#mine: tog

[thestarswholisten]

She was fire, and light, and ash, and embers. She was Aelin Fireheart, and she bowed for no one and nothing, save the crown that was hers by blood and survival and triumph. The Throne of Glass Series by Sarah J. Maas

[aelinfireheartgalathynius]

What it feels like to explain Sarah J Maas books in 2024

[nevermindirah]

do NOT tell Nile Freeman what to do. except in special circumstances, maybe later >:)

[beaulesbian]

You need help. What does it matter why? Today, I put this on your wound. Tomorrow you help someone up when they fall. The Old Guard (2020)

[pochiperpe90]

[ENG] PARDO - Interview with Luca Marinelli

“Luca Marinelli is a true phenomenon!” This is how Paolo Virzì, who directed him in Tutti i santi giorni in 2012, defined the actor a few years ago. He was absolutely right. Throwing himself body and soul into each of his roles, Luca Marinelli does not limit himself to playing a part, but manages to transform himself completely, creating intense, charismatic, unique characters. From the young introverted mathematician in La solitudine dei numeri primi (2010) by Saverio Costanzo, to Roberta in L’ultimo terrestre (2011) by Gipi; from the criminal in Non essere cattivo (2015) by Claudio Caligari to the cult character of the Zingaro in Lo chiamavano Jeeg Robot (2015) by Gabriele Mainetti; from the proletarian intellectual in Martin Eden (2019) by Pietro Marcello, to the King of Terror in Diabolik (2021) by Manetti Bros; from Nicky, the immortal warrior, in The Old Guard (2020) by Gina Prince-Bythewood, to Pietro, a fervent mountain enthusiast in Le otto montagne (2022) by Felix Van Groeningen and Charlotte Vandermeersch; Luca Marinelli has been able to give life, thanks to his prodigious versatility, to an extraordinary range of characters who all bear the unmistakable sign of his talent.

Maria Giovanna Vagenas: In your current career as an actor there are two important works coming out soon: the television series M. Son of the Century by Joe Wright and The Old Guard 2, by Victoria Mahoney. While waiting to be able to see them, I would like to start by addressing a perhaps less well-known but equally essential side of your work: your debut as a theater director in 2023 with Kafka's Una relazione per un’accademia, for the Festival dei Due Mondi of Spoleto. How did this project, on which you collaborated with the German actor Fabian Jung, come about?

Luca Marinelli: The first idea for this project dates back to ten years ago when I saw Fabian at his graduation performance at the Ernst Busch Academy of Dramatic Art in Berlin. I found it extraordinary, and on that occasion I had already told him: "In my opinion you should recite this text!" Then there was a ten year gap. Towards the end of the pandemic, I proposed to him that we work together on Una relazione per un’accademia. At the beginning we had to be both on stage a bit, later I understood that it would have been more sensible to mount this piece with just one actor and I asked him if he would like to be directed by me.

MGV: What was your approach as a director? 

LM: At the beginning of this project I was more of a kind of acting coach - Fabian acts in Italian, even though he doesn't speak it - then I began to understand what it meant to be a director, to take responsibility for everything the public will come to see, to make many decisions and to take care of an entire team. In this context, the exchange of ideas with Fabiana Piccioli, who deals with the light design of the show, was essential: the theatrical piece is in fact a kind of dialogue between the actor and the light, the space and the audience. Being a theater director is also a question of trust. In the cinema the director is very present until the end of the production process, but in the theater you get up to a certain point and then that's it, because the real work, evening after evening, falls to the actors and technicians, that is, to those who are in the scene and around it. The director is no longer part of the performance, he’s almost the first spectator of his own work. It was a very beautiful experience for me, because being "outside", that is, not being on the scene but in front of it, is truly something completely different! In February-March 2025, we will take this show on tour around Italy.

MGV: Do you plan to continue along this path in the future? Is it an experience that has opened up new perspectives for you?

LM: It's a road I'd like to explore, that of theater. I would like to return to the stage as an actor-director, a bit like a master, let's say. I feel that theater is much more accessible to me, while I know very little about the technical side of cinema and for which I have great respect, so for now I don't feel like it.

MGV: You come from a family close to the world of entertainment. It seems that as a kid you watched a lot of movies with your grandmother. I would be curious to know how your desire to become an actor was born in this context. 

LM: My father is first and foremost an actor who is also dedicated to dubbing and my grandmother, as you said - a great cinephile. I owe a lot to every member of my family, whether they work in the arts or not. However, I cannot tell you where this desire comes from, each of us has a drive within us, and is attracted by something. Indeed, I grew up watching many films and, thanks to my father, I happened to know this work in various forms. But when you are very young it is difficult to say: I want to do this! I felt very attracted by the world of theater and cinema, by the idea of ​​expressing myself in a way that went beyond words, which approached images, sounds, the body. I wasn't fully aware of it from the beginning, but now I feel that it's exactly this: I love observing an interpreter's body, listening to their voice. I love seeing a group working together and I love teamwork. The profession of actor contained within itself a bit of everything that nourished my curiosity. This desire has been growing more and more. My family has always been very supportive and has never hindered me in anything. Rather, I was the one who hindered myself, until, at a certain moment, I gave myself permission to approach this profession and entered the Silvio D'Amico National Academy of Dramatic Art. They were three wonderful years during which I gave free rein to all my curiosity and desire for expression. The relationship with my class was fundamental and magical. From there, little by little, I moved forward. Almost immediately, cinema arrived with Saverio Costanzo who hired me for La solitudine dei numeri primi together with Alba Rohrwacher. I auditioned while I was still at the Academy and was acting in the final recital Dream of a Summer Night directed by Carlo Cecchi. I finished the Academy and immediately went on set for the first time.

MGV: You found Carlo Cecchi again as an actor on the set of Martin Eden (2019) by Pietro Marcello many years later. 

LM: Of course, and it was wonderful to meet again! I consider Carlo my teacher, he is the first who truly made me understand the importance and urgency of this profession. 2012 was the last time I was on the boards of a stage and was with him. Carlo Cecchi had become very fond of us all and with this graduation essay he managed to take us on tour. Basically we did two theater seasons from 2010 until February 2012.

MGV: Are there other directors, among all those you have collaborated with, that you consider to be your teachers?

LM: I met some great directors during my journey, each had their own vision of art, so it's as if I had many different teachers along a single professional journey. I would practically name them all, but I would also name the actors I simply observed in films.

MGV: Between the actors who inspired and influenced you, who would you quote?

LM: For the sake of equality, I only mention the actors of the past. There are many who have struck me but I always evoke Anna Magnani, Silvana Mangano, Marlon Brando and Massimo Troisi. These are the first huge names that come to mind. When I 'met' them on the screen I immediately realized I was faced with something unique and great. I like to mention these four names also because they belong to a moment in my life in which I still didn't know what I would do, but I was drawn towards them.

MGV: Non essere cattivo (2015) was Claudio Caligari's last, poignant and wonderful film, released posthumously. What are your memories of him?

LM: Claudio Caligari was a gigantic meeting for me, from him I learned how important expression and communication, sharing and respect are. I understood how much this profession is life and how much life can be put into it. I witnessed enormous courage and a great knowledge of filmmaking. I also learned the dedication and immense respect that one must have for the public, for what is proposed, for how one interacts with those who come to see a film, without ever putting oneself on a pedestal but being all together. Caligari taught me to never judge myself, nor others, nor the stories one tells nor the characters one plays but that one must stay with them, inhabit them. These are the few things, fundamental for me, that come to mind. Beyond this, every single memory is a source of inspiration and guidance for me. And then the certainty that love and passion are the only things that really keep us here and now, alive.

MGV: In 2019 you played the complex character of Martin Eden in the film of the same name directed by Pietro Marcello, and you won the Volpi Cup at the Venice Film Festival. What did this role mean to you? And what was it like working with Pietro Marcello? 

LM: The collaboration with Pietro arose from a secular prayer which has been fulfilled over the years. I was a great observer of his work and his art and finally being able to work together was a great gift, a true exchange based on trust. We all found ourselves in a moment of grace, in a state that allowed us to work with great concentration and dedication together. As for the role, I think Martin Eden is one of the most beautiful male characters of the last century, in one of the most powerful novels ever written. I owe a lot to this character, not only a very prestigious award, but also important artistic and personal growth.

MGV: You have played an extremely wide range of roles, spanning from one film genre to another. Beyond your exuberant talent and the extreme versatility of your performances, what is striking about your acting is the generosity with which you embrace each character, offering your all. How do you prepare your roles? 

LM: It's like a kind of love at first sight; I fall in love with the story, with the character and from that moment on I begin to see everything in that direction. It is an almost routine behavior that I have never schematised. If someone were to ask me, "How do you approach a character?" I would answer that I have no idea, but every time I do it more or less in the same way. There is certainly a certain affinity with the director and an involvement in the script and the character. Little by little I'm starting to eat all the information I can find. I am often offered films to watch, and then I discuss them with the director. I love working with imagination and thinking about every element of the character. I like being with the costume designer, working on the costume and then creating the look of my character with makeup and hair. I'm very happy when I can have my say too. As I said before, I fall in love with the character and I begin to see everything in that light. My wife always tells me: "You've already started!" I don't notice but she does! "You've already started!" it means that everything has started to take on that colour, but I don't do it on purpose, I believe that there is a more intelligent, unconscious part inside me that organizes my work. It's a bit like this!

MGV: A few years ago Paolo Virzì, who directed you in Tutti i santi giorni, said of you: "Luca is a phenomenon, he's intelligent, witty, but at the same time he's crazy, he becomes what he's doing. All the great actors have a kind of lack, a defect, they know who they are and therefore they are enthusiastic about becoming the one who proposes to them!" What do you think? 

LM: I agree with him, all this is said with deep love and therefore I accept everything he says about me. I love Paolo so much and I think he understood me more than I understood myself. In fact I think none of us really have a clear focus on who we are and what we can be. Of course this is an interview from a few years ago, perhaps now I know slightly more - but only slightly [laughs] - who I am because I am closing, so to speak, the first act of my life, given that this year I will be turning 40!

MGV: Being an actor is a collective profession. Over the course of your career, a very significant bond has been created between you and Alessandro Borghi, with whom you collaborated for the first time in Non essere cattivo and who you met again on the set of Le otto montagne of Felix Van Groeningen and Charlotte Vandermeersch, Jury Prize at Cannes. Could you tell me about your working relationship and your friendship?

LM: I'll start from the beginning of what you said; for me this isn’t a job we do by ourselves. This art doesn’t exist without the other. Even a monologue is not done alone but with the audience. Acting is always a way of expressing oneself and communicating. I adore, as I said before, teamwork, over the years I have happened to work with many wonderful colleagues who have become important friends and then there was this magnificent meeting with Alessandro during Non essere cattivo, a film that carries within itself something sacred due to how it was approached, and due to the strength of the great Claudio Caligari who created it. The two of us found ourselves actors in this extraordinary work which united us so much, creating a deep bond between us which at that moment was needed, let's say, for the film but which the film then gave us for life. Since then this friendship has continued and gone forward, without interruption. After Non essere cattivo for six years we were no longer able to work together, then suddenly another wonderful film arrived, full of love: Le otto montagne and thanks to two fantastic directors, Felix and Charlotte, we managed to make this friendship coincide again on the screen too. Alessandro and I are good together. At work, to put it in a football metaphor, for me it's like I always know where the other guy is so I can make a cross almost with my eyes closed because I know he gets the ball, stops it and shoots it towards goal! We have great chemistry and on set, we don't need to worry too much. I hope we can work together again soon. I happened to see an interview where we said that we promised ourselves not to wait another seven years to do it, but now it's been almost three years already so we have to hurry!

MGV: For a few years now you have also started an important international career by participating in important productions such as The Old Guard by Gina Prince-Bythewood with Charlize Theron which was a huge success on Netflix, the series Trust (2018) by Danny Boyle, written by Simon Beaufoy and starring, among others, Donald Sutherland, and a production for German television: Die Pfeiler der Macht (A Dangerous Fortune, 2016), by Christian Schwochow. How did you experience dealing with all these new production realities?

LM: In every latitude there is a slightly different type of approach but essentially the work is always the same. The thing that always excites me is that, ultimately, we all find ourselves in the common language of acting, of art. I was lucky enough to work with some wonderful international casts, not only every single actor but also the technical departments and directors were wonderful people. Ultimately, the place changes geographically, but the work remains the same.

MGV: As a member of the Jury of the International Competition, what will your evaluation criteria be?

LM: I was just looking at the list of films in competition and judging by the images that accompany them I already like them all, so maybe I'm off to a bad start! [laughs] I don't actually have any specific parameters. I certainly won't judge only the performers, but I will look at the film as a whole. However, for me it is essential to start from the assumption of great respect for the film itself, because every film is a work that requires great efforts from many people and for this reason must be evaluated with consideration. Having said that, I would like to have a good dialogue with the film, an intelligent dialogue on an intellectual and emotional level. In short, I hope that a film leaves me with a thought, a sensation, an emotion.

As usual, sorry for any mistake and my English

[stargirlbryce]

You and I are nothing but wild beasts wearing human skins.

[what-is-merlin-so-gay-for]

WHY???? IS NOBODY?? MAKING NOISE ABOUT TOG SEASON 2 ONLINE???? BABES LOOK AT MY BEAUTIFUL CHILD

TOG IS BAAAAACKKKKKKK

[linaxart]

Andy

[bamkoon]

he ended up looking like a danganronpa cg. lol

[nicolos]

stew

The sad part of it is really that it takes Nile two months to realise she’s never seen Andy cook.

“Wait,” she says, “what do you mean she’s not allowed to cook?”

Andy just shrugs, perfectly unhelpful as she loves to be. The Andy sitting across the kitchen table from Nile is a far cry from the woman who shot her in Afghanistan, and not just because she’s now mortal and prone to problems like hangovers that last and back pain. More importantly: she looks less tired, somehow, hasn’t made fun of Nile about her Cross again, and gets a sick sort of satisfaction from watching Nile flounder over the important things, like which famous historical figures her new friends-slash-family-slash-anti-dying-club had slept with or the weird set of unspoken rules and laws and tripwires they all have built in that everyone else can see and Nile can’t. Yet.

“It means Andromache has been banned from our kitchens,” Nicky says coolly. Joe raises his brows, probably at the full name, but he’s grinning.

Nile ignores him, because he’s an instigator, and says, “Why not? Andy, what’d you do?”

“Who said I did anything?”

Nile narrows her eyes at her. That tone of voice elicits many things: trust is not one of them. Joe outright snickers.

Nicky says, voice low, “You know what you did.”

Joe mouths, “She does,” and then says out loud, “It’s not so bad, Nile. Nicky’s banned from football. And I’m not allowed to do any plumbing.” He says this like it’s a bad thing.

Nile suspects that they’ve also put an unspoken ban up against her audiobooks. Every time she puts one on doing her laundry, somebody comes up to speak with her, until she’s forgotten all about it. She also keeps losing the old iPod she found with the books on it, and whenever she finds it, it needs to be charged.

It’s ridiculous is what it is. She says so. “Andy is four thousand years old.” Andy raises her brows but doesn't comment one way or the other. Joe makes a so-so face, which really just means Nile’s wrong. She soldiers on. “I don’t care how bad she is, she should be able to cook!”

Andy shrugs around her bowl. “I can cook.”

“We’re all adults. We should have a roster. It’s not fair that it’s just Joe and Nicky.” Of them, Nile herself is probably the weakest: she can make a few comfort foods, but she’s never mastered the art. She’d like to, though. Part of it is wanting to hold onto the food she remembers before she can’t get it anymore and she’s forgotten, and part of it is that it’s just practical. But left to her own devices, she just eats whatever’s there. A roster will help.

And it wouldn’t feel right to leave Andy off it. Nile tells herself this is about fairness and house chores and not about the strange panic that takes over her whenever she imagines never eating her mom’s good again and then remembers that (a) Andy looks like she's maybe five years younger than her mom, and (b) she, too, is mortal. Which is dumb. It’s not like she thinks of Andy as anything like her mother. If anything she’s the bad influence friend everyone’s mom warns them about, but who everyone wants to—

Anyway.

“I don’t mind,” Andy says. Nile turns to Nicky.

Nicky says, “If you wish,” and then looks at Joe like he’s expecting Joe to speak up on his behalf.

Joe grins. “I have no objections.”

Andy’s turn on the roster comes up two days later. She spends the morning out of the house and comes back with two bags full of groceries. When Nile goes to help her with it, bewildered, it turns out one of the bags is half filled with low shelf life candy, and that Andy doesn’t need help, though she looks amused that Nile would offer.

Then she gets to it. She’s not what Nile was expecting, which was someone a little unsure of herself in the kitchen. She chops fluidly and fast, as good with a knife on meat and veg as she would be with it as a weapon, and she moves like she knows what she's doing.

But what she’s doing is—strange. At first glance, the dish is beef, with thick chunks of meat cooking in enough oil to thrill her grandma. But then she throws chunks of apple in alongside the potato. As it cooks, she starts rolling out some dough, with more eggs than make sense. Pie, Nile thinks, even if it's not a pie she knows of, but she rolls it out by hand into sheets of pasta, all while stirring the beef concoction. A bar of the dark chocolate she's munching on goes into the pot, followed by a concerning quantity of nuts. When she grabs an orange, Nile thinks it's for a snack, but she peels the whole rind into a neat spiral and tosses the rind into the pot before offering Nile a slice. When the pasta is cut, she just—starts flipping the sheets into the pot.

Nicky looks into the kitchen as he passes by and starts muttering to himself in Italian. When he opens his mouth, Andy only says, “If you’d rather do it yourself,” and Nicky walks away.

Oh, Nile thinks. “You won’t get out of the roster just by making bad food, you know,” she says, though she suspects she probably will. If it's terrible, she figures she’ll get takeout. She already saw Joe surreptitiously hide a bag of something in the back of the fridge. She hopes he got enough for her.

Andy only winks at her. Nile sits down.

In go raisins, cashew nuts, sticks of cinnamon, the stalk of some plant she doesn't even recognise, more garlic than even Nicky uses, and a whole tablespoon of turmeric. Then come the chillies: long, with the heads sliced off, thrown in whole. When the room starts smelling like heat, she cools it with cups of milk. More vegetables follow: large chunks of carrot and beet, strips of cabbage and slices of—ugh—eggplant go in along with a store-bought sauce she can't read the label of, spoons of cream, a quarter of a bottle of alcohol she's pretty sure isn't meant to be used to cook with, and—somehow—even more chocolate, and some of her favourite morning cereal.

This is the point at which Nile decides to stop watching. It feels a little like tearing herself away from a car crash, but she makes herself go look for her iPod. She finds it between two cushions of the sofa twenty minutes later, at 3%.

Andy calls Nile in to help carry the food out when she's done, half an hour later. Nile’s a little bit afraid of the monster she's created as she looks into the pot. It looks less than appetising, a deep brown that looks thick and has things floating in it and cheese melting on top. On the sides of the pot, she can see bright red oil floating in place.

When she carries it out, her iPod is already gone from where it was charging by the kitchen table. Nile glares at Joe and Nicky, who look back innocently (Joe) and distractedly upset (Nicky). It has to be Joe, she figures.

Andy serves them the frankenstew in deep bowls with toasted slices of Nicky’s last sourdough next to it. With no ceremony at all, she grins and says, “Dig in.”

Then, without waiting for the rest of them, she starts eating.

A little relieved that Andy isn’t going to leave them to eat it alone, Nile takes a small, tentative bite.

The dish is—not bad. She takes another bite, and then another.

The stew is delicious. Nile can feel her arteries clogging with every bite, immortality or no immortality, but she thinks she doesn't even care. It's hot enough to leave her tongue prickling after just a couple of bites, but she wants to keep eating it. It's sweet and salty and sour; the meat falls apart in her mouth but the nuts crunch. The pasta is not really pasta at all, thicker and softer and melting in her mouth like soft bread. The broth is creamy and thick, and none of the vegetables are too mushy or draw too much attention to themselves. It's the best thing she's ever eaten, she thinks. She never wants to eat anything else again.

When she looks up, she must look a little guilty, because Joe pats her arm comfortingly. “I know,” he says.

Andy hums around a mouthful and says, slowly, “It’s not as good as I remember it.”

Nicky looks despairing. He’s staring into the bowl like it insulted his mother. Maybe it has. “That’s what you said last time,” he says.

Nile considers things like nostalgia and pride and cholesterol and having more of the pot for herself, and slides Andy’s half-full bowl towards herself. “You’re off the roster, Andy. And you’re banned from cooking again,” she says authoritatively.

“I thought making bad food wouldn’t get me off the roster?”

Nile nods. This is worse.

Joe grins, ducks into the kitchen, and comes back with the box he had hidden in the fridge, which now that Nile looks closely says Andy Dinner. Andy laughs at her as she eats it.

Nile decides to stop looking for her iPod.

[mearchy]

Another underrated specific trope is when Character A is beating up Character B, and Character B is someone who is completely capable of defending themself but they are so busy being delighted about A fighting them/interacting with them that they are barely lifting a finger. Meanwhile Character A is getting increasingly annoyed/exasperated/frustrated about it.

Like,

A: Stop SMILING you idiot, I’m trying to KILL you.

B: I know! 🥹😄😄

…This can be romantic or parental (you’re doing such a good job sweetie!) or platonic or whatever it’s just consistently so funny.

[livingasaghost]

spotify playlists for every mood ✨💿🦋

featuring mixes for books, vibes, seasons, and everything in between

highlights include:

brat girl summer / feeling feral / god tier / stop feeling! / throne of glass / rwrb // firstprince / jade city / the locked tomb [griddlehark] / what's my age again? / friendship can be romantic / though your heart is grieving / dark academia / sad girl machine / night drives / morgan matson summer / bergman brothers / a haunting / frost / taylor breakup playlist / it's charli babyyy / what the folk / dad rock

[aelinfireheartgalathynius]

So she whispered it to herself, one last time. The story. Her story. Once upon a time, in a land long since burned to ash, there lived a young princess who loved her kingdom...

Kingdom of Ash, Chapter 109

[nevermindirah]

I have a hard to answer question how does one handle in a fanfic tog not going after shitler with Jewish!booker on the team without them coming off like assholes in regards to the human cost as well as the personal cost to booker, cause I'm drawing a blank

hi anon!

this is a super duper big large heavy question, and it's also one that might, depending on the context of your fic, have a very simple answer: the immortals are, other than their immortality, human, and therefore they can each only be in a single place at once.

they don't have superhuman strength or speed, they don't have magic, they don't have access to time-travel technology. I'm not an expert in ww2 military strategy but I'm sure allied governments looked into assassinating Hitler, and nobody managed to do it until the shitstain killed himself. the immortals are highly skilled and well-connected but not at the level of for example the agency that would go on to become the CIA, so who's to say they'd be successful in this assassination if they tried.

there's also the matter of when and for what reason the immortals might decide that killing this particular shitstain should go at the top of their to-do list. it's so easy for us to say in hindsight that a catastrophic volume of suffering could've been averted with this one person's death 10-15 years earlier than what happened in our timeline, but even with the strategic benefit of that hindsight, none of us can predict exactly what would've happened after a successful assassination in 1939, 1932, or even earlier. killing one leader doesn't ensure the movement he leads will stop with his death; someone even worse could have stepped in under the banner of a martyr.

things had gotten bad for Jews in a lot of places many times before things started getting real bad again in Germany. again, I'm not an expert, so I don't know when anyone outside of Nazi senior leadership knew anything about plans for the Holocaust — but would any of the immortals have learned about it sooner than international news media did? would they have known about it early enough that it was possible for a group of four immortals to stop? would they have believed such horrific plans if they'd seen them on paper? there's historical evidence that US officials didn't believe early reports could possibly be true.

there are photos on Copley's wall showing the immortals in Europe at several points during ww2 and there's that one panel from one of the comics of some of the boys being involved in liberating one of the camps. but we don't know details beyond that, and we don't know what the immortals were up to in the 1930s. they may have been very, very busy doing what they could to protect people from Japan's horrific war crimes of the same era, which started several years earlier than the Third Reich.

none of that is to say it would be easy for the immortals to know that the Holocaust was happening and not stop it. I'm sure it was devastating for all of them, who'd already seen so much needless painful death in their long lives, to see the ruthless mechanized efficiency of Nazi mass murder. it would be especially devastating for Booker, even without the Jewish Booker headcanon, bc his children died hating him bc he could not save them no matter how much they begged and no matter how hard he tried.

so my hope for the fic you're working on is that you'll show at least a little bit how their inability to stop these horrors weighs on the immortals. show the personal cost to Booker. do the others get why such horrors happening to his people, who are specifically being targeted because they are Jews, hurts him so badly? or does Andy make dark jokes about how God really must not exist or what did Booker do to piss him off.

does Andy make dark jokes like that bc she sees Quynh's face in every woman they rescue from the Japanese army's rape campaigns? it would have been just as impossible for the immortals alone to save every one of them as it would've been to stop the Holocaust. might their personal connections to victims thousands of miles apart in a war causing overwhelming suffering across most of the planet wear on the immortals' relationships with each other? they can only do but so much. how the hell do they choose which people to try to save?

now that I've thought about it, writing a fic where they do kill Hitler might actually be easier. you can just handwave the deeply frustrating logistical realities and make it so that conveniently killing the nightmare in charge happens to cause the whole house of nightmares to fall apart. (you can also handwave that in your new timeline non-Jews across Europe welcomed their Jewish neighbors home with open arms, when very often the opposite happened irl.)

this topic is so rich for all kinds of exploration in fic. you could end up with a long and plotty meditation on how painful it is for the immortals to have to choose between so many people who need their help. you might have only been asking for the sake of some references to this era of the past in a fic set during or after the movie where the historical timeline is set in stone, in which case I hope what I've shared here leads you to writing those passages with appropriate seriousness and care, even if it's ultimately a small part of a story mainly focused on other things.

this was hard to answer, but not intellectually, this kind of analysis is how my brain works. it just hurts my heart to think about how much my people have lost, how much pain so many people have suffered, and how much suffering is happening right now that there's so little I can do to stop. if I were immortal right now how the hell would I choose between Palestinians and Massalit people and Uyghurs and Rohingya and the multitude of Latin Americans suffering at the US border, all the Black Americans suffering systematically in US prisons, all the other people whose catastrophic suffering I don't even know about?

but I'm glad you asked bc this is such an under-considered element of TOG that's very worth the spotlight. I hope my thoughts here help you, and maybe others will see this and think about it as well.

[pinklayla123]

"Dubbed 'fairy porn' by those who haven't bothered to read past the blurb" is an insane line actually I want to shake the hand of whoever wrote that

[pochiperpe90]

[Eng] Elle Italia - Daily Venezia: THE HISTORY IS US

Luca Marinelli is almost unrecognizable in the role of Mussolini in the series M. Son of the Century, directed by Joe Wright. Two greats together to tell one of the darkest and most criminal periods in History

Personal opinion: M. Son of the Century is one of the masterpieces of the 2024 Mostra. It's a shame it can't win, because it's a TV series, even if its director continues to call it a film. A seven-hour long film, which will be released in eight episodes on Sky and Now in the early months of 2025. It’s produced by Sky Studios and Lorenzo Mieli for The Apartment, a Fremantle group company, based on the novel by Antonio Scurati, written by Stefano Bises and Davide Serino. The director is Joe Wright, the protagonist is Luca Marinelli. It tells with historical accuracy the rise of Mussolini and our country's surrender to dictatorship.

Sensitive material, it reminds us that we invented fascism, and perhaps a foreign director, let's say, could have approached it with greater detachment, without our sense of guilt.  Wright looks at me almost with pity, in a good way: “But I share that sense of guilt, I reject national borders, there are no nations: the similarities between us human beings are more than the differences, I feel as responsible as you Italians…I was very careful to tell the truth without being didactic, I tried to understand without sympathizing, maintaining a critical distance... Mussolini was fascinating, he seduced a nation and many others. If I hadn't shown that charm then people might have thought that Italians were all idiots. That balance was my main concern... On a more personal level it's a series about toxic masculinity, which is like nothing else in us, we have it inside us. We have to understand our responsibilities and turn our backs on them, so as not to end up morally bankrupt".

Every day it took Marinelli two hours of makeup and hair to get into Mussolini's shoes. "It was something I brought home with me," the actor confesses, "in the same shape as on the set: the 22 kilos I had gained, my hair cut as you see it in the scenes.  The black lenses. were the things I could leave in the makeup van. Working with all the different departments was fascinating”.

It must not have been easy for him to shoot so convincingly in the fascist salute: “These are filthy and brutal things that the role required of me, but of course there is a big difference between what is considered right and what the role requires. I certainly did not take pleasure in carrying out certain actions or even in expressing myself in that way, but rather the opposite. What I had to face during the production of the project, as a convinced anti-fascist that I am, really cost me a lot. I did not come out of it intact”. But he was in the hands of an excellent director, a master in the cinematic transpositions of great books (Anna Karenina, Atonement, Pride and Prejudice).  How does he approach them? "The film," Wright continues, "is what happens in my head while I read the book. I'm dyslexic and so when I read I think I see beyond the words, I create the scenes and I edit, zooming in on small details that interest me. M. is a mash up between Scarface, Man with a Movie Camera and 90s rave culture." Tom Rowlands' techno music creates the right atmosphere: "I didn't want anything classic, kids have to see it too, they have to understand the roots of fascism." Luca Marinelli is monumental in the role of the "duce." "He's one of the greatest actors in the world, along with Gary Oldman. But, like Gary Oldman, he doesn't know it."