#like obviously sexism in film didn't start or end there but

[vanishingmoments]

What exactly was it about the late 70s thru early 80s that compelled directors to make their movies as intensely violently misogynistic as they could

[dogboyklug]

klug's sam & max au full entire whole

i am so tired

this is more an extensive collection of hcs than a fully-fledged au but yeah

this is also th basics of my entire. fanfic story im making ig. fun times.

enjoy

when sam was a child, he was heavily traumatized by the general environment. his parents put a lot of pressure on him, and a majority of his relatives (extended or not) were cruel towards him due to their military histories. sam is a transgender man, and he was allowed to partake in more "masculine" activities solely due to the hope that he might join the military once he was older

max had a similarly awful relationship with his family, being almost entirely starved of both attention and praise for all of his childhood. many of the women in his family were alcoholics, which was joked about and normalized even when that alcoholism led to violence. he's also a trans man, but his family are so apathetic they didn't give a shit and just let him dress and act however he wanted

the two met by chance in school and ended up immediately bonding. the two were basically inseperable throughout their shared childhood, relying on each other for basically all warmth and support - especially considering the two were prime targets for basically every bully in a five-state radius, being obviously queer (especially bc max kept screaming joyfully abt how him wearing dresses was crossdressing) and (equivalent of) black and mixed respectively in a predominantly white town in the 60's

being autistic, sam had a lot of special interests, more specifically noir detective films (which he dissociated from cop shows for years, somehow...) and computers/robotics/machinery in general. he made some of the most advanced videogames at the time everywhere he went, leaving bits and pieces for other people to find and put a patent on while he stayed entirely unaware.

max, meanwhile, didn't give half a damn about anything but himself, his best friend, and proving to the whole wide world that he was a boy. though being significantly less violent than sam was (thanks to all those damn noir films sammy watched i'm sure. kids those days), he defintiely wasn't above using his AWE-INSPIRING MANLIKE STRENGTH to beat up bullies who didnt immediately confess and repent for all their sins. he also read a LOT of comics (and ripped out all the oversexualized caricatures of women that were put together with the leads [and replaced them with himself])

once the two were teenagers, sam decided to go on a diet in the hopes that girls would like him more, styling his naturally coily hair into a very unnaturally-colored tiny afro to seem Hipper and Cooler while ending up just looking goofy. around this time, max realized he was near-sighted, and (due to sensory issues) decided to get perscription sunglasses instead of contacts

during highschool, sam was still studying engineering despite his future self's best efforts. though the highschool they went to didnt have a computer lab or anything, he taught himself everything he could about computers, learning from library books and "learning" from comics. max, however, Still didn't give a damn about any sort of schooling thing, only going to stick around with sam. he picked up a lot of random tidbits of information, and started becoming more perceptive (mostly to avoid bullies)

once max graduated, he immediately went on the road, roadtripping across the country in an attempt to leave everything about his past (sans sam, who he occassionally called) behind.

sam ended up getting a job (probably in computer repairs?) and detransitioned due to a do-goodery belief that him pretending to be a woman would somehow help fix sexism (while feeling a lot of guilty pleasure after finding out he was seen as " one of the boys " in his class)

in max's absence, sam ended up incredibly depressed, refusing to cook or clean for himself, overworking himself both as punishment and as an excuse to further avoid responsibility for himself. only after he got a health warning from the landlord did he clean up his apartment, which he ended up having to call max to help out with (which s a fic m actively working on actually)

though max only stayed in sam's apartment for a while, he ended up deciding to end his roadtrip prematurely, and started "stalking" sam around the campus out of a twisted desire for human[oid] contact with a dear friend. sam knew and did not care, especially when max later snuck into his graduation ceremony and screamed his praises so loud everyone near him ended up with tinnitus

honestly im not sure what happens in between then and them deciding to become cops. probably max suddenly forgets all he learned from travelling w a buncha hippies and anarchists and sam gives up becoming a computer scientist or engineer due to the toxic and constantly shifting environments ... and they needed an excuse to work together of course considering max is a bit less than qualified to work with computers

while searching for an office, the two saw flint paper throwing several men out his office window and immediately begged the landlord to set them up so they would be right next to him.

personally i think both of them have NPD, so the reason that the comics feel like they have more 'npcs' is because neither saw people (other than themselves, each other, and flint paper) as people, just background characters in their story

anyway i dont rlly have any changes from this until telltale. EXCEPT FOR ONE KEY FACTOR.

around 2009, much to their shared horror, sam & max found out (/fully realized) they were disabled. not just in mind, but in body too. crazy that.

turns out max being extremely stretchable without any real Training was a symptom of hypermobile joints, and sam's aching back, frequent migraines and near-constant Agony were signs of arthritis and fibromyalgia. who knew!

anyway, final note is that altho i havent played tdp i do know how it ends and im gonna say that after that, Somehow, sam & max recieved their respective past & present selves's memories, allowing past max to 'remember' 305 and for sam to 'remember' how tdp went in the past timeline which explains that one weird line in ttiv.

Also. Sybil moved and has divorced abe. superball prolly has a job woodworking and training interns. bosco found dead in miami. ms. momma bosco is thriving. and sam & max are gonna have kids at some point in the timline. cya

[palukoo]

84 - what's the exact middle of the films you've seen this year lmao

ex-lady (1933)!!! a movie that you watch and go woah that couldn't have been made just a year later!

i actually enjoyed it and found it like an interesting study almost in like. what the hays code took from us lol. because like obviously there were certainly some outdated things that i don't currently recall the finer details of bc i think it was probably mostly the like standard issue 1930s shit. BUT it also genuinely did shock me in its portrayals of like sex and non-monogamy. im gonna kinda get into it so this is gonna go under a cut lol

like it was very casual on pre-marital sex and had discussions of like not wanting to get married in spite of loving each other and didn't vilify her for not wanting to get married (but then they got married anyways bc of social expectations) and like. iirc the non monogamy did just start as her husband cheating maybe but then!! they were just like okay lets do an open marriage now! we're still married but we're just gonna treat it more like casual dating we'll live separately and can see other people. which is crazy bc stuff now still barely portrays open relationships i feel (and like if so, rarely in a way that isn't a joke or explicitly like bad/cringe/whatever in some way). and like, it DID end with them being like actually we just love each other and should be with just each other but it wasn't really judgy on it, like it was like okay this isn't right for us, but not like this was dumb or bad and we never should have tried it. it honestly gave it kind of similar treatment/consideration as the conflict in their marriage caused by them working together and having like professional disagreements (that i think made her go work for someone else but NOT stop working!! win!! i may be wrong but that's my recollection). oh also on the pre-marital sex, the wiki plot summary i just checked mentioned that like it kind of implies use of birth control! hell yeah! the other wild part is that it also just. had them watching like a female burlesque dancer (or similar level of like ooh sexy woman) and then be like well that got us in the mood so we're gonna have semi-public sex now!

so yeah idk it just makes me kind of like damn obviously it's not like all other cultural things would have been fundamentally changed if we didn't have the hays code but i do wonder like how much the state of like attitudes towards sex and like portrayals of non traditional sexual/romantic relationships in movies (and eventually tv) would have been different/where we'd be today. like watching certain pre code movies and then code movies bc i think to an extent people think old movies are like that yeah bc of the code but also because it was the 1930s! and like yeah that's true and i said that too (bc the racism sexism classism etc) but there are some things they were generally like. doing interesting portrayals of that you wouldn't expect! idk if this is coherent at all i'm just always thinking about what the hays code took from us.

i know bette davis like hated this movie bc like she felt like it was too much of like a glamour girl role/they sexualized her too much in the marketing and like that's fair and i could say so much about the studio system but i'm not gonna get into it. (i will say like it's also probably bc bette was not uh particularly sex positive lets say but like. i do think it's also fair for her to want control over her own roles/publicity and how sexualized she is lol). and i will say, it's certainly not like great writing or particularly compelling characters but at the same time it's such an interesting cultural relic of a moment of sex positivity that was so immediately shot down after. also... relevant to your interests its apparently a remake of illicit (1931) starring barbara stanwyck. so there's that.

[the-queerview]

Blue Jean (2023)

directed by Georgia Oakley

A lesbian drama placed in Margret Tatchers late 80s England. Jean is a closeted gym teacher living two lives between punky lesbian bar and teaching girls fake basketball. Last night my partner taught me that there were softer versions of sports like basketball or handball for women due sexism...like as an example netball which is like basketball but "softer"..

Jean got a new student Lois, who she encounters at the lesbian bar of her choice, scared about loosing her job, she threatens the young, gay student to be silent about her sexual identity. The young student is bullied by her teammates and the main bully kisses her in the shower, and portrayed it as sexual misconduct, which Jean saw while watching them in the shower ( CREEP*). Afterwards the student gets kicked out of school and starts working a shitty job. Jean is lying about Louis truth ( she obviously didn't assault the bully) to save her own ass. Parallel the actually beautiful side story between Jean and her dyke gf Viv ( which is my favorite character of the film) falls apart, when Viv realizes that Jean is clearly fucked in the head and won't be open about their love and is to afraid to be herself, besides NOT communicating her feelings and needs.

Jean followed Lois like a stalker (like leave that 15 year old alone bro that's not cool) but not to apologize but to tell her how bad she feels about being a coward and ruining Lois school career?

The film ends with Jean bringing Lois to a lesbian party, where they do fundraising for poor Lesbians, since they support each other.

okay now the roast.

Well i have to say, i liked the actresses, they did a good job with that. I clearly think Jean is a terrible role model and I'm tired of weird ass lesbian portraits. like do they always have to be such freaks?? like thinking of the the austrian lesbian drama "The Ground Beneath My Feet" (2019) by Marie Kreutzer. Like it's always a weird ass cliche or is it me? maybe as being a freak myself I crave for different representations.

In this film we know, that it took many brave women and queers to raise their voice, so I can walk basically. Why telling the story of the ones, that weren't brave enough or just casually ruined other queers live to save themselves? i guess to tell this story is also valid and important, but the way the movie did it, was build up in a way, that I have to feel empathy for Jean, but I don't. I'm actually angry and disappointed and feel that Jean ruined Lois life, since she was suspended. We don't know about Lois economic background, but since she starts working immediately, we can grasp that Lois won't have a second chance. How are Lesbians supposed to change the world and be visible, if they stay invisible trough gatekeeping by other lesbians. And then the Lesbian with the fancy flat chain smoking, brings you to a fundraiser party of poor lesbians????

I feel the director was interested to portray a complex search for identity, and thou its beautifully filmed, I struggle with the time span of the film, the use of a young, vulnerable person, without any big character development.. but hey maybe its that.. everyone else besides Jean in the film feels slightly not important, because in jean's world Jean is important..

It's Georgia Oakley second long film. I didn't watch Bored by her, but I will check out. Born 1988 Oakley choose they year, where she was born for her Drama blue Jean.

Jean finds a books at Vivs place, when she cant sleep. Its called Radclyffe Hall’s The Well of Loneliness, and deals with a lesbian epidemic. Excited to dig into that.

your comments welcomed below<3

[amildlyspookydeer]

*stomps out onto grass and wags cane in air* you kids and your live action remakes of disney movies!!! ooohhh!!!!

[bananaofswifts]

By : Callie Ahlgrim and Courteney Larocca

Taylor Swift released her eighth studio album, "Folklore," on Friday.

Swift surprised fans by announcing its release just one day in advance — and less than one year after the release of her acclaimed seventh album "Lover."

"Most of the things I had planned this summer didn't end up happening, but there is something I had planned that DID happen," she wrote on social media. "And that thing is my 8th studio album, folklore. Surprise!"

She described "Folklore," stylized in all lowercase, as "an entire brand new album of songs I've poured all of my whims, dreams, fears, and musings into."

Much of the 16-song tracklist — 17 on the deluxe edition — was cowritten and produced by The National's Aaron Dessner. Smaller pieces were cowritten by Bon Iver, Jack Antonoff, and someone named William Bowery. Antonoff also produced five songs.

Insider's music team (reporter Callie Ahlgrim and celebrity and music editor Courteney Larocca) listened to the new album on our own, jotting down our initial thoughts track by track.

Almost immediately, we were forced to reckon with the fact that "Folklore" might be Swift's best album yet — potentially even better than "Red," which previously seemed like it couldn't be topped. We were stunned with the mature, poetic, stunningly understated collection of new songs.

Here is what we thought of each song on "Folklore" upon first listen. (Skip to the end to see the only songs worth listening to and the album's final score.)

"The 1" is the best album opener Swift has had in years.

Ahlgrim: "I'm doing good, I'm on some new s---" is a wild way to begin a new Taylor Swift album. This is going to be different.

This is easily the best intro song she's released in years. "The 1" far surpasses "I Forgot That You Existed" on "Lover," "...Ready for It?" on "Reputation," and "Welcome to New York" on "1989" in terms of sheer quality.

It's also an engaging scene-setter; I find myself gently rocking back and forth, eyes closed, smiling without realizing. It's only the first song and so far, I am totally grasping the woodsy aesthetic of this album. I'm already ready for more.

Larocca: I would argue that there hasn't been a strong album opener on one of Swift's albums since "State of Grace" on "Red" in 2012. "The 1" breaks that curse.

I was vibing from that very first piano note, but when Swift comes in and warmly delivers the first line of the album — "I'm doing good, I'm on some new s---" — it became evident this project wouldn't be anything like the rest of her discography.

As far as "The 1" goes as a standalone song, it's incredibly solid. Swift has a breezy attention to rhythm as she paints a tale of a the-one-who-got-away romance. I truly, truly love it. This might end up being an all-time favorite track.

"Cardigan" is beautifully influenced by Lana Del Rey.

Ahlgrim: I heard "Cardigan" first because I watched the music video before I listened to the album.

Right off the bat, I was struck by the Lana Del Rey melody in the chorus; I jotted down "folksy 'Blue Jeans.'"

Swift has actually cited Del Rey as an inspiration in the past, so this makes sense — and that particular shade of nostalgic, haunting glamour really works for Swift's voice, so I'm overall very impressed with this direction. I am more than amenable to a "Red" meets "Norman F---ing Rockwell!" album experience. On my second time around listening, sans music video, "Cardigan" already feels richer coming after "The 1."

This time, I'm struck by small lyrical details like "Sequined smile, black lipstick," a clear callback to her past eras, and "Tried to change the ending / Peter losing Wendy," an effective way to evoke young love and innocence lost.

I also think the song's central refrain, "When you are young they assume you know nothing," is clean and sharp and — especially given Swift's public struggles with sexism and years-old contracts — extremely poignant.

Larocca: I had the thought that Swift listens to Lana Del Rey after hearing "Miss Americana and the Heartbreak Prince" on last year's "Lover," but now I know for sure that Del Rey is an influence on Swift.

While "Cardigan" isn't what I thought this album would be like sonically, I'm overjoyed at how clearly singer-songwriter this album already is. I've been waiting years for Swift to make a lyrical marvel set to acoustic, warm, folksy instrumentals and it's here.

(And while I expected something different sonically, I am not mad at all by the backing instrumental choices here.)

"The Last Great American Dynasty" proves Swift is a natural storyteller.

Ahlgrim: Personally, I love Storyteller Taylor, so this is quite literally music to my ears.

There are so many delicious details here to unpack. The first verse, with its subtle sexist whisperings about Rebekah Harkness ("How did a middle-class divorcée do it?" and "It must have been her fault his heart gave out"), is a truly savvy way to set up for the song's eventual reveal.

Rebekah spent her time partying with friends, funding the ballet, playing card games with Salvador Dalí, somehow "ruining everything" — and her Holiday House was "free of women with madness" until Swift herself moved in.

That twist in the bridge is poetic genius. When the final chorus adjusts to the present day, underscoring the parallels between Rebekah and Swift, I'm forcefully reminded of an iconic bridge when Romeo finally proposed and changed everything — but Swift has evolved past daydreams of pure white dresses and fathers giving permission.

Larocca: I'm immediately taken back to 2012's "Starlight" when "The Last Great American Dynasty" starts. Thankfully, this song ends up being a lot better than "Starlight," which always felt more like a filler track on "Red" to me.

I love a lot here: the casual use of "b----," the acute attention to detail ("She stole his dog and dyed it key lime green"), and every version of this line: "There goes the maddest woman this town has ever seen."

I had a marvelous time listening to this song.

"Exile," featuring Bon Iver, is one of Swift's most successful duets to date.

Ahlgrim: Swift and Bon Iver, aka Justin Vernon, are two of the best songwriters alive today, so this song was destined to be breathtaking.

Swift has historically had difficulty allowing her voice and vision to coexist with a featured artist; her collaborations often leave me feeling like she should've just delivered the whole song herself.

But Swift and Vernon were able to weave their lyrics together so gracefully, I was left feeling grateful for his presence. His rich, rustic tone and those iconic hummed harmonies lends the regretful song an added coat of sincerity.

The production here is generally fine, but the layered instrumentals in the ending really bring the song together. I love a dramatic exit.

Larocca: When I see a "featuring Bon Iver" on a track, I instantly assume Vernon is going to come in with his high falsetto. So it was almost jarring that the song starts with Vernon sounding like a lumberjack dad who hasn't left the woods in a decade.

That didn't end up being a detriment, though. Swift sounds delicate on her verse, and their vocals contrast nicely later on the track.

This one also brings to mind her collab "The Last Time" with Snow Patrol's Gary Lightbody. The line "I think I've seen this film before and I didn't like the ending" is also reminiscent of "If This Was a Movie."

I'm obsessed with the clear influences Swift's previous discography had on these tracks, which have also so far felt completely unique to her catalog.

"My Tears Ricochet" is an extraordinary display of Swift's songwriting powers.

Ahlgrim: First of all, "My Tears Ricochet" is an incredible song title. Let's take a moment to appreciate that.

In fact, pretty much every line of this song is arresting.

Much of it feels both familiar and rare, like you know exactly what Swift is singing about, but hadn't thought to put it in those words before — which is, in my opinion, the mark of any good piece of writing but especially a breakup song. You can relate to the emotion, if not the particular details. You can hear the pain. It almost plays like a funeral march.

What a gift it is, what an exhilarating experience, to feel like you're listening to a poem being recited in real-time.

Larocca: Any true Swiftie knows that track five is reserved for the most vulnerable moment on the record, so I went into "My Tears Ricochet" ready to be sad.

I am endlessly impressed with how Swift managed to bake the word "ricochet" into this song so effectively. She also ditched her traditional song structure for this one, and instead built the track from peak to peak, utilizing clever lyrics along the way to tell an epic, devastating story, almost obviously calling back to the most beloved track five of "All Too Well."

I'm calling it now — this one is going to age like a fine wine. As all of Swift's best breakup ballads do.

"Mirrorball" is several strokes of genius.

Ahlgrim: This song gives me intense Clairo vibes, and I mean that as a very high compliment.

It's so fun and refreshing to hear Swift slip into different musical styles, and this shimmery take on alternative-bedroom-pop highlights her soft vocals and nuanced songwriting supremely well.

Also, my Leo sensibilities are fully under attack by this bridge: "I've never been a natural, all I do is try, try, try / I'm still on that trapeze / I'm still trying everything to keep you looking at me." Oof! Just tag me next time.

Larocca: This one is so pretty! Swift's vocals sound better than ever as she spins on her highest heels across a glittery daydream.

"I'm a mirrorball / I'll show you every version of yourself tonight" might be the thesis statement of this entire album. So far, "Folklore" feels both diaristic and vague; detailed and completely anonymous.

Fans will be debating for years whether this album is about Swift's own life, or if it's simply really great storytelling pulled directly from her own mind. In the end, it doesn't really matter.

Because as all of Swift's best songs do, these songs will attach themselves to listeners in completely new ways, showing them elements and stories from their own lives.

"Seven" is pure whimsical magic.

Ahlgrim: This is playing make-believe in the garden when you're too young to feel self-conscious; it's poetic and nostalgic and full of awe in such an unpretentious way.

I wouldn't change one thing about this song. Swift's whispery high register sounds divine, and at this point in the tracklist, her rhythmic delivery in the chorus hits like a shot of espresso.

Right now, I'm wondering if it's possible for Swift to maintain this intrigue and momentum for another nine songs. There hasn't been a misstep to speak of, and I remain wholly beguiled. Can it last?

Larocca: The beginning of "Seven" sounds like Swift listened to Marina's "Orange Trees" on repeat before showing up to her songwriting session. Fortunately, "Orange Trees" is the only song I like on Marina's "Love + Fear" so I will gladly accept this inspiration.

Swift continues to impress with both her vocals and her sense of rhythm on "Seven." I also personally love space imagery so the line "Love you to the moon and to Saturn" is a standout line.

"August" will go down as one of the best songs in Swift's extensive repertoire.

Ahlgrim: I'm immediately catching hints of Phoebe Bridgers and girl in red in Swift's delivery. And I simply adore the idea that Swift has spent the last few months sitting at home, daydreaming about summertime humidity and listening to music by queer indie-pop girls. 

In an album full of songwriting expertise, this song has some of Swift's best lines yet: "August sipped away like a bottle of wine / 'Cause you were never mine" actually hurts me.

In my notes, there simply sits this valuable insight (yes, in all-caps): "WANTING WAS ENOUGH. FOR ME IT WAS ENOUGH TO LIVE FOR THE HOPE OF IT ALL." This song has my favorite bridge on the album so far.

In terms of production, "August" is exquisite. It's lush and layered without feeling overwhelming at any point. It builds to the perfect level then recedes, like a wave. 

Also worth mentioning: It can now be considered a historical fact that any time Swift mentions a car or driving in one of her songs, it's a perfect song.

Larocca: While listening to "August," I texted Callie and said, "I can't wait to finish the album so I can relisten to 'August.'" It's an instant favorite. 

This is also the first track on the album that seems directly inspired by our current state. Not because she's expressing fear or singing about being bored at home, but because she so easily slips into a reflection of a relationship that ended years ago with a newfound wave of wistful nostalgia. 

When quarantine started, it seemed like a million lifestyle articles came out explaining why everyone suddenly felt compelled to text their exes and why we're so invested in looking back instead of forward right now. 

"August" validates those feelings with zero judgment, letting its listener know that yes, it's totally normal for you to be overanalyzing that quasi-relationship you were in back in college that never made it past graduation. Am I projecting? Maybe, but that's debatably what Swift's music is best utilized for.

I'm also going to be thinking about this song's bridge and outro for the rest of my life.

The National's influence can be felt on the stunning "This Is Me Trying."

Ahlgrim: "This Is Me Trying" quickly strikes a more sinister tone than its predecessors — still nostalgic and wistful, but carrying an edge, like a threatening secret.

Ironically, this one was co-written and co-produced by Jack Antonoff, not Aaron Dessner, though I can really hear The National's influence here. I'm getting strong wafts of songs like "Pink Rabbits" and "Dark Side of the Gym."

Based on Swift's own words, we can speculate that "This Is Me Trying" is a fictional tale, built around the image of "a 17-year-old standing on a porch, learning to apologize." And, as previously stated, I'm a big fan of Storyteller Taylor, so I'm into it.

The song's darker tone mingles really well with Swift's imagery; when you're a teenager, and you make a mistake, it can feel like the end of the world.

Larocca: "This Is Me Trying" is precisely what I imagined this album sounding like when I found out Swift collaborated with the National's Aaron Dessner and Bon Iver.

But I'm glad she was strategic about her use of echo and also finally paid attention to the tracklisting from a sonic standpoint. This haunting soundscape is reminiscent of 2014's "This Love" and comes in right when you need it after the yearning daydream of "August."  

I'd also like it to be on the record that the line "I got wasted like all my potential" ruined me and this song is a win for that lyric alone.

"Illicit Affairs" is a glowing example of what sets Swift apart from her peers as a songwriter.

Ahlgrim: The expert songwriting on "Illicit Affairs" reminds me of the as-yet unseated queen in Swift's discography: "All Too Well."

Swift is a master of wielding specific details like weapons: "What started in beautiful rooms / Ends with meetings in parking lots," she sings. "Leave the perfume on the shelf / That you picked out just for him." These are the sorts of images that set Swift apart, and they're especially strong when she punctuates their delivery with a little growl in her voice.

This song has real power. I have chills.

That power is magnified in the third verse, similar to how "All Too Well" builds to a crescendo: "Don't call me 'kid,' don't call me 'baby' / Look at this godforsaken mess that you made me."

Certainly, "Illicit Affairs" is more restrained than Swift's iconic arena rock ballad, but goddamn that last verse hits hard.

Larocca: The way that she says "him" in the second verse shook me out of my skin in the very best way. And "Don't call me 'kid,' don't call me 'baby' / Look at this idiotic fool that you made me" will go down as one of her best breakup lines of all time.  

It's been a minute since Swift delivered a painstakingly beautiful breakup ballad, and the fact that this album is littered with them is, simply, a gift.  

"Illicit Affairs" has growing power and will likely become one of those tracks that fans form a strong emotional attachment to over time.

"Invisible String" is Taylor Swift at her most Taylor Swift.

Ahlgrim: "Invisible String" is a feast of Easter eggs and callbacks.

"Teal was the color of your shirt" reminds me of the line about Joe Alwyn's blue eyes on "Delicate," and her reference to a dive bar is similarly familiar. "Gave me no compasses, gave me no signs" recalls the push-and-pull on "Exile."

"Bad was the blood of the song in the cab" is undoubtedly a reference to Swift's 2015 single "Bad Blood," while "One single thread of gold / Tied me to you" feels like a nod to Swift's description of love's "golden" hue on the "Lover" album closer "Daylight."

This song is sprightly and sparkly and certainly nice to listen to, but its real strength lies in these details.

Swift is weaving many different stories on this album, many connected by a sort of "Invisible String," tying different pieces of her life and your life and other lives together. It ends up feeling like a growing plant with far-reaching roots, or a sentient treasure map.

Larocca: I'd be lying if I said there weren't multiple points throughout this album where I worried that Swift and her boyfriend Joe Alwyn had broken up. 

Thankfully, "Invisible String" is a rosy, wide-eyed ode to love. The plucky guitar paired with Swift's soft vocals is a sound I want to live in, which is fitting since this track feels like coming home. 

Every small detail, from the nod to Alwyn's time spent working at a frozen yogurt shop in his youth, to the color imagery that paints every inflection of Swift's adoration (especially the single thread of gold) come together to lay the holy ground Swift's relationship walks on. 

Also, the image of Swift mailing Joe Jonas and Sophie Turner gifts for their expectant first child brings about an unbridled sense of joy.

"Mad Woman" is yet another highlight.

Ahlgrim: Every time I think I've heard the peak of this album's songwriting potential, Swift manages to surprise me. 

Case in point: "Do you see my face in the neighbor's lawn? / Does she smile? / Or does she mouth, 'F--- you forever?'" Whoa.

And another, for good measure: "It's obvious that wanting me dead / Has really brought you two together." I texted Courteney, "Did she really just say that??"

This song is sublime on its own, but the way it ties back into the perception of female freedom and "madness" on "The Last Great American Dynasty" makes it even better. "Mad Woman" is definitely a personal favorite so far on this album, if not in Swift's entire catalog.

Larocca: "Mad Woman" will forever hold the honor of being the first song in which Swift says "f---" and for that, we should all be thankful. 

I was also so wrapped up in the storytelling of this album, that it took a minute for this to even register that this is likely about the Scooter Braun and Scott Borchetta / Kanye West and Kim Kardashian West ordeals of Swift's past. These callouts used to be so obvious, that I greatly appreciate the subtlety and restraint here. 

It almost feels like these feuds were a lifetime ago, but this track does an excellent job at showcasing how anger and pain can leave an indelible mark on you. Swift went mad years ago, and that's just an accepted part of her narrative now. 

But for the first time, her rage sounds like freedom.

"Epiphany" doesn't stand out.

Ahlgrim: There are some really interesting vocal moments on "Epiphany," but so far, this is the only song I haven't felt captivated by. It's a bit snoozy, and a bit too long.

This song clearly references war, the loss of a loved one, and the coronavirus pandemic, which makes it lyrically intriguing at best — but distressing at worst. I don't mind letting the overall effect waft over me, but this won't be a song I revisit outside the context of the album.

Larocca: "Epiphany" is the only track on "Folklore" that didn't immediately grab me. It's essentially a war drama in song format, so some people might like it, but I truly couldn't care less about war movies or war songs! So it's not my favorite, but it makes for pretty background music. 

"Epiphany" does have another benefit though: Now, whenever some random dude erroneously claims Swift "only writes songs about her exes," fans have a clear song in her discography that they can point to and be like, "That's not true. This one's about war." 

That's not to say Swift needed that — anyone who has been paying attention understands she's quite possibly the best songwriter of her generation.  

This just happens to be further proof of that fact.

"Betty" is a charming callback to Swift's country roots.

Ahlgrim: "Betty" is like the best, sauciest song from Swift's 2006 debut country album that no one got to hear. It has sonic and lyrical similarities to hits like "Our Song" and "Tim McGraw," plus some name-dropping stuff like 2008's "Hey Stephen," plus a little harmonica thrown in for good measure! I love that for us.

"Betty" also appears to complete a three-song story, recalling details from "Cardigan" and "August" to close the loop on Betty and James, a couple in high school with some infidelity issues.

Looking back, it feels like "Cardigan" was told from Betty's perspective, while "August" was told from the perspective of a sort of "other woman" character. Now, we get James' side of the story. This is high art, folks! This is peak Storytelling Taylor!

"Betty" is also, like, very gay? I know it's easy to assume that James is a male character, but Swift herself was named after James Taylor, so she could be referring to herself. The song also references someone named Inez; James and Inez are the names of Ryan Reynolds and Blake Lively's daughters.

Plus, in retrospect, the idea of whispering "Are you sure? Never have I ever before" during a summer fling seems pretty gay to me.

I'm not saying the story of Betty and James would be better if it was written about sapphic lovers, but I'm not not saying that.

Larocca: This one is gay, and if you try to tell me otherwise, I will simply ignore you. 

But Courteney, it's from the perspective of a guy named James. James and the other character, Inez, share the same names as Reynolds and Lively's kids (will leave it up to you to decide if that means their third daughter's name is Betty). James is their daughter. Get out of here with your antiquated ideas about which names connotate which genders. 

To me, the James named in this song is a woman and a lesbian and this song is for the gays. I will not be saying anything else or accepting any feedback on this opinion, thank you.

"Peace" is honest and raw.

Ahlgrim: This song's intro sounds like LCD Soundsystem had a baby with "The Archer." The gentle guitar riff is also lovely.

With Dessner's echoey production, Swift's voice sounds like a warm little fire in a cave — fitting, since she sings in the chorus, "I'm a fire and I'll keep your brittle heart warm."

OK damn, I'm getting really emotional. This songwriting is beautiful and haunting. "Peace" perfectly captures the ambient dread of feeling your partner slip away, of wondering whether love can be enough. 

Larocca: If you're a "Call It What You Want" stan, you're going to love its mature older sister "Peace." 

I will hereby forever be thinking about the parallels between "But I'm a fire and I'll keep your brittle heart warm" with "He built a fire just to keep me warm" and between "Family that I chose, now that I see your brother as my brother" with "Trust him like a brother."

Also, "Would it be enough if I could never give you peace?" has the same emotional impact as when Swift changes the lyric in "The Archer" to "I see right through me" and that's meant as the highest form of compliment. 

Swift's vocals are so crisp, that guitar riff is so stunning, and these lyrics are so gut-wrenchingly vulnerable. A perfect song, through and through.

"Hoax" is unlike any other album closer in Swift's catalog.

Ahlgrim: I don't know if Swift is going through a traumatic breakup, but if she isn't, the woman is one convincing creative writer.

The National makes some of my favorite music to cry to, so when I heard Aaron Dessner had co-written and produced much of this album, I knew I was in for some glossy cheeks. Until now, I think I've felt too captivated by Swift's artistry to really let myself get there.

But finally, "Hoax" is making me cry.

This is heart-wrenching stuff for anyone, but for a fan and student of Swift's work, this is like reading a friend's diary entry.

"Don't want no other shade of blue, but you" must be a reference to "Delicate," in which Swift sings: "Dark jeans and your Nikes, look at you / Oh damn, never seen that color blue." Later, she croons, "You know I left a part of me back in New York," perhaps regretting the move to London that she detailed throughout "Lover." 

"You knew it still hurts underneath my scars / From when they pulled me apart," recalling the public shaming she endured and demons she exorcised on "Reputation." "But what you did was just as dark." Like I said before: Whoa.

Personally, I love having a good cry set to moody music, so I appreciate Swift's soul-bearing. "Hoax" is one gut-punch of an album closer.

Larocca: Swift has a habit of ending her albums on an uplifting, hopeful note and I always eat it up. But if "Folklore" hadn't made it clear by now that it should be consumed differently than any of her previous works, "Hoax" brings that message home.  

Instead of reveling in all the ways that love has made her stronger, happier, or more whole, "Hoax" deconstructs everything Swift has learned about love and leaves a bleaker picture about how maybe even the best of relationships hurt. 

But at its most tragic, this love still isn't something Swift will ever let go of: "Don't want no other shade of blue but you / No other sadness in the world would do."  

Finishing a Taylor Swift album has never been so devastating.

Final Grade: 9.7/10

[kelnius]

A Viewer’s Review of . . .

I haven't done a review in a while - I just do these for fun, I don't have a schedule - but, I do wish I'd done this one sooner. I actually saw this film a day earlier than most of Australia, since my local cinema started showing it one day earlier than the "See it in Cinemas" date of March 7. But, I let it stew for a while before I decided to write about it.

That's mostly personal, since I was a little rusty, but I was also checking out some other reviews for this movie to see what people were saying - and in doing so I learned that I wasn't alone in thinking that this film felt like it was pulling its punches. However, something else I learned is that there is some controversy around this film regarding the presence of supposed "feminist themes", which I find very confusing.

First of all, I don't see what's wrong with feminist themes - if you still have a problem with gender equality in the present day, you're a douche. But, more importantly, I never saw any "feminist themes" in this movie.

This was an origin story that starts from the middle and grows outwards, showing the character's progress as she unlocks her amnesthetized past, as well as her growth as she struggles through the current conflict. It keeps the story moving forward, and I enjoyed the story, as well as the stylistic way that they explore those lost memories.

But, it's also a prequel, and we see it set up some pins which we've seen knocked down in the prior movies. There are some which we should have expected, but I really appreciated one callback that answers a question I hadn't even asked just to smooth some of the rougher edges of this universe's canon.

I feel like this is where some of these "feminist themes" complaints are coming from. Since this is a prequel, it is set in a previous era - the 90s, possibly the late 80s for some flashback scenes - and people think that this film is misrepresenting men as misogynistic by having a realistic representation of sexism and implied racism in the 90s. But, I don't know why people where whining about this when there were genuine complaints to be made.

This film doesn't fall into the mistake of making the main character flawless - Captain Marvel's flaw is her impulsiveness. But, with how powerful this superhero is that flaw is lessened somewhat. But, the biggest flaw in this film is Captain Marvel's personality. She's enthusiastic and a little cheeky, but there's not enough "there" there, and when you stand her next to some of these other characters, it makes her feel bland overall. I enjoyed Brie Larson's performance, but I feel like the writers were scared to fall into the "female lead superhero film" curse - and ended up watering down her acting talent as a result.

Speaking of acting talent, the stand-out performances in this film have to be Samuel L. Jackson, who is a lot of fun, and he shows off a much more carefree, enthusiastic and youthful Nick Fury character, whilst remaining true to his core. As well, Ben Mendelsohn - who was menacing, funny and even empathizing as Talos, the much-feared leader of the Skrull invasion. As well, I really appreciated the work of Jude Law playing Yon-Rogg, Captain Marvel's mentor and commander of the Starforce, with a commendable performance as a powerful Kree soldier.

(I wonder if Jude Law accepted the role in one of these movies because people think he looks and sounds so much like actor Paul Bettany, who voices JARVIS and performs as The Vision in the MCU...)

But, this film also seems to weaken the potential for this storyline. The basic story here has been adapted from the Kree-Skrull War in the comics, and that was a story arc that spanned 9 issues. This movie lights that cigar, but then snuffs it out before we can truly taste it. I can understand why they did -they're building up to a big Avengers setpiece, we can't just ignore that to fight an alien cold war- and whilst I appreciate the story that was told, I don't know why they brought up this potential storyline, only to then sidestep it.

Marvel movies have done this before, such as in the Iron Man movies, but at least tried to appease fans with the Marvel One-Shot "All Hail the King" (link contains SPOILERS for the Iron Man sequels).

I don't think they plan on doing that here. And just like how Captain Marvel seems lesser by putting her next to Nick Fury, this film also feels weaker due to being part of the Marvel Cinematic Universe™. Some of those have been truly amazing, so standing next to her brothers, Captain Marvel feels a little small. I mean the movie, not the character, the character is incredibly powerful and cool - and she has some great and exciting fight scenes. Oh, and speaking of which, I have to stop and congratulate the amazing CGI work in this movie. Captain Marvel's powers look as marvellous as her name suggests, the space battles and alien weaponry was all cool.

Oh, and I have to stop now and draw your attention to the amazing CGI work done for Samuel L. Jackson. I didn't recognize, until I was told, that throughout the film CGI was used to make Nick Fury look younger (about mid-30s, maybe early-40s) since Jackson himself is almost 60 years old. I figured they used makeup and hair dye to make him look younger, but apparently they doctored his face in post. Everyone involved in that deserves a reward, since their work was indistinguishable from reality, to me.

I almost wish this film had some stronger feminist themes, since overall this film is a little shallow. It has elements of war and oppression in many shades, and dealt with ideas regarding trust and truth, but mostly this was just a fun introduction to the Captain Marvel character.

In fact, that's the thing I'm left with at the very end - this was still a lot of fun, and it had some funny moments thrown in there as well. So, I recommend it. Obviously, if you're not a fan of superhero movies, or fun sci-fi action romps, then this won't appeal, but I think it's worth your time and money.

Just a Little Bit Marvellous . . . - 7.0 / 10