#just some dune movie humor

[wine4thewin]

Chani, anytime she hears someone refer to Paul Atreides as Lisan al Gaib or Mahdi:

Meanwhile, Lady Jessica & her psychic unborn baby hearing the same thing:

[austinswife]

‘DUNE 3’ AND BABY BUMP — Austin Butler

SYPNOSIS: Austin Butler and his wife, Y/N, have just wrapped filming on Dune 3 together, where they played intense and compelling roles—Austin as the menacing Feyd Rautha, and Y/N as one of his captivating consorts. The two, now parents to their newborn daughter Wren, join The Graham Norton Show alongside Dune producer Barbara Sanderson to discuss their experience making the movie. As they reveal intimate behind-the-scenes moments, including how Y/N filmed while pregnant and concealed her growing bump, the conversation takes a funny and heartfelt turn. Between Austin’s protective instincts on set, the crew’s humorous attempts to safeguard the baby bump, and the secret they kept from their fans, the interview showcases the couple’s love, their chemistry, and the unforgettable memories they made while working together.

WARNING(S): Mentions of pregnancy, humor and lighthearted conversations, discussions of intimate scenes in a playful way, fluff.

𝜗𝜚 ALL FEEDBACKS, IDEAS SUGGESTION — TO AUSTINSWIFE

divider by @/chilumitos

The soft hum of excited chatter filled the studio of The Graham Norton Show as the audience eagerly awaited the next segment. It was a particularly star-studded episode, featuring the much-anticipated stars of Dune 3. As the cameras prepared to roll, Graham himself sat ready at his desk, glancing through his notes and smiling at the mention of the guests he would soon welcome to the stage. He knew this was going to be a fun interview—he could feel it.

“And now,” Graham said with his trademark charm as the show returned from its commercial break, “please give a warm welcome to the stars of Dune 3—Austin Butler, Y/N Y/L/N, and the producer of the Dune series, Barbara Sanderson!”

The applause erupted as Austin, dressed in a sleek, perfectly tailored black suit, walked hand in hand with you, his wife and co-star, Y/N. You radiated elegance in a soft, flowy dress that accentuated your post-pregnancy glow. Behind you, Barbara Sanderson, the producer, strode confidently onto the stage, smiling broadly at the adoring crowd.

Once the three of you were seated on the famous red couch, Graham leaned in, his eyes twinkling with mischief. “Well, look at you two! Fresh from the intergalactic battles of Dune 3 and straight into parenthood. Congratulations on the birth of your daughter, Wren Butler!”

The applause filled the room once again as you and Austin exchanged a warm look, his hand gently squeezing yours.

“Thank you so much,” you said, beaming. “She’s been an absolute joy, and we’re really loving being new parents.”

Austin nodded in agreement, his face lighting up at the mention of Wren. “Yeah, it’s been incredible. She’s such a sweet baby.”

Graham leaned forward with that ever-curious expression, already knowing the direction he wanted to take the conversation.

“Now, I have to ask—Dune 3 is quite an intense film. I mean, it’s the culmination of this epic sci-fi saga, and the two of you play some pretty heavy roles. Austin, you’re Feyd Rautha, the ruthless antagonist, and Y/N, you’re one of his darlings. There are some... well, let’s call them intimate scenes between the two of you, aren’t there?”

The audience chuckled as Austin smirked, his hand still resting protectively on your knee. You shared a quick glance with him, both of you clearly in on the joke.

“Oh yeah,” Austin drawled, flashing that signature half-smile of his. “Feyd Rautha doesn’t do subtle.”

Graham laughed and nodded. “No, I don’t think subtle is in his vocabulary. But there’s been a lot of speculation, Y/N, because—correct me if I’m wrong—were you actually pregnant while filming those scenes?”

The room seemed to hold its breath as the question hung in the air, and the audience collectively leaned forward in their seats. You grinned, glancing at Austin for a beat before answering.

“Yes, it’s true—I was pregnant while filming Dune 3,” you admitted, laughing softly as the crowd gasped in surprise. “In fact, I found out early on, but I was lucky because my bump didn’t really show much until I was about eight or nine months pregnant. So by the time we were filming those scenes, I had a tiny bump, but only Austin and the crew knew!”

The audience erupted into laughter and applause, clearly charmed by your candid admission. Graham’s eyes widened, clearly intrigued.

“So let me get this straight—you were filming these intense, steamy scenes with Feyd Rautha while pregnant with Austin’s baby?”

You nodded, laughing even harder. “Yep! I was carrying his baby the whole time during that scene where I’m, well... not wearing much. Talk about method acting!”

Austin, trying to hold back his laughter, chimed in. “Yeah, it was pretty surreal, to be honest. We’d be in the middle of a scene where I’m supposed to be all intense and villainous, and then as soon as they called ‘cut,’ I’d go straight into husband mode—‘Are you okay? Do you need anything? How’s the baby?’”

The audience burst into laughter again as you playfully nudged Austin, smiling affectionately. “He was the most overprotective co-star I’ve ever had,” you teased. “But honestly, it was really sweet. He and the entire crew were so supportive. I felt like I had a whole army of people making sure I was comfortable.”

Barbara Sanderson, the producer, who had been quietly enjoying the banter so far, spoke up with a fond smile. “I think it’s safe to say that once we found out Y/N was pregnant, the entire atmosphere on set shifted. Everyone became so protective of her. I remember one day when we were filming a particularly physical scene, and I swear, at least five people rushed to her side with pillows and blankets the moment we finished shooting.”

Graham’s eyes widened in mock disbelief. “Pillows and blankets on a Dune set? Sounds like a far cry from the sandworms and desert storms of Arrakis!”

You laughed, nodding. “It was so funny! I felt like I was wrapped in bubble wrap half the time. And the funny part is that I felt completely fine—like, I wasn’t really showing much, and I wasn’t feeling sick or anything, but everyone was treating me like I was about to go into labor at any moment.”

Austin grinned, clearly loving the memory. “Yeah, I remember one scene where you had to lie down on this really uncomfortable-looking floor, and before I could even say anything, someone was already there with a pillow, fluffing it up for you. It was like, ‘Alright, guys, she’s tough—she can handle it.’”

Barbara laughed, nodding in agreement. “We did get a little overzealous, I’ll admit. But when your co-star is carrying a baby, you do tend to get a bit overprotective!”

Graham leaned back in his chair, thoroughly entertained. “So, Austin, how was it for you knowing that your co-star—who also happens to be your wife—was pregnant with your child during these scenes? Was it difficult to stay in character?”

Austin scratched the back of his neck, a playful grin crossing his face. “Well, let’s just say it added a whole new layer to things. I mean, there’s Feyd Rautha—this brutal, ambitious character—and then there’s me, Austin, who’s just trying to make sure my wife and our baby are okay. So yeah, it was definitely a bit of a challenge to switch back and forth.”

The audience chuckled at his honesty, and Graham leaned forward, his eyes sparkling with amusement. “I can only imagine! And I have to ask, did the fans pick up on any of this? Because if your bump wasn’t really showing until later, I imagine it must have been quite the surprise when you finally announced your pregnancy.”

You nodded, a knowing smile on your lips. “Yeah, we managed to keep it pretty low-key. I think most fans didn’t notice anything at all. I wore a lot of loose costumes, and the camera angles were really clever. It wasn’t until after filming wrapped, and we announced Wren’s birth, that people were like, ‘Wait, you were pregnant during all of that?!’”

Graham shook his head in disbelief. “Incredible. And now you’ve got a beautiful daughter. How is Wren doing?”

Austin’s expression softened immediately at the mention of his daughter. “She’s amazing. She’s the happiest little baby, always smiling. We feel really lucky.”

“She’s been a dream,” you added, your voice full of warmth. “And we’re just so grateful for how everything worked out. Filming Dune 3 while pregnant was definitely a unique experience, but now that we have Wren, it all feels even more special.”

Graham smiled, clearly touched by the couple’s love for their daughter. “Well, it sounds like a labor of love—no pun intended.”

The audience laughed again, and Graham leaned in with a teasing glint in his eye. “Before we wrap things up, I have one more question, because the Dune fans will absolutely want to know—were you ever shy filming those intimate scenes with Feyd Rautha, knowing you were pregnant?”

Y/N smirked, her eyes twinkling with mischief. "Shy? Not at all! I mean, I was literally pregnant with his baby while filming those scenes. By that point, I was more worried about not tripping over cables on set or staying awake between takes."

The audience erupted in laughter, their amusement filling the room. Austin grinned, his arm draped comfortably behind you as he chuckled.

"Yeah, when you're both trying to stay in character and simultaneously making sure you're not stepping on your wife's dress or her tiny baby bump, 'shyness' kind of takes a backseat."

Graham, always quick to lean into the humor, smiled wide. "It does add a whole new dimension to 'intimate scenes,' doesn’t it?"

Barbara, who had been watching with an amused expression, nodded. "Oh, absolutely. I remember one of the costume designers coming up to me, stressing about how to hide the bump, and I just said, 'Embrace it. If anyone asks, we’ll say it’s all part of the world-building.’"

The audience roared with laughter, and you chimed in, still laughing. "Honestly, the bump was so small that for most of the filming, it was our little secret. But by the end, I think some people on set were like, 'Wait a minute...'"

Austin playfully nudged you, shaking his head. "It’s amazing how you kept it under wraps for so long. By the time your bump did start to show, it was like an Easter egg for the crew. Everyone was tiptoeing around it."

Graham leaned forward, still grinning. "So the fans were completely in the dark until you announced Wren’s birth?"

"Pretty much," you confirmed. "We didn’t want to make a big public announcement during filming. It was such a special time for us, and we really just wanted to keep it between us and our closest friends and family."

Graham nodded, clearly touched. "It sounds like you handled it beautifully. And I think I speak for everyone when I say it’s wonderful to see you two sharing this moment, both in your careers and in your lives together."

The audience applauded again, the warmth in the room palpable. Austin turned to you with a soft smile, his hand gently squeezing yours as he spoke. "It’s been an amazing journey, both in terms of Dune 3 and our life as a family. We feel really lucky."

You smiled back at him, your heart full as you took in the supportive energy of the room. "We do. And honestly, Wren’s timing couldn’t have been more perfect. She arrived right after we finished filming, like she was waiting for her cue."

Graham laughed, clapping his hands together. "A born performer already! Watch out, Hollywood!"

The light-heartedness of the moment allowed everyone to bask in the happiness that radiated from the two of you. Even Barbara, normally so focused and professional, seemed to be swept up in the magic of the interview. "It’s rare to have this kind of chemistry on set," she said thoughtfully. "Austin and Y/N brought so much more to their roles than just acting. There was a real connection, and I think it showed in every scene."

Graham glanced between you and Austin, raising an eyebrow. "Speaking of chemistry, what’s it like acting opposite your husband in a movie like Dune? Is it hard to separate the personal from the professional?"

You laughed lightly, tilting your head toward Austin. "Honestly? Sometimes yes, and sometimes no. There were moments where it was challenging to stay in character, especially when he’d shoot me a look, and I’d know exactly what he was thinking, which usually had nothing to do with the scene."

Austin chuckled, nodding in agreement. "Yeah, it definitely keeps things interesting. You’ll be in the middle of this intense, dramatic moment, and then one of us will break character for a split second, and it’s hard not to laugh. But I think, ultimately, working together was really rewarding. We pushed each other in ways I don’t think we would have with anyone else."

Graham smiled warmly, clearly charmed by the dynamic between the two of you. "It sounds like a real partnership, both on and off screen."

"It really is," you said softly. "We’ve always supported each other’s careers, and Dune 3 gave us the chance to take that support to a whole new level. Filming while pregnant, working through those intense scenes together—it’s all made us stronger as a couple and as parents."

Austin nodded, his expression filled with pride. "Yeah, we’ve been through a lot together, and this experience just solidified how much we’ve got each other’s backs."

Graham looked genuinely moved. "That’s beautiful. And now you’ve got Wren, this incredible new chapter in your lives. What’s next for you both? More movies together? More babies?"

The audience laughed, and you couldn’t help but join in. "Well, we’re definitely taking some time off to focus on Wren right now. But who knows? If the right project comes along, we might just team up again. As for more babies..." You glanced at Austin with a playful smile. "We’ll see!"

Austin grinned, raising his eyebrows mischievously. "One day at a time, Graham."

Graham shook his head, laughing. "Well, whatever the future holds, I’m sure it’s going to be amazing. Thank you both so much for sharing your story, and congratulations again on Wren and the success of Dune 3."

As the audience clapped and the lights dimmed for the final moments of the segment, you felt a wave of gratitude wash over you. Sitting there with Austin, reflecting on the incredible journey you’d shared, you couldn’t help but feel that this was just the beginning of something even greater.

As you left the stage, Austin’s arm wrapped around your waist, you exchanged a look that said more than words ever could. From co-stars to husband and wife, from actors to parents, your shared adventure was far from over. Whether on-screen or off, you knew that whatever came next, you’d be facing it together.

And as for Wren? Well, maybe one day, she'd get her own starring role.

part 2? maybe

[backstage-if]

Hey fend I have a bone to pick with you!

I looked at the pintrest boards and although I love Em and Spencer is still and always will be life! (Good job on the boards btw you did well! Yay!! Go you! ♥️)

Also will you consider making a list of the Ros fav movies or fav plays for me plus why they love em... pretty pleasseee 💜

but

HEY! Don't distract me!!!!!

Why are you out here making side characters hot??? Kwan, Saint and Anton have no fucking logical reason to be that attractive. My eyes are ruined now. ��😭 thanks for that 😑

Sorry not sorry for making hot side characters ���� (and you maybe be able to kissy kiss with Anton, who knows what the future holds)

BUT sorry sorry sorry for the delay on the ask.

Here it goes.

C

I think C looves Sci-Fi and fantasy movies, like Star Wars and Interstellar (also, they're definitely watching Dune 2), but I choose Watermelon Woman (1996) for Cassandra and Paris Is Burning (1990) for Callahan. I can imagine them age 14, starting questioning themself, hiding under the covers to watch these in the middle of the night and still considering their fav movie to this day.

For favorite play, right now I would say The America Play by Suzan-Lori Parks, because of its themes about living in your own shoes and also bc they consider it to be challenging.

Neil

I can see Neil saying his favorite movie is something classic like 12 Angry Men (1957) (why is he always telling half-truths?), but actually having a soft spot for The Sixth Sense (1999). I just imagine him putting it on TV the following week of his mother's funeral + after his grandma returned to her house and both of his siblings ending up in the living room watching it with him bc all three of them haven't be able to sleep well.

For a play, it's Death of a Salesman by Arthur Miller, because 1) he watched it once with his parents (it's also one of his dad's favorite plays, unfortunately), 2) the themes.

Joy

I don't feel like Joy has an actual favorite movie, I think it depends on her humor and changes basically every week bc she loves movie nights with friends and/or with her cat. The most recent one would be Boogie Nights (1997) because of vibes ✨️ and also Julianne Moore.

For play, it's The Importance of Being Earnest by Oscar Wilde. She wrote an analysis on it for college and now believes it's a classic for a reason. Same as movies, Joy's favorites changes for time to time, but this still holds the first place (for years now).

Spencer

Spencer has a lot of movies they consider close to heart, but some recent ones are Garoto/Kid (2015) and Sound of Metal (2019). They are captivated by the acting and the themes (they think a lot about feeling unnable to do what they love and about death, probably more than would be healthy).

I think Spencer likes a lot of plays, but never actually stopped to choose a favorite one. Right now, their answer would probably be Little Shop of Horrors, because of the combo themes + music + pratical effects + they did it once right after they started acting (as ensemble) and have good memories of it.

A

A watches a bunch of movies with their mom when she has free time, so they have multiple favorites to choose from. Right off the bat, Ameera would say Lady Vengeance (2005) and Adarsh would choose Memories of Murder (2003), simply because these are movies they really enjoyed and think about rewatching from time to time (unusual for them, who prefer to discover new movies).

Now, for play it would be Spring Awakening, because no one can convince A not to choose a musical. It's a dream role for them and one of the reasons they decided to quit ballet and choose theater (not as dramatic as it sounds, more like.... it help them realize it seemed interesting and challenging and captivating in a way they didn't feel like ballet did anymore).

[teddybeartoji]

AAAAAAAAAA!!!!!!! no you get it dune 2 wasn’t as good as the first one i think sequels rarely live up to the first one!! omg my favorites change alll the time and that includes directors LOL but my current favorite one is satoshi kon!!! he made my all time favorite movie paprika!!! he’s also the director of perfect blue ! im sure you’ve heard of it :3 i sooo so so recommend his movies like millennium actress or paranoia agent or!! of course paprika!! the music in that movie is soooo good! i also really enjoy akira kurosawa’s, tim burton’s, wes anderson’s and of course kubrick’s movies im trying sooooo hard not to fangirl too much i cannot be too much of a nerd LOLOL glasses slipping off my nose doing the um ackshually pose whenever i talk about movies

WHAT ABOUT YOU THOOOOUGH!!! who are your favorite directors

AHHH YOU ARE RIGHT ABT THE SEQUELS NOT MEASURING UP TO THE FIRST ONES but hhhhhhhh i did have pretty big expectations for it too smhhh.. i really did looooove the first one😔😔😔

OMGGGGGGG I HAVE HEARD ABT PERFECT BLUEE!!!!!!!!! i have to admit that i haven't seen it though please don't shoot me.. i'm adding paprika and the others to my watchlist rn too hehehe i'll remember those!!!!!!!!!! and i'll come screaming when i finally happen to watch them too bc we then have to Discuss them>:33333333 ALSO PLSSS NERD OUT WITH MEEEE I LOVE ITTT I WANNA HEAR ALL OF YOUR THOUGHTSSS!!!!!!!!!!!! btw i recently saw wes anderson's isle of dogs at the cinema for the first time and i loved it soo so fucking much i think that actually might be one of my favourites of his now....

out of kubrick's stuff i think i've actually only seen the shining if i'm being honest here,, it's not like i'm not interested in the others i just have a tendency to rewatch a lot of things instead of going for smth new lmao i also love how we both seem to be Film Bros but like.. different types😭😭😭😭 I SAY THAT WITH LOVE BTW

i am a... david fincher film bro lmao fight club is literally my most watched film i love it so so much it's like a comfort film at this point idk don't get me wrong it's not my favourite of his though,, i think my top three would be 1. se7en 2. zodiac 3. the social network!!!!!!!!!!!!! but yeah i just love his works so fucking much they scratch my brain so fucking good..

AND THEN MY OTHER FAVOURITE DIRECTOR IS GUY RITCHIE!!!!!!!! this is such a silly one but i love him okay his sense of humor goes so well with mine,, snatch is one of my favourite films ever it's so good lmao aaaand i do love his later films too i think they're super fucking fun!!!!! the man from uncle has the best fucking score ever and idk i know a lot of ppl didn't like it it is one of my little guilty-not-so-guilty pleasures!!!!!!!!!!

and. continuing on with my film bro streak lmao i do like tarantino quite a lot ngl i absolutely adore inglorious basterds and django and kill bill and reservoir dogs and pulp fiction they're all just so fucking fun too

AAAAAAAAAAAND i also wanna add spielberg just bc i've been thinking abt indiana jones again!!!!!!!!!!!!!!!!!! LIFE-CHANGINGGGGGG i love the indiana jones films so fucking much i've loved them since i was a fucking child but they really are so so good they just don't make films like that anymore.... the lighting the blocking the acting the sweat the clothes the fact that indiana is a fucking loser and not some tough guy aaaaaaaaaaaaaaaa idk i could talk abt those films for forever i think..

[mx-t4t0]

that post about how the dune movies are bad because "ohhhgh there's no jokes :(" is stupid btw. like. if you can't sit down to watch a movie without humor that is a you problem. i'm starting to think those people talking about some of y'all being unable to just sit down and just sit through a dark, awful, unpleasant story were right. i'm not saying those have to be your thing but i'm saying grading a movie strictly on whether or not "it was funni :)" is dumb and stupid.

comic relief has become the jingling keys of cinematography for some and it's upsetting. i dont even like the modern dune movies that much it was just that dumb of a take that i'm ranting about it. mcu baby brain is a real thing.

[paradoxcase]

Chapter 20 of Gideon the Ninth

Right, so, let me see if i can summarize what happened here:

Teacher: No! You must absolutely under no circumstances ever do soul siphoning down in this laboratory, because there are terrible evil necromantic monsters down here that will possess you and do Bad Shit!

*24 hours later*

Dulcinea: So this puzzle in the lab that's maybe full of spooky necromantic monsters requires that you soul-siphon your cavalier *eyelash bat* Would you do it for me? *dimple* Pretty please? *lip pout* Palamedes was too chicken to do it *eyelash flutter*

Harrow: Palamedes was here first? I have to do it. I have to beat Palamedes. Are you ok with it, Griddle?

Gideon: Of course I will almost die for you, you just had to ask.

I have serious questions about everyone's motivations, and like, basic ability to do cost-benefit analysis

Although it sounds like from what Harrow said that Dulcinea underestimated how hard this would be when telling her what Palamedes had said about it. Or, Palamedes underestimated when he was telling Dulcinea about it, but I think that's less likely, even if Palamedes actually did say anything to Dulcinea about this at all, and I think there is some chance that Palamedes never actually did that

So... new wild Dulcinea conspiracy theory: Dulcinea is trying to kill Gideon for some reason. I can't think of any reason why, but we also don't know the whole Space Jesus lore yet, and Dulcinea seems to recognize Gideon's eyes from somewhere

On the topic of Space Jesus, "yes I will die for you without question" is, in fact, Very Jesus, which I hate to say, since that's my least favorite thing about Jesus

And the thing that Gideon notices

Not even some comment about Harrow being naked, which, honestly, would have been in-character, I think

I think Harrow might be with me on this latest conspiracy theory, actually

Yeah, I think Harrow is starting to suspect that she is evil now

Also, let's just talk about this Mean Girls reference, for a minute. So far, for the modern memes, if I've been keeping track well enough, we have "I studied the blade", "resting bitch face", "light is the paper-killer", "that's what she said", and now this one. But look. "I studied the blade" and "resting bitch face" are both just objectively funny phrases, they're not like, only funny because they're references to something, that's how they became memes in the first place, someone said the phrase and everyone else said, "yeah, that was pretty funny" and it wasn't a reference and you didn't need pop culture context in order to get it. "That's what she said" is also not a reference to a pop culture event, I'm like 1000% sure that every language in existence probably has a way to say "that's what she said" that has the same social context and implication, that kind of humor is probably pretty universal. And Palamedes wasn't making a joke when he said "light is the paper-killer", you could argue, from an in-universe perspective, that he just happened to phrase it like that for whatever reason, in-universe, there's no reason this has to be a reference to Dune. But this Mean Girls reference is meant to be a joke and is actually not funny on its own unless you know that this is a reference to Mean Girls and remember the particular scene that it came from. And if the epoch that's being used here is just the regular AD epoch that we use and it's now 10000 AD, a movie that came out in 2004 is just not going to be in Gideon's cultural experience. So what in-universe thing is Gideon actually referencing? Why is this funny from an in-universe context? I think if you're going to do stuff like this, you kind of have to go big or go home and do what Homestuck did and actually create a corpus of in-universe references and in-jokes and memes for your characters to refer back to. Otherwise it doesn't work. Actually, this is something I'd love to see from basically all spec-fic: in-universe pop culture, in-universe memes. Pop culture has been around for a very long time, memes are just a subset of jokes and have probably been around forever, I enjoy the memes here but I'd actually rather read about brand new memes that originated in this necromantic space feudalism universe somewhere than old familiar memes from a movie that came out almost 20 years ago. Even on Pluto, Gideon had magazines, surely there are other kinds of slightly higher-brow magazines and books and so forth that could generate all kinds of references and memes. Maybe the book would have to spend a few words to explain some of Gideon's jokes, but I honestly would like to know what people joke about in this cultural context, I think it would do a lot to bring the setting to life

Another side observation is that Dulcinea has another key that they do not have, but does not have the one key they have found already. IIRC, Palamedes and Camilla had multiple keys, and obviously Palamedes does not have the key that they retrieved in this chapter, because even if Dulcinea is lying about talking to him, I do believe he would not do this

Also, Dulcinea mentioned "thalergy" at some point in this chapter, I think saying that Harrow would have to siphon that rather than thanergy. I can't find the root of this word, the best I could come up with was this maybe, which is not like, super helpful? I guess maybe thalergy is like life energy as opposed to thanergy, which is death energy, and Dulcinea could provide thanergy because she is dying but for the thalergy Harrow needs to siphon Gideon, or something?

Please, I'm dying to know the rest of this sentence, of all the things I do not know in this book, this is now the one I want to know the most

[wronganswerforehead]

Dune Part 2: Initial Thoughts.

Watched Dune Part two and I hate to be a contrarian, but it was just OK to me. Below is my non-spoiler take on the movie. Please excuse any grammatical errors, I'm just jotting down my thoughts.

Let's start with the positive! Here's What I enjoyed:

Cinematography and technical aspects. 

We live in a world where bad and downright comical CGI has somehow become the norm. Dune circumvents this with a combination of beautiful practical scenery and effects and technical mastery that I don't think I've seen since the Pirates of the Carribean. It allowed me to be fully immersed in the world, and I truly appreciated that.

The performances of Zendaya, Rebecca Ferguson, Javier Bardem, and Austin Butler. 

While I don't think anyone turned in an Oscar worthy performance, I do think that these 4 did really well with the material they were given. Zendaya gave a performance that was both nuanced and in moments quite fierce. Chani’s love, skepticism, and anger were all portrayed wonderfully. I absolutely loved the fluency in which she spoke the Freman language and the chemistry she had with Souheila Yacoub. With that being said, I have some notes lol. Some of the lines were both written and delivered awkwardly, her signature “scowl” became repetitive, and her eyes tended to be kind of dead in some emotional moments. But, I think that with more roles/experience under her belt, Z can become quite the force if she wants to be. Overall, I really enjoyed her performance.

Rebecca played a very believable momma bear and puppet master. She is, in my opinion, an underrated actor. There was never a moment where her performance left me wanting more. 

Javier brought effortless humor to this film. Although I will say, the humor combined with the weird pacing made the religious zealot aspect of his character less believable. It kind of felt like when we got to those parts, he was still joking. 

Austin plays a psychopath really well! No notes lol.

And now, what I didn't enjoy:

Timothee Chalamet

I know this is a very unpopular opinion, and I’ve TRIED to understand the hype, but I just…don’t. With that being said, he was good when it came to playing the “boy” Paul Atreides, but when it came time to be a fierce leader/Messiah, nothing about his portrayal was believable. Everytime he yelled or raised his voice, it completely took me out of the movie, almost to the point of laughing. Also, jumping from Zendaya, Javier Bardem, and Souheila Yacoub speaking the Freman language to Timothee speaking it, was jarring to say the least. Overall, it was an ok performance, but I feel he gets a TON of grace because of CMBYN. And I’ll leave it there.

The Pacing

It was rough, I can’t lie. One second, you're in a fast-paced action sequence, and then the next thing you know, the movie grinds to a halt via jump cut to a different, seemingly unrelated, scene where everybody is whispering.  Also, the quickness in which everyone, including the non-believers, rallied behind Paul contributed to the pacing issue. Everything either happened too fast or too slow and it never really found a balance. This movie jumps around a lot and sometimes it’s sloppily done and confusing.I know that there is a lot that has to be fit into these movies, but I feel like this aspect could’ve been handled better. Ultimately, I think it’s why the movie ended up feeling really long and sometimes repetitive to me.

Lack of Explanations

For starters, I don't like it when movies spoon feed you. BUT, in cases like Dune, where there’s a ton of pre-existing lore, I think it’s necessary to offer some explanation for the audience members who haven’t read the book. Introducing certain themes and items without any explanation whatsoever, will leave a lot of moviegoers confused and feeling like there may be a plot hole. For example, Chani’s blue scarf. If you haven’t read the book, you will have absolutely no idea why it suddenly appears halfway through the movie. You can make guesses based on prior scenes, but you’ll probably be wrong because the real reason is never introduced in the movie.

Overall, it was a decent experience. But to be honest, I don’t think it being placed in the same category as great sequels, such as the Dark knight, is warranted. I think this movie is getting a ton of grace simply because of the names attached to it and the general lack of well made action movies. It’s in the right place at the right time.

Well, that’s it for now. Hope you enjoyed the read!

[lorbanery]

I can't speak to Dune because I've never read it or watched any of the adaptations, but I want to add another point to the "movies/media should have SOME humor in them" Discourse.

Having characters joke around with each other, even in tense moments, even in genres that are about tension, even in Very Serious Pieces of Media, gives your characters a sense of camaraderie. And the type of joking they do can get across to the audience how well they know each other and what their relationship is without saying it (or can back up what they say). If they're actively teasing each other and making in-jokes about shared experiences, it shows/reinforces that they're friends or partners who've known each other for a while, they feel comfortable lightheartedly ribbing each other, and they have a deep well of embarrassing/funny moments to draw from. If they're making more general jokes that aren't about the person, but still referencing shared experiences, they may have known each other for a while, but aren't necessarily friends, maybe they're coworkers or classmates or a regular at a restaurant and their preferred server. If they're making more general jokes without references, they probably only recently met and have had generally positive interactions, or they might be complete strangers who are just trying to break the ice.

Going back to the "friends who have known each other for a long time and are comfortable ribbing each other and have a lot of material" for a moment, specifically in the context of things like horror and dramatic epics like I understand Dune to be? When you have characters who joke around with each other like that, when one or both of those characters stop joking? It can also help prime the audience to understand, "Oh shit, shit's getting real now."

Like, think about Merry and Pippin in Lord of the Rings. Both of them spend a lot of time joking around with each other and the other characters, even when they're on their way to Mordor. Both of them lose the jokes the moment things get dangerous, but are back at it when the tension's released again. In Fellowship, the jokes pretty much stop the moment they get chased into Moria and don't come back until they've come to terms with Gandalf's death enough to move on from Lothlorien. They're back to it until they get attacked by the Uruk-hai, then back to their shared mischievousness again once they once they figure out how to convince Treebeard to rally the Ents and attack Isengard and are fully joking around again by the time Aragorn, Legolas, and Gimli catch up with them in the aftermath of the battle.

Then, everything goes to shit. Pippin consistently shows himself to be the kind of person who doesn't quite grasp the potential danger of things and places that he hasn't experienced himself. The combination of that alongside his natural curiosity leads to things like him fiddling with the arrow in the dwarf skeleton that overbalances it into the well it was perched on, alerting the goblins and balrog to their presence. And to him sneaking a peak at the palantir. In the moments after, when Gandalf is readying things to take Pippin with him to Gondor, Merry, who's been able to, if not fully grasp the gravity of what they've been doing, at least trust their companions' assessments, listen to what their saying and read between the lines. And we finally see the seriousness and danger of the situation really sink in for Pippin.

He's seen Sauron, had him in his head, he's not just a vague concept of a Bad Guy off in a part of the world that may not exist for all that it's effected Pippin before leaving the Shire. He's seen how scared Frodo's been, seen the danger he's been in because of the ring, and now there's a possibility that Sauron thinks Pippin has the ring. Even when they left their home, Pippin still had Merry and Frodo and Sam. But then things got too dangerous for Frodo to stay so he left and Sam went with him. Now, things are so dangerous, that Pippin has to leave his very best friend and, after all they've been through, it's hitting him that he might not ever see any of them again.

This is the moment where all the jokes stop. Pippin has moments of joy and happiness and relief and satisfaction. But we never get to see being that mischievous little jokester again. I hesitate to call it character growth, because that phrase usually implies a positive change from immaturity and/or selfishness into a character with more empathy and a sense of responsibility towards other characters. Because I would argue that Pippin already had those traits. He saw that Frodo and Sam were in trouble literally moments after he and Merry ran into them leaving the Shire and he didn't hesitate to help them escape. He fought his best in every battle he found himself in, attempted to avenge Boromir against enemies he knew far overpowered him. The change from the beginning of Fellowship to the end of Return of the King wasn't character growth, it is, and was framed as, a young man forever changed by the horrors he witnessed and experiences, horrors he never could have even imagined before leaving his home, but now weigh in his memories for the rest of his life.

And you get that narrative because of the way the humor is used in Lord of the Rings.

[lcatala]

Top 10 Favorite Movies discovered in 2024

(very late to this but here we go)

Honorable mentions to I Saw the TV Glow (2024), which didn't completely work for me but it's my fault for being terminally autistic and somehow not getting that the film was about the trans experience, and to Cannibal Holocaust (1980) for being a dirty bastard of a movie that tricked me into thinking it was going to be normal schlocky gory exploitation before switching genre halfway thru and becoming one of the most shockingly disturbing movies I've ever seen.

10: Dogma (1999)

Much less edgy and awkward than I expected; a fair bit of offensive-even-back-then humor, but most of it cleverly put in the mouth of a character who's clearly framed as a dumbass. Comedy can age pretty poorly, but Kevin Smith managed to avoid this trap and produce an abrasive classic.

9: Lake Mungo (2008)

I anticipated a somewhat manipulative mockumentary and instead I got a subtle drama that just happens to be conveyed in a documentary format. People sell this as an extremely scary story, but I mostly found it pretty sad and tragic, in a very human way.

8: Lock, Stock and Two Smoking Barrels (1998)

Guy Ritchie's debut is basically the British answer to Pulp Fiction, with a cleverer plot, dialogues both wittier and less gratuitously offensive, and more self-aware comedy.

7: Monkey Man (2024)

John Wick meets Agneepath in Dev Patel's first directorial attempt, where he takes the best of revenge films from the US and from India and combines them into something both more heartfelt and politically biting than the former, and more streamlined and effective than the latter.

6: Nosferatu (2024)

While I have some reservations about the length of the screenplay, which I felt was a bit overstuffed in contrast with that of the original from 1922, overall it was exactly what I wanted out of a remake of Nosferatu: aggressively gothic, and bringing back a great deal of eldritch aw into the portrayal of the vampire as an elemental force of terror beyond human reason.

5: Mononoke the Movie: Phantom in the Rain (2024)

This one is definitely going to be more niche, being a spin-off movie of the series Mononoke from the mid 2000s (which itself was a spin-off from an earlier series) and because this movie takes no prisoner: the characters talk fast and a lot; the visuals are often allegorical, surreal and abstracted, shifting rapidly from one set piece to the next with no relation to what's happening on screen; the plot is complex and exposition is delivered in a way that assumes that you already know the basic structure of Mononoke's stories set by the original series.

But it was worth the challenge. It's the most visually gorgeous and artistically ambitious movie I have seen in 2024, a demonstration of the kind of amazing stuff that can be achieved by high-effort and creatively unrestrained digital animation mixing 2D and 3D techniques.

4: Dune: Part Two (2024)

So here's the thing: Part Two didn't fix the problems I had with Part One (which was still in my top movies for 2021); the lack of human warmth due to the characters being so theatrical and serious all the time; the interior set design that feels so empty and sterile, not lived in. But Part Two kind of managed to work with these problems, or at the very least around them. As the story gets into its second half epic swelling and as the distinctive of Villeneuve's interpretation crystalizes, the lack of warmth now comes into play as Paul loses his humanity to be devoured by his role of messianic figure, the large empty sets come to emphasize the crushing of the characters under the forces of history, and the whole picture finally comes together beautifully.

3: Furiosa: A Mad Max Saga (2024)

It is remarkable when a creator doesn't rely on formulas and instead reinvents themself between two pieces of art. It is even more remarkable when they do so by taking a completely opposite approach to their previous project and still make something amazing in the process. It starts to stretch disbelief when the creator in question is 79, at an age and with an amount of experience where most artists have long abandoned any desire to experiment, break the mold and take risks.

And yet here we are, with a prequel to Mad Max: Fury Road that shares its worldbuilding and aesthetics, but is its polar opposite in terms of pacing, scope, camera movement, editing, mood… And it's an amazing piece of cinema, an action movie that bets on the slow and heavy rather than the fast and frantic, and delivers; a good lesson to those who think that editing, especially fast editing, is the only critical part of creating a good movie.

2: The Exorcist III (1990)

It's hard to properly convey the gap that exists between what spontaneously comes to your mind when you hear of a movie called "The Exorcist III": unnecessary cash grab sequel that misapprehends everything that made the original good — and what this movie actually is: a dark, gritty horror thriller with an incredible atmosphere, that served as the cornerstone to bleak 90s procedurals — Silence of the Lambs, Se7en and The X-files all stand on the foundations laid by The Exorcist III (along with those laid by Twin Peaks).

Letting a horror writer direct the adaptation of their own book can go in a number of ways — Clive Barker's Hellraiser (1987) is seen as a classic, but doesn't work for everyone, and the less said about Stephen King's Maximum Overdrive (1986), the better. But in that case, this is a master's work in setting an oppressive ambiance of supernatural dread and never letting it up for the whole movie, thru effective use of symbolist imagery and blending of the border between sound design and soundtrack.

1: Longlegs (2024)

And speaking of movies that owe their existence to The Exorcist III-- but no, starting the sentence in this way would imply that Longlegs is just another exercise in retro and nostalgia bait, when Oz Perkins has really been doing for 90s thrillers and religious horror films what Panos Cosmatos is doing for 80s neo-noir and cult horror films, taking the building blocks of an ancient genre and of the associated aesthetics, and expending them beyond anything that could have been done at the time, finding new, more cutting meaning in the old tropes, and as a result building something truly modern, that could only exist today.

So, Longlegs. A simple screenplay elevated beyond expectations by amazing set design and direction. A you-would-think-overdone-and-even-problematic theme of satanic conspiracy subtly turned on its head by executing the expected tropes in unexpected ways. The incredible actor performances, from Maika Monroe's mask of professionalism and coldness hiding a deep visceral terror, to a barely recognizable, nauseatingly creepy, sick and bloated Nicolas Cage.

Best horror movie of the decade so far.

[filmsnax]

The Creator - Filmsnax Review

Countless films try and fail to do what Gareth Edwards' 'The Creator' makes look so effortless, which makes its failure to do what should be easy that much more tragic.

In the film industry 2023 was a bad time to be mediocre. 'Barbenheimer' and 'Super Mario' were dominating the theatres, while horror and family-animation kept a stranglehold on the streaming market. However there was also a total vacuum of big-budget science fiction as 'Dune' fans waited restlessly for their sequel. Couple that with the rising social conversation around AI and the right movie had a strong chance to rise above the smog of sequels, adaptations, and brand-deals.

But despite the opportunity 'The Creator' only barely squeaked out $100 mil box-office on an $80 mil budget. Where exactly did the movie go so wrong that they failed to capitalize on these odds?

-- First the good --

Visual effects is the basket the filmmakers rightfully put most of their eggs into. Despite only having half the budget of the aforementioned 'Dune', 'Creator' manages to fill all spaces with hundreds of detailed augmented humans, fully animated robots, and sci fi set pieces that are all believably physical while still fantastical and uniquely designed. Chief among those set pieces is the jaw-dropping "NOMAD" weapon which is brought to life especially with impressive futuristic sound-design by Ethan Van der Ryn and Erik Aadahl.

Another wow is the cinematography, under cinematographers Greig Fraser and Oren Soffer. Between all the powerful shots of dramatic scale and beautiful geography is plenty of visual storytelling which occasionally toes the line of trope but manages to avoid crossing it. Action scenes are clear and impactful, and the pensive shots direct the eye with intention.

It clearly pays off for realism that filming was done on-location rather than in front of a green screen, not just in terms of lighting and mountains but also in the compelling tapestry of background characters just sifting through grain or smoking cigarettes. The VFX team's ability to mix futuristic technology with the rural life in Southeast Asian villages is extremely effective, and as a result, the world building is dense, detailed, and full in a way that few sci fi movies achieve.

And living in that dense world is an absolutely stellar supporting cast. Allison Janney breathes so much life into her role as the vindictive anti-robot villain despite being given a criminally short amount of screen time. The same is true for Ken Watanabe, Gemma Chan, and the always-underused Ralph Ineson. As a war movie the rest of the cast is consistently successful at making otherwise-gratuitous explosions and violence feel emotionally impactful and real.

Of course every scene is stolen by the 9-year-old Madeleine Yuna Voyles who takes what could've easily been a knock-off Eleven from "Stranger Things" and instead creates a character which is compelling and unique. Start to finish her character is full of humor and emotional power. If no other aspect of this movie withstands the test of time, her performance definitely will.

-- Then the bad --

On the table meant to hold up 'The Creator' the most damning broken leg was simply weak storytelling. Edwards and his co-writer Chris Weitz clearly had an ambition for the scale of the story to match the scale of the world, and fell far short.

The movie forgoes any nuance provided by it's politically-charged themes in favor of a simple "blow up the Death Star" plot. Several threads built up as intrigue near the beginning are completely dropped or neutered, including: the story of main character Joshua's deep cover, the original "Nirmata" suspect being the father of Joshua's wife, and what relationship the AI actually have to "Nirmata" or even what the role entails. The movie hopes to earn back some intrigue by using somewhat excessive flashback, made worse by never really utilizing it with any purpose besides confusing an otherwise simple plot. Even the one "reveal" if you could call it that is promptly defeated and wasn't terribly consequential to begin with. (And I assume whoever decided to add the brief "monkey accidentally blows up a tank" scene thought they were working on a different movie.)

Almost as egregious as a poor plot, however, is a poor lead actor. If there was any way to vitalize this movie's story it was in the emotional connection between the characters, and lead John David Washington completely drops the ball. So many of his line reads were distractingly flat, especially in his scenes with child actor Madeleine. In a scene near the beginning of the film where he describes the loss of his wife to Colonel Howell played by Allison Janney, he gives the energy of a high-school play.

He is not saved by the script, either, which features a few bright moments but overall manages to be unfortunately paint-by-numbers. The supporting actors work hard to build up some pretty bland lines, but in some scenes like the exposition-stuffed flashbacks, it really sticks out as another weak link.

And the last major whiff is the soundtrack, which makes very little use of composer Hans Zimmer to instead focus on insert songs. Some of these work well (Radiohead's "Everything in its Right Place" for example is an inspired choice), but most are either emotionless or outright annoying.

-- Did it deserve better --

Yes, but not without qualification. Under all the confused storytelling, 'The Creator' maintains very real emotional impact along with a wealth of creative worldbuilding that ultimately achieves most of the goals the screenplay could not. The amount of skill and passion put into the production of this movie is palpable, and the box-office numbers certainly do not reflect the quality of the result.

For all it's successes and failures, however, 'Creator' is most of all a relic of a recently-passed generation of sci fi.

Back in the early 2010s, even with lesser visuals, this movie would've killed. Even with Washington's lackluster performance, it has more heart than most sci-fi war movies of the decade like 'Edge of Tomorrow', 'Elysium', or those Star Wars sequels. Even with the weak script and storytelling, it has a more intriguing commentary than most AI movies of the time as well, easily stacking up as a counterpoint to 'Ex Machina'.

But to come out today, the bar for an insightful science fiction film is quite high.

I would be remiss to not mention the very obvious allusions to the Vietnam War that 'Creator' attempts to draw, presumably with the hope of calling back to classic Vietnam War films such as 'Full Metal Jacket' and 'Apocalypse Now'. Occasionally this light shines through in the subtle moments of worldbuilding and robot/human interaction, but without the moral complexity of those movies (or an R rating) the comparison works against the movie more often than not.

There's also a fair amount of criticism given to the movie for the decision to "side with AI" in a time when anti-AI sentiment is steadily growing, especially in creative spaces. This definitely gives a certain odor to the entire production which it doesn't work too hard to remove. Time will tell how this aspect of the film ages, but in the current landscape unfortunately I think it played a very significant role in the poor reaction from critics and audiences.

-- Final Rating --

There's a lot here to enjoy. Impressive visuals throughout and several great performances elevate a somewhat weak script and story. I give 'The Creator' a grade of

B-

'The Creator' and promotional poster above are the property of 20th Century Studios

[influencermagazineuk]

Nikki Glaser, the comedian who hosted the 82nd Golden Globe Awards, delivered a memorable opening monologue filled with witty jabs and playful humor. As the host, Glaser had the tough task of keeping the audience engaged while balancing the art of comedy with respect for the guests in the room. Although her jokes were sharp, they never crossed the line into being overly harsh. Here’s a breakdown of some of the best and funniest moments from her 10-minute monologue. Glaser kicked off the show with a funny remark about the event’s atmosphere. She opened by saying, "Welcome to the Golden Globes, Ozempic’s biggest night!" The mention of Ozempic, a medication that’s recently gained attention for weight loss, instantly grabbed the audience’s attention. Glaser joked that she had finally "made it" by being at the Beverly Hilton, but humorously noted that this time she was fully dressed. It was a perfect start to her night of jokes, blending self-deprecation with the kind of humor that made her such a popular choice for hosting. Credits: Instagram One of the most memorable parts of Glaser’s opening remarks was when she poked fun at the political influence of celebrities. She said, "I’m not here to roast you. And how could I? You’re all so famous, so talented, so powerful. I mean, you could really do anything — except tell the country who to vote for. But it’s okay. You’ll get them next time!" The playful jab at Hollywood’s political involvement was met with laughter, as Glaser captured the complex relationship between fame and activism in a lighthearted way. Later, she made a cheeky joke about Ben Affleck and the movies nominated that evening. "Wicked, Queer, Nightbitch — these are not just words Ben Affleck yells after he orgasms. These are some of the incredible movies nominated tonight." The comment, although a bit edgy, was clearly meant to be playful, and it got a great reaction from the crowd. Glaser had a unique way of balancing sharp humor with genuine respect for the movies being recognized that night. Zendaya, another favorite at the awards, was also the target of a few jokes. Glaser praised her performance in Dune, saying, “I woke up for all of your scenes.” She also teased Zendaya’s other movie, Challengers, calling it more sexually charged than Diddy’s credit card. It was a humorous way to compliment Zendaya while making light of the buzz surrounding her roles. Glaser’s comment about the after-party, humorously mentioning how it wouldn’t be as good this year, added to the playful tone of the monologue. At one point, Glaser addressed the television networks where the show was airing. She said, “If you’re watching on CBS, hello. If you’re watching this on Paramount+ you have six days left to cancel your free trial.” It was a clever, timely jab at the ever-growing streaming wars, with Glaser’s delivery making it feel less like an advertisement and more like a well-timed joke. Another funny moment came when Glaser pointed out the hard-working actors in the room—by which she meant the servers. The line was a funny contrast, as she acknowledged the unseen work that goes on behind the scenes during such a glamorous event. It was a clever way to include everyone in the room, even those not on the stage. Glaser also couldn’t resist making a joke about Timothée Chalamet, who was nominated that evening. “Tilda Swinton is, of course, nominated this year for her role as Timothée Chalamet,” Glaser joked. The audience was in stitches as she continued, commenting on Chalamet’s iconic look, specifically his "gorgeous eyelashes" and his portrayal of Bob Dylan in A Complete Unknown. She cheekily noted that even Bob Dylan himself had admitted that Chalamet’s singing voice was "absolutely horrible." As the monologue continued, Glaser shifted gears and shared a funny story about her own high school experience with Wicked, the popular musical. She shared how much she loved the show, just like her friends, her boyfriend, and even her boyfriend’s boyfriend. This quirky and funny personal touch made the audience feel like they were getting to know Glaser a little better while still keeping things lighthearted. In a playful dig at two of the night’s most anticipated films, Wicked and Joker 2, Glaser made a funny comparison. She joked that in Wicked, some people complained the movie was ruined by people singing, while in Joker 2, people complained that the movie was ruined by "the images on the screen and the sounds that accompanied them." It was a humorous take on how both movies received mixed reviews, but it was all in good fun. When it came to Harrison Ford, Glaser didn’t hold back either. She shared an amusing exchange where she asked the legendary actor if he would rather work with Zendaya or Ariana Grande. Ford’s response? “Indica.” The audience burst into laughter at Glaser’s perfect delivery and the unexpected punchline. Credits: Instagram As the night went on, Glaser continued her witty commentary, including a playful reference to Robert F. Kennedy Jr. and the various television shows nominated that evening. Her comment about The Bear, The Penguin, and Baby Reindeer being “not just things found in R.F.K.’s freezer” was a sharp, yet playful jab, which once again balanced her comedy with respect for the event’s tone. Nicole Kidman also got her share of attention, with Glaser acknowledging her impressive 20 Golden Globe nominations. Glaser jokingly thanked Keith Urban for playing guitar around the house so much that it led Kidman to "make 18 movies a year." It was a funny and light-hearted way to pay tribute to Kidman’s dedication to her craft. Finally, Glaser ended her monologue with a joke about the unpredictability of the night. She joked that years from now, people would watch clips from this very event on YouTube and spot someone in the crowd who would later become infamous. The punchline was a clever nod to the fact that anything can happen, even at an event as glamorous as the Golden Globes. Read the full article

[minetteskvareninova]

Minette Rates Love, Death & Robots, Vol.1

(Because I just watched it so why the fuck not. As spoiler free as possible.)

THREE ROBOTS - A darkly funny little tale with entertaining protagonists, but the twist ending landed with a thud. Sticking to a generic "foolish humans and their wars/enviromental destruction/whatever" would insult my intelligence less. 6/10

BEYOND THE AQUILA RIFT - This is the first one with the video game-esque hyperrealistic animation, which doesn't work for me, and I might in fact take off points for it if I am especially annoyed. I cared more for the characters than in some of the others, but as we'll see, the bar is in hell here. Still worth it for the bang-up twist, even if I am still not sure about the motivations of the... Entity. I'd like to think it is basically benevolent, although I might've missed something because I am a dumbass. 7/10, 6,5/10 if the Entity is in fact evil and I didn't notice.

ICE AGE - I don't have much to say about this one. A cute little story with an interesting twist, even if I rolled my eyes a bit at the T-Rex hunting the ancient hominids, also woolly mammoths did not in fact go extinct in the Neolithic. The Wrangel Island population survived untill 2500-2000 BC, which is, in fact, fucking Bronze Age. If you want to be pedantic, at least get it right. 8/10

SONNIE'S EDGE - Well, "edge" is certainly a word to describe this one... That said, as a story, it was actually quite a banger, not gonna lie. The cyberpunk monster fighting pits are an interesting setting, and though I didn't connect with the characters at first, boy did the twist change my tune. 8/10

WHEN THE YOGHURT TOOK OVER - I don't why, this one just... Worked for me. The animation, the humor, the bizzare story. 10/10

THE SECRET WAR - I am sure someone would have a lot of fun with this very generic shooter. Why do I have to watch all the cutscenes I have no idea. Seriously, this one had more layers of cliche than Dune has layers of secret plots. 2/10 and even that is solely for the decent monster designs and the balalaika scene, a teensy tiny light of genuine humanity in this droll mess.

SUCKER OF SOULS - The animation was worked for me and I liked the cats, but there really wasn't that much cat action here (well, except for that kind of cat action, to the misfortune of us all). This one was the point where I was starting to get pretty sick of the wisecracking tough guys protagonists that mistake banter for genuine connection. From then on I decided to take off points for them. It has just as much edge as Sonnie, but with a much weaker story. This is just every Archeologist Unearths A Monster and Evil Monster Vampire story ever - except for the unintentional comedy of using Romanian as the Ominous Ancient Language and Romanian Cyrillic as the Ominous Ancient Alphabet. It's the ignorant Western equivalent of using Early Medieval "barbaric" scripts for that purpose; hell, even they are more terrifying on account of how absolutely fucking unreadable they are (at least before the Carolignian Miniscule comes and saves us all). Also, they killed the twink. Bastards. 3/10 solely for the animation.

THE WITNESS - I still don't know how to feel about this one. The characters are extremely weak and like 30% is gratuitous nudity, including a Totally Necessary erotic dance, but I loved the twist, so. Also I'd be lying if acted like I am not the target audience for the Totally Necessary scenes. 6/10

SUITS - Okay, I do not care much for the mechs fighting alien bugs genre, but tight-knit farming communities, those I can get behind. Like the characters and their connections were actually kinda dope. Also the ending is open to the interpretation that humans destroyed this planet by terraforming it and the alien bugs are actually just trying to survive by eating the cattle, like some kind of OTT alien version of red foxes. Either way, it's neat, I liked it. 7/10

GOOD HUNTING - This one could make for a genuinely awesome movie if it was a full feature. The animation, the worldbuilding, the themes, the story outline, everything just Works... Unfortunately, this kind of story relies heavily on its characters, and these ones just didn't have much time to develop, and neither do the really heavy themes of colonialism and misogyny this story is trying to tackle. Still, 7/10 for the sheer potential.

THE DUMP - I really don't know what to say about this one. It very clearly set out to be as hateful and disgusting as possible, and... Well, it did a good job, so. What am I going to do, get mad at it for doing exactly what it aimed to do? You might like it if you have a higher tolerance for dark and gross-out humor than me, but for myself? 0/10

SHAPE-SHIFTERS - I don't like American war dramas from the Middle East. This is a generic American war drama from the Middle East. I enjoy urban fantasy worldbuilding. This is an urban fantasy with the lamest fucking worldbuilding I've ever seen. It doesn't even have a lame saving grace a la the balaika scene. 1/10 for not being actively offensive.

FISH NIGHT - The ending could've gone on for like half a minute more, to let us really sit with it, but otherwise? Amazing, no notes. 10/10

HELPING HAND - Another one I don't have much to say about. It wants to be a gnarly little survival tale in a mildly sci-fi setting and it very much accomplishes that. 8/10

ALTERNATE HISTORIES - This one isn't much to talk about, it's an unambitious animated short that is there to just be funny. It wasn't very funny. There were actual serious attempts at Hitler's life more humorous than this. 3/10

LUCKY 13 - I don't care for military sci-fi, and the fact that the whole story hinged on my emotional attachment to a piece of military equipment made me roll my eyes, but I'd lie if I didn't find the main character's fixation on the damn thing mildly endearing by the end. 4/10

BLINDSPOT - I was aggressively disinterested in the main characters. I don't vibe with their character designs and "banter as a substitute for character" problem is at its worst here. The somber ending almost redeemed it, but the short went back on that one too. Also there were way much convoluted sci-fi machinery shenenigans for me to even follow the action scenes. 2/10

ZIMA BLUE - Now we're cooking! This is the kind of high-concept good times I came here for. I didn't entirely vibe with the animation and Zima's backstory is a teensy bit too convoluted for how short this is, but still, this series really ended on a strong note. 9/10

[ao3feed-feydpaul]

Groves calling, just to be with you

Read it on AO3 at https://archiveofourown.org/works/59427223

by labsynthe

A moment in time between earth and below, two lovers share a tent waiting for the rain to pass

Words: 4261, Chapters: 1/1, Language: English

Fandoms: Dune - All Media Types, Dune (Movies - Villeneuve)

Rating: Explicit

Warnings: Creator Chose Not To Use Archive Warnings

Categories: M/M

Characters: Paul Atreides, Feyd-Rautha Harkonnen

Relationships: Paul Atreides/Feyd-Rautha Harkonnen

Additional Tags: Boys In Love, ocean and outdoors lexicon, groves - Freeform, Plot What Plot/Porn Without Plot, Porn with Feelings, Some Plot, Anal Sex, Anal Fingering, Sloppy Makeouts, Mild Painplay, Breathplay, repost, Light Angst, Angst and Feels, Some Humor, Caladan, No water of life, Unfulfilled Prophecy, Alternate Universe - Canon Divergence, Mushy, Feelings, they are in love your honor, it is actually quite sweet

[lorbanery]

Skimming through the rancid notes on that Dune/humor post and

uh

people understand that when people complain about jumpscares and talk about how they're bad, cheap, and potentially harmful, they mean outside of the context of things like horror movies, right?

I mean maybe they don't, it's been a while since it was a popular thing, so here, let me explain

Back in the 2000's, when link pranks were all the rage (you know, like rickrolling), one of the more popular pranks was linking people to jumpscare videos. These had nothing to with horror movies. They were short videos, less than a minute long usually, that started out boring, usually of a person or animal doing something completely normal and innocuous. The person sharing the link usually included some clickbaity description that would make you pay really close attention to what was happening during the boring part ("CUTEST CAT IN THE WORLD" "MOST PEOPLE CAN'T SPOT IT" "etc). Then, once it had lulled you into a false sense of security thinking you knew what you were watching, the screen would suddenly cut to a scary image, usually with a loud scream or other loud noise at the same time.

Again, they were pranks, the whole point was to startle people. They started getting backlash because they were genuinely upsetting some people.

Not because jumpscares are inherently bad in every single context. Jumpscares are fine in the context of a horror movie where you're expecting to be startled and scared and can either prepare yourself for it or just not go see the movie if you know it's something that might upset and/or trigger you.

But when someone, be they stranger, acquaintance, or friend presents a link to you as a video where something funny, cute, odd, or unusual happens, you are being deliberately denied the chance to do any mental preparation.

So when you see people talking about jumpscares in horror movies as just normal storytelling tools, there is absolutely no reason to assume they're defending jumpscare pranks. Those are two fundamentally different things.

[moonlight-fan2008]

I’m bored so I’m making a list of 2010-2020 things I think the characters of moonlight would like

Part 1 of idk probably gonna do most of the characters (maybe some of the bad guys), this is just meant to be silly.

Beth:

Any recent documentary that talks about Hollywood’s dark side and sheds light on their awful history. (I think she’d be fascinated and appalled but ultimately happy there is news about this)

Instagram (i think she’d rarely post anything but I think she’d like all the pictures people post of different cultures and places and nature and what not)

Just dance (idk what video-golf is and my google search left me confused (it was just regular golfers and whatnot on a regular field) but she liked that so I think she’d like just dance)

TikTok (I think she’d be very stubborn and try to avoid it but if co-workers keep talking about it she might cave and find herself and true crime tok )

The good place (I think it’d be her little comfort show)

True detective

Downtown Abby

Mick:

Outlander (dork that he is I think he’d like it and kind of relate to both Claire and Jamie for different reasons but I think he’d get embarrassed by the sex scenes)

Red dead redemption games

Call of duty games

911 and 911 lone star (he’d act like he’d hate it because it can be overly dramatic (I love it though) but he’d secretly tune in for every episode)

The Rookie (same as above)

History related shows (I.e AMC’s Turn or the Terror)

Drones

Josef:

True Blood (I think he’d be interested in the concept of that universe)

Game of Thrones and house of the dragon (Sex, nudity, and violence all things he loves lol)

Onlyfans (despite being annoyed with online services for escorts I think he may actually enjoy this one but more so for curiosity sake and not to find partners)

Reality shows (I.e Kardashians or Real Housewives)

King’s men movies

Reign (would never admit it though and would come across it purely accidentally)

Succession

American Horror Story

Logan:

Star Wars: Clone Wars movie and series (it came out 2008 but I think just after moonlight ended)

Rouge One

Bad batch

Bobs burgers (I know this is a random one but I feel like this would be up his alley. Idk why)

What We Do In The Shadows (I think it fits with his humor and he’d be poking fun at it)

Red dead redemption games

Call of duty games

Josh:

Dune 1 & 2

Just Dance or just Wii games in general

The Rookie (I think he’d love Wesley’s character)

Stranger Things

Umbrella Academy

Detective Carl:

911 and 911 lone star (he’d act like he’d hate it because it’s wildly inaccurate but he’d secretly tune in for every episode)

The Rookie (same as above)

Social distancing

Contactless payment and delivery

The walking dead (but only until Negan shows up then he stops watching)

That’s all I got right now. This was just a dumb silly thing to pass the time while I wait for calls.

Until next time. Good night sleep tight

[alolanroy]

2024 Watch Thread-Part 2

part 1: https://www.tumblr.com/alolanroy/739287467975458816/watch-thread-2024-pt-1

Resident Alien S1: Decent humor and it did a pretty good job of the small town with many interlocking sub-plots vibe. I wouldn't say that it is consistently laugh-out-loud, but you really never know when it'll floor you. I do kind of wish they toned down the attempts at serious drama, because this is a fish-out-of-water alien show, how serious can I take it? 5/10

Helldivers 2 at Launch: It scratches my multiplayer itch. Maybe the trick to making a successful live-service game was to...make it fun? The balancing is just teetering enough to be a blast. I didn't even mind the horrible queueing problems, nonfunctional matchmaking and level breaking bugs once I had half an hour of actual playtime. 8/10

Ohsama Sentai King-Ohger: I'll be honest, in the beginning I was worried we might drop it, but it won me over hard. And I mean maybe my second favorite sentai so far (Donbrothers will remain undefeated for all time). While simplistic, the writing manages to unfurl a web of history, personality and cultural identity. While the choice to film most of it on green screed made it look awful most of the time, the strong writing and acting pulled it through, especially in the later chapters where the reveals kept getting bigger and the characterization swings. Personal favorites are Kaguragi's backstory, which feels out of a proper prestige drama and the two-parter on earth. It saves up its budget and goes ham. 9/10

Forbidden Planet: While I find a lot of this movie repulsive for its 50's-ass gender politics, I choose to say 'wow, cool robot'. I see why Robbie is iconic and was disappointed by how little of him I got. Its tedious pacing makes me appreciate how Star Trek TOS distilled this formula into the blueprint for great TV. (Sidenote: I gotta figure out where this ancient alien megastructure vibe comes from. I feel like a lot of dwemmer related skyrim mods are repeating this without knowing it.) -4/10

Ice Station Zebra: Nice of them to start the plot in the second half after the intermission. For such a basic thriller, they seem to think this was a cinematic event with all of its intermission cards and posturing. Did they think the submarine set was worth half the runtime? I find its red-scare politics kind of pathetic and I've seen more complex thrillers air on Cartoon Network on weekdays. 3/10

Ultraman Geed the Movie: Connect! The Wishes!!: A team of scientists distilled tokusatsu summer movies into a thick paste and molded it into the shape of a tourism ad for Okinawa. The results made me cancel my plans to watch the ultraman movies and doubt if I actually like Geed. 1/10

Skyrim: Midwood Isle: Really impressive stuff here. A good variety of locations and a satisfying main quest. The reveal of a mirror map filled with locations and daedric realms really got me excited. The only downside is that some of the back and forth with the mainland got old and the LOTD patch didn't work. I'm a little surprised this doesn't get talked up more. 8/10

Dune Part II: Incredible watch. Gorgeous visuals and really strong performances all around. Great cinematography and violent sound design really made me FEEL the power (the lackluster theater speakers could barely handle it). I do feel a lot was lost in the cracks though and didn't hit as hard as the first, but boy am I glad I saw it. 8/10

The Mummy Demastered: This is a very good video game. An efficient love letter to metroidvanias (and boy I can see the metroid) with some neat ideas and that Wayforward polish. If you like these sorts of games, what are you doing here? Go play it! The paired-back scale means none of the ideas get old, and none of the backtracking is egregious. But my real favorite spin was the varied and interconnected environments that flowed so well together. 8/10

On a sidenote: this really feels like a mirror into another universe where the Dark Universe actually took off. In a way, it made me more excited for it than the actual movie. It made me wistfully muse about what might have been (committee driven slop movies)

Born to Fight (2004): This movie occupies the same part of my brain as RRR. I'll overlook almost any nationalism if resolves in an hour-long string of white-knuckle Olympic sport action. Genuinely some of the most insane stunts I've seen committed to film. My watch group was hooting and hollering! 8/10

Death Code Ninja: Sometimes Godfrey Ho's chop-shop ninja movies are an ironic good time. This is not one of those times. It couldn't hold any of our interests. -3/10

Blue Submarine No. 6: This owns. It was so continually visually interesting and the art so distinct I didn't even mind the early CG. Sure a few threads might have been underdeveloped, but I admire how much of a non-traditional ending it had. Conclusiveness doesn't have to come from nukes and resolution doesn't have to be on screen. Honestly, good on them for redirecting most of the strange sexual energy to the fish girl, though I don't know how to feel about her role in the end. 8/10

Ninja Knight: Thunder Fox: man this sucked. At least two white guys in ninja outfits killed each other with shotguns at the end. -2/10

Money Plane: Just because it could be a whole lot worse doesn't mean it couldn't have been a whole lot better. Try having your wrestlers have action sequences that let them fight good. -5/10

Chop Socky Chooks: Sometimes we put bad TV on the wheel to see what would happen. Apparently, these things are supposed to be chickens, but without any form of exposition or attempt to set the stage in the first episode, I can't really say. I don't know which is worse, the radiation of vague racism or how aggressively bad this is on 'TV you watched when you are home sick from school' standards. -2/10

Gridman Universe: It's hard to talk about gridman without going on a series of digressions about the purpose of fiction, growth and the Ultraman Fandom. Most of it I would describe as some cute fan service without much meat, and a plot that just kinda happens. But my cynicism melted away in the final act. Man, I love the passion in these designs. 7/10

Werewolf Santa: I felt nothing. 2/10

Undertale Yellow: Perhaps my standards for fangames have gotten a bit high, but I was a little disappointed. There are some good gags, don't get me wrong, but the overall energy kinda drags. I don't think it helps that the boss battles are more transparently endurance tests for the defense minigames. I never felt like I was talking them down, just that I was letting them monologue at me until they let me go. Maybe it pulls some zingers in the last half but I can't bring myself to care. 3/10

American Ultra: This might be Black Panther for stoners, but to me, it is just Max Landis's wish fulfillment. the half hour we stomached felt longer than some seasons of netflix. 3/10

Thankskilling 3: Possibly one of the biggest delights of the year. Extrapolating from Thankskilling 1, I was worried this would be the bad kind of self-aware. Instead, the watch party was floored by the tireless barrage of joyful camp. They cracked the code, just mixed up the bits enough so that another gets old and washed it over with cinematography good enough that it too becomes a joke. I'll give this the rare +/-8 for being legitimately great and entertainingly bad (intentionally)

Viking Seige: First of all I feel lied to. This poster is nonsense. There were no dragons or longboats. Instead, it is a single-set zombie 'thriller' that would have been alright under normal circumstances. Still, the overall momentum isn't really there and the quality of performances is uneven. 4/10

Los Campeones de Justicieros (1971): Luchadors, little people, mad scientists, and non-stop jazz. Especially non-stop jazz when it is least appropriate. -7/10

Spy Kids Armageddon: This isn't nostalgia for the originals speaking, this was just a legitimately inferior product. The design philosophy of making a movie with everything a kid could want but camp for the adults is absent. Netflix original tier. -4/10

Zone of the Enders Dolores, i: The first act had me nearly drop the show. The worldbuilding was sloppy and the character design and environments were totally incongruous with the sci-fi setting this was supposed to be selling. However, when it remembered it was supposed to be a space opera, the show became much more watchable. By the end I was surprised how attached I had become. 7/10. It would've been higher if the beginning wasn't so tough.

Zone of the Enders 2167 Idolo: The story that it has is good, but it sure is in a rush to have it over. What I find interesting is that in many ways this is one of the more complicated mecha designs that Sunrise animated towards the end of the cell era. It makes me a bit sad now knowing how much of a downgrade the early Digipaint sequel is from a visual standpoint. 7/10

Godzilla X Kong The New Empire: THE BOYS ARE BACK IN TOWN! I initially recoiled at the possible return of the podcasting gang, but all returning characters benefit from a more solid group dynamic that avoids the cringe the series hadn't quite shaken. The monster madness is as camp as it comes, but I the cinematography made me feel like I was having a panic attack with all the rotating. 7/10

MacGyver: I bounced right off this. Maybe it gets better in later seasons, but the pilot and the first batch after that were cheesy in a bad way. I don't like Anderson's accent and the vibes are too cartoon-drug-psa-episode. It could barely hold my attention 4/10

Battle Beyond the Stars: Forgot to add this one. I've seen enough 7 samurai 'in space' but the cast was varied enough be counteract the dull male lead with the fun factor. 6/10

Outer Wilds: Few games out there are real originals. And I'm glad to have played as much as I did. I've given the writing major props for making this silly setting feel real and consistent. A personal highlight was landing on the sun cannon station first try without knowing what it was because of my raw uncut skill. However, I don't really feel like definitively scoring on this one since I paused playing it for about a year right before getting to the finishing sequence. I honestly had no idea how to pick things up again. It felt like I ruined it for myself and resorted to watching a playthrough of the end. I'd probably say maybe a 7-8? A few of the environments cross the bridge between exciting to traverse to dull and maze-y wandering.

Lensman (1984): Gorgeous, and occasionally kind of charming, but not enough to overcome the general malaise of the non-starter plot. The vague Heroes-Journey shaped plot doesn't bother to explain what a lensman is or what the titular lens does until the final moments. There wasn't really enough there to not make sense. It almost says something about how resistance can take many shapes, even insignificant ones, but I almost feel like it does so on accident. 5/10