#josh russo is too smart for this

[harmless-variety-of-garden-snake]

Hold on I just realized something.

Josh Russo became a dispatcher sometime around 2006-2008, depending on how long it took for him to finish any classes, get certifications, etc. So you mean to tell me that this man somehow never knew Abby Clark, never met her closet case fiance, never talked to her about it at work, never saw that man on Grindr after the fact, and never made the connection the entire six months his work wife's baby queer little brother was dating said former closet case?

Not...once?

Edit: totally forgot that Josh did know Abby, making this make even less sense. That entire scene is just the Glee thing in my mind now. Don't love the Glee thing. The message? Yes. The choice of analogy? No.

[donovankinard]

hey besties! i talked about starting to do monthly recs, and i've decided to go through with that - in both the 911 and 1d fandoms! so here goes nothing, i guess... i based the formatting of these posts off of a few mutuals who do regular fic rec posts <3 much love to them. i read a lot of 911 fic this month! way more than i have in the past, so here goes nothing. this month we've got tevan, buddie, riaz, and a sprinkle of gen christopher!

🔥 Tricks and Treats (but mostly Treats) || @ninjatrashpanda evan buckley/tommy kinard || 3k While taking Jee-Yun trick or treating, Buck and Tommy are mistaken for being her parents. It causes them to have a conversation they’ve been putting off for a while.

🔥 Almost Cost It All || @sunnywithachanceofbi eddie diaz/josh russo || 3.7k Josh & Eddie run into one another a month after breaking up and hash it out. Jeddie Week Days 3/4: Double Dates & Missing You

🔥 Carry You Home (Alex Warren) || emaisnialleraf evan buckley/tommy kinard || 2.2k “Do you ever think about the future?”

🔥 through the good, the bad, and the gross || @wikiangela evan buckley/tommy kinard || 1.7k Tommy assures his boyfriend that he doesn't look gross, even with the boils on his face.

🔥 you still love me anyway || @epiphainie evan buckley/tommy kinard || 43.5k But that was just him. Evan. He was too much, too smart, too impulsive, too earnest, and he was prickly, petty, bratty, unruly, redefining the phrase of high maintenance. He was Tommy’s favorite person. aka five times buck was being too much and one time tommy told him so

🔥 Made From Scratch || @inawickedlittletown evan buckley/tommy kinard & jee-yun han || 4k As soon as Maddie was gone, Buck turned to Jee-Yun. “Ready for some fun with your uncle Buck?” “Yes!” she cried out, smiling big. Buck grinned. “I thought you could help me out with something really important.” “Really?” She asked, head tilting to the left. “What?” “Well, we’re going to make a birthday cake.”

🔥 with you, i am home || @rosetterer evan buckley/tommy kinard || 3.6k The injured shoulder causes some issues during the night. Tommy takes care of it.

🔥 amber glow || @userautumn evan buckley/tommy kinard || 5.8k "I think I fucked up." “What did you do?” “I think I remember how Tommy Kinard knows me.” or; Buck is a down-on-his-luck photographer, and Tommy is the industry It-boy that just wants to help him out.

🔥 friendly neighbourhood firefighter || @sunnywithachanceofbi evan buckley/tommy kinard || 3.6k Tommy's adventurous Halloween role-play goes hilariously wrong when he gets himself stuck in a Spider-Man costume, only to end up with an injury. What was meant to be a playful, sexy surprise for Evan turns into an emergency rescue situation, with the 118 on the scene.

🔥 Pumpkins Scream In The Dead Of Night || Must_Love_Dogs evan buckley/tommy kinard || 2.3k Since Bobby and Athena's house is unavailable, Tommy offers his house for a Halloween Party. With a lot of help from Buck, and a bit from Maddie, and Chimney, they plan and decorate his house to perfection.

🔥 i'm haunted (by billy boils) || buckleymoons evan buckley/tommy kinard || 935w Tommy and the 217 hear two calls from dispatch during their shift. For some reason, both of these calls relate to one Evan Buckley. or: the 217 teasing Tommy for dating an idiot that carries corpses around

🔥 on purpose, i am going to care about you || @stardustvx evan buckley/tommy kinard || 2.1k Buck has a horrible migraine and Tommy takes care of him. Perhaps they also say I love you to each other for the first time.

🔥 The Favorite (Derogatory) || xanthippe74 evan buckley/tommy kinard || 1.3k After golfing with Gerrard, Buck just wants comforting over a few drinks with his friends. But all he gets is a hard time.

🔥 Family Dinner || @sugdenlovesdingle evan buckley/tommy kinard & the 118 || 817w The first 118 family dinner at Bobby and Athena's new house

🔥 Lay Waste To Your Beliefs || thespeckledbandicoot evan buckley/tommy kinard & the 118 || 3.1k Buck gets cursed on the job. Luckily, Chimney knows a guy. For the Bucktommy Winter Fest Halloween prompt: Magical Realism

🔥 Save A Horse... || Must_Love_Dogs evan buckley/tommy kinard || 1.7k What if Tommy had helped Buck decide which costume to wear for the "Firehouse Haunt Fest"? A season 8, episode 5 missing scene because I would have loved to see Tommy's reaction to Buck's cowboy costume.

🔥 maybe together we can get somewhere || @the-amber-raven evan buckley/tommy kinard, tommy kinard & daniel buckley || 62k Tommy has always been able to see ghosts. Usually, they stick around for a few days or weeks, maybe several months before they get what they need to move on. There was one ghost, however, who appeared when Tommy was young and seemed to be unable to get the closure he needed to let go and so he just… never left. He got used to it, after a while, and Daniel became a consistent companion throughout his life. Or, the one where Tommy can see ghosts and is haunted by Daniel Buckley for reasons it takes him almost thirty years to understand.

🔥 Where All This Love Comes From || @carlos-in-glasses carlos reyes/tk strand || 107k A single tear slips from Carlos' eye. Years ago, there was a young man in New York City called TK Strand and he had no idea that in Austin, Texas, a stranger called Carlos Reyes was aching, yearning, pining for exactly him. He had no idea how loved he was going to be by someone he had yet to meet. He had no idea how wonderful he was as a person with or without a partner – but he was about to find out. That's why you have to keep living, Carlos thinks, so you can find out.

🔥 a moment of clarity || acollectionofdaydreams evan buckley/tommy kinard || 2.1k The morning after breaking up with Evan, Tommy opens his door to find an Eddie who has something to say about it.

🔥 go ahead, rip my heart out || @atimeofyourlife evan buckley & eddie diaz, evan buckley/tommy kinard || 2.6k After 8x06, Buck crashes on Eddie's couch for the night. Eddie finds him the next morning presenting with cardiac symptoms on his couch.

🔥 Pause || iwroteafictoday evan buckley/tommy kinard || 3.2k Sometimes you just need to put a conversation on pause and talk it out with a friend. Post 8x06 fix it fic

🔥 If You Really Love Someone You Don't Let Them Go || @black-and-whitecrow evan buckley/tommy kinard & eddie diaz || 4.3k There are things worth fighting for. Like love. There are people worth fighting for. Like Evan Buckley. There are idiots needing some sense talked into them. Like Tommy Kinard. Luckily, there are also good friends who can make idiots see what's worth fighting for. Like Eddie Diaz.

🔥 i choose us every time || @spacewinter evan buckley/tommy kinard || 3k Of course, Buck is angry. He got his heart shattered by a man who thought he could tell Buck what he should feel. He's hurt, he's angry, and he's not ready to let it go. Hen's words resonate - he should fight for this relationship if he wants a future with Tommy, so that's exactly what he does. He drives over full of righteous anger and hurt, only to be faced with a ruined, heartbroken man that he still loves They talk instead, they hug. Apologies are made, anger is expressed. They make a decision to build something stronger together.

🔥 Closet Conversations || @eyesonstars-feetonground evan buckley/tommy kinard || 10.6k Six months is a long time to stick around if he thought you’d dump him. OR After his boyfriend dumps him, Evan Buckley goes on a date, makes a new friend, has some conversations, and realizes he's queer. Tommy haunts him every step of the way.

🔥 Hold Your Tongue || @guardiandelacour evan buckley/tommy kinard || 4.5k The Buckley parents decide to pay a visit to their reluctant children, and Tommy is finally forced to meet the people who made his boyfriend believe that he is worthless.

🔥 A House is Built with Walls and Beams || fairytalegonewrong evan buckley/tommy kinard || 2.1k Tommy is ready to take the next step in his relationship with Evan as they celebrate their anniversary. After much thought, he plans to ask Evan to move in with him, marking a significant moment in their relationship.

🔥 excellent chemistry || @judymarch15 sal deluca/eddie diaz || 3k Sal wants to be a fire captain someday, but to do that he'll need to go back to school and earn an associates degree in fire science. Eddie shows his support.

🔥 Just Let Me Adore You || @inawickedlittletown evan buckley/tommy kinard || 35.7k What if...instead of Chimney taking the role of interim Captain of the 118, Tommy is asked to take on the role. Or, what happens when Buck meets Tommy in S2

🔥 I'd Love To Hear 'Bout How You Been || Snaptic evan buckley/eddie diaz || 10.5k Did you say Evan Buckley?” Eddie has to confirm because there’s no way he heard that correctly. “Yes, sir…” The lady says, continuing on, but Eddie hears none of it, his brain still stuck on the name. Evan Buckley. He hasn’t heard that name in years. His thoughts become a grainy slideshow of memories, fragmented from the years; a wicked smile on a dirty face, broad shoulders covered in camo, curly hair blowing in the breeze, piercing blue eyes gleaming in the sunshine. Or: two old friends from the desert reunite in an LA hospital room

🔥 time is shortening (down to the bone) || @calinaannehart evan buckley/tommy kinard || 8.3k (WIP) “Hey, excuse me,” Buck says to the nurse behind the desk. “I’m not sure who I’m-" The words die in his throat as his eyes land on a familiar form in a large wingback chair, the leg rest raised so he’s reclined with his head tipped back and eyes closed. He’s thinner than he was when Buck last saw him, deep shadows sit under his eyes and his hair, patchy in places, has been shaved short. There’s a port-a-cath in his upper arm and hanging on the drip stand above is a bag of fluid, the bright red chemotherapy label visible even at this distance. “Sir?” The nurse says, but Buck can’t look away from the man. “Tommy.”

🔥 It's Freakin' Bats! || writerdot evan buckley/tommy kinard || 3.8k He startles awake with a gasp, sitting straight in bed. He’s scared and he doesn’t know why so he closes his eyes, breathes deep, and feels himself start to relax. Once the feeling fades, he looks at the time, and sees it’s just after 2AM. Grabbing his phone, he opens his text thread with Tommy and sends a heart. Or: it's Buck and Tommy's first Halloween together and Buck's not quite feeling himself.

🔥 Where It Wasn't Supposed To Be || @princessfbi evan buckley/tommy kinard || 45.7k They’d kept it under wraps to an almost paranoid degree. They didn’t touch in public, not even on their hikes up the countless trails that were never short of people minding their own business as they took in the good weather. They sat on opposite sides of the table at dinner. Evan came over to his place instead of taking the risk with his roommates. Evan had even come up with a cover story if they ever ran into anyone: he was picking Tommy’s brain about the job. Nothing more. Nothing less. What if Buck and Tommy met the three months before Tommy transferred to Harbor and Buck started at the 118?

🔥 The Last Drop Spilled Over || @lucid-ao3 evan buckley/eddie diaz || 28k Eddie is having conflicting feelings now that Buck is in a relationship with Tommy. Why does it feel like time is running out? And why does Drunk Eddie keep giving him so much trouble?

🔥 Habitual Damage || @eggmacguffin evan buckley/eddie diaz || 9.1k About a week after starting back at the 118, and about three weeks before he was supposed to start getting a steady check again, Buck quietly moved out of his loft— —and into his jeep.

🔥 Led Me Here To You || @andthenshesaid-write carlos reyes/tk strand || 28k TK knows his life is going to change when Gwyn and Enzo die, leaving him with custody of his six-year-old brother Jonah, but he isn’t prepared for the rigours of parenting, the questions it raises in himself, or for Jonah’s new teacher, Carlos Reyes.

🔥 old flames, new fires || @jamesandanthony evan buckley/tommy kinard || 3.1k The picture round arrives with the interval, and they're hunched around the sheet, arguing over a country outline that has them a little stumped when a figure approaches their table hesitantly. "Tom?" he says, and Tommy looks up in surprise. "Oh my god, Mateo?" he says, eyes wide as he stands to greet him. "Yeah," Mateo replies, grinning, and Tommy doesn't miss the way he looks him up and down appreciatively. "Man, how long has it been?"

🔥 The feeling came late (I'm still glad I met you) || paleredheadinascifi evan buckley/eddie diaz || 4.6k Come on, Buck. Let it out. I hate this, too. I hate leaving you. Tell me how much you hate it. Yell at me, Buck. Come on, yell at me,” he begs. Buck snaps. He pushes off the couch and crowds into Eddie’s space. “Is this what you wanted?” He spits, pushing hard enough against Eddie’s chest that he takes a step backwards. “Hmm? You want me to lose it on you?” Or, Eddie cannot handle Buck pretending to be fine about his move to Texas. He, in fact, refuses to let him.

🔥 got nothing on my mind (but the two of us) || @tommybuckleys evan buckley/tommy kinard || 5.1k “You’re covered in flour. Why are you covered in flour?” Buck sighs, letting his eyes follow Tommy’s path down his form — and wow, yeah, okay, it’s somehow even worse than the small glimpse he caught earlier. The apron he threw on has protected most of his clothes, but he can already see the flakes getting matted in the hair on his arms. Buck can only imagine the state of his face and hair. Maybe he should have prioritized that shower, after all. “I had a, uh — baking mishap,” Buck admits, still wrong-footed from Tommy’s sudden appearance. “I didn’t know you baked.”

🔥 our love is spook-tacular || @aesthetictarlos evan buckley/tommy kinard & mara & jee-yun || 2.1k "Uh, I made a list.” That's when Tommy notices his dangerous smirk and the clipboard on the table, together with a notebook and a few pens. This screams trouble, so much trouble. “A list about what?” He asks curiously, bracing for the practically endless range of possibilities. “Halloween couples costumes we could wear,” Buck says enthusiastically. Or, the one where Buck and Tommy go trick or treating with Mara and Jee.

🔥 Half Agony, Half Hope || @livinginsunnyhell evan buckley/eddie diaz || 52.6k He should’ve known this was going to be a moment when Christopher says, “Then why don’t you date? If dad’s gay… Why don’t you get together?” Buck does choke on his water this time. Sputters droplets all over the table and coughs loud enough to draw the attention of everyone around them. “Why – why do you ask that?” Buck wheezes and coughs again. Or Buck goes through the five stages of grief when Eddie comes out and considers dating men.

🔥 Your Name, Forever The Name On My Lips || @911varietyposts evan buckley/tommy kinard || 2.6k He was a widow at the age of 35. His husband had been ripped from his life in a cruel joke. OR: Evan adjusts to life without Tommy after a helicopter crash takes his life.

🔥 It's only after we've lost everything that we're free to do anything || @xjustlikeyou evan buckley/eddie diaz || 148k Chris leaves for Texas. Eddie tries to cope. Eddie fails. aka the Fight Club 2.0 fic

🔥 this love was once mine (please god, let it be us again || @xtarmanderx evan buckley/tommy kinard || 11.5k Buck's blue soulmark on his wrist is the thing that keeps him going after his breakup with Tommy. Somewhere out there, he may still have a soulmate who loves him. He holds onto that until the day his world is turned upside down and his mark turns black while he watches Tommy collapse to the ground.

🔥 Let the walls break down || @harmonic-intervention evan buckley/tommy kinard || 15.6k A whole month. That was how long Tommy could push his luck. bucktommy fix it, near-death experiences will force them to talk if nothing else will

🔥 never last (last) || Philipa_Moss (bsky) christopher diaz-centric || 15.2k Carla turned off the car and turned to him. “It’s just you and me,” she said. “What happened, baby?” Everyone said he’d been such a sweet kid. Every time he opened his mouth, he could hear himself pushing that kid farther away. “Nothing,” said Chris.

🔥 Darling, I Wanna Love You! || @rosyhoneydew evan buckley/tommy kinard || 2.4k “It’s no trouble at all,” Maddie jumps in. “Come on in, Tommy! You can just leave your shoes by the door there.” Buck turns his head slowly to give his sister a look that hopefully conveys the gravity of her duplicity, but she merely widens her eyes and tilts her head toward him in a motion that says get over it! He’ll do no such thing.

🔥 Bad Beer and Naked Rodents || @dashing-disaster evan buckley/tommy kinard || 1.6k "My point is, you got scared of commitment for three seconds and tell Evan Buckley, Evan Buckley, to go off to frolic on Grindr? I’m sorry, but do you know how stupid that is? Do you have any idea what happens to guys like Evan Buckley on Grindr?” Or: after the break-up Tommy's friends are there for moral support and a much-needed reality check.

🔥 The Weight Of The Past || @acrownofstardustandbone evan buckley/tommy kinard || 1.6k Sometimes the weight of the past is just too much to carry alone--and now, Tommy has Evan to help him shoulder this burden.

🔥 I Don't Want To Be Like This || Snaptic evan buckley/tommy kinard || 2.6k “Tommy?” Evan asks him gently, evidently noticing something is wrong. Tommy sighs, wondering if he’s really about to do this. If he’s really going to sit there and give Evan the ammunition to walk away from one of the best things that’s ever happened to Tommy. OR: Buck finds acceptance in his partner. Tommy shares his own secrets.

STATS: # of fics: 49 # of authors: 45 # of words read: 1,170,000~

[tinykittendelusion]

Seventeen as Book Boyfriends

a/n : this is very popular on Instagram thought I'll give it a try

triggers: none

Scoups - Dante Russo ( King of Wrath)

Okay hear me out . Dante is extremely Scoups coded.Especially with how protective he's over Vivian also I love how he begs for her to forgive plus how he stands up to her dad just very Dante.

Jeonghan - Josh Chen ( Twisted Hate)

Please Jeonghan and Josh are one person fight me. The whole banter and how cocky Josh is very jeonghan coded plus i just wanna see jeonghan in scrubs. Also I see jeonghan with someone who matches his freak like Jules matches Josh's.

Joshua- Percy Jackson ( Percy Jackson and the Olympians)

Joshua is the og beach boyfriend. Also I love the idea of Joshua just being this himbo for his loml. He's absolutely soft for them just like Percy is soft for annabeth. Also I feel he has Percy's sass. Also Percy's mortal weakness is his loyalty and i feel that's very Joshua of him .

(a/n: Idk if Percy is technically a bookstagram qualified book boyfriend but I see him as one)

Jun- Aaron Blackford ( The Spanish Love Deception)

Yk how much Aaron yearns for Catalina ? yeah that's Jun. He is too shy to confess so he just pretends to hate you. Also I just feel he's such a softie over all just like Aaron.

Hoshi- Levi Stewart ( Fangirl)

Yes JUST YES. Levi was such a sweetheart and I feel he's so hoshi coded he spoils and Pampers you but he does that with everyone but then he finds out you write fanfiction (bonus points if it's about him) and he makes you read it to him. Just an overall softie who adores you. Also obsessed with animals (cough cough tigers).

Wonwoo- Christian Harper (Twisted Lies)

I'm just swooning imagining him calling you Butterfly. Also that island scene?!?? I'm yelling also he would be the perfect guy to be your boyfriend on social media. Also he loves holding your thigh.

Woozi - Dominic Davenport (King of Greed)

Dominic and Alexandra were so cute. I just wish Dominic groveled more but ik woozi would is a workaholic who is in love with two things his wife and his work. Plus i just think he tends to lose himself in his work while his spouse is an outside person.

Dokyeom - Wez Bennett (Better than the movies )

Mingyu - Kai Young(King of Pride)

Yes. Both of them are very sunshine coded cuties. Also I just love how roundabout they would be when they like someone. That's it sunshine coded babies.

Minghao - Charlie Lestra (Book Lovers)

Have you seen mingyu in glasses? Then you must understand where I'm coming from. He's tall smart understanding and hot a whole package also that scene in the hidden library with mingyu? SIGN ME TF UP.

So yk how Charlie is this practical but kind person? Yes very Minghao coded. He's down bad for you but would not reveal it cause it's always easier to pretend to hate you only when you start falling for a small town guy he realises what he is missing out on. Also they both are extremely practical but do everything for the people they love types.

Seungkwan Xavier Castillo (King of Sloth)

At first this was not the option for seungkwan but I feel I see so much of sassy boo that we forget boo is also a people's person he can charm the shit out of everyone and everything just like the male lead he's annoying sassy and a charmer.

Dino - Rhys Larsen (Twisted Games)

Vernon - Aaron Warner(Shatter me Series)

Blonde vernon for the win. They both have the idk wtf you doing vibes also would be totally obsessed with you. Also they both have such poker faces? I'm in love.

We live in Buff Dino world ofc Rhys and Dino are one person the whole princess nickname? The crawl to me? the pathetic in love vibe? Yes to all of those.

a/n: no proofreading done i just hope it doesn't flop :(

[mtchstck-a]

me, thinking about how much better the entirety of the mcu could have been if the projects were placed in the hands of people who genuinely loved and cared about the characters and their growth:

[bibibuckleyy]

my thoughts on ‘The taking of Dispach 9-1-1′

this was SUCH a good episode from start to finish! *pulls out a slide show* Now i’ll show you breaking down every. single. scene-

jk lmao...unless?

spoilers below the cut!

lord. have. mercy.

these hoes are givin me major heist vibes

tiffany bby ur the driver but for me to acknowledge you as such you better be Letty Ortiz good hun

wow these thugs are a lot my organized than i first thought like i know they was carryin guns but i aint know they was packin this much like damn

Oceans 8 who?

so i wanna know where they just...got a cop car???

OH HELL NAH Y’ALL BEST NOT MESS WITH TERRY

I MEAN ANA MAY BE HIS SISTER

AND  SHE MAY BE MAKIN MOVES ON EDDIE 

BUT IN THIS HOUSE WE LOVE TERRY FLORES SO YOU GET YOUR GUN AWAY FROM SUNSHINE BBY

it’s kinda funny rewatching this scene when you know what’s about to go down

like i’m cacklin like ‘oh shooooot dramaaaa’

but i’m also like ‘SOMEONE GRAB JOSH AND RUN’

“temporary maintenance, happens all the time” cool cool cool 

i’m not freakin out you’re freakin out

josh and maddie are like friend goals i love their dynamic like yoooo

hi yes could you please get that gun away from terry’s head i would really appreciate it.

OMG SECURITY DUDE NOOOO

wow ur like the only line of defense in the dispatch center and they just kicked ur ass

is this where our tax dollars are goin??

fly high josh’s mug, fly high

that absolute look of fear on his face tho, still breaks my heart

josh russo defense squad post up homies

“i love you, howie” nope nope nope didn’t like it the second time either

when that gun went off

LET ME TELL YOU

i just,,,waited for the blood to start comin out of terry

thank god it wasn’t him

good scene lmaooo 9-1-1 writers i hate you all lmao lmao

“bees are the least of your troubles here, sweetheart” I HATE YOU DUDE

someone call mama grant please

“we’ve got dispatch” i do not like this ma’am i’d like to speak to the manager

“you’ll shoot us” man shut the hell up-

“no, we’ll shoot the person next you you” this dude is insane

lookin like mr.clean’s evil cousin LMAOOOOO

“you only do something like this so you can do something...worse”

um whAT-

“you’re being paranoid, she’s fine” CHIMNEY NO NO NO

i don’t think i’ve ever thrown this much popcorn at my tv in my life

as chimney said “don’t do it man” just picture a 5′5 lightskinned girl tripping over her blanket while yelling “DO IT CHIM, DO IT!” and you’ll have me

“sorry, we are experiencing a high call volume” BITCH MORE LIKE A HIGH CRIME VOLUME SOMEBODY GET MAMA GRANT DAMNIT-

*screams* BUUUUUUUUCK 

HI BBY

ooh nice shirt, i guess pink isn’t the only color that suits ya

he looks good in all the colors

whole damn snaaaaack

not to be an idiot on main but seriously, who watches the watchmen?

“i miss like an earthquake or something?” lmao chim is a whole vibe

“wait....why are you calling 9-1-1, is everything ok?” paired with that cute adorable concerned face he made is making me cry ok we don’t deserve buck T-T

“she’s at the call center, what could happen?” AT LOT ACTUALLY

OH THANK YOU JESUS IT’S ATHENA FUCKIN FINALLY 

*cries* mama grant you won’t believe the day i’ve had

“he’s my husband” LMAOOOOO WHAT

whoa tiffany we’ve already had our fair share of mail bombs here that bet’ not be what i think it is

THE PACKAGE IS VIBRATING AND BLINKING TAKE COVER-

ohhhhhhhhhh

it’s just takin out the security systems lmao 

“technical difficulties” BITCH MORE  LIKE CRIMINAL DIFFICULTIES

“i bet this woman really thinks you’re...worthwhile.” JOSH BBY DON’T LISTEN TO A WORD HE SAYS EVERYONE LOVES YOU

ahaha thanks i did not need those flashbacks it hurt enough the first time 

“a woman called about an omelet, i dispatched an officer”

“to the restaurant?”

“not exactly”

???

“i tried calling josh, but no answer” aww josh and buck are friendssssss :)

JOSH HAS BEEN ADOPTED BY THE FIREFAM PASS IT ON

:0

JOSH YOU GENIUS

YOU SMART SMART CINNAMON ROLL

MAMA GRANT IT’S TIME TO MAKE SOME MOVES

“nO NO CHIMNEY DON’T HANG UP!” i shouldn’t have laughed so hard

oh great he’s hastily grabbing his jacket. he’s about to do something rash and irresponsible

....someone call eddie.

that’s some good heist music right there

the bad guys look stressed....good.

“you’re here so i can keep an eye on you and make sure you don’t do anything foolish” BUT YOU LEFT BUCK

OK BUCK I LOVE YOU BBY

BUT YOU HAVE THIS HABIT OF TURNIN INTO SPECIAL AGENT 007 REAL FAST WHEN YOUR FRIENDS ARE IN TROUBLE MAN

LIKE

HE’S THE ‘EVERYONE BEFORE ME’ MEMBER OF THE FIREFAM

mama grant i ain’t questionin your authority or nun but like???

WHY WOULD YOU NOT KEEP AN EYE ON BUCK TOO?

HE’S THE MOST LIKELY CANDIDATE TO DO SOMETHIN STUPID

thats some reckless drivin there buckaroo

buck who were you tryna fool tho

athena only knows one golden retriever dude in this city who drives a grey and black jeep

“ok now, don’t be mad” LMAOOOOOOOO

HANDS DOWN ONE OF MY FAVE SCENES

HE KNEW HIS MOM WAS PISSED TOO LMAOOOO

athena’s look is sending meeeeee 😂😂

omg my god😭😂

“hey buck”

“...hey chim”

athena has some dumbass kids yo

the best part is, she knows it

the way mr. clean broke his neck when dude said ‘police cruiser’ LMAOOOO

“and if it’s not normal?”

“we’ll find out”

*blasts boss bitch*

i love the way buck is kinda concerned for his mom tho

and athena’s just like ‘it’s no sweat sweetie i do this every day’

“shoot her”

BITCH I HOPE THE FUCK YOU DO

YOU’LL BE A DEAD SON OF A BITCH

I’LL TELL YOU THAT

“shoot her, now”

try her bitch, see what happens to yo ass. 

the 118

the call center

the entire fandom 

we will collectively end you

“we got a report of a code 77″

THANK GOD THAT GOT ATHENA OUT OF THERE

what is a code 77 you say?

“ambush, proceed with caution”

well it sure nuff aint indecent exposure

*boss bitch keeps playing cause that was super smart for her to give out a code 77*

“maddie is smart, she can take care of herself until help gets there”

HELL YEA SHE CAN

SHE KICKED DOUG’S ASS SHE’LL KICK YOURS TOO

“they’re not gonna wanna leave behind a room full of witnesses”

i’m-i’m fine, i swear-

“killing people, your solution to every problem”

excuse me? do i hear morals??

they’re really fighting each other

they some grade a stupid right there 

there’s no way they are pullin this off

terry

terry what are you doing

TERRY

RUN TERRY RUN GO GO GO

OH SHIT

JOSHHHHHHHH

i thought they were gonna shoot terry

BUT JOSH CAME THROUGH IN THE CLUTCH

wowwwwww dispatch is a lot more badass than i thought

these dudes are hard core

OH

OH JOSH NO BBY

THAT LOOKS LIKE IT HURT

aii square tf up mr. clean we don’t hit josh here and you gon have to pay for that one

the way everyone is just quietly sobbing tho

it saddens me

“I need another thirty minutes”

i’m really enjoying watching this dude’s plan crumble around him

swat posted up aii i see yall

“we’ll try to get eyes in a damn windowless room”

well when you put it that way it sounds like this is hopeless

“i’m sorry i thought you were crazy”

“i’m sorry i wasn’t”

wow i don’t think i was supposed to laugh at that

and chim bein concerned for maddie is literally one if the best things ever y’all.

completely unrelated note, anybody else see bad boys for life?

“yeah i’m ok, my ears are just ringing a little” with the TEARS and the SNIFFLES and him SMILING THROUGH THE PAIN JOSH IS TOO PURE FOR THIS 

“why do you think we asked for so many RA units?” BITCH I KNOW YOU FUCKIN LYIN

for those of y’all that ain’t kno, RA units are rescue ambulance units

way to reassure people, lady

it’s like she said ‘everyone might be lightly shot by the time this is all over’

“so you are worried. it makes sense, cause all your friends keep dissappearing are they even in the same building?” WITH THAT LOOK OF STRAIGHT SPITE DAMN MADDIE BUCKLEY, DAMNNN

we stan the BAMF BUCKLEYS

“oh my god, LINDA??” lo key thought this was real for a second

“latex! is there latex in your gloves?” greg come on man you planned a heist you can’t be this stupid

SURPRISE! LINDA IS ALLERGIC TO BEES

ENJOY YOUR EPINEPHRINE ASSHOLE

OH

OH WOW

WOW DISPATCH

Y’ALL JUST-

WOW

EVERYONES GOT GUNS AND EVERYTHING OH MY GODDDDD

GIVE IT UP FOR DISPATCH 

you know it’s really funny, cause tiffany ain’t nowhere to be found

“next one goes in your head” OOOOOOOOOOOH SHE’S A BOSS ASS BITCH BROOO YESSSSSSS

(i know, two different songs, but ya gotta admit, it applies)

“you don’t get to die” 

i just-

hands down, most powerful line in the whole episode.

it’s an odd form of vengeance, saving the man that attacked you multiple times from the release of death

 that’s what it would’ve been tho

a release

he would’ve died, and he wouldn’t of had to pay for any of his actions

but instead, josh saved his sorry ass

so he gets to pay for this in the land of the living

the best revenge, actually

and, josh saved a life

he’s worthwhile

“i’m not goin back” well i knew mr. clean was gonna die from the beginning sooooooo

“we’ve got dispatch”  and it’s finally over

i’m kinda bummed that we didn’t get to see SEAL!buck or the rest of the firefam but we got  BAMF!dispatch and that was enough lmao

kudos to those off duty dispatches as well, like y’all just walked past the dead body and moved on from the whole hostage situation to do your already stressful job

CHIM’S FACE WHEN HE SEES MADDIE I AM SOBBING

THEY SAID MADNEY RIGHTS Y’ALL😭😭😭

this hug is everythinggggg 

lo key buck watching from afar breaks my heart ahaha

“she already has everything she needs”

....this is tea for another day, but...

buck, you do know people need you as much as you need them, right?

....right?

still not over that hug tho

ayeeee wassup bobby!

how was the camping trip i was extremely against?

oooooh i love the crime recaps!

i may or may not have been like buck in the bank episode when he said ‘i’m some confused, can you start over’

...ahem....

“wait....you didn’t round her up too?”

ok listen....

while i don’t condone stealing and and the extreme amount of violence they used,

i do condone outsmarting men that think less of you because you are a woman

you are a boss tiffany, and i’m actually kind of sad you got caught

“tiffany was the real mastermind” can i just.....

*BLASTS BOSS BITCH FROM THE ROOFTOPS CAUSE WOMEN OWNED THIS EPISODE! THEY WERE SO DAMN BADASS*

thanks 9-1-1 writers for that, btw. 

gotta admit, as much as they rip out our hearts and stomp on em, they know what they are doin

jake you shady shady bitch

ngl tho both plans were solid 

maybe if it was done completely by women it would’ve worked :)

“looks  like your trip’s been delayed...by about 5 to 15 years” athena you got the best lines yo

jake f’ed up the other plan too lmaoo

like i said, if it was all women, they would’ve pulled this off

and they end it with madney

gosh i loved this episode

So! These were my thoughts on 3x14! Let me know what you think, and hit up my ask box if you want me to post my thoughts on another episode! Later taters!

Oh yeah, if you liked this you can find my thoughts on ‘Pinned’ here!

[doomonfilm]

Memories : The Best Films of the 2010s

Only a few years into my tenure as a film blogger, and I’ve been tasked with a monumental undertaking : ranking the top films of the last decade.  Reflecting year by year is a journey in its own right, and with things like recency bias to take into account, plus the dice roll of blessing and curse that perspective and time bring to older films, I knew that this would be memorable at best, and stressful at worst.

That being said, I don’t claim to have seen every movie, so I know that there are some ‘glaring’ omissions.  I am always open to recommendations for films I should watch (for the purpose of blogging on them or otherwise), but DOOMonFILM has always been about my personal experience as a film fan, first and foremost.  Discussion is welcome, and constructive criticism will always be considered, but this is one man’s opinion.

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THOUGHTS ON THE DECADE

The 2010s, despite moments of controversy in terms of diversity, turned out to be surprisingly forward-thinking in hindsight.  On more than one occasion in the decade, the film of the year (in terms of awards or in terms of critical/public reception), as well as highlight films of each year, were made by foreign directors.  Women and minorities also managed to be recognized in front of and behind the camera at what seemed like a higher rate.  Newer technologies were embraced, such as pushes forward in new cameras or directors opting to shoot on devices as small as iPhones, leaps forward in special effects, and a multitude of movies given the iMax treatment.  A handful of directors happened to put out multiple movies throughout the decade, and a few of those in that handful managed to make multiple award-winning and widely accepted films.  Marvel left such an impact on Hollywood, and the worldwide movie industry, that DC was forced to try and follow suit, and mergers with Sony and Disney were top tier news for months on end.  Actors like Scarlett Johanson, Ryan Gosling, Emma Stone and Leonardo DiCaprio, among others, solidified themselves as box-office legends, while actors on both sides of their career (first-timers and those in the twilight of their career) found success throughout the decade.  All in all, it was a decade that continued to make me happy to be a movie fan, and as hard as it was to do, I managed to find 100 films throughout the decade to rank. 

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100. It Comes at Night (dir. Trey Edward Shults, 2017) 99. Kick-Ass (dir. Matthew Vaughn, 2010) 98. The Peanuts Movie (dir. Steve Martino, Andy Beall and Frank Molieri, 2015) 97. Everybody Wants Some!! (dir. Richard Linklater, 2016)  96. Upstream Color (dir. Shane Carruth, 2013) 95. Avengers : Age of Ultron (dir. Joss Whedon, 2015) 94. John Dies at the End (dir. Don Coscarelli, 2013) 93. Doctor Strange (dir. Scott Derrickson, 2016) 92. Keanu (dir. Peter Atencio, 2016) 91. Free Fire (dir. Ben Wheatley, 2017) 90. Upgrade (dir. Leigh Whannell, 2018) 89. Chappie (dir. Neill Blomkamp, 2015) 88. American Ultra (dir. Nima Nourizadeh, 2015) 87. I, Tonya (dir. Craig Gillespie, 2017) 86. Boyhood (dir. Richard Linklater, 2014) 85. The Grand Budapest Hotel (dir. Wes Anderson, 2014) 84. La La Land (dir. Damien Chazelle, 2016) 83. Ex Machina (dir. Alex Garland, 2015) 82. Nightcrawler (dir. Dan Gilroy, 2014) 81. Sicario (dir. Denis Villeneuve, 2015) 80. Looper (dir. Rian Johnson, 2012) 79. The Killer Inside Me (dir. Michal Winterbottom, 2010) 78. Hell or High Water (dir. David Mackenzie, 2016) 77. End of Watch (dir. David Ayer, 2012) 76. Django Unchained (dir. Quentin Tarantino, 2012) 75. Thoroughbreds (dir. Cory Finley, 2018) 74. Chronicle (dir. Josh Trank, 2012) 73. Melancholia (dir. Lars von Trier, 2011) 72. Black Mirror : Bandersnatch (dir. David Slade, 2018) 71. Detroit (dir. Kathryn Bigelow, 2017) 70. BlacKkKlansman (dir. Spike Lee, 2018) 69. Black Panther (dir. Ryan Coogler, 2018) 68. I Am Not Your Negro (dir. Raoul Peck, 2017) 67. Straight Outta Compton (dir. F. Gary Gray, 2015) 66. Kubo and the Two Strings (dir. Travis Knight, 2016) 65. It Follows (dir. David Robert Mitchell, 2014) 64. Logan Lucky (dir. Steven Soderbergh, 2017) 63. Get Out (dir. Jordan Peele, 2017) 62. Booksmart (dir. Olivia Wilde, 2019) 61. Beats, Rhymes & Life : The Travels of A Tribe Called Quest (dir. Michael Rapaport, 2011) 60. Lady Bird (dir. Greta Gerwig, 2017) 59. Moonrise Kingdom (dir. Wes Anderson, 2012) 58. The Cabin in the Woods (dir. Drew Goddard, 2012) 57. Black Swan (dir. Darren Aronofsky, 2010) 56. Captain America : The Winter Soldier (dir. Joe Russo, 2014) 55. If Beale Street Could Talk (dir. Barry Jenkins, 2018) 54. Avengers : Infinity War (dir. Anthony Russo, 2018) 53. True Grit (dir. Ethan and Joel Cohen, 2010) 52. Three Billboards Outside Ebbing, Missouri (dir. Martin McDonagh, 2017) 51. Whiplash (dir. Damien Chazelle, 2014) 50. Midsommar (dir. Ari Aster, 2019) 49. Journey to the West : Conquering the Demons (dir. Stephen Chow and Derek Kwok, 2013) 48. Sorry To Bother You (dir. Boots Riley, 2018) 47. Mid90s (dir. Jonah Hill, 2018) 46. Logan (dir. James Mangold, 2017) 45. The Killing of a Sacred Deer (dir. Yorgos Lanthimos, 2017) 44. Phantom Thread (dir. Paul Thomas Anderson, 2017) 43. The Hateful Eight (dir. Quentin Tarantino, 2015) 42. Exit Through the Gift Shop (dir. Banksy, 2010) 41. The Irishman (dir. Martin Scorsese, 2019) 40. Suspiria (dir. Luca Guadagnino, 2018) 39. The VVitch (dir. Robert Eggers, 2016) 38. Dogtooth (dir. Yorgos Lanthimos, 2010) 37. The Lighthouse (dir. Robert Eggers, 2019) 36. Annihilation (dir. Alex Garland, 2018) 35. Drive (dir. Nicolas Winding Refn, 2011) 34. Beyond the Black Rainbow (dir. Panos Cosmatos, 2012) 33. The Favourite (dir. Yorgos Lanthimos, 2018) 32. Searching (dir. Aneesh Chaganty, 2018) 31. Tangerine (dir. Sean Baker, 2015) 30. Snowpiercer (dir. Bong Joon-ho, 2014) 29. Under the Skin (dir. Jonathan Glazer, 2013) 28. Dunkirk (dir. Christopher Nolan, 2017) 27. Blade Runner 2049 (dir. Denis Villeneuve, 2017) 26. Baby Driver (dir. Edgar Wright, 2017) 25. Joker (dir. Todd Phillips, 2019) 24. The Neon Demon (dir. Nicolas Winding Refn, 2016) 23. Spider-Man : Into the Spider-Verse (dir. Peter Ramsey, Bob Persichetti and Rodney Rothman, 2018) 22. The Shape of Water (dir. Guillermo del Toro, 2017) 21. The Social Network (dir. David Fincher, 2010) 20. Frances Ha (dir. Noah Baumbach, 2013) 19. Under the Silver Lake (dir. David Robert Mitchell, 2019) 18. Mad Max : Fury Road (dir. George Miller, 2015) 17. Good Time (dir. Josh and Benny Safdie, 2017) 16. Mandy (dir. Panos Cosmatos, 2018) 15. Once Upon a Time in Hollywood (dir. Quentin Tarantino, 2019) 14. Her (dir. Spike Jonze, 2013) 13. The Lobster (dir. Yorgos Lanthimos, 2015) 12. Inherent Vice (dir. Paul Thomas Anderson, 2014) 11. The Master (dir. Paul Thomas Anderson, 2012)

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10. The Last Black Man in San Francisco (dir. Joe Talbot, 2019)

I saw this film as the decade was winding to a close, but it made easily one of the starkest impressions on me of any film-going experience I can recall.  The movie looks amazing, the score and soundtrack are powerful, the acting is rich and dynamic, San Francisco is as beautiful on film as it is in real life, and the thoughts that arise from the narrative presented are the kind that hang around and result in personal changes that matter.  A shining achievement from a stellar year of film.

_________________________________________

9. Inception (dir. Christopher Nolan, 2010)

If Christopher Nolan wasn’t already considered top tier prior to Inception, any doubters were left floored at the close of this masterpiece.  For a story that could have easily been way too convoluted for standard audiences, the visuals, direction and pacing guide us through the madness perfectly.  For anyone interested in dream depictions on cinema, for fans of stellar action, and for the smart people who know the quality that comes with the Nolan name, this one was a no-brainer.

_________________________________________

8. mother! (dir. Darren Aronofsky, 2017)

After being a bit on the nose with Noah, in terms of a film on religion, most directors would take that as a sign to move on from the topic.  For a director like Darren Aronofsky, however, the next step was to seemingly go back to your mind-scrambling roots, dig deeper symbolically, narratively and metaphorically, and come back to the table with one of the most divisive and controversial films of the decade.  mother! will clearly be a film ripe for analysis for years to come, and for as subjective and deep an experience as the film is, this reflection is welcome, as it serves to enrich future viewing experiences.

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7. Uncut Gems (dir. Josh and Benny Safdie, 2019)

How long does a film have to be out to be considered one of the best of the decade?  In the case of Uncut Gems, I will allow recency bias, as it is clearly evident at the beginning of the closing credits that the film is special and will resonate for years to come.  The Safdie brothers already had a classic under their belt with Good Time, and throwing that Sandler magic into the mix only amplifies their heightened and immersive style.

_________________________________________

6. The Florida Project (dir. Sean Baker, 2017)

There are a small fraternity of directors that put out their first films and follow-up films in the 2010s, and while examples of possible award snubs can be found for these directors, there was one clear-cut case of oversight : the 2017 lack of recognition for Sean Baker’s immaculate, beautiful and moving The Florida Project.  While Tangerine was certainly the loudest of warning shots a first time director could provide, the amount of growth, nuance and confidence found in this follow-up deserved multiple awards, not just an acting nod for Willem Dafoe.  Perhaps Baker’s next film will bring him the recognition he deserves in terms of awards, but he’s already made a clear cut name for himself.

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5. Hereditary (dir. Ari Aster, 2018)

I rediscovered a love for horror films in the 2010s, and a key reason would be the emergence of director Ari Aster.  Upon seeing trailers for Hereditary, I knew that it would probably scare the life out of me, but the taste of the story given was so gripping I had to see it.  The fact that the trailer was so powerful, only for the movie to unfold in ways that I never would have imagined or discerned from the trailer, was one of the most rewarding film experiences of the decade.  Toni Collette also gave a performance for the ages.

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4. You Were Never Really Here (dir. Lynne Ramsay, 2018)

It’s arguable that Joaquin Phoenix may have had the strongest decade of any actor, and for my money’s worth, he was at his best in You Were Never Really Here.  Much of the angst presented was previously explored in The Master, and as great as Joker is, it’s essentially the DCEU version of You Were Never Really Here, tonally and in terms of specific elements.  Nobody short of the Safdie brothers are making movies that look, sound and feel like this one, and the unfortunate practice of human trafficking hitting the news forefront makes this film as timely as it is sad.

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3. Scott Pilgrim vs. the World (dir. Edgar Wright, 2010)

Hands down the coolest film of the decade.  Not since Who Framed Roger Rabbit? had so many elements that I loved from other properties managed to find their way into the same movie, and the way that the gumbo was prepared and served was pitch perfect.  As my friend Erin stated after we viewed the film, ‘If you watch this movie and don’t like it, I don’t think we can be friends’.  Some of my favorite sequences of any film are in Scott Pilgrim vs. the World, and this is the EXACT kind of film I look forward to one day sharing with my children. 

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2. Parasite (dir. Bong Joon-ho, 2019)

Another recent film that made an instant impact.  In terms of topics like honesty, entitlement, and family dynamics, nothing I can think of in recent memory is touching Parasite.  The parallels between the two families presented are perfect both visually and in the performances, and with each new bit of information presented, much of what you were previously presented is immediately recontextualized and put into question.  This film, from front to back, is one of the most gripping journeys a filmgoer can take. 

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1. Birdman or (The Unexpected Virtue of Ignorance) (dir. Alejandro González Iñárritu, 2014)

Easily my favorite film of the decade.  This is the closest thing to a song-poem that I’ve ever seen presented on film, and it’s heartbreakingly beautiful.  Nothing else released in the decade looked or sounded like this film, and the way it meta-reflects on Hollywood, Broadway, superhero films and the importance of actors is equal parts hilarious, thought-provoking and wonderfully frustrating.  The film answers enough questions it posits so as to not completely confound the viewer, but it leaves enough open-ended so that repeat viewings are rewarding.  A true achievement of film, regardless of decade.

[beyond-the-yellowbrickroad]

Movies Watched in 2019 - Filmes assistidos em 2019 (part two / segunda parte)

111. About a Boy (2002) Directed by Chris Weitz, Paul Weitz

I liked it a lot! The Kid is amazing and just imagine my face when I found out he was Nicholas Hoult…

112. Hotel Mumbai (2018) Directed by Anthony Maras

It’s a very heavy movie to watch, even more because is based in a real life history… the amazing cast helps to make it even more realistic.

113. Toy Story 4 (2019) Directed by Josh Cooley

I’m angry and very disappointed. It may sound childish of me because “people change” and “leave our lives” but was that really necessary? I think NOT!

114. Widows (2018) Directed by Steve McQueen

I didn’t like it that much but it was probably my fault… I was expecting something more like Ocean’s 8, but it’s completely different from that. Anyway, the cast is great.

115. Final Destination (2000) Directed by James Wong

116. The Final Destination (2009) Directed by David R. Ellis

117. Final Destination 5 (2011) Directed by Steven Quale

So I re-watched all of the “Final Destination” Series at once, and I had the most fun!

I had already seen de second and the third one when I was little (I was about 6 or 7, grown ups were crazy in the early 2000′s) but I had never seen the others and, for my surprise, I loved almost all of them! (I really don’t like the fourth one and I rather pretend it doesn’t exist)

The second one is still my favorite, but the others are as crazy and fun! I LOVED IT!

AND THE ENDING OF THE FIFTH MOVIE, OMG, I WAS NOT READY!!!

118. Liar Liar (1997) Directed by Tom Shadyac

Jim Carrey making funny faces for no reason for 86 minutes straight

119. John Wick (2014) Directed by Chad Stahelski

120. John Wick: Chapter 2 (2017) Directed by Chad Stahelski

121. John Wick: Chapter 3 – Parabellum (2019) Directed by Chad Stahelski

So I also watched all the “John Wick” movies all at once and all I can say is: it’s really great to see treined assassings kill people to revenge their dogs and to see Keanu Reeves being amazing, sexy AND kicking other people’s asses.

122. The Perfection (2018) Directed by Richard Shepard

I saw this weeks ago and I still am absolutely shocked with everything that happened in this movie

123. Us (2019) Directed by Jordan Peele

Literally, a masterpiece of horror and comedy. The cast it’s incredible!

124. The Lion King (2019) Directed by Jon Favreau

Nice, but… it’s the same as the original, but more… dull. Impossible not to have fun though, because it’s the same movie as the original.

125. Long Shot (2019) Directed by Jonathan Levine

Now I really want to go to a club with Charlize!!

126. The Angel (2018) ‘El Ángel’ Directed by Luis Ortega

Beautiful photography, and the cast is really great! The music is also incredible.

127. Hello, My Name Is Doris (2015) Directed by Michael Showalter

It’s a nice reminder that everyone has it’s own time for doing things… sometimes you star things eary and sometimes, other things happen in life before others, and that OK! I loved it!

128. The Lake House (2006) Directed by Alejandro Agresti

It’s romantic, well done and super interesting! Keanu Reeves and Sandra Bullock looked so good together! I really loved this sci-fi love story.

129. Pride & Prejudice (2005) Directed by Joe Wright

Honestly, everything is absolutely pefect in this movie… like when Mr. Darcy always look’s like he’s about to throw up everytime Lizzie is around, how Mr. Bingley is an absolutely sunshine, how Jane it’s his perfect match, how Lizzie is perfecly sassy and smart… I, obviously, and I can not stress this enough: THE HAND FLEX!!! (and when Mr. Darcy cofesses his eternal love to Lizzie in the rain and them they fight and them they almost kiss… AMAZING CINEMA!)

I loved the movie and I can’t wait to finally find time to read the book too…

130. Creep (2014) Directed by Patrick Brice

131.  Creep 2 (2017) Directed by Patrick Brice

Both weird movies, but the first one is more amazing because you spend more than a half of it not knowing what it’s happening.

132. Vox Lux (2018) Directed by Brady Corbet

Natalie Portman is amazing and this movie is also weird.

133. Austenland (2013) Directed by Jerusha Hess

A thriling saga to my Pride and Prejudice / Jane Austen obcession…

So, the fake Mr. Darcy (Mr. Noble) looks like young Tom Hiddleston so now I have a huge crush on him.

Also, I think it’s a very fun movie and I had a good time.  

134. Good Sam (2019) Directed by Kate Miles Melville

Fun, I guess… honestly, the romance was unecessary.

135. Almost Famous (2000) Directed by Cameron Crowe

The bus scene when they all are down and then suddenly starts singing to “Tiny Dancer”… The most beautiful thing I saw in my life.

136. The Losers (2010) Directed by Sylvain White

It’s a very fun movie!

But I have an observation: It just don’t sound truthful that people would make fun of a hot, nerdy, super uncle, not being that good with girls Chris Evans… really, he is absolutely hot and cute in this movie, it just not make sense!

137. Sing (2016) Directed by Garth Jennings

I watched this because of Taron Egerton singing “I’m Still Standing��, but I loved it for so much more!!!

138. Candy Jar (2018) Directed by Ben Shelton

Fun for spending the time.

139. The Red Sea Diving Resort (2019) Directed by Gideon Raff

Nice movie and great cast!

(also, I know thi isn’t the point but Chris Evans is beautiful in this movie to)

140. The Jane Austen Book Club (2007) Directed by Robin Swicord

I loved this so much, but I also feel kind of sad because I don’t have friends to make a Jane Austen book club with me and also I will never get married with nerdy and cute Hugh Dancy.

141. The Hustle (2019) Directed by Chris Addison

Anne Hathaway and Rebel Wilson deserved better!

142. The Sun Is Also a Star (2019) Directed by Ry Russo-Young

I don’t want to be mean but, this was horrible!

143. Descendants 3 (2019) Directed by Kenny Ortega

This movie was already going to be very emotional because is the last one of the trilogy, but the recent evens with the super talented actor Cameron Boyce, it was twice as emotional... I cryed a lot.

Also, the movie is increadible in every way: the songs, the dancing, the characters, the cast... I loved it!

144. Brightburn (2019) Directed by David Yarovesky

Well, that was a disaster...

145. Parasite (2019) ‘기생충’ Directed by Bong Joon Ho

Okay, so this movie... there’s so much to talk about this movie...but I don’t want to spoil it... BUT,  everything is absolutely PERFECT! OMG! I LOVE THIS MOVIE SO MUCH!

146. Otherhood (2019) Directed by Cindy Chupack

Great cast, fun to watch!

147. The Craft (1996) Directed by Andrew Fleming

ICONIC!

148. Wild Child (2008) Directed by Nick Moore

EMMA ROBERTS: I’m sorry for every time that I sayd that you were not a great actress. You are, and this movie is a masterpiece.

149. Mandy (2018) Directed by Panos Cosmatos

That was a crazy ride and I LOVED IT! Nick Cage it’s amazing in this and I really love this scrypt.

150. Falling Inn Love (2019) Directed by Roger Kumble

This couple is so beautiful and I really wish they could date me as well.

151. Did You Hear About the Morgans? (2009) Directed by Marc Lawrence

I did not like the movie that much but the cast is nice, so is not that bad to wach.

152. Bacurau (2019) Directed by Juliano Dornelles, Kleber Mendonça Filho

This was, honestly, the best thing I saw the entire year. It made so happy and proud of my own culture, and was so increadible to watch, with a great cast and characters that are truly amazing... and as if all of this wasn’t enough, the movie (as a coincidence) talks direcly with Brazil’s currently politic scene. 

When the movie was over, I felt like crying of happines... I so proud o f brazilian cinema and how it gets better and bigger each year!!  

PURE PERFECTION. 

153. Between Two Ferns: The Movie (2019) Directed by Scott Aukerman

There was scenes that I really found funny and there were times that I was just confused... but I liked it.

154. Last Holiday (2006) Directed by Wayne Wang

QUEEN LATIFAH I LOVE YOU SO MUCH, PLEASE BE MY FRIEND!!

Honestly, this movie is everything a romcom should be... PERFECT! 

155. The Nutcracker and the Four Realms (2018) Directed by Lasse Hallström, Joe Johnston

I’m absolutely angry with the fact that Keira Knightley and Matthew Macfadyen in the same movie and they even looked at each other! CRAZY THING RIGHT?

156. Rumor Has It… (2005) Directed by Rob Reiner

Just imagine a world were Jenifer Aniston and Mark Ruffalo are a couple... 

The movie was SO WEIRD!!! (but good) 

157. It Chapter Two (2019) Directed by Andy Muschietti

The first one still is my favorite, BUT this is so great... I’m not even going to begin to write about the cast, ‘cause everyone knows it’s absolutely PERFECT, but really, BILL HADER GUYS! JUST, AMAZING.

Anyway, I did not got even a little scared, but who cares, it’s a great movie.

Also, the scene were Bill Skarsgård  show up without the Pennywise makeup... his acting was SO GREAT!

 158. Midsommar (2019) Directed by Ari Aster

Today I saw someone describe this movie as “a bunch of white people killing other people and dancing in circles” and honestly, this is the perfect description for this.

159. Homecoming: A Film by Beyoncé (2019) Directed by Beyoncé Knowles

i CAN’T BEGIN TO DESCRIBE THE FEELINGS I FELT SEEING THIS! This woman is beautiful, super talented and a genius! 

YOU JUST MIGHT BE A BEYONCÉ IN THE MAKING!! 

160. Frozen (2010) Directed by Adam Green

HORRIBLE! OH MY GOD! I FELT SO BAD WATCHING THIS, IT WAS TERRIFYING! OMG!

161. Hush (2016) Directed by Mike Flanagan

I NEVER FELT SO UNCONFORTABLE IN MY LIFE! Truly a good idea for a scary movie and a very well executed one to! Loved it!

162. El Camino: A Breaking Bad Movie (2019) Directed by Vince Gilligan

The perfect ending for one of the best suporting characters on a TV Series.

163. Little Monsters (2019) Directed by Abe Forsythe

Lupita Nyong'o deserves way more recognition from the Movies Industry because she is so great and even with a fucking OSCAR on her shelf, she barely has any leading characters on her career and is SO UNFAIR!

This movies is funny, scary, the cast is great and there’s Shake it Off by Taylor Swift was sang by a bunch of kids and Lupita dressed on a beautiful yellow dress all dirty of zombie blood, sooo... you should go and watch it!

164. The Blair Witch Project (1999) Directed by Daniel Myrick, Eduardo Sánchez

The movie it’s okay until it gets on it’s last 15 to 10 minutes... then so much starts to happen and you just want to stop seeing it, but can’t because you want to know the ending of it, and it’s so scary and crazy... Really I totally get why lots of people are crazy about this one... SO SCARY!

Also, look out for the website they made for the three filmakers that “disapeared” ( AKA were killed by the Blair Witch), it’s so good and there’s a lot of more information that makes the movie even more scary.

165. Yesterday (2019) Directed by Danny Boyle

It could be SO GOOD! But it was SO BAD! Lili was this movie, the guy that played Richie in Skins was in this movie and I still did not like it... The sountrack was made by BEATLES SONGS and I still did not like it... SAD.

166. The Witches (1990) Directed by Nicolas Roeg

NOT A KIDS MOVIE! Really, it’s so scary! OMG!

167. Shaun of the Dead (2004) Directed by Edgar Wright

It’s a very diferent zombie movie, but I really liked it! 

168. Maid in Manhattan (2002) Directed by Wayne Wang

IT WAS JUST LIKE CAMP ROCK!!

Very cheesy, not the best romcom I ever watched, but also not the worse... If you want a good JLopez movie, go see Monster In Law!

169. Monster House (2006) Directed by Gil Kenan

ALSO NOT A KIDS MOVIE! This was actually very little apropriate to kids and so fucking sacry, OMG, how this was made up to be a kids movie? 

170. mother! (2017) Directed by Darren Aronofsky

I will never get over this movie, I feel marked for the rest of my life, thanks very much Aronofsky! (no, really, THANKS!)

171. The Meddler (2015) Directed by Lorene Scafaria

Honestly, the “I was visiting my daughter, she just shot a pilot!” joke was THE BEST THING I EVER HEARD IN MY LIFE! Also, “I have to go home, my hands are loud!”.

172. Killer Klowns from Outer Space (1988) Directed by Stephen Chiodo

I don’t even know what to write about this one... It was weird and not scary at all, but was kind of... diffent? I mean, you don’t get literally scared but you feel unconfotable, like, a lot! Go check it out and you will hopefully understand what kind of feeling I’m trying to describe, it’s just... weird.

173. Scary Stories to Tell in the Dark (2019) Directed by André Ovredal

WHAT ON EARTH PEOPLE KEEP MAKING THOSE SUPER SCARY MOVIES ANT SAYING THEY ARE FOR KINDS? This was so scary Jesus, and It was great. But not for kids.

If you read the books I don’t know how you going to feel about it, but in my experience from movie adapttions from books, you probably going to feel like shit. But I did’t read the books and loved it, so, you might to :)

174. Book of Shadows: Blair Witch 2 (2000) Directed by Joe Berlinger

Not ever close to be as great as the first one, it’s crazier, more things happen and you still feel crazy with the characters, but, it’s not as great. But it would be a great stanalone, if the first one did not existed. 

175. Vacation (2015) Directed by John Francis Daley, Jonathan M. Goldstein

This is a comedic MASTERPIECE and I CAN NOT STRESS THIS ENOUGH! 

I love comedy movies, but I always expect to much of them... but this served me EVERYTHING that a good comedy should have to make me laugh until my breath runs out. LOVED IT!

176. Walk the Line (2005) Directed by James Mangold

Joaquin Phoenix and Reese Witherspoon are absolutely babes and so increadibly talented! 

The movie is a bit slow (maybe only if you not a particularly big Cash fan), but is great! 

177. Love Happens (2009) Directed by Brandon Camp

Jennifer Aniston is amazing and goergeous as always but I didn’t conect with the characters so... it didn’t work to much for me, but it’s not bad eigther.

178. John Tucker Must Die (2006) Directed by Betty Thomas

Talking about perfect comedies, this is ONE OF THEM! FOR SURE! 

179. You’ve Got Mail (1998) Directed by Nora Ephron

I’ve got three things to say:

One: TOM HANKS

Two: I could never date someone that led me to bankruptcy, I could however punch this person multiple times.

Three: MEG RYAN!!!

180. The Prince & Me (2004) Directed by Martha Coolidge

Okay, so I was not expecting anything big from this movie and I only watched it because of Julia Stiles, BUT OMG I’m so thakfull that I gave it a chance, because it’s an amazingly done cliché and the Prince it’s totally hot!

 181. Dora and the Lost City of Gold (2019) Directed by James Bobin

I WAS SO SURPRISED THAT IT WAS SO GOOD! I really wasn’t expecting that! SO GOOD! 

182. Me Before You (2016) Directed by Thea Sharrock 

méh.

But Emilia, I want to be your best friend!

183. Late Night (2019) Directed by Nisha Ganatra

To Queens that almost coused my death because of how much a I laughed in this... it’s ligh, fun and dramtic and real... AMAZING!

184. Let It Snow (2019) Directed by Luke Snellin 

Kiernan Shipka and  Mitchell Hope singing The Whole of the Moon awakend my bissexuality.

Shameik Moore and Isabela Merced to!

185. When Harry Met Sally… (1989) Directed by Rob Reiner

MEG RYAN!!! 

So... this is the movie that every fanfic is based on? I really loved it!

186. Bringing Down the House (2003) Directed by Adam Shankman

Queen Latifah always brings a smile to my face... she’s perfect!

187. Joker (2019) Directed by Todd Phillips

Huum... Joaquin Phoenix it’s a very great actor, OMG! 

188. Penelope (2006) Directed by Mark Palansky 

It was very hard for me to watch this movie and not get distracted by James MacAvoy’s perfect face and body and not so perfect hair in this one, but does anybody really care? It’s beautiful James McAvoy! 

Also, the movie is so great! I didn’t knew about the plot and I was so surprised! It’s very, very good! 

I love the final scene when Penelope just let’s the children run wild while she swings with her hot boyfriend...

“Take of your mask!” ~proceds to kiss Christina Ricci very dramaticly~

189. Mad Money (2008) Directed by Callie Khouri

Everything about this movie was PERFECT

190. Baywatch (2017) Directed by Seth Gordon

Great opening scene, the rest was kind of a mess.

191. Noelle (2019) Directed by Marc Lawrence

CUTE! CUTE! CUTE! 

But I will complain about the lack of Bill Hader content.

192. Every Day (2018) Directed by Michael Sucsy

Another surprise this year, a very good one! 

It’s cute and dramatic, also, this actress kissed every teeneger and young adult in Hollywood!

193. Over Her Dead Body (2008) Directed by Jeff Lowell

A good and weird movie! Gave a few laughs. 

Paul Rudd is in it, so, totally worth it!

194. The Skeleton Twins (2014) Directed by Craig Johnson

A dramatic, surprising and “few good” comedy! 

I really wish I could hang out on Halloween with Bill Hader and Kristen Wiig...

195. Eat Pray Love (2010) Directed by Ryan Murphy

I didn’t quite understood her journey but I quite liked it. 

Veeeery long movie.

196. Death at a Funeral (2007) Directed by Frank Oz

197. Death at a Funeral (2010) Directed by Neil LaBute

I know I should have loved the original version more but the american version... I don’t know what it is (probably the many actors that I absolutely LOVE), but I coul not stop laughing! 

James Marsden was an absolute STAR! 

198. The Other Woman (2014) Directed by Nick Cassavetes

I wish I could personally thank Cameron Diaz for every great movie I watched because of her.

Thank you, Mrs. Diaz! 

That last scene was peak COMEDY!!!

199. The Back-Up Plan 2010 Directed by Alan Poul

JLo! PERFECT!

Honestly, I was thinking this movie was going to be very problematic, but it wasn’t that much... it was actually pretty cute! The birth scene was sacry and funny at the same time!! 

200. Muriel's Wedding 1994 Directed by P.J. Hogan

Don’t judge me, I didn’t liked it, it fact, It made me feel pretty shitty, so I just wnat to forget that it existis. 

[kwispayne]

The Top 10 Films Of 2019

Sadly my keep up with film this year wasn't as active as I would have liked it to have been. But I did see a lot of great films. Maybe none that will be in my century list, but there was some great moments throughout. Hopefully I can keep up better this year, but here is my opinion on what I did see

So here is some rules

1.Technically some of these movies have been released in 2018, but some where only released at film festivals or had overseas release. I usually go by the rules of if it was released in cinemas, Netflix or DVD in 2019.

2. This is a personal list. So some opinions are biased and selfish.

3. I haven’t seen every film from this year sadly. So any recommendations or even your top 10 lists would be helpful. I always want to watch more and I have an odd fetish for lists and stuff, so if you have any send me links and stuff.

10. Dragged Across Concrete (S. Craig Zahler)

S. Craig Zahler's films in the past few years have only just keep getting better and better. Also how this guy was able to give careers back to Vince Vaughan & Mel Gibson is a feat if extraordinary skill too. Dragged Across Concrete is a complex story, with a lot of interesting twists and turns, but one of the best skills that Zahler has as a film maker is his ability to set up scenes. He never spoonfeeds his audience, and gives the characters dialogue and scenes that are very lifelike. While this may be his least bloodiest affair, it does have some rather upsetting moments in it which leave a bigger lasting impact than a bloody gore fest.

9. Once Upon A Time In Hollywood (Quentin Tarantino)

I was a tiny bit let down by Tarantino's last film The Hateful 8. Overall it wasn't the worst, but there was a lot of padding. But, this film has a lot of padding too. But it's padding which I deem necessary. In fact, this level of padding I haven't seen Tarantino do since Jackie Brown. But overall, the film, even though it is slightly based on true events, constantly has the audience guessing what is going to happen, leading to an incredibly leftfield and satisfying climax. The dialogue throughout is at times Tarantino by numbers, but at times he does verge away from what we are used to, which I've got to admit, is an impressive feat by Tarantino so late into his career. Also, big props to Leonardo DiCaprio who deserves an award for his performance in this film.

8.  Fyre: The Greatest Party That Never Happened (Chris Smith)

The movie which launched a thousand memes. Back in the day, documentaries used to fill my lists, but that has died down, because they've been so saturated since the rise of Netflix & Amazon. But, I'm glad to say that this  is the example of one that has slipped through the cracks, mainly because the story  of this documentary is so insane. A failed music festival that was doomed from day one, spearheaded by a rapper with a lot of hubris and a pied piper entrepreneur. In many ways this movie very much is the perfect parable of today's obsession with capitalism. It's all glitz with no results. Netflix, you've done it again.

7.  Lords Of Chaos (Jonas Åkerlund)

Being a fan of metal, the story of this film has been among the metal lore for the past few years. Now...do I believe everything the movie is portraying...no, but the movie does claim that it is based on lies too. But at the heart of it all, I think  Åkerlund did get a great theme going. That at the end of the day, the guys involved in this whole affair were just kids. This is a controversial choice I know, but I genuinely loved the choice of shots in the movie, the aesthetics used and I thought out the dialogue throughout was very strong and acted well. So as a film, it's great. As a piece of metal history...not so much.

6. Fighting With My Family (Stephen Merchant)

After being blown away by Florence Pugh in Lady Macbeth, I was surprised to hear that her next project was a comedy film about wrestling. But then I saw that Stephen Merchant was directing and writing it, and my mind was put to rest. Personally I think The Office & Extras are 2 of the best TV shows ever made, so I knew that Stephen could pull of a big Hollywood comedy. But...this has such great British charm in it, that whenever I wasn't laughing I was nearly in tears with the drama. The screen play in this film is fantastic, but Stephen has always been a brilliant writer. The cast in the film is fantastic, but Florence Pugh just blows everyone out of the water. I will talk about her more later. 

5. Vice (Adam McKay)

After being shocked by The Big Short, Adam McKay again proves that he has a certain style which was only veily shown in his earlier comedy films. The comedy of this film comes from the twist of what we usually except with films of this calibre, but behind the veneer of Cheney himself, this very much adds to the tone of the film. The obvious elephant in the room is Christian Bale's performance and the changes he made to become the character, which are insane as always, but the actual performance and manner of Cheney is perfectly modeled and may be one of his greatest performances, although I hope for his benefit he just sticks to a fat suit and make up next time he needs to play an older large man.  Now this movie isn't the most factually accurate from what I gather, but if it is...wow...McKay has given life to an absolute monster.

4. Midsommar (Ari Aster)

Ari Aster has now made 2 of the best modern horror films. Hopefully he can make it a hat trick. This film blew me away. The psychedelic cult aspect of this movie was dripping from the screen, but it was done is such a bright and vibrant way so it seems to be safe, but it's actually very dangerous. A fantastic cast also drives  the film, but Florence Pugh shows up again to prove that she may be the greatest actor that we currently have working at the moment. Jack Reynor is also fantastic in the film and I really hope he gets more work because he is fantastic (he's gorgeous too). Warning to anyone about to watch this film...it gets very freaky.

3. Avengers Endgame (Anthony & Joe Russo)

Ok...again this is mainly just for my own satisfaction. I have been following the Marvel films for a long time, and some of them have actually been able to get their way into my top 10 lists, but this one is different. This movie never would have worked if the studio didn't take their time. And the arc that they have told over the past few years with specific characters in general has come full circle, and the pay off is glorious. Now when it comes to the actual plot of the film and the time travel stuff...yes it is a bit silly, but the concept itself is silly too, so I take it with a pinch of salt, and I only focus on the story we are given. The best performance though comes from Robert Downey Jr., who I believe deserves some sort of award not for this film but for all the Marvel movies he took part in. The build up to Josh Brolin's Thanos is also a fantastic performance. And the climax of this film is one of the most grandiose and epic closers of any superhero movie that we have ever seen.

2. Us (Jordan Peele)

I felt that Get Out was a movie where the concept was brilliant, but the actual execution was lacking. I still enjoyed it, but it was one of those films where people enjoyed it a lot more than I did. But when I saw the trailer for Us, I became very excited, because the trailer made it seem overly creepy to the point where I didn't understand what was going on. So I went in knowing nothing and coming out completely blown away. To think that Jordan Peele directed this, the same guy that made me laugh from his sketches on Key & Peele has directed an incredibly smart, funny and interesting horror film. I feel like I'm in the Twilight Zone (obvious joke alert). But this movie would be nothing without the stellar performance from Luptia Nyong'o. This lady deserves a lot of awards and recognition for this role, and I hope she works with the horror genre again, because he is a fantastic scream queen.

1. The Favourite (Yorgos Lanthimos)

Yorgos Lanthimos' films have been an interest of while. With his directorial debut Dogtooth, I was blown away. It was so unique that no one could follow this incredibly odd turgid and absurdist style. He then came back with The Lobster, which I found the idea of more enjoyable than that actual execution of the film itself. And he got closer with The Killing Of A Sacred Deer, but it didn't fully stick to landing. But this is his biggest film. A weird one to chose foe a style of his calibre. A period piece focusing on feminism. How could he keep his style without it distracting the audience too much with the story. But thankfully he found the perfect marriage between the 2. Now, his style did get watered down a bit, but thankfully his absurdist approach hasn't fully evaporated, with some very odd but brilliant use of shots. Acting wise, the film has a fantastic cast, and obvious props should be given to Olivia Coleman who won her Oscar for this role, but Emma Stone & Rachel Weisz also give fantastic performances too, and should be recognized too. I'm glad to see Lanthimos making his acclaimed masterpiece, and am looking forward to his next artistic endeavor.

[douxreviews]

The Punisher - ‘Trouble the Water’ Review

"He that sows the wind shall reap the whirlwind."

Frank Castle is a killer. That's what he does best, that's how he is perceived and probably how he perceives himself. This could have changed after he avenged the death of his wife and kids and decided to take a new direction in life. A clean slate. Maybe being a killer didn't define him after all. The second the circumstances asked for the Punisher, though, there he was again. But Frank Castle is also a hero. He has a good heart and does all he can to protect the innocent; his victims are the bad guys and he makes the world a better place every time he takes one down. But can a man with such brutal and animalistic methods ever be seen as a hero of the people?

One of the reasons I enjoyed "Trouble the Water" so much was that it portrayed Frank as a hero and gave him recognition for it. At the beginning of the episode, Sheriff Hardin is trying to put the pieces together and can't trust Frank, but as the hour unfolds and Frank displays his honor and battlefield capability, the Sheriff changes his mind.

Throughout the first half of the episode, nearly every choice the Sheriff made drove me nuts. Surely, he couldn't trust the three people he had in custody, but whatever Frank, Rachel and Marlena were involved with was clearly much bigger than what that small precinct was capable of handling. Hardin's obstinacy nearly got everyone killed. I honestly thought the situation was going to end with a huge blood bath and I was happy that was not the case. Well, not for the good guys, anyway. In the end, Hardin knew the only reason he and his team made out alive was Frank. When he thanked Castle for all he did, that was a rare validation for Castle and a well earned one.

The battle in the precinct was really well constructed. From the moment the power went down and communications were off, the episode delivered one great scene after another. Facing a nearly certain death sentence, Hardin and his deputies discussed the possibility of giving the prisoners away. That was realistic and I liked how no one was portrayed as selfish for considering that option. They just wanted to make it out alive and be reasonable about their odds, and Frank was literally asking to be sent outside. It took a gun-wounded Deputy Ogden to close the case and have them decide to take the more noble path. Seriously, Hardin had a good group of people with him.

Another moment of worth was the conversation between Hardin and Pilgrim. In last episode's review, Shari said "I am curious to see how someone who detests profanity, technology, and apparently casual sex is not averse to hiring assassins, buying off the police, or committing murder." Well, now we have an explanation for that. Upon identifying the Sheriff as a man of faith, Pilgrim suggests that he shouldn't waste his time protecting "godless people." And that's how usually these fanatic types justify the violence they perpetrate, isn't it? As long as the target are sinners, people who profess other faiths or "godless people," not only it isn't a problem to take them out, it might as well be God's work. It's despicable, really, but it's a twisted moral that makes sense to religious extremists.

The opening scene of "Trouble the Water" took us a little inside Pilgrim's world. We learned that his wife, Rebecca, is ill, they have two kids and he was commissioned by an influential religious couple, Anderson and Eliza Schultz – hello, Martha Kent –, to retrieve the photos Rachel is carrying around. The way Eliza walked with Pilgrim's children as she said she'd take care of them gave me the impression that Pilgrim didn't have the option of turning the mission down. Not that I think it matters to him, choice or no choice, he'd probably see it as God's will and go for it anyway.

Anderson said that one member of their group had been thrown in the Lion's Den. But we don't know what that means exactly, do we? The longer Rachel takes to explain what is going on, the more I resent her. On an intellectual level, I dislike this choice of hers because it's mostly a stalling technique to stretch this particular plot. But even accepting that this is how the writers chose to render the tale, I just find Rachel to be incredibly selfish. She is not evil, she even shows some sympathy for the people hurt in the crossfire, but she clearly doesn't care enough. There were bodies dropping dead left and right, and even before the possibility of more people getting killed trying to protect her, she still wasn't willing to give these people the grace of knowing what they were about to die for. On the other hand, I liked that she helped Frank get out of the handcuffs. Sure, she knew her survival chances would greatly improve, but I still enjoyed their silent understanding.

Elsewhere, Billy Russo is out and I honestly didn't think it would happen this soon. Who is right about him, Madani or Dumont? Billy is dangerous, full memories or not, so Madani has a point there, but is he faking it or is he truly damaged and traumatized? I'm not sure Madani is convinced it's all an act, I believe she is desperate to be on top of things for once, to be one step ahead, so she needs to commit to her theory. It's desperation, not professionalism, that is driving her every action right now, and she will be no match against Russo at this state. At least she was smart enough to take his diary and go get Frank. And what an entrance, indeed, with perfect timing. Now she saved Frank's life too and they can both help each other.

Bits and Pieces

- Title musings: "Trouble the Water," as explained in the episode, comes from the Bible and refers to a pool whose water was troubled by an angel and the first person to get into it would then be healed. John 5 narrates an occasion in which Jesus healed a man who never had anyone to put him into the moving water. The expression gained a new meaning with the song "Wade in the Water," sang by the choir in the beginning of the episode. The song says "God is going to trouble the water", a reference to when the Red Sea, parted to let the Hebrews pass, closes leading to the deaths of every men of Pharaoh's army. It's safe to say that Frank was the one who troubled the water this time, killing every men of Pilgrim's army.

- Where is Micro? I miss Micro.

- Deputy Murphy took a while to get out of the nothing-ever-happens-here mode. I loved her nonchalant attitude.

- Josh Stewart is doing good work as John Pilgrim, but Pilgrim's perpetual dead gaze kind of drives me nuts.

- So, Rachel's real name isn't Rachel, but I decided to call her Rachel in this review for the practical reason of still not knowing her real name. Some of her aliases are Susan, Peggy and Stephanie, and one of those could turn out to be her actual name.

- I liked that Rachel returned Ogden his five dollars.

- Anderson and Eliza Schultz sponsor Rebecca's medical treatment.

- Pilgrim has three faded tattoos, at least. One is some type of cross symbol, another one looked like a skull, and on his back the wings of an angel.

- I had the impression that the writers were setting up a possible partnership between Marlena and Frank. I was sad to see her go, but maybe she isn't really gone and now has a motive to switch sides?

- How did Frank leave the precinct without being seen by that army of killers?

- Russo with that mask, walking quickly holding a woman close to him, and no one thought something suspicious was going on? Really?

Quotes

Eliza: "If we serve faithfully, we will reap rewards."

Frank: "How's the leg?" Marlena: "Next time, I'll hit more than your hand." Inmate: "You two married? Sure sound married."

Sheriff Hardin: "I ain't buying this Pollyanna routine."

Sheriff Hardin: "Delayed gratification's good. It built the middle class."

Frank: "If you run, you can't see what's coming up from behind you."

I liked this episode a lot. Carefully constructed, climatic and with a wonderful payoff. Three and a half out of four Bible quotes.

Lamounier

[cas-backwards-tie]

Top Ten Character Crushes Tag

Tagged by @existentialmalaises , thank you for always tagging me in stuff and giving me something to do <3 

Rules: Tag 10 of your all-time favorite character whom you’ve had a crush on and explain why. Tag 10 people to do the same.

I’m gonna try to spice things up and use people I haven’t before since I’ve done this a few times. I’m thinking back on childhood crushes mostly.

1. Alex Russo

Alex is sassy, funny, confident and assertive. She’s beautiful and powerful and watching her prank her brothers was always fun. I’ll never forget the WOWP movie and how Alex thought she’d be happy if she were an only child, wishing for it and then discovering that she actually did love her family and wanted them back, no matter how much they annoyed her. This taught me something so important and I think Alex definitely deserves more credit than her family gives her in the show.

2. Drake Parker

Drake and Josh was hilarious, and Drake Bell was always getting into some goofy, fun pranks and problems. I always liked Josh too, but Drake always took the cake for me. Drake was talented, loved and mostly thought to be right despite making mistakes and screwing up. He’d always come around to fixing his mistakes though.

3. Damon Salvatore

Truthfully, I always liked Damon better than Stefan. Looking at my list so far, I think I admire the people who have the qualities I wish I did. Funny, Witty, Confident and Not afraid to say anything. Damon is a badass and deeply cares about the ones he loves despite it not always showing in the best ways.

4. Stiles Stilinski

From playing good to evil, from anxious to carefree, Stiles is the perfect representation in my mind of the typical teenager. He’s cute and funny, despite lacking the powers his friends have, he still gives his everything when trying to protect his friends, family and the town he lives in. I can relate so much to Stiles, honestly. He’s a dreamer.

5. Anakin Skywalker

Having grown up watching Star Wars, I always connected with Anakin as he was the first character I saw. Baby Anakin was adorable, full of hope and smarts, he set out on a grand journey. Anakin had been through tough things, he’d been hurt and trifled with and possessed much more power than some people would give credit for. Anakin was misguided, though watching his journey, I could connect a lot with the troubles he went through.

6. Austin Moon

I always thought Austin was super cute and really loved the way he just went after his dreams despite people trying to dissuade him from doing so. Austin inspired me and was such a carefree person, something I wish I was more of.

7. Castiel

Castiel is honestly the whole reason I started watching Supernatural. Genuinely, I mean, if you ask me the reason why, it’s because of him. I thought Castiel was funny in the ways he didn’t really understand Earth culture, yet he was powerful and kind-hearted with sympathy despite other angels lacking it for humans. 

8. Cat Valentine

Cat was probably the sole reason I watched Victorious if I did. Cat is funny, somewhat naive, carefree and most of all loving, caring and sympathetic when it comes anyone. Cat tries her best and despite people trying to dumb her down, she never took their words to heart as she knew she was smart. 

9. Koriand’r (Starfire)

Starfire is actually my favorite member of the teen titans. She’s beautiful, wise and always eager to learn. She’s compassionate, strong and stubborn when it comes to getting something done. 

10. Mac

I always thought Mac was cute, deserved more than he received at home and definitely was admirable in the way he cared for his friends. Mac would do anything for his friends and constantly puts up with Bloo’s shenanigans despite not always agreeing with his pranks and ideas.

Tagging: @chiefqueenenthusiast , @dcdweeb , @thinkwritexpress-official , @swainlake , @piningbrothers , @boykingsmmy , @starsmish  , @caplansteverogers , @envydean , @nxttime

[42inchtv]

Some Thoughts On The Best Movies Of 2019

Honorable Mentions: “Always Be My Maybe” (dir. Nahnatchka Khan), “Avengers: Endgame” (dirs. Joe and Anthony Russo), “Her Smell” (dir. Alex Ross Perry), “The Highwaymen” (dir. John Lee Hancock), “Joker” (dir. Todd Phillips), “Knives Out” (dir. Rian Johnson), “The Laundromat” (dir. Steven Soderbergh), “Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese” (dir. Martin Scorsese), “Spider-Man: Far From Home” (dir. Jon Watts), “Star Wars: The Rise of Skywalker” (dir. J.J. Abrams), “Toy Story 4″ (dir. Josh Cooley), “Triple Frontier” (dir. J.C. Chandor), “Under the Silver Lake” (dir. David Robert Mitchell), “Waves” (dir. Trey Edward Shults), “Yesterday” (dir. Danny Boyle)

10. “High Flying Bird” (dir. Steven Soderbergh) Steven Soderbergh loves process movies, films where collaboration has to take place in order to achieve a set goal. So, heists. Almost all of Soderbergh's movies have a heist element in the text -- often literally, as with the "Ocean's" franchise or "Logan Lucky"; sometimes deeper, as with "Magic Mike" or "High Flying Bird." This new Soderbergh joint is a fucking blast -- and right from the start, with Andre Holland rat-tat-tatting his way through a fancy lunch with an NBA rookie who's still wet behind the ears (Melvin Gregg, good stuff). On the face of it, "High Flying Bird" is a heist movie, one where we watch Holland's Ray and his dogged former assistant (Zazie Beetz) use shoe-leather to stop an NBA lockout and make themselves a lot of money in the process. But its deeper reading is about a disrupter trying to disrupt again without falling behind the curve (it might as well be about Soderbergh himself). The ideas presented in "High Flying Bird" are so modern its almost as if Soderbergh has seen the future, one where athletes democratize sports in the way so many other fields have been democratized by social media. The production and release of "High Flying Bird" -- it was shot on an iPhone and dropped on Netflix -- are timely too. Soderbergh continues to get over on all these guys, doing it better and faster than most people half his age. Maybe he loves heists so much because he's made a career out of pulling jobs on the unsuspecting for 30 years.

9. “Booksmart” (dir. Olivia Wilde) A classic right out of the box, even in spite of the ponderous discourse surrounding its release. “Booksmart” takes the one-crazy-night structure and core relationship of "Superbad" and mixes it with the heart and sincerity of "Lady Bird" to create a coming-of-age movie that transcends gender and time and finds room to turn Beanie Feldstein into a giant star. This is a god-level performance, paying off what everyone hoped would happen after she played the beta in "Lady Bird." She's the alpha here and tears the movie to shreds. Give her a goddamn Oscar.

8. “Parasite” (dir. Bong Joon Ho) There is always another bottom. “Parasite” starts as one kind of movie and becomes another and the deftness with which it transitions is but one of the many delights buried within what has become a landmark release. Two things to note, before hitting the next blurb: first, the ending montage is unforgettable, quite literally as I’ve often replayed it in my head during quieter moments; and second, the score is the best of the year.

7. “Little Women” (dir. Greta Gerwig) Bigger in scope and bolder in construction than “Lady Bird,” Gerwig’s adaptation of “Little Women” stamps her as one of the best filmmakers working today. No one is able to be as honest in depicting complicated human feelings and as unafraid to portray outright empathy amid conflict. The only downside to Gerwig hitting the rarefied air of an auteur is that she doesn’t seem to want to act anymore. But we’ll take the role switch if there are more movies like “Little Women” on the horizon.

6. “Marriage Story” (dir. Noah Baumbach) Noah Baumbach is never really mentioned when conversations turn to best directors; he’s always felt a tier behind the Tarantinos and Scorseses of the world. But given a second thought, it’s hard to imagine why. Baumbach has been knocking out four-star movies since the ‘90s and “Marriage Story” might be his best. (Thanks to Netflix, it’s also by far his most widely seen; my parents even watched this one.) The divorce drama turned meme generator is typical Baumbach: smart people arguing about life with a bite that doesn’t shy away from showing the underside of humanity. But it feels like his most complete film, a perfect marriage of his earlier cynical work and his buoyant Gerwig period. It goes without saying but let’s say it anyway: Adam Driver is remarkable in this one, giving the best performance of the year. But Scarlett Johansson matches him scene for scene, a reminder of the raw talent she displayed during the “Lost in Translation” years when she was basically Andruw Jones for actors.

5. “Hustlers” (dir. Lorene Scafaria) From the opening tracking shot -- an unbroken take that follows newbie Destiny (Constance Wu in her best performance yet) as she tries to scratch together some cash during her first night at the klerb -- Lorene Scafaria makes her case for a Scorseseian tribute previously done best by Paul Thomas Anderson. But “Hustlers” isn’t a mere riff on “Goodfellas” or “Boogie Nights,” it’s a Trojan horse packed tight with big statements on the long-lasting ramifications of the 2008 financial crisis, the bonds of true friendship, and the way parenthood literally changes the mind of a parent (”motherhood is a mental illness,” Jennifer Lopez’s Ramona says twice during the film, first with a laugh and then later with a tear). It all culminates with a finale that doubles as a punch in the gut, with a monologue delivered by Lopez that should replace Ben Affleck’s juicy dialogue from “The Town” for aspiring actors on YouTube. Through it all, Scafaria controls every frame and sequence with confidence and ease not portended even by her previous solid work. It’s some masterful stuff, as is the way she’s able to tease out powerful performances from her motley crew of actors: Cardi B (lol sure), Lizzo, Lili Reinhart, Keke Palmer, Wu, and, of course, J.Lo, who does Robert De Niro in “Goodfellas” better than anyone else who has tried since 1990.

4. “Us” (dir. Jordan Peele) Oh, hey, “Us” is awesome. A “Twilight Zone” riff mixed with a greatest hits of references (including but not limited to “Scream,” “Jaws,” “The Shining,” “Signs,” “Funny Games,” “The Cabin in the Woods,” and “C.H.U.D.”) that throws a bunch of big, lofty ideas into the batter. Chief among them: How the ruling class must be taken out by the disenfranchised and how the disenfranchised, after wresting power from that class, will not go quietly into the night. (Alternate take: Bury the unwoke person you were as a youth before they can come back and ruin your life.) It all works so well — thrilling and hilarious, often at the same time. Lupita Nyong’o is otherworldly here (best actress 2020) and Winston Duke does an outrageous Jordan Peele impression that should please dads everywhere. Highest praise: During a year when we celebrated the greatness of 1999 movies, “Us” would rank up there with the best of the lot.

3. “The Irishman” (dir. Martin Scorsese) I've never thought to cry while watching a Martin Scorsese movie. That's not the kind of filmmaker he has been previously -- and even the movies he's made that pack an emotional wallop do so with almost surgical precision. Perhaps he's getting softer in his old age, or maybe I am: on my third viewing of "The Irishman" (but really, let's call it what it is: "I Heard You Paint Houses"), I teared up on more than one occasion. The elephant in the room after its release became Peggy and the wrongly perceived lack of agency given to her character. But watching how her relationship with Frank unfolds from birth to death with so few words is the movie's greatest trick. The first time we see Peggy, as an infant, she casts her big eyes on dad; those same glances -- angry, heartbroken, disgusted, pitiful stares -- make up their entire relationship. Only once does Frank experience something similar: after he kills Hoffa (a 20-minute sequence that features little dialogue and no music; we stan), Frank is next shown watching from a church pew as Bill Bufalino gives away his daughter at the altar on her wedding day; it's an act of fatherly love and joy that he'll never experience, not after what he's done hours before. Frank knows it too; just look at his face. A fucking masterpiece from our greatest filmmaker.

2. “Once Upon a Time in Hollywood” (dir. Quentin Tarantino) Speaking of masterpieces: “Once Upon a Time in Hollywood” is Quentin Tarantino’s best movie in 20 years and his most introspective ever; cinema’s former enfant terrible has finally grown up. “Once Upon a Time in Hollywood” grapples with what happens when masculinity runs its course and when one generation loses prominence to the next. But it’s also just super hilarious — filled with moments that are best described as lol. This is the best performance Leonardo DiCaprio has ever given. It’s a remarkable tight-rope walk: he's an actor playing a slightly worse actor who himself is giving a performance and then having to also give another performance as the actor he's playing? As his sidekick-slash-lifemate, Brad Pitt is so effortless that it's almost redundant to praise him. And while there are other delights to enjoy among the cast (Margaret Qualley, Julia “tha God” Butters), let’s highlight Margot Robbie: She finds such warmth and grace within Sharon Tate that it's hard not to leave the film feeling a tremendous amount of sadness and regret. "Once Upon a Time in Hollywood" might rewrite her history, but the real world did not. Unfortunately, this legend was never printed. But at least it exists in the movies.

1. “Uncut Gems” (dirs. Josh Safdie, Benny Safdie) What if the last 30 minutes of "Goodfellas" was actually 120 minutes and starred an all-time Adam Sandler, Mike Francesa, and Kevin Garnett, and prominently featured Billy Joel's "The Stranger"? The Safdie Brothers wrote and directed my fever dreams and it resulted in the best movie of 2019, 2018, 2017. This is a landmark; why bother writing anything else?

[justinmoviereviews]

The Class of 2019

As always, just trying to catalog what I saw this year. Let’s do this shit.

1917 - Sam Mendes

I’ve never seen a war movie like this. I’ve never seen something that was so empty, so decayed and lifeless. Usually these things are about honor or brotherhood or whatever. This one was a horror movie. Gothic. Disturbing. And credit Dunkirk for helping everyone else realize that war movies should be told in the present tense.

Uncut Gems - Bennie and Josh Safdie

Good Time was better because it’s rawness was more painful. Because it’s kineticism was more sociological. Because it physically hurt to watch it. And because Robert Pattinson is a better actor than Adam Sandler (my sincere apologies). But these guys have figured out to a science how to film desperation and visceral consumption and need; they chronicle the ugliest parts of the mind and shoot them in the ugliest parts of New York. 

Little Women - Greta Gerwig

Oh no, I’ve lost interest in writing these. Greta Gerwig is sharper than the average writer, and is going to get a lot of mileage writing interesting female characters, which will keep me occupied way longer than, for instance, JJ Abrams writing Strong Female characters so he gets to keep his third house. But look for this refrain whenever I see good movies that aren’t really made for me, my favorite character here was Timothee Chalamet, popping up sporadically to mack (suavely!) on all three sisters.

Bombshell - Jay Roach

Structurally it’s a little bit of a mess, but Megyn Kelly playing detective to an internal corporate scandal works surprisingly well.

The Two Popes - Fernando Meirelles

Some nitpicks: this movie engages with the child abuse a little bit, but it doesn’t offer any resolution--how could it? The scandal is ongoing, and has mired the legacy of Francis, the good Pope, just like it mired his predecessor’s, the bad one. And some of the dialogue is a little trite; was Benedict this much of a close-minded conservative? Was he really this bad at selling his own vision of the church? I also wonder if movies seem smaller now that we’re watching them all on our TVs. But mostly I thought this was fantastic. I love movies about ideas centered around conversation, and this one does it with so much humanism. The Pope as a role is one of the most complex, elite and fascinating people on the planet. This movie comes so much closer to showing that than I thought it would.

Marriage Story - Noah Baumbach

A cursory search of images from this movie for this post makes me realize how well it’s shot--maybe this really was meant to be his Scenes From a Marriage. It isn’t--he’s not a good enough director to ever be Bergman, he’s too burdened by the things he likes and thinks about, like hipster references and witty repartee--but this is the best movie of his I’ve ever seen. Funny, sharp, and if it isn’t a universal depiction of the disillusion of love, it’s empathetic and compassionate about two characters he likes and cares about. Adam Driver is the best actor working right now. Scarlett Johansson can’t quite keep up, but who could?

Ford v Ferrari - James Mangold

Fast cars and the manly men who build them. This could have been better--the writing is a little too beholden to a generic structure that’s beneath the A+ power of Matt Damon and Christian Bale, who are, straight up, two of our finest actors. Ideally this flick just lets these two dudes dick around for 150 minutes. But fuck man, this shit rocks.

The irishman - Martin Scorsese

This is the calm gangster movie made by a bunch of men who haven’t had to hustle in 30 years. Scorsese is a smart guy, so he probably knows that a de-aged Robert De Niro isn’t going to be as resonant as some young hotshot trying like hell to make a name for himself. It makes the movie weirdly low-stakes, and it only truly comes alive at the end, when De Niro is looking back on his life and facing his regrets, like a man in his 80s ought to be. But look, Scorsese is one of the best to ever do it, and gangster movies are where he lives. If this is mostly a retrospective on four of the best careers to ever track through Hollywood, and I sort of think it is, it’s still got ten scenes that will stand up against any of our man’s best.

The Laundromat - Steven Soderbergh

Steven Soderbergh does The Big Short. Turns out he’s also pretty good at it.

The Lighthouse - Robert Eggers

Robert Eggers is a formalist who understands that movies can be about whatever they want as long as they look good and sound good. This is a movie about, I think, madness. Just madness, just the idea of being isolated and going mad. If you’re wondering, like I was, if that’s enough of a theme to hang a whole movie on (I mean, these things are expensive), well, I think the point of this one is that it’s weird as fuck, it looks real good and it sounds real good. 

Parasite - Bong Joon Ho

This movie is at it’s best when it’s at it’s weirdest. I like Bong most when he’s using a heightened absurdity to point out the ways in which our political systems are unforgivable. 

Motherless Brooklyn - Edward Norton

I know it was in the book, but the Tourette’s syndrome of the main character seems to me like a postmodern tic, like making a straight noir in 2019 wasn’t enough for a studio that assumed audiences would need some kind of a 21st Century bent. I don’t think it adds much to the story, so I want it out there that this is just such a good fucking straight noir. I would personally finance it if they made like three of these a year. 

High Flying Bird - Steven Soderbergh

Soderbergh is gonna need to get over his love affair with the iPhone camera--someone needs to remind him that movies can look a lot better than this--but this is the kind of movie that could have been and maybe started as a play. Things happen off camera and all you see is characters talking about them after the fact. But the writing is phenomenal. Snappy and smart. Maybe my favorite script of the year.

Joker - Todd Phillips

Upon further review, I think this movie never should have been made, but I do like it. I’m not a purist, frankly I think comic book movies are for nerds, but what makes the Joker powerful is that he doesn’t have a backstory. This movie isn’t good enough to justify giving him one, but it’s so ambiguous and strange that it doesn’t ruin anything either. I spent a lot of time wondering if the events of the movie actually happened, or if they were all in the protagonist’s head. I guess the answer is that it doesn’t really matter: if it all did happen it would destroy the throughline of the Nolan movies, and if it all didn’t it would make the movie kind of lame. Ultimately it’s a story about a discarded man who learns that evil gives him a control he never had before. That’s a heavy topic to make a movie about, and a better movie would have been heavier. But  it’s still an interesting watch, and Joaquin Phoenix goes to the places the movie itself won’t.

Ad Astra - James Gray

I have nothing against pretentious movies. Some of my best friends are pretentious movies! But if you’re going to be as solemn and portentous as this one is, I think your thesis needs to be a little more insightful than that love is important. This movie looks fantastic. It’s got killer monkeys in it, and an Apocalypse Now meets 2001 pedigree. It should have been a lot better.

It Chapter Two - Andy Muschietti

Ugh, this one was not good. The writing is pretty bad, storylines open up and fizzle out without going anywhere, the structure is simple to the point of being lazy. The first one was so good, and this is just a crappy cash-in. Oh well. 

Once Upon a Time...in Hollywood - Quentin Tarantino

Look, Tarantino is probably my favorite director. Pulp Fiction is the movie that first taught me to love movies, and he’s never in his life made an artistic choice that I didn’t intuitively understand. I don’t think anyone else has justified their otherworldly self-confidence more than he has. If other directors are more artistically or technically accomplished, I’d struggle to find anyone who better put the thoughts and images in their brain onto celluloid better than him. If this had been made by some new hotshot named Chris Anderson or something, I’m buying a poster of it and telling everyone who will listen about the breakout auteur of the decade. But for the first time in my entire life, I wondered what Tarantino’s point was. Why did he make this movie? The highlight, for me, is Leonardo DiCaprio, who since Django Unchained has apparently realized that he’s at his best when he’s hamming it up and having a blast.

Midsommar - Ari Aster

Two movies in, Ari Aster has mastered tone. My man is in control of his movie from frame one, and the result is that his stuff feels smart. This one wasn’t as wild or unexpected as Hereditary--in fact the most surprising thing about it is that it really isn’t surprising at all; it’s about a sinister cult in northern Sweden, and it hits all the beats that tagline would suggest. But that’s not the same as saying it’s predictable--he still has a gift for ultraviolence, and he hovers in a space that forces you to prepare yourself for anything. My only complaint is that I wish it had been more of a mindfuck. It’s ultimately a simpler movie than you might hope for. But this guy isn’t going anywhere. He’ll be on the prestige list for as long as he wants.

The Perfection - Richard Shepard

If Allison Williams is going to make a career out of deconstructing overachieving white girls, I don’t want it to get lost that she is also insanely hot. Like, just so hot. Anyway, this is one hell of a grindhouse flick, all the way down to being a little less pleasant than you’d expect or even really want. Watch it on a Saturday afternoon and feel a little queasy afterwards.

Avengers: Endgame - Anthony and Joe Russo 

Look, I don’t know what to say to you if you take these movies seriously. You probably wouldn’t like my blog anyway. I thought this was a really good ride. If you have problems with the plot holes or the character inconsistencies, I might recommend catching something other than the final installments of global franchises that are obligated to gross two billion dollars.

Us - Jordan Peele

If Jordan Peele were a quarterback he’d be Deshaun Watson--a top level talent who’s going to be relevant for at least the next ten years. Get Out was a statement, a cheap little movie from one half of a decent sketch comedy show that blew the doors off the tavern and walked in so much smarter and better than anyone was prepared for. But right now, sitting on my couch, Us is the movie I want to watch. It was never going to be as surprising as Get Out because this time out our expectations were so much higher. But this is the kind of movie I ultimately want him to make his fortune with--funny, scary, worth talking about afterwards. A horror movie from a guy with interesting ideas who’s been given the keys to do whatever he wants.

Glass - M. Night Shyamalan

I caught this bad boy in January. At the time I figured there was no way I’d remember anything about it by the end of the year. I don’t. 

[toldnews-blog]

New Post has been published on https://toldnews.com/technology/entertainment/avengers-endgame-the-screenwriters-answer-every-question-you-might-have/

‘Avengers: Endgame’: The Screenwriters Answer Every Question You Might Have

This article contains spoilers for “Avengers: Endgame.”

It’s over.

With “Avengers: Endgame,” the two-movie story line that started with “Avengers: Infinity War” is finished, along with the 22-film cycle that represents the Marvel Cinematic Universe to date. And some of the heroes we’ve followed on this decade-long adventure are gone, too.

In the three-hour span of “Endgame,” the Avengers confront and kill Thanos (Josh Brolin), who had used the Infinity Gauntlet to snap away half of all life in the universe. When the story resumes five years later, the Avengers are still left with their grief and remorse — until the unexpected return of Ant-Man (Paul Rudd) kicks off a race back through time to retrieve the Infinity Stones before Thanos could obtain them in the first place. Black Widow (Scarlett Johansson) sacrifices her life; a colossal battle ensues; Iron Man (Robert Downey Jr.) dies; and Captain America (Chris Evans) finds a way to live the life he’d always wanted, reappearing as an old man to entrust his shield to the Falcon (Anthony Mackie).

These and many other head-spinning developments in “Endgame” emerged from the imaginations of its screenwriters, Christopher Markus and Stephen McFeely, who also wrote “Infinity War.” (Both films were directed by Joe and Anthony Russo.) Markus and McFeely have been friends and collaborators since the 1990s and also wrote all three “Captain America” movies as well as “Thor: The Dark World” (with Christopher L. Yost) and created the Marvel TV series “Agent Carter.”

In a recent interview in their offices in Los Angeles, Markus and McFeely discussed the many choices and possibilities of “Endgame,” the roads not taken and the decisions behind who lived and who died. These are edited excerpts from that conversation.

Deciding the Plot Points

How did you decide where the major events of “Infinity War” and “Endgame” would fall? CHRISTOPHER MARKUS The biggest point was probably the Snap. And we realized fairly early on that if we didn’t do it at the end of the first movie, the first movie wasn’t going to have an end. And if we did it too early in the first movie, it would be a bit of an anticlimax after you’ve killed half the universe to have them stumbling around for half an hour. STEPHEN McFEELY Another big plot point is when everyone comes back. So the question is, is it early in the second movie? Late in the second movie? You notice the players left on the board are the O.G. Avengers [Captain America, Iron Man, Thor, the Hulk, Black Widow and Hawkeye], and let’s give them their due. It meant that we were likely going to bring people back late. So that if you were a big fan of Doctor Strange or Black Panther or Bucky [the Winter Soldier] or Sam [the Falcon], you’re only going to get a little brief window on them. It can’t be all things to all people.

How did you choose which characters would survive for “Endgame”?

MARKUS We knew we wanted to see Cap and Tony dealing with the aftermath so that you could really see them suffer, quite frankly. And that’s why Cap and Natasha are relatively minimal in the first movie, because all they’d be doing is punching. We knew that they had a lot of story in the second movie, and there were other people who would have much more story in the first movie, like the Guardians. McFEELY Thor is strangely the one that gets two movies’ worth of story. MARKUS For a guy people once thought of as boring, he’s become very useful.

“Endgame” sort of tricks you by having the heroes kill Thanos almost immediately, only to discover it doesn’t solve anything. Why was that important? McFEELY We always had this problem. The guy has the ultimate weapon. He can see it coming. It’s ridiculous. We were just banging our heads for weeks, and at some point, [the executive producer] Trinh Tran went, “Can’t we just kill him?” And we all went, “What happens if you just kill him? Why would you kill him? Why would he let you kill him?” MARKUS It reinforced Thanos’s agenda. He was done. Not to make him too Christ-like, but it was like, “If I’ve got to die, I can die now.”

There’s a lot of bleakness and despair for roughly the first hour of the movie. Did that feel like a risk for a big-event picture? MARKUS It felt less risky once I saw the reaction to “Infinity War.” You never know how you’re going to hit people, emotionally. We’ve been sitting with these events for years. We no longer have an emotional reaction. And then you see people crying in the theater. We’ve got to honor that or it’s going to feel like we’re just jerking them around. McFEELY It was the part in test screenings where people were most uncomfortable. Because you are wallowing to a degree. There doesn’t seem to be any hope. In the end of Act II for most superhero movies, maybe they lose for five minutes. Here it’s for five years. That seemed important.

And that theme of loss is continued when Scott Lang visits a memorial to the dead in San Francisco. McFEELY We used to have beats in the script where there are those in every city. Millions of names. MARKUS It’s that sense of collective trauma and the fact that if you weren’t killed, you wake up the next day — the trauma happened and I’m still here. How do we deal with this? That was the Stan Lee trick. Where’s the anxiety coming from? Now that they have Power X.

Character Arcs

How did you start to determine the trajectories for the heroes in “Endgame”? McFEELY Chris and I wrote a master document while we were shooting “Civil War,” and one of the things we were interested in exploring is, remember the What If comics? Well, this is our what if. If you lost, Thor becomes fat. Natasha becomes a shut-in. Steve becomes depressed. Tony gets on with his life. Hulk is a superhero. MARKUS Clint becomes a murdering maniac. When we were spitballing for “Endgame,” we started with, Thor’s on a mission of vengeance. And then we were like, he was on a mission of vengeance in the last movie. This is all this guy ever does! And fails, all the time. Let’s drive him into a wall and see what happens. McFEELY He just got drunk and fat.

At least the Hulk is in a better place. MARKUS There was a time when Banner became Smart Hulk in the first movie. It was a lot of fun, but it came at the wrong moment. It was an up, right when everyone else was down. McFEELY It happened in Wakanda. His arc was designed like, I’m not getting along with the Hulk, the Hulk won’t come out. And then they compromise and become Smart Hulk. MARKUS We were like, but he’s Smart Hulk in the next movie. So that diner scene [in “Endgame”], was like, O.K., how do we smash right into that without scenes of him in a lab, gene-splicing? McFEELY Oh, I wrote scenes in a lab. Now it’s just him eating pancakes and I think it generally works. MARKUS The whole thing rides on Rudd going, “I’m so confused.”

Though Ant-Man didn’t participate in “Infinity War,” we saw how the Snap affected him in the tag for “Ant-Man and the Wasp.” How did you decide to pay this off in “Endgame”? McFEELY In late 2015 they say, you’re writing the 19th movie [“Infinity War”] and the 22nd movie. So we chose to make lemonade. And that was a big moment — we figured out we can withhold Ant-Man because he’s in his own movie. And their movie is not affected until the tag, and that just gives us a place to go [in “Endgame”]. You can do this when you’re planning ahead this much. The tone is all weird, right? Because that’s a light, fun movie and then we just kill everybody in the tag.

Hawkeye took arguably the darkest turn of any hero in this series.

McFEELY He’s a good example of people who had much stronger stories after the Snap. What was the story to tell with Hawkeye in the first movie that was different than anybody else’s? Leaving his family to go fight again? Yeah, he did that in “Civil War.” The hope is that he’s killing bad people. MARKUS There was a time where we contemplated having that archery scene in the first movie, after the Snap. You snap, and then you pop up in Clint’s farm — what are we watching? — and that’s the first indication it had a wider effect. But he literally had not been in the movie prior to that point. It’s cool, but it’s going to blunt the brutality of what [Thanos] did. McFEELY Joe [Russo] said we’ll put that up front in the second one.

Once you’d seen how successful “Black Panther” and “Captain Marvel” were, did you try to find more opportunities for the characters from those films? McFEELY There wasn’t a lot of time to adjust. It’s not like we could say, “Hurry, put Shuri in there.” We started [filming “Infinity War” and “Endgame”], and then “Black Panther” started, we’re still going. They finish. We’re still going. MARKUS “Panther” comes out. McFEELY When we’re doing the tests [before “Black Panther” opened], and Cap goes, “I know somewhere,” and then you cut to Wakanda, the audience goes, “Oh, that’s interesting.” But when you do those tests after the movie comes out, all you have to do is [makes drumming noises] and people freak out. Same issue with “Captain Marvel.” We shot [Brie Larson] before she shot her movie. She’s saying lines for a character 20 years after her origin story, which no one’s written yet. It’s just nuts.

MARKUS She’s been in space nearly half her life. She has obligations. McFEELY Certainly, Captain Marvel is in [“Endgame”] a little less than you would have thought. But that’s not the story we’re trying to tell — it’s the original Avengers dealing with loss and coming to a conclusion, and she’s the new, fresh blood.

Were there any Marvel characters you wanted for these movies that you couldn’t have? MARKUS We did try to put the Living Tribunal in the first movie. We wrote a scene in which he appeared during the Titan fight. And everyone was like, what? McFEELY Whoa. He’s got three heads. It would indicate a whole different level of architecture to the universe and I think that was too much to just throw in. MARKUS The idea’s still in [Marvel Studios President] Kevin [Feige]’s court. McFEELY Oh sure, we probably just spoiled it. MARKUS The Living Tribunal has his own streaming show. McFEELY It’s like “Judge Judy.”

Adventures in Time Travel

Early in “Endgame,” the movie jumps ahead five years. Was that inspired by some TV series that have also used this device? MARKUS That was what we bought ourselves by ending the last movie the way we did. We wanted it to be real and for a long time — both in movie time and in chronological time for the characters. You couldn’t end Natasha, Tony and Steve the way we do without knowing that they’ve done their time and this is taking them to the brink. McFEELY We talked about “Fargo” from the first season, where it just jumps a year. And you go, “Whaaaaat?” We hopefully get a similar reaction. MARKUS And when “Lost” had their flash forwards, you were like, how’d that happen?

Where did the idea for the time-travel story line come from? McFEELY Kevin [Feige] at one point said, I would like to use the Time Stone, or use time as an element. It let us spend a few weeks seeing what’s the kookiest thing we could do with time and not break the movie. MARKUS We all sat there going, really? We’re going to do time travel? It was only when we were looking at who we had available, character-wise; we hadn’t used Ant-Man yet. And there really is, in people’s theory of the Quantum Realm, a time thing in the M.C.U., right now, available to us, with a character we haven’t used yet. We have a loophole that’s not cheating.

It’s crucial to your film that in your formulation of time travel, changes to the past don’t alter our present. How did you decide this? MARKUS We looked at a lot of time-travel stories and went, it doesn’t work that way. McFEELY It was by necessity. If you have six MacGuffins and every time you go back it changes something, you’ve got Biff’s casino, exponentially. So we just couldn’t do that. We had physicists come in — more than one — who said, basically, “Back to the Future” is . MARKUS Basically said what the Hulk says in that scene, which is, if you go to the past, then the present becomes your past and the past becomes your future. So there’s absolutely no reason it would change.

Did you try any other approaches to the time-travel story? McFEELY In the first draft, we didn’t go back to the [original]“Avengers” movie. We went back to Asgard. But there’s a moment in the M.C.U., if you’re paying very close attention, where the Aether is there and the Tesseract is in the vault. In that iteration, we were interested in Tony going to Asgard. He had a stealth suit, so he was invisible, and he fought Heimdall, who could see him. MARKUS Thor had long scenes with Natalie Portman. And Morag [the planet where Peter Quill finds the Orb] was hugely complicated. McFEELY It was underwater! That was clever but it was just too big a set piece. What that didn’t do is allow for Thanos and his daughters to get on the trail at the right moment. So we went back to when Peter Quill was there. And we realized that when you can punch Quill in the face, it’s hilarious. I still think it’s hilarious. MARKUS There were entirely other trips taken. They went to the Triskelion at one point to get the [Tesseract], and then somebody was going to get into a car and drive to Doctor Strange’s house. McFEELY Just saying it out loud, it’s like, what are we doing? MARKUS It was when we were trying to avoid going to “Avengers” because it seemed pander-y. McFEELY We’re not always right. MARKUS The obvious ones seemed so obvious that it’s too obvious. McFEELY Eventually, Joe Russo went, why are we going to this movie when we can go to “Avengers?” Let’s make it work.

Thor recovers his hammer, Mjolnir, by taking it from an earlier timeline. So that raises the question — McFEELY Does that screw that other Thor? MARKUS Is he killed by Dark Elves? McFEELY I think we’re leaning on, when you just take a baseball mitt, you didn’t ruin that kid’s life. When you took Mjolnir, we accept that that movie happened. Because time is irrefutable. MARKUS You can make any number of what ifs. The Dark Elves would have arrived, intending to get the Aether. It’s what they came for and it was no longer there. McFEELY So they build a paradise together. MARKUS They all got married. [laughter]

There’s a surprise cameo, in the “Avengers” scene, from Robert Redford as Alexander Pierce. Did you prepare for other scenarios if Redford wasn’t available? McFEELY That was one where we thought, should it be Nick Fury? We also wrote a version for Maria Hill. That whole time, they’re announcing “Old Man With a Gun” as Redford’s last appearance on film. It’s the last time you’re going to see Robert Redford. And we’re going — [shoots conspiratorial look at Markus] [Laughter]

The Final Battle

How did Marvel feel when you told them you envisioned a massive battle royal with nearly every character from the franchise? MARKUS I think they knew it was coming. McFEELY It’s why it took so long. We shot for 200 days for two movies. MARKUS We wrote and shot an even much longer battle, with its own three-act structure.

Were there scenes you wrote for this sequence that didn’t make it into the film? McFEELY It didn’t play well, but we had a scene in a trench where, for reasons, the battle got paused for about three minutes and now there’s 18 people all going, “What are we going to do?” “I’m going to do this.” “I’m going to do this.” Just bouncing around this completely fake, fraudulent scene. When you have that many people, it invariably is, one line, one line, one line. And that’s not a natural conversation. MARKUS It also required them to find enough shelter to have a conversation in the middle of the biggest battle. It wasn’t a polite World War I battle where you have a moment.

How did you coordinate the moment where all the female Marvel heroes come together? McFEELY There was much conversation. Is that delightful or is it pandering? We went around and around on that. Ultimately we went, we like it too much. MARKUS Part of the fun of the “Avengers” movies has always been team-ups. Marvel has been amassing this huge roster of characters. You’ve got crazy aliens. You’ve got that many badass women. You’ve got three or four people in Iron Man suits.

Were there other characters you could’ve had but didn’t use? MARKUS There were moments, as they brought everybody back, where we’re like, technically, Michael Douglas and Michelle Pfeiffer have [Ant-Man] suits. Do we bring them back? It became impossible to track the people we did bring back, but also, it’s just going to be an orgy. McFEELY Do you put Luke Cage in there?

Did you consider using the heroes from the Netflix TV shows, like Daredevil or Jessica Jones? McFEELY We would have to introduce these five characters — or whatever many. We already are assuming people have seen a lot of the movies. Are we really going to assume they have bought a subscription to Netflix and watched those shows enough so that when they see them, they’re going to go “yay?” MARKUS It also screws up the timelines. You would have to assume that they all got snapped away, or otherwise they might have shown up earlier. I think the only character who has come from TV to the movies is Jarvis, James D’Arcy [from “Agent Carter”].

Could you have used any of the characters that Disney obtained from the Fox acquisition, like the X-Men or Fantastic Four? McFEELY Legally, not allowed to. MARKUS I guess it’s done now but it wasn’t done then. They still have an “X-Men” movie [“Dark Phoenix,” due in June]. You can’t reboot them before they’re done. “Sorry to completely screw you.”

“Endgame” shares some unexpected parallels with “Game of Thrones,” which also recently ran episodes about its heroes preparing for a significant battle and then the battle itself. Why do you think these narratives are similar? Did you ever look at “Game of Thrones” for inspiration? MARKUS We’re in a high-stakes time and a jarring time in history, where you have to contemplate what you’re willing to do to improve the situation. Whether or not everyone’s speaking to that, or just good old-fashioned storytelling, I don’t know. McFEELY Marvel has been accused of being the most expensive television show there is, and there’s some truth to that. The genres are different, the tones are different, but it’s serialized storytelling. MARKUS We occasionally wonder, did we just make the world’s most expensive inside-baseball fan service? But then we go, the fans are actually the majority of people who come to this. It’s inside baseball, but everyone is following the baseball. That’s also why the Marvel characters have lasted this long. They’re weird. They have strange quirks. McFEELY The bland ones don’t last. MARKUS I remember “Game of Thrones” being a reference for the first movie. How far apart can you keep these strands, and for how long, and still feel like you’re telling a single narrative? “Game of Thrones” has people who are just meeting now! As much as people think the culture’s going down the drain, there seems to be an elevating of people’s estimating of the kind of narrative that will succeed in popular culture. McFEELY Whatever you think of this movie, it’s complicated. It is not another sequel. MARKUS And a lot of popular TV is complicated. “This Is Us” is complicated. “Simon & Simon” was not that complicated. Great as it was. But it does seem like there is an acceptance of more complicated forms of storytelling.

Was the three-hour running time of “Endgame” ever in question? MARKUS There was an agreement within the whole group that we’re going to take our time; we’re not going to cut a half-hour of it so we can get one more screening in per day. McFEELY We couldn’t! Where are you going to cut a half-hour? There was not a sequence you could cut. MARKUS Look at some of the most popular movies of all time. They’re long as hell. When people want to see something, it doesn’t seem to get in their way. There’s some short, totally unsuccessful movies, too.

Journey’s End

Why does Natasha Romanoff have to die? McFEELY Her journey, in our minds, had come to an end if she could get the Avengers back. She comes from such an abusive, terrible, mind-control background, so when she gets to Vormir and she has a chance to get the family back, that’s a thing she would trade for. The toughest thing for us was we were always worried that people weren’t going to have time to be sad enough. The stakes are still out there and they haven’t solved the problem. But we lost a big character — a female character — how do we honor it? We have this male lens and it’s a lot of guys being sad that a woman died. MARKUS Tony gets a funeral. Natasha doesn’t. That’s partly because Tony’s this massive public figure and she’s been a cipher the whole time. It wasn’t necessarily honest to the character to give her a funeral. The biggest question about it is what Thor raises there on the dock. “We have the Infinity Stones. Why don’t we just bring her back?” McFEELY But that’s the everlasting exchange. You bring her back, you lose the stone.

Was there a possible outcome where Clint Barton sacrifices himself instead of her? McFEELY There was, for sure. Jen Underdahl, our visual effects producer, read an outline or draft where Hawkeye goes over. And she goes, “Don’t you take this away from her.” I actually get emotional thinking about it. MARKUS And it was true, it was him taking the hit for her. It was melodramatic to have him die and not get his family back. And it is only right and proper that she’s done.

And Tony Stark has to die as well? McFEELY Everyone knew this was going to be the end of Tony Stark. MARKUS I don’t think there were any mandates. If we had a good reason to not do it, certainly people would have entertained it. McFEELY The watchword was, end this chapter, and he started the chapter. MARKUS In a way, he has been the mirror of Steve Rogers the entire time. Steve is moving toward some sort of enlightened self-interest, and Tony’s moving to selflessness. They both get to their endpoints.

Were there any other outcomes you considered for Tony? MARKUS No. Because we had the opportunity to give him the perfect retirement life, within the movie. McFEELY He got that already. MARKUS That’s the life he’s been striving for. Are he and Pepper going to get together? Yes. They got married, they had a kid, it was great. It’s a good death. It doesn’t feel like a tragedy. It feels like a heroic, finished life.

And Cap was always going to be allowed his happy ending with Peggy Carter? McFEELY From the very first outline, we knew he was going to get his dance. On a separate subject, I started to lose my barometer on what was just fan service and what was good for the character. Because I think it’s good for the characters. But we also just gave you what you wanted. Is that good? I don’t know. But I’ll tell you, it’s satisfying. He’s postponed a life in order to fulfill his duty. That’s why I didn’t think we were ever going to kill him. Because that’s not the arc. The arc is, I finally get to put my shield down because I’ve earned that. MARKUS A hero without sacrifice, you’re not going to get the miles out of that person that you need to for these movies. That’s what makes them a hero, it’s not the powers.

“Endgame” sets up Sam Wilson as the new Captain America. Is that a future Marvel film? Would you write that? MARKUS We really do just know what you know. They’re doing “The Eternals,” which is a property I know next to nothing about. We’ve been here, trying to set this contraption running. Were we to take another one on, you can’t increase the scope or the stakes from where we are at the moment. We’d have to shrink it back down, do an origin story. There are deep-bench characters where I’m like, if you roll that guy out, I couldn’t resist. There is a great Moon Knight movie to be made, but I don’t know what is.

You’ve been writing these films and characters for more than a decade, and you never got bored of them — McFEELY Or fired. For sure. MARKUS We’ve come close to both. It’s a testament to the concept but also the people we’re working with. We’re not bumping up against this dictatorial level where it’s like, “I have some notes. I really want to see him fly a dragon — put the dragon in. I’m going to lunch.” McFEELY If we have an idea, people take it really seriously. They valued “Winter Soldier” and they saw how “Civil War” was coming together. They’d seen our process and us working with the [Russo] brothers, and they said, if Joss [Whedon] is not coming back — I don’t know that decision — it was clear that, unless they hated us, it was going to be this team. MARKUS But there also was a possibility, because “[Avengers: Age of Ultron”] made a little bit less than “Avengers” 1 — that we were taking on “Superman” 3 and 4. Maybe people were done with it. McFEELY The goal was not to advance it to the stratosphere. It was to just not screw it up.

Is this your Marvel finale as well? MARKUS I don’t know how to follow it up, that’s the problem. I’m not quite old enough to retire.

If “Endgame” has taught us anything, it’s that you should never retire. McFEELY Then they drag you out and kill you.

[biofunmy]

‘Avengers: Endgame’: The Screenwriters Answer Every Question You Might Have

This article contains spoilers for “Avengers: Endgame.”

It’s over.

With “Avengers: Endgame,” the two-movie story line that started with “Avengers: Infinity War” is finished, along with the 22-film cycle that represents the Marvel Cinematic Universe to date. And some of the heroes we’ve followed on this decade-long adventure are gone, too.

In the three-hour span of “Endgame,” the Avengers confront and kill Thanos (Josh Brolin), who had used the Infinity Gauntlet to snap away half of all life in the universe. When the story resumes five years later, the Avengers are still left with their grief and remorse — until the unexpected return of Ant-Man (Paul Rudd) kicks off a race back through time to retrieve the Infinity Stones before Thanos could obtain them in the first place. Black Widow (Scarlett Johansson) sacrifices her life; a colossal battle ensues; Iron Man (Robert Downey Jr.) dies; and Captain America (Chris Evans) finds a way to live the life he’d always wanted, reappearing as an old man to entrust his shield to the Falcon (Anthony Mackie).

These and many other head-spinning developments in “Endgame” emerged from the imaginations of its screenwriters, Christopher Markus and Stephen McFeely, who also wrote “Infinity War.” (Both films were directed by Joe and Anthony Russo.) Markus and McFeely have been friends and collaborators since the 1990s and also wrote all three “Captain America” movies as well as “Thor: The Dark World” (with Christopher L. Yost) and created the Marvel TV series “Agent Carter.”

In a recent interview in their offices in Los Angeles, Markus and McFeely discussed the many choices and possibilities of “Endgame,” the roads not taken and the decisions behind who lived and who died. These are edited excerpts from that conversation.

Deciding the Plot Points

How did you decide where the major events of “Infinity War” and “Endgame” would fall? CHRISTOPHER MARKUS The biggest point was probably the Snap. And we realized fairly early on that if we didn’t do it at the end of the first movie, the first movie wasn’t going to have an end. And if we did it too early in the first movie, it would be a bit of an anticlimax after you’ve killed half the universe to have them stumbling around for half an hour. STEPHEN McFEELY Another big plot point is when everyone comes back. So the question is, is it early in the second movie? Late in the second movie? You notice the players left on the board are the O.G. Avengers [Captain America, Iron Man, Thor, the Hulk, Black Widow and Hawkeye], and let’s give them their due. It meant that we were likely going to bring people back late. So that if you were a big fan of Doctor Strange or Black Panther or Bucky [the Winter Soldier] or Sam [the Falcon], you’re only going to get a little brief window on them. It can’t be all things to all people.

How did you choose which characters would survive for “Endgame”?

MARKUS We knew we wanted to see Cap and Tony dealing with the aftermath so that you could really see them suffer, quite frankly. And that’s why Cap and Natasha are relatively minimal in the first movie, because all they’d be doing is punching. We knew that they had a lot of story in the second movie, and there were other people who would have much more story in the first movie, like the Guardians. McFEELY Thor is strangely the one that gets two movies’ worth of story. MARKUS For a guy people once thought of as boring, he’s become very useful.

“Endgame” sort of tricks you by having the heroes kill Thanos almost immediately, only to discover it doesn’t solve anything. Why was that important? McFEELY We always had this problem. The guy has the ultimate weapon. He can see it coming. It’s ridiculous. We were just banging our heads for weeks, and at some point, [the executive producer] Trinh Tran went, “Can’t we just kill him?” And we all went, “What happens if you just kill him? Why would you kill him? Why would he let you kill him?” MARKUS It reinforced Thanos’s agenda. He was done. Not to make him too Christ-like, but it was like, “If I’ve got to die, I can die now.”

There’s a lot of bleakness and despair for roughly the first hour of the movie. Did that feel like a risk for a big-event picture? MARKUS It felt less risky once I saw the reaction to “Infinity War.” You never know how you’re going to hit people, emotionally. We’ve been sitting with these events for years. We no longer have an emotional reaction. And then you see people crying in the theater. We’ve got to honor that or it’s going to feel like we’re just jerking them around. McFEELY It was the part in test screenings where people were most uncomfortable. Because you are wallowing to a degree. There doesn’t seem to be any hope. In the end of Act II for most superhero movies, maybe they lose for five minutes. Here it’s for five years. That seemed important.

And that theme of loss is continued when Scott Lang visits a memorial to the dead in San Francisco. McFEELY We used to have beats in the script where there are those in every city. Millions of names. MARKUS It’s that sense of collective trauma and the fact that if you weren’t killed, you wake up the next day — the trauma happened and I’m still here. How do we deal with this? That was the Stan Lee trick. Where’s the anxiety coming from? Now that they have Power X.

Character Arcs

How did you start to determine the trajectories for the heroes in “Endgame”? McFEELY Chris and I wrote a master document while we were shooting “Civil War,” and one of the things we were interested in exploring is, remember the What If comics? Well, this is our what if. If you lost, Thor becomes fat. Natasha becomes a shut-in. Steve becomes depressed. Tony gets on with his life. Hulk is a superhero. MARKUS Clint becomes a murdering maniac. When we were spitballing for “Endgame,” we started with, Thor’s on a mission of vengeance. And then we were like, he was on a mission of vengeance in the last movie. This is all this guy ever does! And fails, all the time. Let’s drive him into a wall and see what happens. McFEELY He just got drunk and fat.

At least the Hulk is in a better place. MARKUS There was a time when Banner became Smart Hulk in the first movie. It was a lot of fun, but it came at the wrong moment. It was an up, right when everyone else was down. McFEELY It happened in Wakanda. His arc was designed like, I’m not getting along with the Hulk, the Hulk won’t come out. And then they compromise and become Smart Hulk. MARKUS We were like, but he’s Smart Hulk in the next movie. So that diner scene [in “Endgame”], was like, O.K., how do we smash right into that without scenes of him in a lab, gene-splicing? McFEELY Oh, I wrote scenes in a lab. Now it’s just him eating pancakes and I think it generally works. MARKUS The whole thing rides on Rudd going, “I’m so confused.”

Though Ant-Man didn’t participate in “Infinity War,” we saw how the Snap affected him in the tag for “Ant-Man and the Wasp.” How did you decide to pay this off in “Endgame”? McFEELY In late 2015 they say, you’re writing the 19th movie [“Infinity War”] and the 22nd movie. So we chose to make lemonade. And that was a big moment — we figured out we can withhold Ant-Man because he’s in his own movie. And their movie is not affected until the tag, and that just gives us a place to go [in “Endgame”]. You can do this when you’re planning ahead this much. The tone is all weird, right? Because that’s a light, fun movie and then we just kill everybody in the tag.

Hawkeye took arguably the darkest turn of any hero in this series.

McFEELY He’s a good example of people who had much stronger stories after the Snap. What was the story to tell with Hawkeye in the first movie that was different than anybody else’s? Leaving his family to go fight again? Yeah, he did that in “Civil War.” The hope is that he’s killing bad people. MARKUS There was a time where we contemplated having that archery scene in the first movie, after the Snap. You snap, and then you pop up in Clint’s farm — what are we watching? — and that’s the first indication it had a wider effect. But he literally had not been in the movie prior to that point. It’s cool, but it’s going to blunt the brutality of what [Thanos] did. McFEELY Joe [Russo] said we’ll put that up front in the second one.

Once you’d seen how successful “Black Panther” and “Captain Marvel” were, did you try to find more opportunities for the characters from those films? McFEELY There wasn’t a lot of time to adjust. It’s not like we could say, “Hurry, put Shuri in there.” We started [filming “Infinity War” and “Endgame”], and then “Black Panther” started, we’re still going. They finish. We’re still going. MARKUS “Panther” comes out. McFEELY When we’re doing the tests [before “Black Panther” opened], and Cap goes, “I know somewhere,” and then you cut to Wakanda, the audience goes, “Oh, that’s interesting.” But when you do those tests after the movie comes out, all you have to do is [makes drumming noises] and people freak out. Same issue with “Captain Marvel.” We shot [Brie Larson] before she shot her movie. She’s saying lines for a character 20 years after her origin story, which no one’s written yet. It’s just nuts.

MARKUS She’s been in space nearly half her life. She has obligations. McFEELY Certainly, Captain Marvel is in [“Endgame”] a little less than you would have thought. But that’s not the story we’re trying to tell — it’s the original Avengers dealing with loss and coming to a conclusion, and she’s the new, fresh blood.

Were there any Marvel characters you wanted for these movies that you couldn’t have? MARKUS We did try to put the Living Tribunal in the first movie. We wrote a scene in which he appeared during the Titan fight. And everyone was like, what? McFEELY Whoa. He’s got three heads. It would indicate a whole different level of architecture to the universe and I think that was too much to just throw in. MARKUS The idea’s still in [Marvel Studios President] Kevin [Feige]’s court. McFEELY Oh sure, we probably just spoiled it. MARKUS The Living Tribunal has his own streaming show. McFEELY It’s like “Judge Judy.”

Adventures in Time Travel

Early in “Endgame,” the movie jumps ahead five years. Was that inspired by some TV series that have also used this device? MARKUS That was what we bought ourselves by ending the last movie the way we did. We wanted it to be real and for a long time — both in movie time and in chronological time for the characters. You couldn’t end Natasha, Tony and Steve the way we do without knowing that they’ve done their time and this is taking them to the brink. McFEELY We talked about “Fargo” from the first season, where it just jumps a year. And you go, “Whaaaaat?” We hopefully get a similar reaction. MARKUS And when “Lost” had their flash forwards, you were like, how’d that happen?

Where did the idea for the time-travel story line come from? McFEELY Kevin [Feige] at one point said, I would like to use the Time Stone, or use time as an element. It let us spend a few weeks seeing what’s the kookiest thing we could do with time and not break the movie. MARKUS We all sat there going, really? We’re going to do time travel? It was only when we were looking at who we had available, character-wise; we hadn’t used Ant-Man yet. And there really is, in people’s theory of the Quantum Realm, a time thing in the M.C.U., right now, available to us, with a character we haven’t used yet. We have a loophole that’s not cheating.

It’s crucial to your film that in your formulation of time travel, changes to the past don’t alter our present. How did you decide this? MARKUS We looked at a lot of time-travel stories and went, it doesn’t work that way. McFEELY It was by necessity. If you have six MacGuffins and every time you go back it changes something, you’ve got Biff’s casino, exponentially. So we just couldn’t do that. We had physicists come in — more than one — who said, basically, “Back to the Future” is [wrong]. MARKUS Basically said what the Hulk says in that scene, which is, if you go to the past, then the present becomes your past and the past becomes your future. So there’s absolutely no reason it would change.

Did you try any other approaches to the time-travel story? McFEELY In the first draft, we didn’t go back to the [original]“Avengers” movie. We went back to Asgard. But there’s a moment in the M.C.U., if you’re paying very close attention, where the Aether is there and the Tesseract is in the vault. In that iteration, we were interested in Tony going to Asgard. He had a stealth suit, so he was invisible, and he fought Heimdall, who could see him. MARKUS Thor had long scenes with Natalie Portman. And Morag [the planet where Peter Quill finds the Orb] was hugely complicated. McFEELY It was underwater! That was clever but it was just too big a set piece. What that didn’t do is allow for Thanos and his daughters to get on the trail at the right moment. So we went back to when Peter Quill was there. And we realized that when you can punch Quill in the face, it’s hilarious. I still think it’s hilarious. MARKUS There were entirely other trips taken. They went to the Triskelion at one point to get the [Tesseract], and then somebody was going to get into a car and drive to Doctor Strange’s house. McFEELY Just saying it out loud, it’s like, what are we doing? MARKUS It was when we were trying to avoid going to “Avengers” because it seemed pander-y. McFEELY We’re not always right. MARKUS The obvious ones seemed so obvious that it’s too obvious. McFEELY Eventually, Joe Russo went, why are we going to this movie when we can go to “Avengers?” Let’s make it work.

Thor recovers his hammer, Mjolnir, by taking it from an earlier timeline. So that raises the question — McFEELY Does that screw that other Thor? MARKUS Is he killed by Dark Elves? McFEELY I think we’re leaning on, when you just take a baseball mitt, you didn’t ruin that kid’s life. When you took Mjolnir, we accept that that movie happened. Because time is irrefutable. MARKUS You can make any number of what ifs. The Dark Elves would have arrived, intending to get the Aether. It’s what they came for and it was no longer there. McFEELY So they build a paradise together. MARKUS They all got married. [laughter]

There’s a surprise cameo, in the “Avengers” scene, from Robert Redford as Alexander Pierce. Did you prepare for other scenarios if Redford wasn’t available? McFEELY That was one where we thought, should it be Nick Fury? We also wrote a version for Maria Hill. That whole time, they’re announcing “Old Man With a Gun” as Redford’s last appearance on film. It’s the last time you’re going to see Robert Redford. And we’re going — [shoots conspiratorial look at Markus] [Laughter]

The Final Battle

How did Marvel feel when you told them you envisioned a massive battle royal with nearly every character from the franchise? MARKUS I think they knew it was coming. McFEELY It’s why it took so long. We shot for 200 days for two movies. MARKUS We wrote and shot an even much longer battle, with its own three-act structure.

Were there scenes you wrote for this sequence that didn’t make it into the film? McFEELY It didn’t play well, but we had a scene in a trench where, for reasons, the battle got paused for about three minutes and now there’s 18 people all going, “What are we going to do?” “I’m going to do this.” “I’m going to do this.” Just bouncing around this completely fake, fraudulent scene. When you have that many people, it invariably is, one line, one line, one line. And that’s not a natural conversation. MARKUS It also required them to find enough shelter to have a conversation in the middle of the biggest battle. It wasn’t a polite World War I battle where you have a moment.

How did you coordinate the moment where all the female Marvel heroes come together? McFEELY There was much conversation. Is that delightful or is it pandering? We went around and around on that. Ultimately we went, we like it too much. MARKUS Part of the fun of the “Avengers” movies has always been team-ups. Marvel has been amassing this huge roster of characters. You’ve got crazy aliens. You’ve got that many badass women. You’ve got three or four people in Iron Man suits.

Were there other characters you could’ve had but didn’t use? MARKUS There were moments, as they brought everybody back, where we’re like, technically, Michael Douglas and Michelle Pfeiffer have [Ant-Man] suits. Do we bring them back? It became impossible to track the people we did bring back, but also, it’s just going to be an orgy. McFEELY Do you put Luke Cage in there?

Did you consider using the heroes from the Netflix TV shows, like Daredevil or Jessica Jones? McFEELY We would have to introduce these five characters — or whatever many. We already are assuming people have seen a lot of the movies. Are we really going to assume they have bought a subscription to Netflix and watched those shows enough so that when they see them, they’re going to go “yay?” MARKUS It also screws up the timelines. You would have to assume that they all got snapped away, or otherwise they might have shown up earlier. I think the only character who has come from TV to the movies is Jarvis, James D’Arcy [from “Agent Carter”].

Could you have used any of the characters that Disney obtained from the Fox acquisition, like the X-Men or Fantastic Four? McFEELY Legally, not allowed to. MARKUS I guess it’s done now but it wasn’t done then. They still have an “X-Men” movie [“Dark Phoenix,” due in June]. You can’t reboot them before they’re done. “Sorry to completely screw you.”

“Endgame” shares some unexpected parallels with “Game of Thrones,” which also recently ran episodes about its heroes preparing for a significant battle and then the battle itself. Why do you think these narratives are similar? Did you ever look at “Game of Thrones” for inspiration? MARKUS We’re in a high-stakes time and a jarring time in history, where you have to contemplate what you’re willing to do to improve the situation. Whether or not everyone’s speaking to that, or just good old-fashioned storytelling, I don’t know. McFEELY Marvel has been accused of being the most expensive television show there is, and there’s some truth to that. The genres are different, the tones are different, but it’s serialized storytelling. MARKUS We occasionally wonder, did we just make the world’s most expensive inside-baseball fan service? But then we go, the fans are actually the majority of people who come to this. It’s inside baseball, but everyone is following the baseball. That’s also why the Marvel characters have lasted this long. They’re weird. They have strange quirks. McFEELY The bland ones don’t last. MARKUS I remember “Game of Thrones” being a reference for the first movie. How far apart can you keep these strands, and for how long, and still feel like you’re telling a single narrative? “Game of Thrones” has people who are just meeting now! As much as people think the culture’s going down the drain, there seems to be an elevating of people’s estimating of the kind of narrative that will succeed in popular culture. McFEELY Whatever you think of this movie, it’s complicated. It is not another sequel. MARKUS And a lot of popular TV is complicated. “This Is Us” is complicated. “Simon & Simon” was not that complicated. Great as it was. But it does seem like there is an acceptance of more complicated forms of storytelling.

Was the three-hour running time of “Endgame” ever in question? MARKUS There was an agreement within the whole group that we’re going to take our time; we’re not going to cut a half-hour of it so we can get one more screening in per day. McFEELY We couldn’t! Where are you going to cut a half-hour? There was not a sequence you could cut. MARKUS Look at some of the most popular movies of all time. They’re long as hell. When people want to see something, it doesn’t seem to get in their way. There’s some short, totally unsuccessful movies, too.

Journey’s End

Why does Natasha Romanoff have to die? McFEELY Her journey, in our minds, had come to an end if she could get the Avengers back. She comes from such an abusive, terrible, mind-control background, so when she gets to Vormir and she has a chance to get the family back, that’s a thing she would trade for. The toughest thing for us was we were always worried that people weren’t going to have time to be sad enough. The stakes are still out there and they haven’t solved the problem. But we lost a big character — a female character — how do we honor it? We have this male lens and it’s a lot of guys being sad that a woman died. MARKUS Tony gets a funeral. Natasha doesn’t. That’s partly because Tony’s this massive public figure and she’s been a cipher the whole time. It wasn’t necessarily honest to the character to give her a funeral. The biggest question about it is what Thor raises there on the dock. “We have the Infinity Stones. Why don’t we just bring her back?” McFEELY But that’s the everlasting exchange. You bring her back, you lose the stone.

Was there a possible outcome where Clint Barton sacrifices himself instead of her? McFEELY There was, for sure. Jen Underdahl, our visual effects producer, read an outline or draft where Hawkeye goes over. And she goes, “Don’t you take this away from her.” I actually get emotional thinking about it. MARKUS And it was true, it was him taking the hit for her. It was melodramatic to have him die and not get his family back. And it is only right and proper that she’s done.

And Tony Stark has to die as well? McFEELY Everyone knew this was going to be the end of Tony Stark. MARKUS I don’t think there were any mandates. If we had a good reason to not do it, certainly people would have entertained it. McFEELY The watchword was, end this chapter, and he started the chapter. MARKUS In a way, he has been the mirror of Steve Rogers the entire time. Steve is moving toward some sort of enlightened self-interest, and Tony’s moving to selflessness. They both get to their endpoints.

Were there any other outcomes you considered for Tony? MARKUS No. Because we had the opportunity to give him the perfect retirement life, within the movie. McFEELY He got that already. MARKUS That’s the life he’s been striving for. Are he and Pepper going to get together? Yes. They got married, they had a kid, it was great. It’s a good death. It doesn’t feel like a tragedy. It feels like a heroic, finished life.

And Cap was always going to be allowed his happy ending with Peggy Carter? McFEELY From the very first outline, we knew he was going to get his dance. On a separate subject, I started to lose my barometer on what was just fan service and what was good for the character. Because I think it’s good for the characters. But we also just gave you what you wanted. Is that good? I don’t know. But I’ll tell you, it’s satisfying. He’s postponed a life in order to fulfill his duty. That’s why I didn’t think we were ever going to kill him. Because that’s not the arc. The arc is, I finally get to put my shield down because I’ve earned that. MARKUS A hero without sacrifice, you’re not going to get the miles out of that person that you need to for these movies. That’s what makes them a hero, it’s not the powers.

“Endgame” sets up Sam Wilson as the new Captain America. Is that a future Marvel film? Would you write that? MARKUS We really do just know what you know. They’re doing “The Eternals,” which is a property I know next to nothing about. We’ve been here, trying to set this contraption running. Were we to take another one on, you can’t increase the scope or the stakes from where we are at the moment. We’d have to shrink it back down, do an origin story. There are deep-bench characters where I’m like, if you roll that guy out, I couldn’t resist. There is a great Moon Knight movie to be made, but I don’t know what is.

You’ve been writing these films and characters for more than a decade, and you never got bored of them — McFEELY Or fired. For sure. MARKUS We’ve come close to both. It’s a testament to the concept but also the people we’re working with. We’re not bumping up against this dictatorial level where it’s like, “I have some notes. I really want to see him fly a dragon — put the dragon in. I’m going to lunch.” McFEELY If we have an idea, people take it really seriously. They valued “Winter Soldier” and they saw how “Civil War” was coming together. They’d seen our process and us working with the [Russo] brothers, and they said, if Joss [Whedon] is not coming back — I don’t know that decision — it was clear that, unless they hated us, it was going to be this team. MARKUS But there also was a possibility, because “[Avengers: Age of Ultron”] made a little bit less than “Avengers” 1 — that we were taking on “Superman” 3 and 4. Maybe people were done with it. McFEELY The goal was not to advance it to the stratosphere. It was to just not screw it up.

Is this your Marvel finale as well? MARKUS I don’t know how to follow it up, that’s the problem. I’m not quite old enough to retire.

If “Endgame” has taught us anything, it’s that you should never retire. McFEELY Then they drag you out and kill you.

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