#lone ranger 2013

[imjustheretoseetheprivateblogs]

[arsnovacadenza]

Me every time someone mentions Rebecca/John Reid in the 2013 L//ne Ranger

[havithreatendub4]

Johnny Depp #2013 📸 #Peter Mountain photoshoot #The Lone Ranger promotion

#Viper Room beanie

[oldtvandcomics]

All the crimes the 2013 movie committed, etc etc, but the sad thing is, you COULD bring magic into that world, if you really wanted. Just. Not Like That.

What I would do, is make Tonto magic. So, I fully stand with what I said - at some point in 2020, maybe? - about Tonto being a Science Superhero. He really is. In a way that is just so 1950's, the supernatural doesn't really have any place in the Lone Ranger mythos. But if it did? It would show itself in all the small ways that the story itself bends reality, to make it something softer, something more child-friendly.

Like, you have a Realistic Situation, and then these two figures show up with their horses, and suddenly Reality doesn't quite work that way, and you can outwit the bad guys and silver bullets are actually a good weapon (they are not. Silver is not a good material to make bullets from. There is a reason why we don't do that). And then they leave, and normality resumes, and you will never understand what happened there.

So it is the heroes themselves who have reality bending powers, and, well, Tonto is the one who has been doing it longer. It could explain why he is always where needed, why everyone seems to be his friend, how he always has the right medicine, why he doesn't need a tent, how he can spend weeks riding through the desert and come out looking perfectly clean and well-groomed, how the fuck he hasn't died of a concussion yet....

And John, John would kind of drop out of the Real World, and be bewildered about these things first, but the longer he spends living with Tonto, the more he himself would start to bend reality. Bullets always miss him. His horse never grows tired. One day, they arrive at a town, and he catches a glimpse of himself in the mirror, perfectly clean and well-groomed, despite having spent weeks in the desert with no water to wash his body, let alone his clothes...

(You would of course have to be very careful doing this to avoid racist stereotypes, but that is the case while writing Tonto no matter what. Also, this started out as a dig to the 2013 movie, and, come on, they had MORE than enough money for sensitivity readers, if only they'd used it)

[loveothislife]

Johnny Depp, Armie Hammer at The Lone Ranger world premiere at Disneyland with red carpet arrivals. June 22, 2013

[hotpinkboots]

The Lone Ranger (2013) is so underrated. Like what. Hear me out, if you don't like it, then at LEAST watch it for HER.

[joezworld]

Traintober Day 16 - The Western

So, the entire reason I did these Traintober prompts in the way that I did is that I watched Patrick H. Willems' new video "Why Are Movies So Obsessed With Trains?" and got inspired. (It's a very good video, go watch it and the follow-up.)

One of the primary inspirations I had was old westerns - you know, armed men on horseback robbing trains, cowboys, shotguns, whatever it was Gore Verbinski was doing with The Lone Ranger (2013); that sort of thing.

So I did that. On Sodor. Because why the hell not?

If you squint you may see some similarities to Train Stops Play.

Catch That Train!

The 1990s - When isn’t important

The train stood still under the bright sun of a high noon. It was hot but calm, the perfect day to stay inside, out of the elements. 

The engine certainly thought so - he was a four-coupled design, old as dirt by modern standards, but polished and cared for; still useful. He blew impatient smoke rings into the clear summer sky - he wanted to be somewhere else. 

His crew felt the same, baking in their uniforms as they tended to their charge. The fire was hot in the best weather, and the best weather this was not. They were considering stripping to their undershirts, or beyond, just to cool down.  

Behind them, a mixed train stretched back - short by some standards, but long for them: nine cars - one dry goods van, a trio of open hoppers that were riding empty (except for some loose straw), a trio of flatcars as empty as the hoppers, and then two coaches tacked onto the end - one for the mail, the other a baggage/coach combination. An odd train for sure, but this line was always a little old fashioned. 

The signal was at danger, and so they sat there, in the middle of the fields, surrounded by nothing but high grass…

-

The horses emerged over the crest of the nearest hill. 

There it is! The lead rider bellowed. He adjusted his white coat, dug in his spurs, and his white stallion took off with a will, galloping down towards the train. 

One after another, his fellows trailed behind him, until a fourteen horse gang was charging down the embankment towards the train. 

CLUNK 

The signal dropped, and the engine set off with a roar of impatience. 

The train jolted into movement, and the riders had to push their horses to keep pace. Soon the train was pulling away, and the riders slowly fell back, galloping down the center of the rails to keep their horses from falling to exhaustion. 

The tracks abruptly split underneath them, a long passing loop opening up to the right of the train. One rider, a small man on a huge chestnut mare, took his chance. Gaining speed, he pulled right alongside the train, slowly working his way along the coaches, looking for anywhere that he could hop on. 

The train did not oblige, and its speed began to slowly increase again, in varying steps. Sometimes the horse was faster, other times it was the iron horse. The rider was undeterred, even as his mare worked up a lather. 

A second set of hooves joined his, pounding against the rails of the loop. The lead rider pulled alongside. His stallion was longer in the legs, and he managed to pull ahead. The rest of the group slowly followed, trying to gain ground. 

It was slow going, but they’d have them eventually. All they had to do was make the flatbeds…

HONK-HONK! 

A two-tone note split the air, and the riders scattered as a huge diesel locomotive raced towards them on the loop. Half of them went right, spilling off the track and onto the embankment alongside, while the others slowed down, pulling in behind the train once again. 

The diesel grew larger by the second as the riders on the right-hand side spurred their horses on for another sprint. To the right of them, off the tracks entirely, was an earthen embankment that carried the road. Ahead of them, arcing over the tracks, was the bridge that took the road to the next town…

One rider, wearing black clothes and on a black stallion, took the charge, his horse almost flying up the side of the embankment, hooves pounding the road’s surface. Up here, he could almost gain on the steamer, and he raced onto the bridge just as the diesel slipped underneath in a streak of green. 

The road turned to cross the tracks, but the stallion didn’t. 

With a yell from its Rider, the black horse took a flying leap and cleared the bridge’s brick sides, soaring through the air in a perfect arc. 

Steel horseshoes sparked off the roof of the diesel as the horse landed mid-gallop, charging down the length of the passing train, against the direction of travel. 

The Rider looked to his left, mentally juggling three different speeds in his head as the steam train whizzed by on the other track. There went the hoppers, then the flatbeds…

The end of the diesel’s passenger coaches were quickly approaching…

Coaches, there. 

With a swift command from the Rider, the horse jumped from one train to the other, landing atop the first coach with sure-footed ease. Seconds later, the white stallion of the Leader landed atop the second coach with a thonk. 

Looking back, the rest of the group, now led by the young gun with the chestnut mare, continued down the road. Once it straightened out, they steeplechased their way across the lineside hedges and rejoined their fellows on the tracks in record time. 

Now then, onto the real prize. The two riders looked at each other, and spurred their horses on yet again, moving forward up the train. 

Reaching the end of the two coaches, they took a jump, and landed on the third flatcar with a bang. 

There! It was the Young Gun, pointing further up the train. Third hopper!

The two riders turned as one, and started up the train, their horses jumping the gaps between cars with practiced ease. 

The Young Gun watched them from the line. They’d find it, he was sure of that. 

HEY! His head whipped around. There, standing in the doorway of the coach, was a hired Guard. He took one big step out the coach, and onto the first flatbed. 

He wielded a shotgun. 

The Young Gun didn’t even think. With one shout to his associates, he stood up on the saddle of his mare, judged the gap, and leaped for the train. 

The Guard didn’t hear him coming, and he tackled the man to the deck of the flatbed. The gun went skittering off the side of the train car, falling away to the lineside. 

The Young Gun was fast on his feet, and tried to pin the Guard to the deck. Unfortunately he was built like a string bean, while the Guard’s muscles strained out of his shirt. With one move he was halfway across the flatbed, while the Guard looked for his weapon. 

Finding it gone, he reached for his belt. With a vicious look, he grabbed a small object and flicked it. The man exuded an aura that said he didn’t need a gun. An extendable baton would do the trick. 

The Young Gun was momentarily at a loss, before a shout from his fellows drew his attention. One of his associates tossed something his way. 

A mallet. 

The Young Gun suddenly felt more confident. This, he could work with. 

The two men stared each other down,  waiting for the other to flinch. 

A shout rose up from the hoppers. They’d found what they were looking for!

At the exact same moment, a cry of What is going on? emerged from the open door of the coach. 

The two men realized that it was now or never. 

They readied their weapons

They charged.

----------------------------------

A few minutes later

“I’m sorry,” Said the police constable, not for the first time. “But you’re going to need to take this from the start.”

“Polo is our game!” Said the man on the left. He held the reins of the white horse. 

“Polo,” The constable repeated. “The sport on horseback?”

“That’s right!”

“And…” The constable held onto his pen and notepad like a lifeline. “What exactly does polo have to do with chasing down a train?”

The man on the right, the one dressed in all black, spoke up. He at least had the good graces to look slightly aware of the situation’s ludicrous nature. “It’s the gentleman’s rules of polo.” he said quickly.

“The… Gentleman’s Rules.”

“Yeah.”

“Would you mind elaborating on that a touch?” The pen, it has to be a lifeline. 

“Well,” the white-dressed man started, before his black-suited companion stopped him. 

“Clancy. Please.” He looked to the heavens for support. “that's the rules of our game. One ball, no out of bounds. Play doesn’t stop until the horses tire or the ball is destroyed.”

Oh no. Things were starting to make sense. “And would I be right in assuming that you hit the ball onto the train?”

“You would be.”

“So, you were chasing it down to retrieve your ball?”

“Yes.” The one in black was looking more and more chagrined. The one in white was suitably oblivious.

“Did it, at any point, occur to you that it might be wiser to treat the ball as lost?” They’re going to say no, because this island is full of nutters. Why did he accept the transfer from London? Was it the lie about peaceful country life, or the lie about Sodor being boring?

The white-dressed one puffed himself up. “We are not cowards! What’s a spirited ride down the railway line to a skilled group of horsemen like us?” He gestured broadly to the group of polo players, who were all being interviewed by what had to have been every police officer in Suddery. 

“Aside from him being a skilled instigator,” The black dressed man said with a hangdog expression. “We didn’t bring another ball.”

“I see.” The constable made a few notes out of sheer desperation. Somehow he knew that the other side of the story was going to be just as implausible. 

“Now then,” He turned slightly, and addressed the private security guard, who looked ready to explode. “What’s your side of this whole business?”

“I-” The man started. “We. Are from Securicor. You know, the security firm? We are escorting a highly valuable shipment from Brendam to Newcastle. I am doing my job-”

The man was turning puce, and the constable cut him off. “Yes, yes, I’m aware. Cash transport on behalf of Northern Rock. We are kept in the loop on this sort of thing.”

“Then you know how valuable this shipment is!” The burly man continued, waving his arms around. “And so I hardly see why I am being questioned about how I did my job and protected my shipment from- from- from a group of bandits on horseback!” 

Here we go. “You’re being questioned primarily so that I may have a full understanding of what transpired, but also because you drew a firearm on these two men right here, and then proceeded to get into a fight with another whilst on a moving train.”

“A fight that he lost, I daresay.” The white-dressed rider spoke up again. His black-dressed compatriot put his head in his hands. 

“They jumped onto a moving train!” The guard protested. “What was I supposed to do?!” 

“Win the fight, I might say.” said the white-dressed man. 

“Why you-!” The guard turned a different color, and looked like he needed to be restrained. 

“Oi!” The constable cut in. “Leave it! No more of this instigating while I’m right here.”

“Oh fine.” The white-dressed man said calmly. “It’s all the better that he lost, anyway. We’d have never gotten the ball if young McColl hadn’t distracted him.”

He produced a small white ball that helpfully said “POLO” on it.

The Securicor guard went several colors at once. “All that, for that?!” He bellowed, and lunged for the ball. It took all of the constable’s strength, plus several other men, to wrestle him to the ground. 

-

Several hundred feet away, Edward watched the rapidly unfolding calamity with bemusement. “I say,” he wondered aloud to the Chief Inspector for Suddery. “Isn’t that the new man that London sent up?”

“A-yup. ‘E’s been here ‘bout a week.” The inspector said as a group of men restrained the security guard. 

“How has he been fitting in?” 

The guard broke free, and the new constable had to tackle him to the ground. 

“I think he still needs to get used to the place. Not used to the country life, I think.”

“Few are.”

[turn-to-me]

I rewatched The Social Network for its 13th anniversary. One of my favorite films of all time, and one that convinced me of Armie's extraordinary acting skills. The film is a masterpiece on every level, one of the greatest biopics of the 21st century. In my opinion also David Fincher's magnum opus, together with Se7en, if one could have more than 1. With an inimitable performance of the KILLER soundtrack.

And Armie Hammer was in it!!!

A few review quotes about Armie's performance:

* Hammer and Garfield make the glue that hold it together.

* Although the stand out award I'd like to give to Mr. Armie Hammer. His role is just Tailor fit, literally as his jacket. From his statuesque as a rower all through out as a dapper at Harvard, he is just believable in that field. He is after after all the Winklevoss BrotherS.

* Armie hammer is a best combination of grace and conceit how he played wealthy twins.

* David Fincher's cool, stylish direction and great performances by Jesse Eisenberg, Andrew Garfield and Armie Hammer make The Social Network a worthwhile watch.

* Now that some of the dust has settled, there’s one name that keeps coming up as a comic scene-stealer and awards dark horse: Armie Hammer, who plays entitled twins Cameron and Tyler Winklevoss. In the movie, a Winklevoss twin declares, “I’m six-foot-five, 220 pounds, and there’s two of me,” but since there’s only one of Hammer, that meant the actor was often acting opposite a body double whose face he’d be digitally grafted onto in postproduction (and when you consider the notorious amount of takes that an exacting director like David Fincher requires, Hammer’s nimble pair of performances is all the more impressive). 

* My favorite description of the twins in the film comes from Alison Willmore's review, in which she writes, "Hammer is infinitely amusing in his dual role, exuding privilege and looking like something grown in a vat of J. Crew catalogs and Aryan race propaganda."

* No one could have played Sean Parker like Justin Timberlake, and Armie Hammer playing the Winklevoss twins is fantastic too.

* The quasi-pair of performances generated Hammer Oscar buzz at the time, and he has been a marquee mainstay ever since, appearing in films like J. Edgar (2011), The Lone Ranger (2013), The Birth of a Nation (2016), Call Me By Your Name (2017), Cars 3 (2017), Sorry to Bother You (2018), and On the Basis of Sex (2018).

* What makes Armie Hammer’s  acting performance outstanding is his use of specific body language with each of the two characters.

The different  way he moves, his vocal cadences , and facial expressions makes it so easy to believe that these were two different people on the screen. 

When Armie played Cameron Winklevoss, he played him more uptight and more formal. The formality also came out  in his dialogue. His diction was more precise.

When he played Tyler  Winklevoss,  he leaned back and was more laid back. His speech pattern was more fluid and he even used curse words as Tyler’s character.

I think that Armie’s performance was so great that I would easily see him being a contender for best supporting actor at the next Academy Awards ceremony.

This scene is epic! Great visual metaphor emphasised by this music piece.

#'In The Hall of the Mountain King' #Trent Reznor and Atticus Ross #Henley rowing scene

[candymay]

My crazy roman empire is Lana and Armie's work and life parallel like in that it's always sunny in philadelphia conspiracy theory meme way

2010: Lana's debut studio album as Lana Del Ray, a.k.a Lizzy Grant // Armie's breakout role in The Social Network. Fun fact: one of the songs is titled "Put Me In A Movie." Armie also tied the knot that year.

2012-2013: Marked Lana's major-label debut with "Born To Die," a divisive album that jumpstarted her career but also faced enduring criticism from media and critics. // Armie experienced his first "flop" with big studio films in "Mirror Mirror" and "The Lone Ranger," but the real ones know they're actually golden lol.

2017: marked a pivotal moment for both Lana and Armie. Lana unveiled her first SMILE on her album titled LUST FOR LIFE (the antithesis of her pessimistic Born To Die), sounds like a stupid insignificant detail yet it resonated deeply with the fans, marking a departure from her "sad girl" persona. It's her summer bop album. Very Timothee's Elio. // Obvi, Armie delivered his standout summer love performance in CMBYN, solidifying his position in Hollywood. It was a momentous occasion for Lana, particularly with the release of her song "Get Free" — you literally just had to be there it changed her history forever lol. Finally, I'm crossing the threshold From the ordinary world To the reveal of my heart I never really noticed that I had to decide To play someone's game or to live my own life But now I do I want to move Out of the black Into the blue

2020-2021: Lana faced major backlash for her infamous Instagram post "Question for the Culture" and later for wearing a mesh-looking mask during COVID. // Armie's divorce and scandal lol. Interestingly, the year before, Lana released the masterpiece "Norman Fucking Rockwell!" featuring the song "The Greatest." And I'm wasted Don't leave, I just need a wake-up call I'm facin' the greatest The greatest loss of them all The culture is lit and I had a ball I guess I'm signin' off after all

2023: Lana Del Rey released a diaristic masterpiece with "Did You Know That There's a Tunnel Under Ocean Blvd," transitioning from her self-indulgent, character-driven songwriting to a more personal and introspective exploration of her family and personal life. // After a period of silence, Armie's interview was published in AirMail as a full-length article. One of the songs, "Kintsugi," reflects on the recent deaths of three of her relatives, including her grandmother. Similarly, Armie had recently experienced loss; his father, his grandmother, and Florence.

Daddy, I miss them I'm in the mountains Probably running away, I've been meaning to say That there's nothing to do except know that this is How the light gets in Like cracking, the light gets in Then you're golden Just another folk song, but anyway I try so hard, but that's okay It's how the light gets in Armie opened up about his experience of sexual abuse by his youth pastor, marking the first time he publicly discussed it. Lana addressed a similar theme for the first time in her Grammy-nominated song "A&W". If I told you that I was raped Do you really think that anybody would think I didn't ask for it? I didn't ask for it I won't testify, I already fucked up my story On top of this, so many other things you can't believe

2024: Both are now living their best sober lives, with Lana having been sober for 20 years after her early struggles with alcohol and Armie has been sober for three years. They are now thriving, embracing new habits like vaping (lol), learning more about spirituality, and hanging with their family, and it seems like it's only up, up, up from here.

[tragicotps]

Ruth Wilson + bloopers from Jane Eyre (2006) and The Lone Ranger (2013)

[microwave-magician-selfships]

Hihi, doing a promo here, hehe!! I don't have any cool blinkies or dividers yet though, sorry!

Anyway, I would so so love to make some friends or selfship mutuals on here!! I love to talk and things, so please don't hesitate or feel shy to come and stop by!!

My name is Kane, and you can check my pinned post for some more fun goodies about me😊

☆♡☆♡☆

As bribery I would like to provide picture of me and the F/O:

Me:

And the F/O:(John Reid from the 2013 movie Lone Ranger)

(Same man, I swear)((It was either these photos or the one of him with the kitten)). I have too much to say about him but here isn't it.

[megiddo-ichi]

hey i got a questions. whats... a good starting point to get into tokusatsu? i know its a long running genre with a lot going on, but my knowledge is limited to osmosis via power rangers and a small amount of super sentai. oh and viewtiful joe

To be honest it really depends on what you're after. Since Toku can kinda go anywhere and far beyond Kamen Rider and Sentai, you don't exactly lack options for where you want to go with it. To give some ideas of what I recommend tho:

Kamen Rider Black(1987): Generally one of the most highly rated rider seasons and one of the best in the showa era for getting into the franchise in genera.

Kamen Rider Kuuga(2000): Best as a slow burn character drama as well as easing into the 2000s as a sort of rebirth season since the franchise took a bit of a hiatus in the 90s. Ultimately a really good starting point. Also directly available for streaming thanks to Shout Factory TV.

Chojin Sentai Jetman(1991): While I am less familiar with sentai, I know Jetman generally gets a lot of fanfare in terms of its writing and presentation(to the point that it's referenced heavily and visibly in persona to the point of being a major plot point in 2). It's also the season that came out directly before the season that became Mighty Morphin Power Rangers, so that's something to keep in mind.

Garo: Chapter of the Black Wolf(2005): Now this is the toku series I'm most familiar with. If you like mature, higher budget productions by toku alums for adult audiences, while also staying true to the nature of the henshin hero genre, you can't go wrong here. Also another easily accessible show due to being officially subbed on the Garo Project youtube channel.

Also Jam project. Love me some Jam project.

Also for some anime related recommendations.

Garo: The carved seal of flames(2014): Pre-JJK Mappa at its finest imo, in terms of animation, music, and staying true to the themes of the live action series. Plus CG that actually looks good and gets used well.

Samurai Flammenco(2013): A generally fun and fine show about a man following his dreams of being a hero. Mostly put here because no one talks about shows made by Studio Manglobe anymore(RIP).

Miss Kuroitsu from the Monster Development Department(2022): A dumb fun series about an evil faction that makes Kaijin. About what you'd expect in terms of 'girl responsible for evil science has to go through the board and deal with the local toku hero at the same time'.

Love after World Domination(2022): If you've ever seen that one clip of Gekisou Sentai Carranger, where the red ranger asks out the female villain general, this is what that show is essentially. Like word for word bar for bar.

Ranger Reject(currently airing): I could be unkind and call it the boys but Sentai, but I mean that in a good way. Essentially it's 'what if the rangers were evil and using the villain faction as everyday entertainment for the masses' and one lone foot soldier infiltrating their group. Generally highly recommended among most.

Still don't like them localizing it as "Go Go Loser Ranger" tho.

[sssuuri]

Lone Ranger Premier at Disney

June 22, 2013

[havithreatendub4]

#The Lone Ranger #Tonto #filming #bts #Gore Verbinski #snake #June 22, 2013

[yes-svetlana-world]

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Happy 10th Anniversary! The Lone Ranger is a 2013 American Western action film directed by Gore Verbinski and written by Justin Haythe, Ted Elliott and Terry Rossio. Based on the title character of the same name, the film stars Johnny Depp as Tonto, the narrator of the events and Armie Hammer as John Reid, the Lone Ranger.

Produced by Walt Disney Pictures, Jerry Bruckheimer Films and Depp's Infinitum Nihil, the film premiered at the Hyperion Theater on June 22, 2013, and was released theatrically in the United States on July 3, 2013.

[herbofgraceandpeace]

You can say what you like about the Lone Ranger (2013), and fair enough, you probably should, but Hans Zimmer’s soundtrack SLAPS