at how fast it was. They don't even lampshade it.

Peach takes Mario straight into the big training sequence where he learns how to use mushrooms and jump over platforming obstacles. Peach is apparently already a hypercompetent platforming pro and a great fighter, so there's no clear reason why she's taking the time to train this random guy to be half as good as her when the world is in danger. Then they set off on their adventure, Toad joins them, and we get a VERY brief travel montage. It's about thirty seconds total - just long enough to give Peach a line about how she wants to protect this beautiful world of hers to try and give her some stakes. We get the genre-mandated nighttime campfire heart to heart, which is exactly long enough to have Mario say he misses Luigi and to have Peach give the two sentence summary of her origin story and not a second longer. Then they reach the Kongs, and their big journey is complete. (They barely interact for the rest of the movie.) So much of the movie is like this - always ready to get on to the next scene as soon as a new one starts.

I'm not criticizing the script because I expect The Super Mario Bros. Movie to be a prestige drama - although there are certainly halfhearted attempts at a dramatic arc. The stuff with Mario's family was a fun enough idea, but again, ruthless efficiency. We get one quick scene with them at the start to give Mario some pathos, because I guess Save the Cat said he's gotta have some pathos. And then Mario gets his dad's approval amidst the action of the final battle in Brooklyn to resolve his arc, just so the movie can end as quickly as possible once Bowser is defeated. (Despite now having the approval of their family and their community back in Brooklyn, Mario and Luigi move to the Mushroom Kingdom off-screen without a single word dedicated to this decision, because that's where they live in the games.)

Look. I am not comparing it to The Godfather. Don't give me that shit. I am not asking for an extra half hour to explore Mario and Luigi's childhood trauma. I am not asking for the complex inner workings of the Mushroom Kingdom monarchy. I know this is gonna be a basic Hero's Journey adventure for kids. It just feels like it's turning down so many opportunities to have a little fun with the characters, to let them interact and play off of each other, to let there be some adventure on this adventure. This is the first time we've gotten to see these characters interact with fully voiced dialogue in a very, very long time! "Yeah, it's not High Art, but it's FUN!" Stories are fun! Character interactions are fun! The script could be having so much more fun!! It is adamantly against making the Story parts of this story-driven movie any more Fun than they functionally need to be!!!

Mario, Peach, and Toad's journey to find the Kongs is shorter than the training montage that precedes it. After the opening, Bowser mostly just sits in his castle and waits for the third act to start. Luigi's there, too, but he only gets one scene with Bowser and then the movie mostly forgets he exists until the climax. He doesn't even get to try and sneak out of Bowser's castle and get up to hijinx. He's just there to be a motivation for Mario, so he sits in a cage for half the movie. It's the bare outline of a script with action scenes added in.

Aside from the fact that it's Jack Black singing as Bowser, I feel like this overly-efficient script might be part of the reason why the "Peaches" scene stands out so much. It's a moment that didn't strictly need to be there to keep the plot moving or to provide an action setpiece. It's not even a reference to another Mario thing. It's just a fun and memorable little character moment that's there for its own sake. That's what the movie needed more of. To stop and smell the roses more often. To play in the space.

To be clear, this isn't a unique problem with this movie. Critics have been noting for years that second acts are disappearing from big Hollywood movies in favor of the Act I plot setup and the Act III action, even though Act II is supposed to be where you get to explore your actual premise. And lots of animated movies give me this exact same vibe of being too "screenwriterly," or feeling like they had an executive breathing down their necks and demanding changes based on focus testing. But these common issues are why I come away mostly feeling like the movie is on the better end of "average," rather than totally blowing my mind. You have seen this movie many times before, just not with Mario in it.

And, of course, there's the music. The score by Brian Tyler based on various classic Mario and Donkey Kong tunes (frustratingly all attributed to Koji Kondo) is absolutely beautiful, but it's unfortunately frequently overshadowed by the licensed music. Everyone already complained about things like the use of Take On Me in place of a lovingly arranged DKC medley, but it feels illustrative of the tug of war the movie is caught in the middle of, between wanting to be a lavishly faithful Mario movie and wanting to be a generic tentpole animated adventure movie. Every single licensed song used is the most obvious, overused song they could have picked for the scene. It reeks of cynical executive meddling and it took me out of the movie every time.

But there really was a lot of care and love put into this movie - more than probably any other video game movie ever made, not that that's a high bar. I don't want to underplay that too much amidst all my complaints spurred by the absolutely insane response to the reviews.

Aside from the countless background references that people will be picking apart for years, touches like the Captain Toad tune playing in the background of Toad's introduction or the Mario Kart 8 menu music playing in the kart garage really help bring it to another level of authenticity. I also enjoyed seeing some more obscure Mario enemies that felt like they were picked more for being fun to animate than for being nostalgic and marketable. No matter how many times I sarcastically pointed to the screen and deadpanned "reference. reference." I am not immune to noticing these things and smiling. I am not immune to the DK Rap. These alone don't make the movie good, but it's nice to have a video game movie that feels like it was made by people who like video games.

Most importantly, the animation is great throughout. It's leaps and bounds ahead of other Illumination work, and it's the best the Mario cast has ever looked. They even made Donkey Kong handsome, somehow. They're all so squishy and expressive, and they move so fluidly - especially in the action scenes. I particularly liked the more kinetic ones like the aerial Banzai Bill chase and the Mario Kart sequence. Truly, the Mad Max-inspired car battle on Rainbow Road where Mario literally does the speedrun shortcut is this movie firing on all cylinders.

Other, more hand-to-hand fights nail the Popeye-esque vibe Mario should be going for. He's an underdog who gets the shit kicked out of him by bigger, stronger opponents until he gets his signature powerup and turns the tables on them. My favorite animation of all probably came from the use of Cat Mario to turn the tide in the DK fight. They had so much fun making Mario move like a cat. Again, it feels like a choice made because it'd be fun to animate rather than just a nostalgia move.

It's that animation and that attention to detail that carry the film, really. They elevate it from mediocrity into being a fun watch for a fan like me, albeit one I couldn't help but pick apart with Anthony as we watched it at home. I'm glad I saw it, but there's a lot of room to improve with the inevitable sequel. I hope they do. I can't deny that I had fun with the movie, but I hope next time that fun is partially because of the script instead of in spite of it.

Stray thoughts:

Overall, I would say I enjoyed the movie a lot more than Sonic 1, but probably not as much as Sonic 2. Not that these movies need to be pitted against each other.

I hated the Luma. I hated how hilarious they clearly thought the Luma was. They have the fucking Luma break the fourth wall to end the movie and start the credits. This is going to be a deep cut for fans of bad animated films, but the whole time I was just thinking of the little fish from Romeo & Juliet: Sealed With A Kiss who's just the director's kid saying random nonsense. You know I'm right

I rolled my eyes at the "our princess is in another castle" joke and several other jokes that would have been dated in a gamer webcomic 20 years ago but I guess they had to be there

How much of Brooklyn did Bowser's giant floating castle take out? We know 9/11 happened in this universe because the Freedom Tower is there, hasn't New York been through enough

I can't believe there's a Diskun easter egg

The dog is the most Illumination character design in the movie. It felt like it wandered on set from The Secret Life of Pets

Mario being a gamer and playing Kid Icarus of all things just made me remember this tweet:

Yes Anthony did get mad at me for being thirsty for Bowser

[bridgertonandchocolate]

Still living in my Polin era. Not leaving anytime soon. But since they announced Benedict will be the focus on season 4, which came as absolutely no surprise and didn’t really probably warrant an announcement at this point in time since we’ll be waiting forever for the next season, I decided to start making a list of potential spin offs that Shondaland and Netflix should take advantage of and make for us.

I hope they have something planned similar to Queen Charlotte but who knows. Queen Charlotte is definitely very different because it was more based off actual history and to me it still feels very separate other than bringing in Violet and Danbury that sticks more to the Bridgerton side of things.

Anyway here’s some ideas that could be added to the Bridgerton collection:

1. The Featherington story. I’d love to see Portia’s origin story. We got a big glimpse of it this season and I’d love to see her originally as maybe a very carefree debutante and realizing just what is expected of her and the choices she made. And maybe combining this with current timeline with a new heir. This would be more dramatic. I also wouldn’t mind seeing the Featheringtons in a comedy because they’re hilarious.

2. Edmund and Violets story. We know how this one ends and honestly I don’t know if this would ever be explored now because we have seen Edmunds death and we saw a young Violet so it just might not be an interest. Or it would’ve probably be a very long series. I think they could draw on the aunts and uncles of our Bridgerton siblings. We know Francesca stayed with her aunt in Bath and Julia Quinn does have her whole prelude to Bridgerton series so…I’m not opposed.

3. Bridgerton Christmas. I stole this idea from a few people I saw on TikTok. It wasn’t anything I had thought about before but it would be an easy way to keep production costs low. Would be more of a movie than a season with multiple episodes. Very similar to what shows like Downton Abbey have done that they have where they have a special I think this could be something fun to hold people over.

4. Lady Whistledown. Something. Season 3 had the opportunity to delve into the origin of LW and have some flashbacks and didn’t do it. They did explain why Penelope started the column but I think it would have been interesting to see more to see how in the world she created this empire. There was also mention of other gossip columns in the first episode of season 1 so the competitiveness of this. The danger Pen put herself in could lend itself to something. There probably isn’t enough here for this idea to become a spin off.

5. The servants. Anyone love Footman John? Yeah we all do. Want to know more about Varley or Wilson? Or season 3 MVP Rae?! Taking a note from shows like Downton Abbey this could be an interesting story to tell from the servant “downstairs” point of view. This would be unlikely. They haven’t delved much into this side of things so not many people probably do care about these side characters plus if they stick with Sophie being a ladies maid for season 4 that probably wouldn’t be likely at this point. Maybe after season 4 but they’d have to dig more into these side characters and bringing them into the more prominent storylines.

Kudos to you if you made it through that list. Mostly I just want more Polin so they could get their own spinoff, a film series, a travel series. Or just cast Luke and Nic in some rom coms for me so they can go on more press tours that’d be great.

[bulkyphrase]

2012 Avengers Tower: a fic rec list

I think we all sometimes yearn for the days when we thought Marvel would let the Avengers be friends who all lived together and fought supervillains in between movie nights.

Though these stories weren't all written or set in 2012 post-Avengers 1 era, but they all feature that team hanging out, having fun, and supporting each other through difficulties.

The list is in chronological order, with fic published from 2012 to 2024.

Amateur Theatrics by galaxysoup (@galaxystew-zombie) (Gen | Teen And Up Audiences | 26,586 words | Published April 01, 2012)

Summary: In which Thor’s primary problem-solving method (a mighty blow from Mjolnir) fails to have the desired effect on a magical artifact, and his secondary method (a mightier blow from Mjolnir) proves to be actively disastrous.

Big in Japan by gunboots (@gunboots) (Loki/Thor, Stucky | Teen And Up Audiences | 6,203 words | Published May 01, 2012)

Summary: Steve hesitantly reaches out and takes the object in Tony’s arms to survey it. 'It' being a pillow upon which was an almost frighteningly accurate illustration of Loki, their on-and-off again nemesis. "I don't--how did you even get this? Who would MAKE this?" Clearly Steve doesn't find the attention-to-detail on Loki's costume as hilarious as Tony does, which whatever. Like he said. Killjoy. A.K.A The one time Tony buys Thor the world's worst souvenir and it somehow worked out in the end anyway.

The rest are below the cut!

Soft Skills by Lady_Ganesh (Gen | Teen And Up Audiences | 4,154 words | Published May 31, 2012)

Summary: "So," Bruce said carefully. "You're saying that your tower became a big target for an alien army, so you're going to rebuild it as an even bigger target?" "Well, when you put it like that, it sounds stupid," Tony said. The team tries to bring Steve Rogers into the 21st Century. It mostly works. As my beta CaptainBlue said: Also I love how you did a fic about Avengers team building and still managed to make it 100% about Cap. You have a gift. This is why I love her. Any remaining mistakes are mine.

Without the Usual Cost of Labor by vain_glorious (Gen | Teen And Up Audiences | 6,387 words | Published June 15, 2012)

Summary: "Someone just reported to SHIELD that whatever was stolen produced “viable offspring,” and we’re hoping that doesn’t mean what we think it does,” Bruce says, evidently deciding to take over for Tony after only one masturbation joke. Also available as a podfic read by blackglass

The Great Avengers Body Swap by vain_glorious (Gen | Teen And Up Audiences | 3,712 words | Published July 23, 2012)

Summary: Loki and the Avengers spend a month in SHIELD's detention cells, because Loki cast a bodyswapping spell against them and got himself with it, too. Also available as a podfic read by blackglass

The Ice in Windless Cold by Isagel (@isagelc) (OT6 | Explicit | 11,883 words | Published August 19, 2012)

Summary: "I dream about the ice," Steve says. "About being in the ice." Also available as a podfic read by susan_voight

Private Bookmark? by storiesfortravellers (Gen | Mature | 2,638 words | Published August 24, 2012)

Summary: The Avengers discover that there are fans who write explicit RPF fic about them. Some of them are very confused. Some are proud. Some don't understand why everyone writes the pairings who aren't together but hardly anyone writes the couple who actually is together. Much silliness ensues. Also available as a podfic read by analise010, AshesandGhost, dapatty, fire_juggler, lorcalon (uniquepov), Opalsong, Weebs813

The Goat's Back by arsenicarcher (Arsenic) (Gen | Mature | 10,155 words | Published November 30, 2012)

Summary: An AU where Steve's essentially a failed experiment, corporal punishment is the predominant form of discipline and team leaders take the punishments for those under them.

Dear Clint Barton (circa age 7) by pollyrepeat (@pollyrepeat) (Gen | Teen And Up Audiences | 4,221 words | Published March 31, 2013)

Summary: The most annoying parts of being de-aged (and then re-aged) are your friends. Also available as a podfic read by RsCreighton (@rosecreighton)

What We Pretend To Be by ifitwasribald (Gen, Bruce Banner/Tony Stark | Explicit | 100,697 words | Published July 14, 2013)

Summary: Good becomes great, bad becomes worse. But people are a hell of a lot more complicated than good and bad. When half of the team is dosed with the super soldier serum, they all have to grapple with their own pasts and futures. But for better or for worse, they’re all in it together.

Speak So We Can Hear Your Heart Beat by Jaune_Chat (@jaune-chat) (Gen, Clint Barton/Natasha Romanov, Pepper Potts/Tony Stark, Jane Foster/Thor | Mature | 15,402 words | Published November 10, 2014)

Summary: The Avengers are rendered mute by Amora the Enchantress. As a search for a cure grows more and more dim every day, the Avengers have to deal with the reality of learning to communicate with each other in a whole different way. Uncertain if they'll be able to fight again, they enlist the help of their friends, and learn some surprising things about each other as they struggle to hold onto their identities as the World's Greatest Heroes.

The Health Benefits of Knitting by Niobium (@niobiumao3) (Gen | General Audiences | 1,179 words | Published January 15, 2015)

Summary: Clint isn't sure what's really relieving Natasha's stress—the knitting, or the part where she foists the horrible results off on other people. Also available as a podfic read by reena_jenkins (@reena-jenkins)

Clint Barton's Guide to Friends and Ceiling Vents by NoliteTimereEos (Gen | Teen And Up Audiences | 6,488 words | Published July 11, 2015)

Summary: In which Clint Barton meets a missing assassin in the vents and somehow becomes friends with him. Things don't go as bad as they could have. Also available as a podfic read by babbling_bedlamite

How to Train Your Superheroes by StuckySituation (Gen | Teen And Up Audiences | 3,150 words | Published March 05, 2019)

Summary: “But of course, no matter how much we practice on schedule, we will need to learn constant vigilance and manage to get our reaction times down to the minimum,” Steve continues and takes the last burger beef from the grill and puts it onto the table next to him. Natasha has a brief millisecond to frown and think “Constant vigilance?”, before Steve kicks the grill so hard that the coals rain on top of the flammable carpet feet away. “What the hell-!?” “STEVE!?” Steve is already sprinting towards the ledge. “First training session started! Wanda, Sam, Tony - someone CATCH ME!” Then he jumps off the Tower. Also available as a podfic read by vassalady (@vassalady)

Do You Remember Being Happy? ('Cause I Sure Don't) by GalaxyThreads (@galaxythreads) (Gen | Teen And Up Audiences | 11,022 words | Published April 25, 2020)

Summary: "Dragr," Thor called them. "Demons" Clint had said. "Thieves" is what Steve labels them as. AKA, the one where Steve is captured by creatures that feed off of happy memories, and the team is left to pick up the pieces. Post-Avengers.

5 Times Steve Dealt with His Team's Sleeping Habits... by The67ImpalaDragonChild (@dragonimpal67) (Gen | Teen And Up Audiences | 29,606 words | Published November 08, 2020)

Summary: ...and one time they dealt with his. Steve didn't think anything of it when he moved into the Avengers tower. He didn't think about how much the people he's living with would affect him. He's thinking about it NOW! Who knew a bunch of super heroes could be so weird about something as basic as the need to sleep?

on the mend by meidui (@meidui) (Gen | General Audiences | 1,438 words | Published February 03, 2024)

Summary: Steve rarely feels this awful after a fight, but then again, he hasn’t been on a solo mission in months.

[burst-of-iridescent]

atla live action thoughts: season one review

first things first: anyone who says the Movie That Does Not Exist is better than the live action is straight-up lying. the shymalan film fails on the criteria of even being a decent movie, let alone an adaptation. the netflix series, for all its problems, is at least an enjoyable watch with great effects, music and (mostly) appropriate casting. there's absolutely nothing to compare here - the netflix version clears easily.

now that we've gotten that out of the way, let's delve into the series, starting with the positives.

the good:

visuals and cinematography. they really did a great job of making it feel like a fantasy universe you wanted to be in & i love how vibrant the saturation and colour grading was. it made the world feel so much more dynamic and alive instead of the same flat, boring dullness that so many movies and shows have these days. sometimes i didn't even mind that i was being fed obvious exposition because at least they were giving me something pretty to look at lmao

effects and action. the bending was surprisingly good for the most part, and they did a good job of making the elements feel unique through the stunt choreography and the actors' movements. i'm immensely thankful they didn't try to skimp on budget by merely cutting away from fight scenes or showing us as little as possible. almost all the action sequences were fast-paced and engaging, and i was never bored watching them

acting. the main four were all great, but gordon cormier and dallas liu have to be the standouts for me. gordon brings such an earnest, innocent sweetness to aang that you can't help but like him, and dallas plays all of zuko's facets perfectly: the angst, the explosive anger, the bratty snark, and especially the deep-rooted pain that characterizes so many of zuko's actions in book 1. the range he has, especially when flashing from younger to older zuko, was insane. special shoutout to maria zhang and sebastian amoruso as suki and jet respectively, because they killed it

music. leaves from the vine instrumental had me tearbending and i love how they kept the iconic avatar theme while making it a little darker for this iteration of the story. in general, the soundtrack felt very true to the animation while still being a fresh spin on it

zuko and iroh's relationship and expanding on zuko's crew. i think the fandom universally agrees that lu ten's funeral and zuko's crew being the 41st division were the best changes in the series, so i'm not going to talk about it further other than to say that these scenes show me what the show can be, and that's why i'm not giving up on it

the bad:

characterization. almost all the main characters are missing the little nuances that made them so great in the original, but the greatest casualty is katara. i hate that they took away so much of her rage, and gave many of her traits and struggles to sokka. i don't think this is a problem solely with the writing though, because certain lines do feel like things animated katara would say, but the directing and line delivery don't have the same punch that made her so fierce in the original. this is an easily fixed issue though, so i hope they take the criticism and let my girl be angry and fuck shit up next season

exposition. this was primarily a problem in depicting aang's personality and the relationship between the gaang, because a) why are you TELLING me that aang is mischievous and fun-loving instead of just showing me and b) the gaang do NOT feel like close friends, mostly because they spend so much time apart in every episode that they have little screentime to actually bond and develop intimacy.

lack of focus on the intricacies of bending. for a show whose tagline is "master your element" the characters spend very little time actually... mastering their element. zuko is never shown to struggle with firebending (which is going to have ramifications when it comes to developing his relationship with azula), and neither aang nor katara ever learn waterbending from a master throughout the the entire show. i'm pretty sure aang never willingly waterbends ONCE in the entire eight episodes, discounting the avatar state and koizilla. bending isn't just cool martial arts, it's closely linked to the philosophies and spirituality of each nation, and i wish that had been explored more.

pacing. they really needed to do a better job of conveying that time passed between episodes because an 8-episode season is just going to FEEL shorter than a 20-episode one. the original animation felt as though they'd truly been on a long journey before arriving at the north, but here it feels like the entire show happened in the span of a fortnight or so because each episode seemed to pick up right after the previous. they needed to have more downtime within episodes instead of just rushing from plot beat to plot beat because it made everything feel a lot more rushed. give the characters and story time to breathe.

final rating: 7/10.

overall, i would describe the live action as a better version of the percy jackson movies - not an accurate or perfect adaptation, but a decent story that's very fun to watch. but what really makes me root for this show to get a season 2 is that it has a lot of potential and more importantly, a lot of heart. it's evident that the people who worked on it do genuinely love and respect the original series, and it shows onscreen.

regardless of anything else, this show created opportunities for so many asian and indigenous actors, writers and creators to tell the kinds of stories and play the kinds of roles they don't usually get, and that's something worth supporting. if they take the criticism from this season and improve, i believe they really do have something special on their hands which - although it might not be the original we all know and love - could still be a story to be proud of.

[jihef03]

Official Lucky Luke live-action series cast so far

The Lucky Luke series has started shooting in Spain ad I'm scouring infos like a vulture, so here's the official cast for now :

Alban Lenoir as Lucky Luke:

I mostly know if from his role in the Kaamelott series where he played a dimwitted thug -not unlike a Dalton ironically-. He can poke fun at himself and he's branched into bieng a action movie lead since then. I didn't expect him as the role but he can pull it off, especially if the show takes inspiration from the "Pat Poker to Phil Wire era" Lucky Luke.

Jerome Niel as Joe Dalton:

Potentially, this could be modern " Jack Nicholson as Joker" moment. Like yeah, he's an obvious choice, his used to that kind of performance and he looks the part. I think Joe's a tough character to get right, especially in live-action but I'm not worried here/

Camille Chaboux as Calamity Jane:

Just like Lenoir, I'm not too familiar. But I did watch some of her videos online and she's a good fit, both in looks and energy, so again great choice. Sylvie Testud did a great job as the character in the 2009 movie, I think Chaboux's gonna do great too.

Victor Leblond as Billy the Kid:

Again, perfect choice in terms of look. Haven't seen anything of him but I'mma change that.

There's also Billie Blain and Alice Taglioni starring in the show but they play characters specifically made for the show :

Kinda my big fear when it comes to adapations, if you feel the need to creat madeup character when there's already a slew of characters to pick from. Then again, it happens and woman roles are kinda sparse in Lucky Luke so.

Tldr: great cast so far. Obviously' the real is gonna be the script and the humor, but you know, I'm cautiously optimistic.