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reddeadreference · 2 years ago

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Horseshoe Overlook: We Loved Once and True (I-III)

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Full Transcript below ([...] placed where a gap of silence is for the same person speaking or when there’s a long period of silence and distance traveled.)

This video (and therefore this transcript post) includes We Loved Once and True parts 1 through 3. 1 being when Arthur gets the mission, 2 being when he goes to see Mary, and 3 being when he goes to get Jamie.

[Video starts with Arthur in camp just before the mission becomes available]

Susan: Mir. Morgan. Mr. Morgan.

Arthur: Yes, Miss Grimshaw?

Susan: One of the girls saw that friend of yours, Mary Gillis, sniffing about.

Arthur: Mary?

Susan: Yes. I never liked that woman, Mr. Morgan. Funny business. (Note: the subtitles say “her” instead of “that woman”)

[Scene cuts to Arthur finding and reading the letter left at his tent from Mary. The letter is narrated by Mary:]

Dear Arthur,

I’ve written this letter a hundred times or more and I cannot get it right. It’s me. You know it’s me from the bad hand writing. I know I said when last we spoke and I was going off to get married, that we would not speak again. I know I said a lot of things and I meant them, I suppose, at the time, but I am not so proud as to not speak to people who care for me,or cared for me.

I’ve been in Valentine for a couple of months. I had some bad luck and, well, it’s a long story and not an interesting one, but I am here for now. I saw a couple of the girls, or whatever the polite term for them is, that ran with you and your associates in town and I heard tell of a man who sounded like you. I would love to see you again, if you could spare me a little bit of your time. I’m renting a room at Chadwick Farm, just north of Valentine.

Yours,

Mary Linton

=If Money Lending 3 is your only other mission you haven’t done=

Strauss: Mr. Morgan, can-can I… are you okay?

Arthur: Yes… (He puts Mary’s letter into his bag.) I was miles away I’m afraid.

Strauss: So it seems. (The two walk away from the tent) Anyway, it’s that fellow, Downes.

Arthur: The, uh… do-gooder?

Strauss: Exactly. We lent him quite a sum… it seems like he has little intention of repaying us… he was quite ridiculous when i went to see him. You uh, you’ve not been to see him yet, I take it?

Arthur: I-I’m sorry, Herr Strauss… had a lot on… I’ll go give him a gentle reminder.

Strauss: Not so gentle… I don’t like his kind. Superior.

Arthur: As you wish.

[The scene changes to Arthur approaching the door of the house at Chadwick Farm. Arthur knocks on the door and takes off his hat. A woman with a revolver in her hand opens the door.]

Civilian: Yes?

Arthur: Oh, I’m sorry, I didn’t mean to disturb you ma’am. Is Mrs. Linton in?

Civilian: I’ll go see. (The woman closes the door but can be heard on the other side) Mrs. Linton, a caller for you.

[A moment later Mary opens the door]

Mary: Hello, Arthur.

Arthur: Mary. I, erm…

Mary: I heard you and your friends was around, I…

Arthur: Okay. Where’s erm… where’s what’s his name?

Mary: Died.

Arthur: Well, I’m sorry to hear that.

Mary: Yeah, me too… me too. Happened a while ago… pneumonia.

Arthur: Bad business.

Mary: Sure.

Arthur: So uh… well, y-y-you’ve been… you’ve been made a widow and… you come here looking for me, is that it?

Mary: No, ain’t like that, Arthur.

Arthur: Oh, okay…

Mary: Listen, Arthur. I… I’m… my family… I need your help.

Arthur: You mean the family that always looked down on me? And you want me to help them?

Mary: It’s my little brother, Jamie.

Arthur: I always liked Jamie… at least compared to the rest of them.

Mary: He’s broken daddy’s heart.

Arthur: Daddy has a heart?

Mary: Don’t make me beg you, Arthur.

Arthur: My money, my life, me… I wasn’t good enough.

Mary: I’m sorry. We need your help real bad. Little Jamie’s joined… the Chelonians, that strange religious order.

Arthur: Good for him.

Mary: They’re quite mad, Arthur. They’ll kill him. You’re the only person he’d listen to.

Arthur: So, I’m too rough to marry into your family, but it’s okay to ask me to help in saving your family.

Mary: I’m sorry. I understand if you don’t wanna help me, but…. but I think of you often.

Arthur: A long time ago now.

Mary: I’m begging you, Arthur.

Arthur Morgan: I say let Jamie live Jamie’s life, and not the nightmare that his daddy dreamed up for him.

Mary: Jamie’s so innocent, Arthur. Please, Arthur. Will you help me?

=Don’t Help Mary=

(Note that if you don’t help Mary the mission ends after the scene and the letter you receive from her later is slightly different.)

Arthur: I’m sorry, Mary. I like Jamie… but, you and me… after all that’s happened… (Arthur puts his hat back on) you’re gonna have to find someone else to run your errands.

Mary: Okay… Arthur, I miss you.

Arthur: Yeah, I miss you too. It’s all in the past now. (He steps down off the porch.)

Mary: Take care of yourself.

[Arthur hesitates a moment.]

Arthur: Sure.

[Arthur walks away as Mary goes back into the house and the mission ends.]

=Help Mary=

Arthur: Where is he?

Mary: Somewhere out near Carmody Dell, I think. The rancher there said he’d seen him around the Cumberland Forest. I just want him back, Arthur. (Arthur puts his hat on) If you find him, bring him to me at the station.

Arthur: I’ll see what I can do. (He steps down off the porch and begins walking away.)

Mary: I’ll owe you.

[Arthur looks back at her as he keeps walking.]

Arthur: You already owe me.

We Loved Once and True - III

[The scene switches to Arthur riding up a hill towards the meeting place for the Chelonians. In the distance there are 5 men, Jamie, the Chelonian Master and three Chelonians. The Chelonian Master is kneeling before Jamie.]

Chelonians: Chelonia… Chelonia… Chelonia…

Chelonian Master: And what is Chelonianism? No less than the recent rediscovery… of theology. (He chuckles) One hundred years ago, the great Chelonian master, led pilgrims across the Lannahachee into the wilderness… to found a great place of safety.

Chelonians: A place of safety.

Chelonian Master: That… is where we are heading, Jamie.

Chelonian 1: Yes, Jamie, that is where we are heading.

Chelonian 2: Yes, Jamie, we are heading to paradise.

Chelonian 3: It’s in the mountains…

Jamie: Oh, it sounds wonderful.

Chelonian Master: It is wonderful, Jamie, really wonderful.

Jamie: My father…

Chelonian 1: Your father will understand, Jamie… it’s paradise.

Chelonian 2&3: It’s in the mountains.

Chelonian Master: And when we get there, Jamie… we will write to your father, together.

Chelonians: Togather.

Chelonian 3: From the mountains.

[An eerie music begins to play.]

Chelonian Master: Chelonia.

Chelonians: Chelonia

[From here the Chelonian Master and Chelonians simply repeat “Chelonia” until the player walks close enough.]

Arthur: Gentlemen.

[As Arthur approaches the three Chelonias get up and huddle together behind the master but in front of Jamie. The master stands.]

Chelonian: Shell of safety. Shell of safety. Shell of safety.

Chelontian 2: Shell of safety…

Arthur: Can I speak to the boy?

Jamie: Arthur?

Arthur: Hello, son. Your sister is very worried.

Chelonian Master: The boy has chosen a path, sir. The path to truth.

Arthur: Well… his sister just wants to speak with him.

Jamie: Arthur… I’ve chosen a path.

Chelonian Master: The boy has chosen a path, he’s chosen safety… what path have you chosen, sir?

[There are various option combinations that will lead either to a peaceful outcome or a … less than peaceful outcome.]

Choice Combos:

Undecided -> Purpose/Stupidity | Purpose -> (Peaceful) OR Stupidity -> Apologize/Antagonize (see below)

Impatient -> Apologize/Antagonize | Apologize -> Turtles(Peaceful)/Fools(Violent) OR Antagonize -> (Violent)

=Undecided=

Arthur: I’m… still searching, I guess.

Chelonian Master: We are all searching… Chelonianism is about searching. What do we search for, do you think?

=Undecided -> Purpose=

Arthur: I don’t know, safety? Safety, and, and meaning?

=Peaceful Outcome=

[The Chelonian Master motions towards Jamie and it switches to a cutscene]

Chelonian Master: Jamie knows the truth. But of course you may speak with him.

Arthur: Exactly… if your teachings are so great what harm can I do?

[Arthur approaches Jamie but the boy takes a step back.]

Jamie: I’m… I’m not… (He slowly backs away, moving to the left, before running for a horse.) I’m not coming with you, Arthur!

Arthur: Just come and speak with Mary then make up your mind.

=Undecided -> Stupidity=

Arthur: You’re searching for whoever stole your common sense, you nutcase!

Chelonian Master: Are you always this negative and antagonistic, sir?

=Impatient=

Arthur: I don’t know about this nonsense. Let me speak to the boy!

[The Chelonians go to block Arthur from Jamie but the Chelonian Master holds out a hand to them.]

Chelonian Master: Dut dut- Are you always this negative and antagonistic, sir?

=Impatient -> Apologize=

Arthur: I’m not a very cultured man. Forgive me, please.

Chelonian Master: (He chuckles) I am a fool for my god and a happy one, sir. I bless you. What do I dream about? Who are my heroes?

=Apologize -> Turtles=

Arthur: I have no idea… Um, turtles…. Yeah, turtles, hey… you love turtles. I love them too… Turtles!

(This leads to the before shown peaceful outcome)

=Apologize -> Fools=

Arthur: You’re a fool for everyone’s god, you’re a manic. Now let me talk to the goddamn boy!

(Leads to the violent outcome)

=Impatient -> Antagonize=

Arthur: Only when dealing with idiots. Now let me talk to the boy!

(Leads to the violent outcome)

=Violent Outcome=

[As the player you’re instructed to choke the Chelonian Master.]

Arthur: You goddamn lunatic. (He chokes the Chelonian Master, lifting him up by the neck) Is this clear enough for you?

Jamie: Leave him alone!

[Arthur chokes out the man and it switches to a cutscene]

Jamie: That’s enough, Arthur.

Arthur: Now, kid, come on… this is crap… you’re better than this.

Jamie: Better than what? Better than wanting paradise?

Arthur Morgan: Better than thinking these fools… know a damn thing about paradise… now let me take you home.

Jamie: You’re a sad man, Arthur… you’re a real sad man.

Arthur: Sure… but come home.

Jamie: No, not a chance!

[The video switches back to the end of the peaceful outcome but they’re both the same from there on, the other version it was just raining.)

Jamie: Leave me alone, Arthur! I didn’t ask for your help! (Jamie takes off on the horse)

Arthur: Just stop and let’s talk about this!

Jamie: I don’t have to answer to you!

[Jamie rides in front of a wagon and calls out a “Sorry!” to the driver]

Arthur: They’re just using you! Telling you what you want to hear!

Jamie: What the hell do you know about it. Arthur?

Arthur: Come on, Jamie! Your sister’s worried about you.

Jamie: I was doing just fine by myself!

Arthur: Damn it, we got to do this the hard way?

Jamie: This is none of your damn business!

Arthur: Come on, you ain’t stupid. You can see this is crazy.

Jamie: You’re the crazy one!

Arthur: For chrissakes, Jamie. Just hold up a minute!

Jamie: You pop up out of nowhere!

[Jamie ride in through a farmer’s field]

Farmer: Whoa, whoa, whoa… you little jackass.

Jamie: Sorry, mister!

Arthur: So what are you gonna do, Jamie? Live the rest of your life in the mountains, with those people?

Jamie: They’re my friends! If you don’t leave me alone, I’ll shoot you. I swear it!

Arthur: What are you talking about? You ain’t no killer!

Jamie: You don’t know who I am! (He shoots into the air a five times as he rides through a herd of cattle) Move! Move!

Farmer 2: Christ alive!

Farmer 3: Oh my god!

Farmer 4: Whoa! What the hell?!

[It switches from gameplay to a cutscene as Jamie slips in front of the oncoming train. He stops on the other side. Arthur dismounts on his side.]

Jamie: Please, Arthur… I’m a man now… I’ve found something… a calling.

Arthur: You’re just a kid… you’re making a big mistake.

Jamie: I’m not taking advice from you… you’re an outlaw. You leave me alone… they’re good people. I’m warning you, Arthur Morgan!

[Jamie scares his horse away when he shoots a warning shot up into the air.]

Jamie: Leave me alone!

Arthur: Please, kid… put that gun down.

Jamie: I warn you, Arthur! I’m… I’m gonna… I don’t wanna live any more!

Arthur: Kid, just calm down…

Jamie: Leave me alone!

[Jamie puts the gun to his head. Arthur knocks the weapon out of Jamie’s hands with a well-aimed shot before marching over to him.]

Arthur: Now calm down. (He picks up the gun.) Let’s go see your sister.

Jamie: Okay… (He hugs Arthur as he starts to cry) okay.

Arthur: It’s okay, kid. (He pats him on the back.)

Jamie: Have I been a terrible fool, Arthur?

[The two walk over to Arthur’s horse]

Arthur: I don’t know… I don’t know enough about it…(Arthur hands the gun back to Jamie who then puts it in his bag) but one thing I do know, there ain’t no shame in looking for a better world.

Jamie: I missed you, Arthur. Are you and Mary sweet on one another again?

[They mount the horse and ride off towards Valentine.]

Arthur: That’s all a long time ago, son.

Jamie: Well, this wasn’t how I thought today would turn out.

Arthur: It’s been a long time, Jamie Gillis. You were a kid last time I saw you, and didn’t try to kill yourself.

Jamie: You know, you taught me how to ride a horse.

Arthur: Too well, apparently. Chelonia, though? Really, you’d fall for that?

Jamie: They were very nice to me. They’re decent.

Arthur: I’m sure. Please tell me you didn’t give them any money.

Jamie: Of course I did. They rely on charitable donations.

Arthur: Jesus, Jamie. Come on.

Jamie: I just wanted to believe that there might be something good coming my way one day. Guess that’s dead in the water.

Arthur: With the turtles.

Jamie: Shut up. All father kept telling me was "you won’t amount to anything", "you’re not enough of a man"… I had to get away. I couldn’t take it any more.

Arthur: Forgive me, but your father’s a bully and a coward, don’t listen to him.

Jamie: Hey, don’t talk about him like that.

Arthur: What do you want me to say, Jamie? He’s a good father? A nice man?

Jamie: He won’t be happy I saw you.

Arthur: Please send him my worst regards.

Jamie: Thing is… he’s right. I’m not good at anything.

Arthur: Come on, that ain’t true. Tell me something you like.

Jamie: Hmm…well erm…

Arthur: Don’t think too hard.

Jamie: Apples, I guess. Yeah, I love apples.

Arthur: Okay… I was thinking more along the lines of carpentry or horses or something, but alright, go work in an orchard then.

Jamie: By that token, you must really like shooting and robbing people.

Arthur: I only like shooting young idiots who run away from me when I’m trying to help them.

Jamie: Father told me what you do.

Arthur: I’m sure he did.

Jamie: Are you still with Dutch and, what was his name… Hester?

Arthur: Hosea. Yep, still the same, sort of.

Jamie: And Annabelle and Bessie?

Arthur: I’m afraid they’re dead.

Jamie: Shit, maybe Mary did make the right choice.

Arthur: No doubt. But none of it is anything like the nonsense you read in the newspapers.

Jamie: So are you two getting back together?

Arthur: I told you, no. She just asked me for a favor.

Jamie: You know Barry Linton’s dead? Pneumonia.

Arthur: She told me.

Jamie: So the door’s open, so to speak.

Arthur: That’s all in the past, we’re different people now.

Jamie: She’s not, and you seem just the same.

Arthur: Well, maybe that right there’s the problem. She was always too good for me. Now let’s just get you back to your sister. She’s waiting at the station for us.

[The above is the full conversation that plays out if you don’t get to close to the station and trigger the next set of dialogue.]

Arthur: Here we are. She must be waiting inside.

[If you don’t immediately dismount and run inside:]

Jamie: Are we going in, then? | Make it quick or I might run off again.

[The two enter the Valentine Station and see Mary sitting at a table in the corner with her luggage. She spots the two.]

Mary: Jamie! Jamie!

[Jamie runs and hug his sister.]

Mary: Come home… please, you’ve… Father’s been very sad.

Jamie: Father wouldn’t know sadness if it died in his bed…. but I’ll come home…

Mary: My boy, my sweet boy… come on. (She picks up one of her bags and hands it to Jamie then another that Arthur takes) )Oh, Arthur… thank you… thank you.

Arthur: It’s good to see you, Mary.

Mary: And you, Arthur… and you.

[Arthur goes outside as Mary and Jamie board the train. He hands Mary her suitcase.]

Mary: I’ve… You’re… Oh, you’ll never change… I know that.

[The train leaves the station and rushes into the distance.]

[The mission ends after Arthur narrates his journal entry which is not included in the video, but I have included below.]

Arthur: (to himself) I feel like… the luckiest man alive and… I feel like a fool. That woman confuses me and plays me for a fiddle like no one else alive. I trust I will not make a godawful tool of myself once more, but… somehow, I imagine I shall.

["We Loved Once and True" story arc completed.]

#rdr2 #red dead redemption 2 #arthur morgan #Mary Linton #jamie gillis #susan grimshaw #Leopold Strauss #rdr2 cutscenes

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ranna-alga · 8 months ago

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I admittedly got into RDR2 five years late and I remember being confused seeing older comments of fans completely dogpiling on Mary Linton (née Gillis - a character who I interpreted much differently than these users did), but assumed maybe people would have grown up a bit since then and understand Mary better. Unfortunately, I still see so many people completely misunderstand and shit on Mary's character and I want to talk about it (this meta will be my opinion AND biased as a Mary defender, but idc)

I cannot stand it when people, particularly male fans, call Mary "manipulative" or someone who just "uses Arthur when it's convenient to her" because that just isn't true, and it really shows that a lot of the people who just trash on her have no idea what they are actually talking about.

Labelling her as someone who uses Arthur just for her own personal conveniences makes no sense when you consider the fact that so many other characters, including members of the Van der Linde gang, have also asked Arthur to do things for them, including requests that are much worse than anything Mary could have asked for (you know, like Strauss for example?). Not only that, but if Arthur rejects Mary's help, she doesn't get angry - if anything, she understands why he may be reluctant to help her. If Mary truly only wanted to use Arthur, she wouldn't have shown how grateful she was for his help and how much she truly did miss spending time with him by asking him out on a date to the theatre.

And to those who criticise her for not being able to leave her family sooner: do you... not remember the time period this story is set in? All of RDR2 (1899 - 1907) takes place before women got electoral equality with men (1928) and during the main story's time, women were very much under the control of their husbands - or their fathers if they were not married. A big reason as to why Arthur wasn't able to marry Mary in the first place when they were courting each other was because her father didn't approve of his outlaw lifestyle.

Even if she had more of her own autonomy, we must remember that Mary is part of an abusive family unit. She often tries to excuse her father's terrible actions even though she knows how awful of a man he has become over the years. She is isolated and is hopping from one temporary shelter to another (Valentine, Saint Denis, etc) - she is a widow, she cannot depend on her father obviously, she cannot depend on her mother since she died, nor could she depend on her brother Jamie since perhaps she thought that she was meant to be the source of dependency as the older sibling. Mary said it herself in her goodbye letter (if Arthur rejects to help her) that she truly had no one else to turn to. Arthur was literally the only other person she could ask help from and even then, it seemed like a last resort after not interacting with each other for many years before her first mission and her being apologetic for taking up his time.

Mary holds a lot of regret and remorse for how things ended and it is clear she still thinks about what could have been between her and Arthur. When she fully accepts that she doesn't want to continue living such a miserable life because of her family, she makes a big leap in suggesting she and Arthur run away together, a parallel to Arthur's proposal years before, showing that she has grown and no longer wants to accept a life she feels trapped in.

People who criticise Mary for not being able to leave her family + the life she has always known behind should also consider how Arthur is the exact same. He is as much of a victim of this unfair circumstance as Mary is, but we have seen how he couldn't leave the gang life behind. It was what he died for, after all. He failed to meet the promise he made to Mary that he would run away with her after getting some money and ensuring the gang members' safety - which technically isn't his fault since this was pre-Guarma, but Mary couldn't have known about that. To her, he kept making promises he couldn't keep/getting dragged into violent crime life and she couldn't bear to continue having false hope anymore.

It's a shame that Mary has been given such a bad rap by certain fans who have mischaracterised her. Her story is a sad one and so is her love story with Arthur. I will always love and defend Mary (+ the other main female characters of RDR2) and I truly wonder how different her and Arthur's lives would have been if they managed to run away and get married (TB ideally excluded) and how happy they would have been.

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variouspolltournaments · 8 months ago

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EDIT: SUBMISSIONS CLOSED

The first Poll Tournament I will be running on this blog is the Sun and Moon Duo Tournament!

I did decide to go ahead and submit the ones I could think of, so currently already in the running are:

Cerberos/Kero and Yue: Cardcaptor Sakura

Spinel Sun and Ruby Moon: Cardcaptor Sakura

Espeon and Umbreon: Pokemon

Solrock and Lunatone: Pokemon

Solgaleo and Lunala: Pokemon

Celestia and Luna: My Little Pony: Friendship is Magic

Itsuki Myoudouin/Cure Sunshine and Yuri Tsukikage/Cure Moonlight

When this poll tournament will properly be starting remains yet to be seen.

In the meantime submit a Sun and Moon Duo, along with where they come from and (if you want) propaganda. You can do this through ask or submit a post.

Submissions in bold have propaganda, submissions not in bold do not have propaganda. Whether they do or do not have some already, you are still free to submit some.

@tournament-announcer

Submissions (besides the ones above):

Paige Mahoney and Arcturus Mesarthim/Warden: The Bone Season

Mr Shine and Mr Bright: Kirby

Sun Dragon Inti and Moon Dragon Quilla: Yi-Gi-Oh

Sundrop and Moondrop: Five Nights at Freddy’s

Apollo and Artemis: Greek Mythology

Helios and Selene: Greek Mythology

Amaterasu and Tsukuyomi: Japanese Mythology

Sol and Mani: Norse Mythology

Skoll and Hati: Norse Mythology

Sun and Moon: The Amazing Digital Circus

Sun Wukong and the Six-Eared Macaque: Lego Monkie Kid

Hinata Shoyou and Tsukishima Kei: Haikyuu

Apollo and Midnighter: DC Comics

Cleopatra Selene and Alexander Helios: Real Life Twins of Mark Antony and Cleopatra

Henry Strauss and Addie LaRue: The Invisible Life of Addie LaRue

Eirika and Ephraim: Fire Emblem

Alcryst and Diamant: Fire Emblem

Dianamon and Apollomon: Digimon

Maya Amano and Tatsuya Suou: Persona/Shin Megami Tensei

Sasuke Uchiha and Naruto Uzumaki: Naruto

Itempas and Nahadoth: Inheritance Trilogy

Sam and Sebastian: Stardew Valley

Mind and Heart: Chonny Jash

Spirit Bomb and Oozaru: Dragon Ball

Monkey D. Luffy and Hiyori Kozuki: One Piece

Cassandra and Rapunzel: Tangled the Series

Pokémon Sun and Pokémon Moon: Pokemon

Ichigo Kurosaki and Rukia Kuchiki: Bleach

Ichigo Kurosaki and Uryu Ishida: Bleach

Sol and Galicaea: Dimension 20: Fantasy High

Axel and Saix: Kingdom Hearts

Lottie and Laura Lee: Yellowjackets

Kala and Wolfgang: Sense8

Buffy Summers and Spike: Buffy the Vampire Slayer

Calliope Burns and Juliette Fairmont: First Kill

Will Solace and Nico di Angelo: Percy Jackson Series

Jamie and Dani: The Haunting of Bly Manor

Alec and Magnus: The Mortal Instruments/Shadowhunters

Mariposa and Catania: Barbie Mariposa and the Fairy Princess

Janai and Amaya: The Dragon Prince

Ruby and Sapphire: Steven Universe

Bow and Glimmer: She-ra and the Princesses of Power

Karolina Dean and Nico Minoru: Marvel's Runaways

Rapunzel and Eugene: Tangled

Sun Bak and Kwon-Ho Mun: Sense8

Elena Amamiya/Cure Soleil and Madoka Kaguya/Cure Selene: Pretty Cure

Yusuf “Joe” al-Kaysani and Nicolò “Nicky” di Genova: The Old Guard

Sonic the Hedgehog and Knuckles the Echidna: Sonic the Hedgehog

Apple White and Raven Queen: Ever After High

The Sun and the Moon: Real Life

Ballister Boldheart and Ambrosius Goldenloin: Nimona

Seo Hwi and Nam Seon-ho: My Country: The New Age

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ufolliegy · 2 years ago

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my high quality fanart

#safdc #stay away from daniel creech #jamie strauss #daniel creech

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manicpineapple · 2 years ago

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drawing of jamie from @tigerdrop 's Stay Away From Daniel Creech doing parkour . yea

#my art #safdc #jamie strauss #daniel creech #stay away from daniel creech

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sacredarts · 4 months ago

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Alice in Wonderland-Alice Kingsleigh: Elizabeth Harnois

Asper Creek-Emily Sommerset {OC}: Sofia Carson

The Baby-sitters Club-Dawn Schaffer: Undecided

Stacey McGill: Undecided

Camp Rock-Caitlyn Gellar: Alyson Stoner

Mitchie Torres: Demi Lovato

Charmed-Warren Trudeau {OC}: Blake Lively

Criminal Minds-Kaylia Strauss {OC}: Sophia Bush

DC-Barry Allen: Grant Gustin

Dick Grayson: Undecided

Hallie "Hal" Jordan {Fem!Hal}: Jessica Alba

Kara Kent: Laura Vandervoort

Oliver Queen: Justin Hartley

Diana Prince: Gal Gadot

Bruce Wayne: Undecided

Wally West: Undecided

Descendants-Alana {OC}: Undecided

Mal Dragonheart: Dove Cameron

Alyssa Florian {OC}: Sabrina Carpenter

Eliza Fitzhurburt: Undecided

Rebecca Fitzhurburt: Undecided

Evie Grimhilde: Sofia Carson

Princess Red: Kylie Cantrell

Whitney {OC}: Undecided

Fandomless-Whitney Castellan: Sofia Carson

Jack Frost: Undecided

Lana Hall: Victoria Justice

Lucifer: Dylan O'Brien

Emerson McCall {OC}: Undecided

Merlin: Katie McGrath

Cupid/Valentina Valois: Madelaine Petsch

Frozen-Elsa: Undecided

Glee-Hunter Clarington {Fem!Hunter}: Phoebe Tonkin

Clary Smythe {OC}: Lily Collins

Evan Smythe {NPC OC}: Victoria Justice

Lincoln Smythe {NPC OC}: Ian Harding

Riley Smythe {NPC OC}: Nina Dobrev

Sebastian Smythe: Grant Gustin

Solistice Smythe {NPC OC}: Demi Lovato

Jasmine "Jassi" Sterling. {NPC OC}: Undecided

Gossip Girl-Raelynn van der Woodsen: Madelaine Petsch

Serena van der Woodsen: Blake Lively

Halloweentown-Marni Piper: Sara Paxton

Harry Potter-Julietta Black {NPC OC}: Ashley Tisdale

Sirius Black: Undecided

Daphne Greengrass: Dianna Agron

Armani Malfoy {OC}: Lily Collins

Diana Malfoy {Fem!Draco}: Dove Cameron

Kristiana Malfoy {OC}: Lily Collins

Violet Grace Potter {Fem!Harry}: Kylie Cantrell

Alixzandria "Alixz" Riddle {OC}: Sofia Carson

Lady and the Tramp-Lady: Leighton Meester

Marvel-Jamie "Bucky" Buchanan Barnes {Fem! Bucky}: Olivia Wilde

Peter Parker: Andrew Garfield

Pepper Potts: Undecided

Johnny Storm: Chris Evans

Mythology: Apollo {Fem!Apollo}: Blake Lively

Artemis: Madelaine Petsch

Athena: Undecided

Chaos: Lana P

Hecate: Katie McGrath

Hestia: Undecided

Iris: Kristen Bell

Lethe: Alexis Bledel

Nike: Sarah Michelle Gellar

Styx: Chad Michael Murray

Nancy Drew-Nancy Drew: Kristen Bell

Once Upon a Time-The Poisoned Apple: Sofia Carson

One Tree Hill-Mikaela Scott {OC}: Sofia Carson

Paw Patrol-Skye: Undecided

Percy Jackson-Silena Beauregard: Lily Collins

Luke Castellan: Jake Abel

May Castellan: Undecided

Annabeth Chase: Alexandra Daddario

Monet Celestia Jackson-Blofis: Selena Gomez

Perci Jackson {Fem!Percy}: Lucy Hale

Sally Jackson: Undecided

Everly Riddle {NPC OC}: Blake Lively

Julietta Riddle {NPC OC}: Blake Lively

Pokemon-Eevee/Evline {OC}: Lily Collins

Pretty Little Liars-Imogen Adams: Bailee Madison

Aria Montgomery: Lucy Hale

Ava Jalali: Sofia Carson

Serenity Sakura Samuels {OC NPC}: Madelaine Petsch

Rise of the Guardians-Sapphyre Black {OC}: Shelley Hennig

Baby Tooth/Chelsey White: Dianna Agron

Sailor Moon-Marina Storms/Sailor Galaxy {OC}: Undecided

Scream-Sidney Prescott: Neve Campbell

Sonny With a Chance-Sonny Munroe: Demi Lovato

Supernatural-Brenna Braeden {Fem!Ben}: Crystal Reed

Gabriel: Demi Lovato

Addison Milligan {Fem!Adam}: Hayden Panettiere

Tangled: Pascal: AJ Cook

Rapunzel: Blake Lively

Teen Wolf-Stiles Stilinski {Fem!Stiles}: Troian Bellasario

The Vampire Diaries-Davina Claire: Danielle Campbell

Jeremy Gilbert {Fem!Jeremy}: Victoria Justice

Hope Mikaelson: Danielle Rose Russell

Kol Mikaelson: Undecided

Nicola Mikaelson {OC}: Undecided

Wizards of Waverly Place-Alex Russo: Selena Gomez

#my muses

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vinylfoxbooks · 11 months ago

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Christmas Fic!

I have a Christmas special finished that I was going to put out today but I'm tired and my bed is comfortable so it'll be out tomorrow (Dec 26). Here is a list of the songs I listened to to get the vibe (not including the ones I actually mentioned in the end notes):

*Merry Go Round of Life - both Andy Morris & Joe Hisaishu

*Chalkboard - Jóhan Jóhannsson

*Kingdom Dance - Tangled Soundtrack

*Solas - Jamie Duffy

*Experience - Ludovico Einaudi

*I Hear a Symphony - Cody Fry

*Isabella's Lullaby (イザベラの唄) - Takahiro Obata

*Middle of the Night - Joel Sunny

*Tonight ve Dance - Peter Gundry

*Howl's Moving Castle - Vitamin String Quartet

*Sway - Michael Buble

*Eleanor Rigby - Cody Fry

*Arctic Waters - Soetkin Milbouw

*The Sleeping Beauty Op.66 - Tchaikovsky

*Kaiser Walzer (Emperor Waltz) Op.437 - Johann Strauss II

*The Nutcracker Suite Op.71a - Tchaikovsky

*An Der Schonen, Blauen Donau (The Beautiful Blue Danube) Op.314 - Johann Strauss II

*Voices of Spring Op.410 - Johann Strauss II

*Swan Lake Suite Op.20a - Tchaikovsky

*Tarantella Napoletana - Gli Italiani di leri

*Can Can - Jacques Offenbach

*Jessica's Theme - Bruce Rowland

*Vivaldi's Autumn (Four Seasons)

*Tarantella in D Minor, Op.23 - Oliver Gledhill

*13 Pieces Op.76 - Jean Sibelius

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moorheadthanyoucanhandle · 1 year ago

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GONE FISSION

Opening in theaters this weekend:

Oppenheimer--This biopic splits time the way its hero splits the atom. Narrative is fissionable to writer-director Christopher Nolan; he skips back and forth between episodes of Oppenheimer (Cillian Murphy) as a bumbling student, then as a philandering rising star in the new field of quantum physics, then as the determined yet haunted lord of Los Alamos, then as a post-bomb martyr to '50s era red-baiting. It glides along smoothly through its fractured scheme, beautifully shot by Hoyt van Hoytema in black and white and varyingly muted shades of color depending on period and point of view, and pushed along by a solemn Philip Glass-esque score by Ludwig Göransson.

Often crowned by a horizontal wide-brimmed preacher-style hat that makes him look like Brad Dourif in Wise Blood, Murphy uncannily captures the bursting, wide-eyed, near-ecstatic face that we see in photos of Oppenheimer. But he manages to give the performance a human dimension, with everyday foibles and touches of humor. He's not a pageant figure.

Murphy carries a star presence. But he's very ably supported by a huge, colorful gallery of star character players: Robert Downey Jr. as AEC Chairmen Lewis Strauss and Josh Hartnett as Ernest Lawrence and Benny Safdie as Edward Teller and Tom Conti as Albert Einstein and David Krumholtz as Isidore Rabi, Oppenheimer's menschy colleague who makes sure he eats and nudges his conscience, and Matthew Modine and Casey Affleck and Kenneth Branagh and Rami Malek and Alden Ehrenreich, to name only a few.

They're all entertaining, but two in particular jolt the movie to life: Florence Pugh as Oppenheimer's joyless lover Jean Tatlock and Matt Damon as the practical-minded, professionally unimpressed Leslie Groves, representing us laypeople in his deadpan, flummoxed scenes with Murphy. For a while it seems like Emily Blunt is underserved as Kitty Oppenheimer, but near the end she gets a juicy, angry scene opposite AEC lawyer Roger Robb (Jason Clarke), who has underestimated her.

Other than maybe a few too many scenes of the young "Oppie" having visions that look like the psychedelic mindtrip at the end of 2001, there was no point where I found Oppenheimer less than absorbing. Few would suggest that this ambitious, superbly acted, superbly crafted film isn't a major, compelling work, a vast expansion on Roland Joffé's watchable but modest Fat Man and Little Boy from 1989. If Nolan's film isn't quite completely satisfying, there could be two reasons.

One is that trying to arrive at a moral conclusion about this movie's hero seems impossible. Put (too) simply: on the one hand, Oppenheimer won World War II for the good guys and checked fascism (not checkmated it, alas) for more than half a century. On the other hand, his invention has the potential to ruin the world for everybody. Both can be true, and the ambiguity is unresolvable.

Another problem with the film, however, is a matter of simple showmanship. Back in 1994, James Cameron brought his silly action picture True Lies to a point where Arnold Schwarzenegger and Jamie Lee Curtis kiss while, far in the distance, we see a mushroom cloud erupt on the horizon. Triumphant, but then Cameron pushed his luck, piling on one last struggle with the villain in a Harrier jet. I remember thinking (and writing) at the time that when your hero and heroine kiss in front of a mushroom cloud, the movie is over.

Oppenheimer, obviously a very different movie, is uneasily structured in the same way. The scenes leading up to the Trinity Test at White Sands in 1945 are riveting, pulse pounding. The explosion and the immediate aftermath, ending the war in Japan, is a stunning dramatic climax.

But then the movie keeps going, for another hour or so, detailing the war of spite and will between Strauss and Oppenheimer, and the revocation of Oppenheimer's security clearance. It's interesting, provocative material in itself, but it seems a little petty and trivial after the "I am become death; destroyer of worlds" stuff. Given Nolan's supposed consummate skill at scrambling sequence, couldn't he have somehow structured the movie to end with a bang and not a whimper?

Barbie--Something is rotten in the state of Barbieland. As this, her first live-action feature begins, our titular heroine finds herself haunted, right in the middle of raging dance parties at her Dreamhouse, by thoughts of death. Still more alarming, when she steps out of her pumps, her feet go flat to the ground.

To be clear, the Barbie in question, played by Margot Robbie, is "Stereotypical Barbie," the blond, inhumanly thin and leggy iconic version of the Mattel doll. She shares the relentlessly cheery pink-plastic realm of Barbieland with countless other Barbies of every race and body shape and profession, all happy and accomplished and untroubled and mutually supportive. They're dimly aware of us in the "Real World"; they believe that their own harmony has created an example that has led to female empowerment and civil rights over here.

The Barbies also share Barbieland with Ken (Ryan Gosling) and countless variant Kens, as well as Ken's featureless friend Allan (a perfectly cast Michael Cera). But the guys exist entirely as accessories to the relatively uninterested Barbies. Ken's unrequited fascination with Barbie makes him subject, unlike the Barbies, to dissatisfaction.

Barbie goes for advice to "Weird Barbie" (Kate McKinnon), whose hair is frizzy and patchy and who's stuck in a permanent split. She's told that her troubles come from the dark feelings of somebody who's playing with her in our reality, so she sets out on a quest to the Real World, emerging in Venice Beach. Barbie connects with a mom and teenage daughter (America Ferrera and Ariana Greenblatt) whose relationship is strained; she's also pursued by the all-male board of Mattel, led by Will Ferrell. Ken, meanwhile, learns about our patriarchy, likes what he hears, and heads back to Barbieland alone to institute it, with himself at the top.

Mattel was founded in 1945, the same year as the Trinity Test, and there are probably feminist social critics who would argue that Barbie, invented in 1959 by Mattel co-founder Ruth Handler (well played by Rhea Perlman in the film), has wreaked only a little less havoc on the modern psyche than Oppenheimer's gadget. Even though I'm in exactly the right generational wheelhouse (I was born in 1962), my own childhood experience with Barbie was very limited, and thus so were my nostalgic associations with her.

Even so, this nutty fantasy, directed by Greta Gerwig from a brilliant script she wrote with Noah Baumbach, made me laugh from its inspired first scene to its Wings of Desire finish. Narrated in the droll, arch tones of Helen Mirren, it manages to come across as both an ingenious pop-culture lampoon/celebration and an unpretentious but surprisingly heartfelt deep dive into the implications of the Barbie archetype. I wasn't a big fan of Gerwig's 2019 version of Little Women, but here she builds her world with the freedom of, well, a kid playing with dolls, but also with the confidence and adult perspective of an artist.

Not everything in the movie works; in the second half the narrative gets a little lost at times in some very strange musical numbers/battle scenes, and the whole thing comes close to going on a bit too long. And it's hard to say just who this movie is for. It hardly seems intended for little girls; however smart, they're too young for the commentary about female identity to mean much to them yet. It seems more like it's meant for adult women with both a fondness for and an ambivalence toward Barbie.

No doubt there are those who would also complain that, however witty and self-effacing, the movie amounts to a feature-length commercial for the brand. But in the age of Marvel and other such franchises, it seems a little late to object to this.

The revelation in the film is Margot Robbie. It seems ridiculous that she's able, in the role of freaking Barbie, to give a performance of such subtlety and nuance and shading and quiet, unforced wistfulness, but she does. And she gets to deliver the best last line of the year.

Theater Camp--Joan, the founder of "AndirondACTS," a slightly gone-to-seed theater camp in upstate New York, has fallen into a coma. The job of keeping the struggling camp afloat falls to her decidedly non-theatrical "crypto bro" son Troy. Meanwhile the devoted instructors work with the exuberantly happy campers to mount the shows, including an original musical about the life of poor comatose Joan (Amy Sedaris). Needless to say, all does not go smoothly.

The creators of this Waiting for Guffman-esque "mockumentary" comedy, Molly Gordon, Nick Lieberman, Ben Platt and Noah Galvin, know the world they're depicting well; all of them have been doing theater since they were small children. Gordon and Lieberman co-directed, from a script by all four; Platt and Gordon play Amos and Rebecca-Diane, the utterly enmeshed, co-dependent acting instructors and Galvin plays the low-profile tech director.

They capture the camaraderie and the sense of belonging that theater can give kids, and their affection for that world is unmistakable, but they're careful not to get too sentimental. The envies and resentments and passive-aggressive denigrations among theater folk, especially at this often professionally frustrated level, are vividly represented.

Getting laughs from the self-important vanities of theater people is pretty low-hanging fruit, I suppose, but Theater Camp is nonetheless often hilarious. The film also manages to get a little deeper at times, touching on the irony that while theater can create a haven and a community for misfit kids, this can generate its own clannishness and exclusionary snobbery, as in Amos and Rebecca-Diane's coldness toward the imbecilic but well-intentioned Troy, charmingly played by a sort of poor-man's Channing Tatum named Jimmy Tatro.

The real joy in Theater Camp, of course, is the acting: Platt, Gordon, Tatro, plus a few vets like Sedaris, Caroline Aaron and David Rasche bring the material to life. But as Glenn, the long-suffering backstage drudge who really ought to be onstage, Noah Galvin, who replaced Platt on Broadway in Dear Evan Hansen, is the revelation among the adults in the cast. He's a knockout.

The revelation among the kids playing the campers is, well, pretty much all of the kids playing the campers. There are some real singing, dancing and acting prodigies in this company. If there was a real theater camp somewhere with this kind of talent, their shows would sell out.

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