#march 22

[thesoccerenthusiast]

Happy Wednesday, March 22, millennials! Cosmo had a idea today! 

[radioactivegummyworm]

the urge to act like a 2014 tumblr emo and be absolutely ridiculously devastated today despite the fact that i know damn well that michael romance is back together and will be performing later this year is so real

[angelz1251]

Happy Wednesday March 22!!!!!

[on-this-day-mcr]

On this day, March 22

In 2013: My Chemical Romance announced the breakup of the band, posting the following statement on their website:

"Being in this band for the past 12 years has been a true blessing. We've gotten to go places we never knew we would. We've been able to see and experience things we never imagined possible. We've shared the stage with people we admire, people we look up to, and best of all, our friends. And now, like all great things, it has come time for it to end. Thanks for all of your support, and for being part of the adventure. My Chemical Romance"

(🖤)

[happybirthday-unusannus]

Happy 4th Birthday to

“Mark and Ethan are Now Fathers”

[newyorkthegoldenage]

Policewomen practicing jiujitsu, March 22, 1924. Mrs. Hamilton, who is in charge of the class, gives instructions. The policewomen said that after they got their muscles hardened a little more, they would be able to make arrests without the aid of a male partner.

Photo: Bettmann Archive/Getty Images/Fine Art America

[elyssa0907]

I’m gonna have to throw will a party on March 22nd because he deserves a birthday party. His present will be Mike and a blue and yellow cake 🤭

[tswiftupdatess]

Taylor Swift has officially been ranked as the most powerful woman in Hollywood! (Via PuckNews)

[8marg8]

I'm not normal about this

this is so me

[chic-a-gigot]

Le Petit écho de la mode, no. 12, vol. 18, 22 mars 1896, Paris. 18. Corsage velours cachemire fond crème. Ville de Paris / Bibliothèque Forney

(18.) Corsage velours cachemire fond crème — Le devant s’ouvre sur un plastron de mousseline de soie maïs retenu à la ceinture par un ruban, col drapé. Manche bouffante terminée par une draperie retenue par un nœud.

(18.) Cream-ground cashmere velvet bodice — The front opens onto a corn silk chiffon bib held at the waist by a ribbon, draped collar. Puffed sleeve finished with drapery held in place by a bow.

Mater. 6 mètr. velours, 1m,50 mousseline, 3 mèt. de ruban.

—

(23.) Veston ajusté en drap noir. — Le dos et le devant sont garnis de baguettes recouvertes d’une fine broderie de soie, col revers brodé, manche à épaulettes basses terminées par des baguettes. Boutons passementerie.

(23.) Fitted black cloth jacket. — The back and front are trimmed with baguettes covered with fine silk embroidery, embroidered lapel collar, sleeve with low shoulder pads ending in baguettes. Trimmed buttons.

Matériaux: 3 mètres de drap.

[larrylimericks]

23Mar23

We’re feeling some internal friction At silver screen Louis’ depiction; All the world is a stage But it’s hard to engage When plot lines combine fact and fiction.

I get really rambly below the fold. Proceed with caution if you’re over the discourse already.

I debated seeing All of Those Voices in theaters. I didn’t see either of Harry’s films in theaters — Harries are too much of a wildcard, and I refused to sit through hours of squeals and gasps and reactions, not to the movie but to “omg! Harry’s going down on someone! omg, Harry’s bum!” So I was already tentative about seeing Louis’ film in a shared space, outside the protective silos of tumblr. But I bought a ticket, because I want to support him and because I was genuinely curious what story would be told. Then we got the trailer and I hesitated again, not wanting to watch a propaganda film. But, I’ve lived through all the other Bullshit moments, so I figured I could live through Bullshit on the big screen.

My theater crowd was great — pretty neutral aside from an amusing row of politely excitable Larries I was in secret solidarity with. And I pretty much loved the film. Well, 92% of it. I look forward to watching it again when it streams. I mean, it was an hour and a half of content featuring this fascinating creature we’re all obsessed with. I didn’t want to blink. I hung on his every word (when I could understand them). How cool to get, essentially, a long-form interview, where he’s not promoting an album and we’re not getting the same sound bytes. Louis is wonderfully open and vulnerable, and the story of his life (heh) is inherently compelling. The cinematography is beautiful. The behind-the-scenes are delightful and delicious. I can’t wait for the AOTV gif sets once we have it in high-def.

But it has some plot holes as wide and deep as the ones in Don’t Worry Darling.

First, there’s the confusing (to the uninformed) absence of a love interest. Louis is asexual, as far as the film goes. There’s not even a ghost of Eleanor, with whom he’s cumulatively spent a decade and who is supposed to have inspired so many great love songs and with whom he is supposed to have survived a pandemic. Props to E for living her best life now: going to see Scream on AOTV opening day, enjoying full custody of the pups, publicly supporting her assumed partner — sorry you got Kiki Layned from the film, but I’m guessing you weren’t even written into the script. (It’s not like the film was conveniently re-edited in the months since their break-up. Her stunt tapering was intentional.)

Then there’s the glaring absence of a baby mama (thank god; that family would have been even more insufferable). We’re cruising along for 45 minutes or so and then, wham, Dad!Louis enters the chat with a fully formed 6-year-old child. The kid just magically appears with no backstory — just like in real life ... twice (the first time with the pregnancy announcement and the second time with the revival of Dad!Louis after several years of dormancy, right in time for documentary filming. Just like Harry stunted with his co-star during filming and production, Louis stunted with his.)

The kid is cute, and faultless in this. The scenes are objectively sweet (as they were designed to be). But Louis, who normally keeps things very close to the vest, is all of a sudden an emotional spigot you can’t turn off when it comes to these scenes. It seems quite out of character. Which brings back to mind that this Louis *is* a character. The Freddie scenes just didn’t seem to have a point in the plot other than: Louis is a dad. And that role isn’t integral to the film’s story.

He’s incredibly emotional with Freddie, but the movie doesn’t tell us why. The storytelling gets lazy here. The lad/dad plot seems wedged in. The movie would be perfectly complete without it. I felt like it could have been integrated a few different ways: Louis experienced tragedy after tragedy after tragedy — loses 1D, loses his mum, loses his sister ... and then impending fatherhood either becomes another trial he must reluctantly face (in the surprise pregnancy narrative) or it helps him navigate the grief of losing his sole parent, his closest confidante. OR, Louis, not wanting to be like the absentee father he had, shows up for his own oopsie baby despite the unexpected circumstances. But there’s no exposition or rising action. No footage or photos from the first few years of the kid’s life that we haven’t already seen. Just an immaculate conception.

I think the most compelling narratives of the film are these:

Louis’ overcoming adversity after adversity after adversity. Holy hell. I lived through 1D ending, through the devastating news about Jay (god, I remember the shock and sadness of that day — it was incomprehensible), through the heartbreaking news about Fizzy, and then when you think Louis is gonna get his moment of victory with his first solo world tour, coronavirus pulls the rug out. (That sequence was well done: where we keep seeing the dates get closer and closer to March 2020, and we all know the villain that’s coming, but it’s still such a blow.) I lived through all that in real time, but seeing it in such a concentrated sequence really highlights the shit he’s been dealt, and hearing him open up about so much of it ... that’s the character development relevant to the film’s denouement. And getting to see Louis get what he deserves, finally, and hearing him acknowledge that he deserves it, was a lovely ending.

Louis’ journey to find his footing and his confidence as a solo artist after unfathomable success as part of a group. But, in a sort of plot twist, he’s not really solo, is he? The film gives a lovely introduction to his band now — and in their own words, reveals that they’re not just a backing band, they’re a *band* band. Louis has let them in. He’s forged a new brotherhood. *That*, for me, was the heartwarming story. I loved those scenes, loved seeing Louis in his element, which is in a collective, where he is both king and jester at the same time. (Or perhaps Oli’s the jester. Thank fuck for him, man. Oli is the standout. The breakthrough performance. The comic relief. I want a spinoff series.) It’s easy to miss 1D and glorify those short years and think nothing will ever top it, but Charlie’s storytelling of the LT Band is remarkable. We’re left looking forward, not back.

I know Louis’ dedication to his fans and his fans’ dedication to him is a huge focus, but I don’t really enjoy watching commentaries on fandoms I’m a part of. I’m living it. I don’t need outsider context. And in a fandom as fractured as Louis’ (and 1D’s) there’s not a universal experience. The film depicts dedication as sleeping on streets for rail, hopping from country to country and draining bank accounts — because that’s the kind of “superfandom” that gets easily turned into a marketable freak show. Show me the documentary on the fans who organize the light projects, who run the fashion accounts, who curate livestream sources on show nights, who have turned giffing into an art and science, who help promote Louis in the absence of a competent marketing team, etc., etc. I also thought the interview with the American(?) girls talking about LATAM shows was shortsighted. And showing the rainbow factions but not addressing them? What a missed opportunity to talk about songs like Only the Brave becoming a queer anthem. Straight artists can have gay fans, you know.

But the film doesn’t make the kid relevant to any of those storylines. He could have been worked into the first, but wasn’t. It was like a standalone narrative, with footage from a narrow set of days. I was at both those L.A. shows. The energy was so different from night 1 to 2. And in retrospect it’s clear Louis was performing the first night so Charlie could get the right shots. More like a choreographed play than a rock concert. It makes sense now why the Clarks weren’t in the VIP box with Freddie — couldn’t have them cluttering the frame or distracting the actors. Just, everything about the Freddie scenes is heavy-handed. Make a sign for your dad! Draw his logo in the sand! Fly a kite at sunset! He’s the spitting image of Louis! (Len does all the heavy lifting.) And all the maneuvering it had to take to get all those shots from the L.A. show?! In the VIP box from behind (and from the front, and when he just happens to be mouthing along to Two Of Us), side stage watching Louis end the show, on-stage watching Louis approach Freddie after the show, on-stage catching the moment Louis gives the lad a shout-out ... Charlie had a shot list. But sure, nothing was set up, it was totally organic.

I’m still unsettled by how heavily Charlie laid it on at the first premiere press conference — *he* was the one to bring up the kid, and was weirdly emphatic that nothing was staged, nothing was forced. It had the same energy of the “It’s. Not. Real” thrown baby doll moment, only it’s Charlie insisting that It. Is. Real. Thou dost protest too much, me thinks.

And of course, the lack of interaction between Louis and Harry remains, as ever, the biggest tell. We get poignant post-1D Nouis and Lilo moments in the film, but no Larry. We’re spoon-fed these Very Emotional Moments between father and son (“love you,” “Darling,” mouth kisses), when the real story, the real emotion, the real connection is in just a few seconds of furtive glances between Harry and Louis in the backstage footage of the last 1D performance. Christ, the way Harry’s eyes bore into Louis — chin tilted down, eyes glancing up from beneath a furrowed brow, lips tight, disguising his attentiveness with a hair flip ... they mastered so many forms of silent communication. The quiet call and response, the depths of love and care and concern and protection contained in micro-expressions. Fuck, give me 90 minutes of that. Just a silent film of Louis and Harry looking at each other.

Anyway. Sorry this sounds so grumpy. I did really love most of the movie. But I haven’t made sense of why this film was made. I don’t know its purpose. Maybe the introspection forced by the pandemic lockdown is to credit for this glut of music docs (“docs”) lately. Maybe nine minutes frees him up for nine more months or nine more years. I dunno. He obviously wanted this story told in this way.

Seeing a movie requires the willing suspension of disbelief. You have to ignore critical thinking in order to enjoy the story you’re being told. You tune out your knowledge that everything is fake for the sake of being entertained. We know that Superman can’t actually fly, but we still buy tickets to the cinema. But, a documentary shouldn’t require us to employ this semi-conscious perceiving mode. Yet here we are. I’m just not sure how much more or how much longer we can suspend our disbelief to enjoy fandom.

[dailykafka]

— March 22, 1922 / Franz Kafka diaries

[coniangray]

The Rink-o-mania scene was foreshadowing stuff in s5 and it has to do with an attack El will deal with

At the rink o mania scene, Angela drags her down to the roller rink, and the bullies surround her and start mocking her. Then, that dude throws milkshake at her and she falls. That could be foreshadowing a fight in s5, lemme demonstrate.

Now, don't demobats also fly in circles when they want to attack? Yes, they do. We saw that right before eddies death, as he was fighting them.

Let's say the bullies are demobats.

Something drags El into the battlefield, she's clueless atm (just like with Angela) but then a bunch of demobats distract her. Why? Because everything is connected to vecna in the ud, and Vecna knows El would be there

Now, the milkshake could also forshadow demogorgon venom (?) Idk. But it seems like after that, els gonna get spayed with it.

As they surround her, she first falls, looses control but then remembers what happened in s4, and probs how she hit Angela with the skate and she tries to defeat the bats.

Probably.

Plus, before that, El and will argued about her lying to Mike. Lately I've been thinking and I found many clues that he could be a villain (including this one). In the roller rink he is seen alone, after the mileven happy scene, that could easily be used in a villain arc idk.

And what if willel also argue in s5? What if a possessed will drags El down to the battlefield to get her attacked? What if the whole bully scene was just to help El fight the bats or any other creature?

Adding to this, we know part of the hive mind got trapped in a demogorgon in the Russian plot What if that also happens in s5?

(this was a theory I posted on 29th of October 2022 on tweeter... Been two years since then I can't believe it 😭)

[musickickztoo]

Scott Walker  † March 22, 2019

[tinyrevel]

old ddlc zine art that i'm finally allowed to post

[softchonk]

Happy March 22nd to all who celebrate ;-;

Credit to @mcrfanfic-screenshots for the pic