#modern masterpiece of a film

[simplegenius042]

SPOILER FREE!

As a long time fan who’s seen this film with family who weren’t really interested nor fans of this franchise, I can confirm that the TFHypeGuy’s hype is nothing to disregard. This is a modern film that should be the standard of how to tackle making well… a modern film.

So worth the watch, go to the cinemas while you still can and see for yourself. I’ve heard people say that the beginning is slow pace and does have a bit of exposition dumping but it does pick up further you watch it. The action is good, the visuals beautiful, some of the comedy does slap actually. But the emotional bits… oh god yes the emotional aspects of this film are treated with phenomenal respect and trust me… there are moments you will be awed and shocked in the greatest way possible.

I encourage everyone, fans old and new, or any casual movie watcher who’s bored out of their mind with time to kill and money to spend, go see this film in cinemas right now!

Since the studio’s marketing refused to give this film the respect it deserves, it is up to us fans to show the world there is more to this film than meets the eye.

Don’t take my word for it? Watch the video above, it’s a compilation of a dedicated fan on social media who chose to market the hype this film deserved to get. The posts are dubbed. Spoiler free too, as he’s only marketing the film.

Additionally, do not believe IGN’s scores. Hell, don’t believe them on anything actually. They don’t know their head from their ass. At least Rotten Tomatoes knows what’s up.

Anyway, that’s all! Chow!

[weedle-testaburger]

I keep seeing people say I saw the tv glow was the best queer movie of last year and honestly I didn't really like it that much. it's not that it was Bad Actually, it's just that what I enjoy from queer media isn't the sneaking around and being tormented by abstract weirdness, it's the having to work out how to unapologetically be who you are and accept yourself

[where-fading-princesses-live]

ok fine i'll see this movie

Albert Victoria

[ulkaralakbarova]

TIFF 2024 North American Premiere: "Caught by the Tides" Do Not Miss It

caught by the tides still – Courtesy of TIFF Experience the North American premiere of Jia Zhang-Ke’s latest masterpiece, Caught by the Tides, at TIFF 2024. This transformative film offers a powerful portrait of contemporary China, spanning two decades of Jia’s cinema. Caught by the Tides reimagines Jia’s career and reflects on China’s recent history, serving as a love letter to actress Zhao…

[ophelialoveshandsomemen]

Say what you will about Van Helsing 2004; hate it, love it, be indifferent, But the All-Hallow's masquerade ball went sooooo hard and it had zero right to do so! It's a fun, campy, monster mash movie with wonderfully dated ( and expensive) cgi and non-stop action meant to be a popcorn flick one takes out to watch around spooky season. And it has this* chef's kiss* GORGEOUS 6 minute sequence plopped arbitrarily in the second act, which unexpectedly surpasses nearly every other ball in the last 30+ years of film( notable exception being the Cinderella 2015 ball) for literally no reason other than to be dramatic af.

Like feast your eyes on this Gothic masterpiece!!! Who doesn't want to immediately live in this picture?!??

They used those candles with oil in them so that they would have real candles, real string orchestra( I believe), probably around 100 real life extras( something which is tragically absent in modern film), said extras are all in beautiful fully decked-out costumes( which are in luxuriously dark colours, but nearly no fully black, another thing you cannot say for much modern cinema), REAL CIRQUE DU SOLEIL PERFORMERS for all the acrobatics!!!! Hell, instead of filming in a sound stage, where they could control the reverb and the acoustics and the size of the set and the bloody lighting ( they apparently had a heck of a time emulating the firelight for this sequence) and the temperature( it's very cold in stone churches!) better, they filmed in a Baroque church in Prague! As I said, peak dramatic splendour, jfc...

Think about that a second...They filmed a vampire masquerade in a Baroque Catholic Church( St. Nicholas' in Lesser Town, if you were curious) with amazing over-the-top acoustics and marble statues and real, tiled floors and marble pillars and a choir loft which they very much utilized, covered the pipe organ and the altar with a grand brocade curtain so it wouldn't be so obviously a, you know, a church! And there's a gold gilt elevated and canopied pulpit into which they put two vampire kiddies for, again, the sake of being dramatic.

And the costumes! They remind me of the 25th anniversary Phantom of the Opera Masquerade costumes. Same quality, like they're old, well-cared-for costumes pulled out of a warehouse, instead of fast industry churn-outs. With lots of trim and colour and masks and lace and feathers and..just...ugh.. they are all perfect! Just look at all the head pieces on the ladies and the hats on all the gentleman ( save Dracula of course) and the powdered wigs on the musicians. ANNNNDD! The dresses are historically correct!!!!!! It's the 80's bustle era! Nobody does the 80's bustle era in film anymore and it's a bummer. Oh and one other thing! Anna's ( and other women's) hair, at least here in the ball, is also historically accurate because it's all pinned up! None of those fucken modern beachwaves at a ball! Everybody's got updo's!

Gah, I swear, Dracula in his gold cloak really does things to me in this scene!

By the way, the acrobatics are bonkers in here for just background stuff!! Especially the random guys on unicycles and the dude playing the violin whilst standing on a ball...Like....WHAT?

Anyways, all this to say, that this masquerade ball feels sooo real and tangible and because of that it blows every other film out of the water, and no, I will not change my mind!!!!!

Here's a few more gifs, bcuz, why the hell not, this scene is sexy as fuu*ck?

Alright I need to go to bed now.

[renthony]

In Defense of Shitty Queer Art

Queer art has a long history of being censored and sidelined. In 1895, Oscar Wilde’s novel The Picture of Dorian Gray was used as evidence in the author’s sodomy trials. From the 1930s to the 1960s, the American Hays Code prohibited depictions of queerness in film, defining it as “sex perversion.” In 2020, the book Steven Universe: End of an Era by Chris McDonnell confirmed that Rebecca Sugar’s insistence on including a sapphic wedding in the show is what triggered its cancellation by Cartoon Network. According to the American Library Association, of the top ten most challenged books in 2023, seven were targeted for their queer content. Across time, place, and medium, queer art has been ruthlessly targeted by censors and protesters, and at times it seems there might be no end in sight.

So why, then, are queer spaces so viciously critical of queer art?

Name any piece of moderately-well-known queer media, and you can find immense, vitriolic discourse surrounding it. Audiences debate whether queer media is good representation, bad representation, or whether it’s otherwise too problematic to engage with. Artists are picked apart under a microscope to make sure their morals are pure enough and their identities queer enough. Every minor fault—real or perceived—is compiled in discourse dossiers and spread around online. Lines are drawn, and callout posts are made against those who get too close to “problematic art.”

Modern examples abound, such as the TV show Steven Universe, the video game Dream Daddy, or the webcomic Boyfriends, but it’s far from a new phenomenon. In his book Hi Honey, I’m Homo!, queer pop culture analyst Matt Baume writes about an example from the 1970s, where the ABC sitcom titled Soap was protested by homophobes and queer audiences alike—before a single episode of the show ever aired. Audiences didn’t wait to actually watch the show before passing judgment and writing protest letters.

After so many years starved for positive representation, it’s understandable for queer audiences to crave depictions where we’re treated well. It’s exhausting to only ever see the same tired gay tropes and subtext, and queer audiences deserve more. Yet the way to more, better, varied representation is not to insist on perfection. The pursuit of perfection is poison in art, and it’s no different when that art happens to be queer.

When the pool of queer art is so limited, it feels horrible when a piece of queer art doesn’t live up to expectations. Even if the representation is technically good, it’s disappointing to get excited for a queer story only for that story to underwhelm and frustrate you.

But the world needs that disappointing art. It needs mediocre art. It even needs the bad art. The world needs to reach a point where queer artists can fearlessly make a mess, because if queer artists can only strive for perfection, the less art they can make. They may eventually produce a masterpiece, but a single masterpiece is still a drop in the bucket compared to the oceans of censorship. The only way to drown out bigotry and offensive stereotypes created by bigots is to allow queer artists the ability to experiment, learn through making mistakes, and represent their queer truth even if it clashes with someone else’s.

If queer artists aren’t allowed to make garbage, we can never make those masterpieces everyone craves. If queer artists are terrified at all times that their art will be targeted both by bigots and their own queer communities, queer art cannot thrive.

Let queer artists make shitty art. Let allies to queer people try their hand at representation, even if they miss the mark. Let queer art be messy, and let the artists screw up without fear of overblown retribution.

It’s the only way we’ll ever get more queer art.

_

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[sonofcelluloid]

Sonofcelluloid’s Top 30(ish) Favorite Devil’s Minion Fics:

In no particular order, this list only includes finished works that are relatively canon compliant (I’ll be making separate lists for AUs and fics in progress.) Anything in italics is a direct quote from the fic or its description. Please remember to check tags and ratings before reading.

You’ll Always Be My Favorite Ghost by lestatslestits: Tales of Armand’s turbo autism as Daniel gets to know and love him. This one is so sweet and had me laughing my ass off.

outcast of all this night by gaypiratedivorce: Modern Devil’s Minion fic of all time. Rewired my brain. "I mean, I don't know how you guys did it in Renaissance Italy, but most people this century get to at least second base before wearing each other's blood around our necks." There’s a part 2: my aid against the boredom of the eternal where they finally hook up. And honestly every fic from this author is a banger.

I’d Break the Back of Love for You by kurow: 70s Armandaniel. A rescue and a sick fic wrapped in one, and I’m a sucker for both.

Like That by GrayGiantess: Fluffy 70s Armandaniel. A tooth achingly sweet first kiss fic, featuring Twinkie’s. Again, every fic from this author is a banger.

The Beginning is the End is the Beginning by trinityofone: Daniel sees a wild vision during his turning. “I deserve this,” Armand said. His hold on Daniel’s throat was almost a caress. “After what I’ve been through, I deserve something of my own, don’t I?”

make a home from a rented house by sleepdeprivedsurgeon: Daniel realizes Armand has never really had a room of his own before. Armand slowly builds his own safe place. Super fluffy autistic Armand stuff. Domestic vampire polycule bonus.

the spiral is unspooling by reedroad: Armand helps Daniel recover their Devil’s Minion years via old video tapes they filmed of their meetings. Absolutely heart wrenching and wonderful and charming and had some of the most jaw dropping plot twists I’ve ever experienced in a DM fic. The last chapter absolutely floored me and rewired my brain forever. May be my #1 fav.

forever’s gonna start tonight by trinityofone: Hate fucking with a happy ending:) Sort of a soulmate fic as well. “I fucking hate you. And you hate me. So something is making us do this.” “I don’t hate you,” Armand pants. “You mean nothing to me. Don't stop.”

care and keeping by katplanet: A surprisingly tender guide for how to step on your boyfriend. Bonus Danlou. Smutty and fluffy and freakayyy. GREAT dialogue. Very funny as well.

hell is: by cannibalenthusiast: Another turning fic. Post Dubai blowout, Armand and Daniel bond over martinis, breakups, and a Survivor marathon. They bang about it. Great ending.

5 Times Daniel Molloy Imagined Killing Marius de Romanus (+1 Time He Actually Did It) by platoapproved: This one is genuinely a masterpiece. Probably my #2 fav. Lots of protective Daniel, some really cool and original vampire-lore stuff, Louis and Lestat being beautifully supportive along with other new side characters. Armand finally gets to process his abuse among allies. A really touching Lestat subplot as well. HEAVY trigger warnings for all Marius related assaults, but obviously we get to watch him die horribly to make up for it:) Absolute banger of an ending, totally sticks the landing.

lesson three: parasitic infections by kanxie: 70s Armandaniel. Armand picks out Alice as a third and does NOT like the way the night progresses. What unfolds is some of the CRAZIEST psychosexual (emphasis on psycho) gremlin Armand shit I’ve ever seen in a fic. So perfectly Armand. Short and sweet, sad ending.

open up your skull, i’ll be there by Anonymous: First time fic. Armand dipped after Daniel’s turning and when he shows up again Daniel ain’t letting him leave. “Your blood is my blood,” Daniel says, and Armand does not flinch. “It’s your blood getting me hard. Your blood that’s pumping through me.” Armand licks his lips, and still doesn’t move. “Please. Armand, Armand, please.” “Beg for it.” “I am begging for it, this is what begging looks like —”

Disintegration by lilacaisle: Daniel goes crazy when Armand locks him in the apartment and tries to burn himself with a cigarette so it will feel like being bitten🙈 Armand does BDSM about it. This one’s actually book Armandaniel but I didn’t notice it until like the third read because it fits show Armandaniel so perfectly.

baby, cry baby by Babeblox: Daniel seeks out Lestat for an interview after Louis’ attack, but he’s being haunted by someone else. Canon divergence. This one legit made me cry. Dark but very sweet. Wild ending.

get in my mind (do you see my heart?) by Marenke: 70s Armandaniel, Armand character study. Armand is pretty sure he and Daniel have never had a problem a little brainwashing couldn’t fix. SICK AND TWISTEDDDDD (affectionate).

The Importance of Being Armand by Siria: Daniel and Armand talk about the power of naming. "If you can imagine a different set of possibilities for me as a vampire, ever think of what you could come up with for yourself, if you put your mind to it?"

Bumpin' That (Bumpin' That Bumpin' That Bumpin' That) by TheAngelsAreWatching: Daniel and Lestat are fuck buddies. They are on a tour bus a la Word Tour. They do coke. They try to bang. And then Armand stops time and walks in. Armandaniel fuck crazy style. Pure filth (affectionate).

Run, Arun! by TheNightColors: Autistic Armand, character study. Daniel learns it was considered a “crime” to turn Armand due to his “mental retardation”. Armand explains what it was like to be an autistic child in the sixteenth century, and an autistic adult for 500 years after. Heavy stuff. Trigger warning for all things relating to Amadeo’s past and for the internalized ableism instilled in Armand by his upbringing.

a haunting just for company by valkyrisms: Post Dubai blowout but pre Daniel’s turning, Armand crashes on Daniel’s couch. A modern Devil’s Minion fic for the ages. These weirdos love each other so bad. Some really memorable tender scenes. This one’s a fan favorite. “You’re fond of me.” “You’re a nuisance.”

The Company of Monsters by ruiqi: A full deconstruction of Marius’ abuse from Armand’s pov as he struggles to keep old patterns from repeating with Daniel. Overall I think this is the most realistic depiction of what it would be like for Armand to come to terms with his abuse in the modern day, especially regarding Daniel’s involvement. He’s totally out of his depth but wants so badly to help. This one made me SOB. It’s honestly a really tough read, but beautifully done. “You said, last night, that he wanted an angel,” says Daniel, “but no one's an angel, Armand. That wasn't fair to you. Besides, who would want an angel when they could have you?” “No,” Armand says. “No, you can’t say that.” “You can’t fucking stop me,” says Daniel. And it isn’t tagged, but this one is incredible autistic Armand representation. Probably my #3 fav.

Smart Boy by heliza24: Just a really good 70s Devil’s Minion era explanation of the events leading up to Armand’s decision to take Daniel’s memories away. Quite a bit of infidelity stuff in this one. Also delves a lot into Daniel’s family history, and an emotional affair is established between them long before they actually hook up. Very emotional. Heartbreaking last chapter.

We Dared Eternity and Won by faerywhimsy: A 70s Devil’s Minion era telling of the four good years they had before everything imploded. Louis has somewhat of a distant obsession with Daniel in this and so is very involved in Armand’s decisions regarding him. Favorite scene is when Armand saves Daniel from a hotel fire and the near loss devastates him because it makes him realize he’s in love with Daniel.

reprise. by SheOfBadIdeas: In Dubai, Daniel demands Armand show him the memories he stole. Armand relays the tale of their romance, but Daniel is begrudged to give Armand the satisfaction of giving in to it. That doesn’t last long;)

Waiting by bandedbulbussnarfblat: 70s fic. Daniel is living with Alice and hasn’t seen Armand in two months. He gets a call from Armand, who just got a proposal from Marius asking him to be his companion again. “I told him I couldn't go back. That I was waiting for you.” Daniel sucks in a sharp breath. Fuck. Armand's voice sounds almost wet, strained and raspy. He finally sounds as vulnerable as Daniel always wanted to see him be. “Should I keep waiting for you, Daniel?” (It’s just banger after banger with this author too.)

The Monster of my Memories by GrayGiantess: In Dubai, Daniel has just remembered his relationship with Armand and he’s PISSED. Armand gladly reminds him he’s waited 40 years for Daniel, he doesn’t mind waiting a little while more, and he’s not so sure Daniel has the same conviction🙈 Phenomenal subby old man Daniel material.

Delicate Machinery by Lilac Tinsel: An in depth look at the 70s love affair that neither man ever saw coming, in all its complicated glory. Really dives into the psychological consequences of Armand’s constant rejections. Amazing take on what the actual memory alteration would look like. The part that broke me: “I’m sorry for– for all of it. I didn’t realize how much I took. I just… wanted to stop thinking for a moment.” Armand blinks slowly and his eyebrows knit together. His voice is small but steady. “Did you take the drugs so you wouldn’t feel me anymore?”

You Taste Like Suburbia by CannibalGender: This is the only unfinished work I’m putting on this list because it’s so fucking good as is and gave me chills when I read it. It’s the 80s, Armand, famously normal about his partners' families, haunts the Molloys. I absolutely love Alice in this. Paints such an intriguing picture of what these years might have looked like from an “outside” pov.

Two parter I’ll chew you up and I’ll spit you out and Oh dear diary, I met a boy by weathermood: Loumandaniel in Dubai, set just after the season 1 finale. Asks, what if Daniel doesn’t want to remember? An exploration of identity while Louis and Armand try to persuade Daniel to allow his memories of their past relationship to be restored. Explores dreams and memories beautifully and with delightful humor. Classic unhinged Armand.

138 lbs, for the metrically challenged by hummingbeeoOo: Fluffy and funny. After Daniel’s turning and subsequent hunting down of his maker, they’re shacked up and happier than ever, but a little something from the interview has kept nagging at Daniel. Or: there is exactly zero way a beanpole like Armand weighed a measly 62.5 kilograms a day in his adult life. The end of this fic had me kicking my feet and giggling. This whole series is great tbh.

This list is my pride and joy. Thank you to the anon who asked for recs<3 Feel free to share your own favorites in the reblogs:)

[vonlipvig]

man, the race for best picture this year is so crazy. emilia pérez lauded as a triumph during its festival run, then torn to pieces by the public for being messy, racist, and inauthentic. anora praised during festivals as well, described as an incredible modern cinderella-story, then gets into hot water with the intimacy coordinator debacle and rehashes the poor things discourse once again. the brutalist called a masterpiece, beautifully filmed and full of artistic vision and wonderful performances, then dragged into AI discourse by a mysterious source.

man, if only we had a movie about a bunch of hopefuls who are all vying for a prestigious position of honor, all trying to get the necessary votes to secure their win, only for controversies to come to light about each and every one of them...

[the-crooked-library]

Blurred Lines: Agency and Victimhood in Gothic Horror

Seeing as Robert Eggers' Nosferatu has just breached a cool $135M at the worldwide box office, it might be as good a time to talk about this as any. I believe I echo the sentiments of most diehard fans of gothic horror when I say this: while we are glad to see this masterpiece meet with well-deserved success, these numbers also mean that a significant proportion of its audience has been previously unfamiliar with the hallmarks of our beloved genre; and the resulting disconnect between the viewers and the source material has been the driving force behind the great majority of the online discourse that surrounds it.

The tools and conventions of the gothic, as a genre, are essential to Nosferatu's primary narrative arc. Its central character, Ellen Hutter, cannot be discussed outside of her literary context. Textually, she balances between heroine and damsel in distress - blurred, in many ways, from mainstream understanding.

That is done entirely on purpose. There are numerous reasons for it; I could go into heavy detail about it; and I will - under the cut, of course.

The main thing I must make absolutely clear (before delving any deeper) is that the gothic genre is fundamentally non-literal. It deals heavily in metaphor, allegory, allusion, obfuscation - and, indeed, the blurred lines that have recently caused so much controversy online. This is by design. It is not a flaw of storytelling or interpretation. The gothic affronts the rigid, black-and-white, mainstream forms of morality because that is what it has always been designed to do; and the newer installments like Nosferatu do the same, being built upon those traditional foundations.

The historical background is therefore essential to the understanding of a gothic narrative. In this, the film does provide the viewer with a relatively easy starting point; its period setting amplifies its connection to its predecessors, as well as the societal pressures and systemic violence that it aims to challenge. It allows the audience to perceive the story through a historical lens that comes pre-installed, as a sort of short-cut to the genre's original social context.

The context, in this case, consists of misogyny, queerphobia, xenophobia, and ableism - which, while rampant even in the modern day, were that much more blatant in 1830s German Confederation, where/when the story largely takes place. Every human character, regardless of who they are, is influenced by these oppressive aspects of their society; and Ellen Hutter is hopelessly entrapped within all four.

Her social situation, as we are given to understand, is precarious. Though she was originally born into wealth, she married down to escape her abusive father. She is an eccentric - her "wild" inclinations (such as having a sense of dignity or loving the outdoors as a child) are enough to cause almost vitriolic disapproval; but on top of that, she was born with a psychic gift, which manifests in a way that is not dissimilar from a mental (and sometimes physical) disability. She and her husband are also English immigrants, and thus perpetual outsiders in Wisborg (this is also one of the reasons Thomas is so anxious to prove himself at Knock's firm, and so keen to emulate Harding in all things); and, finally, she implied to experience queer attraction - which, though non-explicit, repressed, and never truly indulged, still affects her and the way she is continuously treated throughout the film.

Overall, Ellen's existence is perceived, at best, as an inconvenience - and at worst, a scandal. With that, she fits seamlessly into her story's genre.

The "immoral," the forbidden, the taboo is a cornerstone of all gothic fiction. It exists in the doubt between light and dark, harm and desire, love and abuse. It is the domain of sympathetic villains (e.g. Heathcliff, Wuthering Heights), of imperfect victims (Bertha Mason, Jane Eyre), of heroes who are deeply flawed, who cause their own tragedies, and often fail to save anyone at all (Victor Frankenstein, Frankenstein). Within the gothic genre, there are no absolutes; and its contradicting balance of dichotomies provides a reference point - or, more accurately, a cultural triangulation - for exploring the same complexities that a binary puritanical mindset strives to eradicate. These include sexual desire, female autonomy, physical and mental disabilities, classism; in short, anything that gets people wincing.

The popular discussion of these topics is frequently cruel, often avoidant, and rarely straightforward or productive. As stated above, it makes people uncomfortable. It's not pleasant. However, for Ellen (and many people in the real world), it is, quite literally, impossible to avoid. It defines every aspect of her daily life.

What this means for her and for the story is that within a narrative that refuses to gloss over the imperfections of her surrounding society, her victimhood is not thrust upon her by a shadowy figure, emerging from the night. Instead, she is a victim - of an ongoing and systemic, rather than individual, abuse.

This aspect of Ellen's characterization lies at the core of her behaviour throughout the film. She is an unstable chimera of Brontë's Jane Eyre and Bertha Mason - in the sense that her actions are informed, in great part, by her acute awareness of her own disenfranchisement. She alternates between anguished raving and phlegmatic practicality, used to her pain but unable to entirely ignore it; and, the same way that Jane sees all the rage she feels (but cannot afford to express) manifested in Bertha, Ellen finds her counterpart in Orlok.

This is where the ambiguity begins.

Even though Orlok is most certainly a gothic villain, his relationship with Ellen cannot be interpreted as strictly adversarial. Naturally, it would be easy to ascribe their dynamic to grooming and PTSD; however, as previously mentioned, a gothic narrative is never surface-level - and the film itself never furnishes any information that would definitively limit it to that.

Firstly, to get the primary discourse point out of the way - yes, when Ellen and Orlok first meet within the ether, she is indeed young; and later, she is said to have been a child. However, at the time, the term "teenager"did not yet exist; Ellen's younger self is not portrayed by a child actress; and later, in 1838, she is referred to as a child multiple times - despite being an adult, married woman. Overall, within the film, the term is more often used to describe innocence and inexperience, rather than age; and her initial age is never specified. Granted, a multi-century age gap is not exactly "healthy" anyway - but this is a vampire story. It is per the course; and it complicates their relationship beyond a simple victim vs abuser narrative.

Secondly - and perhaps, most importantly - the overall impact of Orlok's coercion tactics falls flat in comparison to Ellen's human-world alternatives. Yes, he argues and threatens; but her social circumstances have never allowed her agency in the first place. Her father abuses, isolates, and threatens to institutionalize her; Thomas dismisses her concerns as "childish fantasies"; Harding and Sievers tie her down and drug her; Harding again kicks her out of the house. Her marriage, her friendships, are therefore all transactional; they grant her an escape from her father's house, relative financial stability, social support - on the condition that she represses her true self, pretends to be normal, doesn't threaten anyone's masculinity or heterosexuality, and acts like she's happy to be a deferring, obedient, settled wife. Being a daughter of a landed gentleman, she would never have been given a working woman's education, and evidently has no income of her own; and so, she has no options except to upkeep her end of the bargain - which means that her continued survival within mainstream society relies on constant background coercion.

Compared to this mundane, socially acceptable horror of her existence, the vampire actually offers her more autonomy than she is ever otherwise accorded. The terms of his covenant never threaten Ellen's own well-being; so on one hand, she has benevolence - and on the other, the dignity of choice.

This contrast lies at the heart of her dilemma. Ellen is torn between what she believes she should be and what she knows - and Orlok knows - she is.

One is "correct," moral, Good; the other is "wrong," sinful, Evil. However, at the same time, the first is manufactured; it is artificially designed, and must be continuously enforced. The second is primal. Natural. In accordance with gothic tradition, the appeal of Orlok is that he is forbidden, yet instinctive. By design, he is a reflection of everything that Ellen is forced to repress on a daily basis. That includes her rage, her ostracism, her abnormalities; but also, her desperate need to be respected, understood, and desired. He is both grotesque and alluring, both a lord and a beast, both cruel and reverent.

"He is my melancholy!.." cries Ellen.

"I am Heathcliff!" whispers Cathy.

Still, while Cathy and Heathcliff are primarily divided by class and racism, Orlok and Ellen are separated by moral considerations. In the explicit sense, Ellen cannot choose the Evil that Orlok represents. Within the surface narrative, she is obligated by her society, her morals, and the story to choose Good - in this case, by nobly sacrificing her individual expendable life to save her husband and a city full of people. Her primary storyline, like everything else, has already been decided for her.

For the Trekkies among us, this is Ellen's own Kobayashi Maru. A no-win scenario. As such, within the context of character analysis, her destination does not matter as much as the little things she does along the way; and it is no accident that, as the film progresses, the subtler, seemingly insignificant choices she makes within that framework just happen to bring her closer - and closer - to Orlok.

All of them are just innocuous enough to almost pass. She places a lock of perfumed hair in a locket that she gives to Thomas - and upon his arrival to the Carpathians, the same locket is immediately claimed by Orlok, who recognizes the scent of lilacs. Before making her sacrifice, she puts on her wedding dress and finds a bouquet of the same flowers - which is the sort of effort she didn't have to perform, especially given that he cannot resist her blood regardless. When Orlok arrives, she chooses to undress them both, and leads him to the bed, even though her previous sex scene with Thomas was entirely clothed; and in the morning, she pulls him close and holds him through the sunrise - even though he was already dying, and would not be able to escape. There was no need for her to touch his rotting flesh at that point, much less caress it.

There can be a "moral" explanation for all these actions; but the lack of direct obligation involved in them becomes increasingly blatant over the course of the story, and the doubt festers.

This sort of lingering ambiguity is precisely where gothic horror thrives - and intersects, scandalously, with romance. Gothic horror, much like bodice-ripper novels, noir thrillers, or "dark romance," builds much of its romantic intensity on the dichotomy of shame and desire. Imagine it, if you will, as a loom; warp and weft. It may even be described as literary BDSM - a continuous, mutually-agreed-upon act of roleplay between the author and their audience, and sometimes the characters themselves (though that depends). The point is to create an outlet for female, queer, or disabled sexualities, all of which are still heavily medicalized and restricted, derided, or denied entirely; and within these often intersecting genres, the violent or coercive intensity of the dominant lead (be it a vampire, a mafia don, or simply a more experienced lesbian) provides their repressed, seemingly passive counterpart an excuse to act upon their demonized erotic urges.

Between the page and the mind, everything that normally complicates a romantic or sexual encounter in the real world (subliminal hints, aggression, repressed and involuntary responses) becomes set dressing - serving to place a particular scene or dynamic within its fictional universe. The resulting Watsonian uncertainty is, naturally, part of the appeal. It is what allows the viewer/reader/listener a sincere emotional and sensual immersion; and for Ellen and Orlok, it provides an appropriately dramatic pretext for a night of tender vampire sex.

The discourse around their joining is painfully similar to the same that drifts around online every winter - in regards to the classic holiday hit, Baby it's Cold Outside. The song, written during an era in which extramarital sexuality was heavily restricted, follows a couple brainstorming excuses for the lady to stay the night; this intention was explicitly stated by both members of the original duet; but that hasn't stopped thousands of people from interpreting it as a "rape anthem." It is unsurprising, then, that an element of horror (guilt, shame, repression, coercion) muddles the water even further.

It's oddly apt, considering that the film premiered on Christmas Day.

Granted, I am not denying that there is an abusive aspect to Ellen and Orlok's connection, romantic or otherwise. However, to reduce Ellen to merely his "victim" is extremely inaccurate to her actual portrayal - because, within the framework of the film, her interactions with Orlok are the few in which she is actually able to exercise some form of agency. She never defers to him, their wedding-death hinges on her free will, as coerced as it may appear; and, in a fascinating subversion of a popular vampire trope, she is the one who summons him.

In gothic media, "Come to me!.." is invariably spoken by a vampire (or a vampire derivative like Erik, Leroux's titular Phantom of the Opera); their counterpart follows helplessly, without question; and giving these lines to Ellen is a dramatic deviation from tradition that fundamentally alters the underlying context of their power balance. By maintaining this call-and-response dynamic throughout the story, Eggers asserts that Ellen isn't helpless; and neither is she "in over her head." She is intelligent, powerful, and she has a tangible influence over Orlok, who is her only equal - which is why, ultimately, she is the one deciding where that relationship is headed.

That is not to say that any alternative readings of the film are entirely incorrect. As I have stated above, the abusive/toxic narrative is definitely present, and even essential, in gothic media. On the Doylist level, it is the equivalent of a whip, or a solid pair of cuffs - essentially, a divestment of responsibility; though, to continue the metaphor, not everyone shares the same kink - and those who do might not all enjoy it the same way, so there's definitely significant variation. What I am trying to say, however, is that each story does come with a central conflict; and Ellen Hutter's victimization - much like Jane Eyre's, like Thomasin's (The Witch, 2015) - is systemic.

She is ostracized, disrespected - infantilized if her oppressors are feeling benevolent, demonized when they are inconvenienced - and still expected to always prioritize her husband/friends/community by default, regardless of how she is treated by them. Her surrounding society, morality, religion, culture all insist upon the same; and this is why, despite knowing that she has done nothing wrong by following her nature, she carries an enormous amount of guilt in regards to those "unacceptable" aspects of herself. It is also the same reason why Orlok - the sensual, cruel, utterly devoted monster - is the answer to her lonely call; and the reason why everyone around her is so eager to see her as his victim, rather than a victim of anything they may have perpetrated themselves. Ellen's is a rich complexity, fed upon centuries' worth of gothic tradition, and she cannot be forced into a flat, genre-inappropriate simplification.

Like The Witch, like NBC Hannibal, like Interview With the Vampire before it - Nosferatu (2024) is a story of self-indulgence being so unfamiliar that it feels like a sin; or, like dying.

I, for one, would not deny her that.

[dangermousie]

Top Dozen cdramas - 2024

This can obviously change but nothing truly exciting looks to air for the rest of the year so that's unlikely. My Top Dozen for the year are likely be set in stone.

It's a very idiosyncratic list which has two mini dramas, three moderns (!!! for me that's insane) and a lot of vibes dramas.

12 Hard to Find - all vibes all the times. A tragic romance that feels like a Gothic fairytale, this is what minidramas could be.

11 Love In the Desert - out of all the dramas on this list, this is the one that screams most "a good time." It's a romance and visual feast and webnovel madness and sexy good time and it made me cry.

10 Fortune Writer - a mini that is so smart and meta and fun about narratives and fate and villainy and fighting the story itself. So clever.

9 Derailment - a puzzle and a love story, telling most anything about it would be a spoiler but this story about a rich girl from 2025 who seemingly wakes up in a parallel universe in 2023 in body of a poor doppelganger, and the young man who was in love with the original has everything including addressing what it must feel to people to have a transmigrator possess a loved one.

8 Tender Light - the ending was just - it's the reason it's not n1. But the rest of this drama about an abused wife and an idealistic young man refusing to bow to societal pressure was just exquisite. It addresses morality and loneliness and complicity and sacrifice. Just incredible. Poetry in motion.

7 Will Love In Spring - a modern romance cdrama? In my list? Is the world ending? But seriously, this is such a gorgeous, realistic yet intense exploration of love and loss and trauma. It made me utterly reevaluate Li Xian to boot.

6 Snowfall - this is such a fever dream of a mood piece of a vampire romance, with seriously BDSM and gay vibes, as well as utterly incredible canon age gap ride or die OTP with Ouyang Nana bothering to act for the first time in her life and Vengo Gao embodying a gentleman vampire to perfection. Li Muge remains one of my favorite directors for a reason.

5 Heroes - the story of three very different men all consigned to the dustheap of history by changing times (the best swordsman in the era of guns, a former imperial guard of a regime about to be overthrown, a constable obedient to obsolete code who studied for imperial exams which got abolished) as the Qing dynasty is about to fall, this has fights, humor, three (!) separate love stories, philosophy and utter and complete heartbreak. The performances, the ideas, the filming and the writing all combine to make a bleak masterpiece with a 99% death rate (I am not kidding, only tertiaries make it out.) If I were in charge, it would get all the awards.

4 The Legend of Shen Li - the one truly mainstream idol costume hit on the list. It's an adult, passionate xianxia that reunites Zhao Liying and Lin Gengxin as deities and battle powerhouses in a love story that is so full of yearning and passion and intensity I feel like peeking through my fingers. This is everything xianxia romance tries to be and almost never is. This just might be my favorite xianxia of all time, tbh.

3 Eternal Brotherhood - a dark horse whose existence I didn't even know about before it aired. Visually stunning despite its tiny budget, this narrative about three sworn brothers in a kingdom and world in crisis, is pitch perfect in its humor, its intensity, its tragedy and its themes (also THREE!!!! amazing love stories despite not being a romance-centric show.) The battles, the friendships, the traumas, the darkness at the heart of it all!

2 Fangs of Fortune - the sole drama that can rival JoL2 for me (only caveat is it's still airing), this is visually the most jaw dropping drama I've ever seen, but it's also high fantasy the way it should be - making me feel so immersed that stopping feels like coming up from a deep dive or waking up from a hypervivid dream. It has impeccable performances (many from actors who I don't normally even like), and its plot and relationships and themes - fate and sacrifice and choice and found family bonds and trauma and so many other things - make it feel as if it was made just for me.

1 Joy of Life 2 - THE drama of 2024 for me. It's somehow better than the incredible first installment. It's funny, it's heartbreaking, it has insane performances, a narrative that hits all my personally favorite themes (a person trying to remain human in an inhuman world, righteousness not being weak), a large cast of fascinating characters who feel like they live in front of me (there are no throwaway roles in this), my favorite ship of the year (though it's not even a ship-centric show) and above all, Zhang Ruoyun's live wire of a performance as Fan Xian, arguably my favorite cdrama character of all time. It should not work yet it does. Brilliantly.

[apoloadonisandnarcissus]

Finally got to see “Nosferatu” (2024) and what a masterpiece. Peak gothic horror, my teenage self came alive with this film. This is truly for the gothic horror, history and folklore enjoyers.

Eggers brings the audience into the Victorian era; not only visually but on the storytelling itself. There are so many layers happening here. This film is a meditation on sex and death, modernity and spirituality, science and superstition. It’s set in the 19th century, at the dawn of the modern Western world; and as Europeans move towards technology and science, they drift away from folklore and pagan religions. It’s no coincidence that Orlok comes into Germany to terrorize a city, the ultimate symbol of civilization.

Our protagonist Ellen is a seer, a medium, an “enchantress” like Orlok calls her, and even Von Franz recognizes she could have been a “Priestess of Isis” had she been born in pagan times. Unfortunately for Ellen, she was born in the “wrong era” and she’s brutally medicalized for her gifts, being diagnosed as a “melancholic hysteric somnambulist” aka hyper-sexual depressive and suicidal. She’s able to see beyond the realm of the living, which causes her to summon and awake Orlok from his centuries old nap, at the beginning of the movie, and develop a psychosexual connection with him; which is, indeed, what separates this story from the other “Dracula” adaptations.

Count Orlok is the archetypal Death, here; which culminates with the “Death and the Maiden” motif at the end. This was a very popular Art History archetype around the so-called “Plague years” (14th to 16th century) in Europe, and it’s often connected with other motifs like “Danse Macabre” and “Memento Mori”. It has several meanings depending on the author intent, usually a reminder of our mortality, but also a meditation on sex and death, as in the French “la petite mort” (“little death”), the post-orgasm sensation, sexual release potentially causing temporary loss of consciousness (fainting) or dizziness. In the Medieval Ages, physicians believed orgasms could lead to death because they drained the “life force” from the body. This was when the term “petite mort” was created, and this belief persisted into the Renaissance and beyond. In “Nosferatu” this probably translates in the sexual pleasure that Orlok imprints on his victims as he drains their life force.

Thomas is a ambitious young man who marries Ellen, and he craves the status and the money his long-friend Friedrich Harding has. At Thomas’ side, Ellen “gifts” appear to have been blocked, and she’s able to lead a “normal life”. This caused her to developed a somewhat co-dependent relationship with him. And this makes me ask: does Ellen truly loves him or does she loves the idea of herself with him? Ellen profound need to feel loved also extends to her friendship with Anna, and she even thanks her for loving her. This is also a desire she expresses to Orlok, as she accuses him of being incapable of loving her (in the human sense), this being the reason for her resisting to succumb to his offer (Thomas loves her, he doesn’t).

Many interpretations have been brought forward about Ellen story (abuse, grooming, etc.), personally I disagree. I see it as a metaphorical story of depression (Ellen not only gets diagnosed with “melancholy”, the Victorian equivalent for “Depression”, but she also presents a lot of synonyms of Bordeline Personality Disorder), and how it can wreck havoc on the lives of those around us when the proper medical treatment is not available, and it culminates with Ellen joining Orlok/Death = committing suicide. Like Orlok himself, she can never be satiated with the world of the living, and finds fulfillment in death, and him as a “past lover” can be interpreted not only with suicidal ideation but actual attempts.

The influence of Grand Guignol theatre is also visible in some scenes, where horror and comedy are blended. Some scenes are indeed very theatrical and this seems intentional.

Personally, I didn’t find this film scary (as in terrifying). It’s macabre and eerie, for sure. Visually, it’s stunning. Amazing cinematography, very atmospheric and dream-like. Customs and sets are incredible. A feast for historians like myself. I was gushing over the medieval architecture of Orlok castle because of course I was. The attention to detail in this film is incredible. I absolutely loved Orlok character design as the “Renaissance plague carrier”.

[keiiaq]

things to script - old hollywood beauty/ marilyn monroe effect ˚ ༘

───── ˙✧˖° ༘ ⋆｡🎞️˚ ─────

“trying to be someone else is a waste of the person you are.” - marilyn monroe

⋆｡˚꩜ 🥂 you walk into any room, and the world stops. there’s something about the way the light reflects off your skin, the way every movement you make seems deliberate, captivating, like it’s straight out of a black-and-white film. you’re not just a person, you’re an experience, an aura, a dream, a memory in the making.

⋆｡˚꩜ 🎥 you are the kind of beauty that generations will still talk about long after you’ve left the room. the kind of beauty that turns heads without effort, that draws in stares like moths to a flame, unable to look away even if they tried. it’s more than your look, it’s your presence, everything that makes you, you.

⋆｡˚꩜ 🎞️ you are the embodiment of old hollywood glamour, where even the tiniest twitch of your finger is a masterpiece of grace. they all wish they could touch your existence, be part of your world for just a moment, but you are untouchable. your beauty is a legend in its own right, a legacy that will be passed down the ages. they say marilyn monroe had that effect. you have it too, and you wear it like a crown, effortlessly.

⋆｡˚꩜ 🎬 no one can replicate the way your charm fills the room, commanding attention the moment you walk in. it’s as if the air becomes thicker with your presence, a palpable energy that everyone around you feels but cannot name. you glide through spaces with an elegance that makes it impossible for eyes not to follow, drawn in by an unexplainable force.

⋆｡˚꩜ 🥂 you don’t have to speak, your existence alone carries the weight of a thousand words, a thousand stories. and when you leave, theres a silence that lingers, an absence that’s felt deeply, because the world knows it has witness something rare, something extraordinary. you are not of this time. your an icon. a legend. a beauty that will never be forgotten.

⋆｡˚꩜ 🎥 you are the epitome of allure, a modern-day marilyn monroe reincarnate, and it’s almost unfair how easy it is for you to captivate an audience. your perfect natural lips? of course, they are practically made for you. your hair? it cascades around your face as if it were hand twirled by the gods themselves.

⋆｡˚꩜ 🎞️ you could step out in the most casual attire and still leave everyone in awe. after all, it’s not the outfit, it’s you. your features are perfectly sculpted, as if a team of make up artists and stylists worked on you for years just to refine every inch of your face and figure. no amount of effort could duplicate your effortless attractiveness. you wear your beauty like a suit of armour, and nothing could ever break it. every glance, every gaze you catch is a reminder of just how special you truly are. the way they look at you is not out of curiosity, it’s out of awe and shock.

⋆｡˚꩜ 🎬 you are the fantasy everyone thinks they can never have, the dream that haunts their subconscious. it’s no wonder they whisper when you enter a room. your beauty demands it. you have this rare ability to make the world feel like it’s revolving around you without lifting a finger. the way you hold yourself, the way you speak, every moment you make becomes an art form in itself.

⋆｡˚꩜ 🥂 people can’t help but admire you from afar, each of them hoping to catch a glimpse of your perfection, to breathe in the aura that surrounds you. they know they’ll never be able to reach your level, but that’s the beauty of it. you are untouchable, an unreachable star, and they can do nothing but watch you as you shine, knowing full well that in their eyes, your more than just beautiful. you’re an unattainable ideal, a vision of perfection.

───── ˙✧˖° ༘ ⋆｡🎞️˚ ─────

[katerinaaqu]

Hello!!

Since I've seen that you've listened to both Epic and Paris the musical, I was curious to know what are your toughts on them! Did you like how the myths and characters where handled? What do you like best and worst? (If you'd like to share, what's your favourite song/moment in each?)

Thanks :]

My my you really wanna get me have an even bigger target on my back than the one I put already! Hahaha! Ok so be it! Hahaha If this gets waaaaaay too long or too runty forgive me! ^_^

You have noticed from many of my comments and my notifications, memes or jokes. I am not a fan of EPIC. Not at all. I believe I am one of the most disliked people on Tumblr on mythology matters because I so openly speak my dislike against EPIC and being annoying about it! Hahaha! XD The thing I absolutely love about it is of course the guy's passion with the project, the way the music works and all (undoubtedly the guy is a very talented composer and can combine the scene with music and emotions and the tricks he uses with music are great) but the way the plot of Odyssey was twisted beyond recognition and to the point that to me you can literally change the names of the characters to anything else and still have the story he presents with the Musical. Maybe that was his goal but in my head that is not what a retelling or an adaptation is about. A retelling to me is not something that seeks to change literally as much as possible from the plot to fit the modern standards or the fanbase. A retelling is something as the word says that "retells the story" aka adapts the story as loyally as possible and adapts it to the audinece by taking creative liberties that are still generic to the story as it was originally told so that it will fit more to the modern standards or ear.

I believe we have so much twisted the word "retelling" that nowadays "retelling" seems to be equivalent to "let's change the hell out of the story because the original plot is not even THAT important to be salvaged and no modern person would watch it anyways" which in my opinion is not the case at all. Unless of course one writes satire. Then it doesn't matter, as I mentioned to another ask of mine.

I lost interest and was massively disappointed from the end of second saga and the song "Storm". The first two sagas were a masterpiece. The creative liberties were amazing to make sense with the plot and give the characters motivation (for example "I'm just a man" was FANTASTIC! The way the myth from Iliou Persis that gave us only one phrase "Odysseus kills Astyanax by throwing him off the wall" is now transformed into a marvelous emotional dilemma and a painful decision). In this case the creative liberty work WITH the plot and not against it. I didn't mind it as much that they made Polites a fluffy guy for no reason to fit that stereotypical "innocence of the team" plot because Polites is a clean slate character in Odyssey. However after Storm I started seeing your typical "Hollywood film 'adaptation' logic with changing stuff at the plot". I was intrigued at how they decided to give Polyphemus an excuse to kill like the guys enter a cave that is obviously habitable and kill an animal that is obviously domesticated and they do not know someone lives there? In the original it was clear someone lived there which made Odysseus curious to interract with them. I was willing to ignore that because ok creative liberties but then Athena was there!? And she gave Odysseus every opportunity to kill him while Odysseus was just "TOO NICE?!" like since when? Odysseus was all about killing him but he had no guarantee he would plus he needed him to open the cave. And the way he revealed his name in the musical was so rush and almost "out of spite" for Athena not a result of a secclusion in a cave for days and days and then his pride speaking up when Polyphemus called him a coward (which I tried to capture to my fic, not sure if I succeeded but still). So anyways at that point I was sure we wouldn't see the last of it with the changes. Poseidon destroys the ships instead of the Laestrygonians (no surprise there, rarely ever see anyone even mention the Laestrygonians yet alone show their contribution to the Odyssey) but then Circe happened and I just knew that we would have to derail from the original more and more

Circe's role was incredibly diminished for the sakes of making her actions more mellow and pass the message of loyalty and kindness. Circe in the original gives Odysseus valid information for his trip provisions and much more. In Epic not only we do not see the importance of Odysseus selling himself to Circe and we have Circe for some reason seducing him to kill him (removing her humanity from when she got scared that her magic won't work on him, potentially thinking he is some kind of god, begging for her safety to then suggesting her bed as Hermes predicts) I mean she had lions and wolves to her disposal she doesn't need to seduce him to kill him. Then of course Jorge realized that a big chunk of plot is missing and so he made Odysseus find out about Skylla by the sirens?! Like...okay... Even Tiresias gives him almost nothing (in the original he also tells him how to break the curse) Which seems interesting how Odysseus breaks down with "Monster" in Tiresias when he has received an act of kindess before. Wouldn't it be more amazing if he had that breakdown AFTER he paid the price with Circe with his own body? That even kindess has a terrible price? Of course the most iconic scene of the Odyssey after the murder of the suitors and Cyclops, the Sirens were twisted to whatever we had there; Odysseus listening to their song was of massive importance to his natural curiocity and we didn't get that (not to mention how would the sirens spell work on him and have Penelope there if he didn't hear their song in the first place?) and of course the fact that he kills them?! Like...how that even works I have no idea and like in the original people were running for their lives. Didn't even look back. Apparently they had all the time in the world to capture them, they knew apparently exactly how many they were and then they kill them?! Like I won't even say that they used the medieval mermaid instead of the sirens and then they "leave them drown" (how you drown fish people is beyond me! Maybe they are sharks that need to keep moving lol) and of course again that scene seemed to me that it was there only to show that "Odysseus is a monster" which makes no sense Odyssey-wise for many reasons. and then of course again Skylla; Odysseus doesn't gear up to protect his men, he is the one who chooses the sacrifice out of spite etc etc

Many others got sped up like the Helios cattle but ok I guess that is expected up to one point even if it could be handled differently but of course then we have also Zeus being a jerk and again making Odysseus choose? The storm that took the lives of his men was a natural consequence, not some twisted thing to prove how "monstrous" Odysseus is. In fact Odysseus tried till the last moment to sail away and save the lives he could (see my other analysis here) and of course again as many people said on God Games and all how Zeus was twisted yet another time although in Odyssey he had zero reasons to object apart from the natural hubris nemesis sequence. He never called Odysseus "shameful" either. In fact he says he agrees with Athena that calls him the most pious.

I think the massive change that I believe is abused by modern retellings is the whole "monster to man" trope. Odysseus losing his moral compass and "becoming the monster" and the plot around revolving to it. That was never the pont of Odyssey in my opinion. Odysseus never really lost his moral compass it is just his morality was not all pure and lovey in the first place. Was he changed by his experiences to be more ruthless in general? Absolutely but he was never changed to a monster according to Homeric version (because post-homeric versions already treat him as a villain from the get-go)

As for the things I liked about it, I had made a post you can see here:

I do love the harmonies and the music in it and I love the passion and the talents of the people in it. It is just that the whole plot for me is just not it. Also maybe I am also mostly annoyed with how the "fandom logic" has taken over it. Like internet getting swarmed by it. Epic quotes or facts getting literally mixed up or associated with the original or the fact we can no longer speak on the original unless someone brings up Epic the Musical... This annoys me to no ends. Of course I recognize the passion of the fans of the musical. Is just a personal thing to me. I felt the same when people were using Percy Jackson or Miller's books to talk on mythology before. Is the same here.

Of course I need to say this all the above is my PERSONAL OPINION. I have literally NOTHING against people who love the musical and the original equally. I am just NOT one of them. Also i have nothing against the artist either. I just do not agree with his outtake. Still appreciate his hard work. However when I saw the firsttwo sagas I knew this guy KNEW his mythology which is why I feel so disappointed that his later sagas felt like "Hmm...let me use that knowledge I definitely have on Odyssey just to change the hell out of it!" And that had me very sad and lowkey annoyed because I think this guy had some real stuff to create an actual Odyssey adaptation and yet again we had your average hollywood film plot where you barely see any of the plot he ellegedly adapts

Now on Paris the Musical I had answered another ask you can see here

I will not take more space on this already huge and runty post that probably made me more annoying and irritating around Tumblr! XD Generally again has little to nothing to do with Iliad but I loved the music (it was arguably one of the most original choices for music for a musical) and the songs I mention to the ask. Apart from that I am ot ecstatic by it either (arguably stage musicals do not seem to work for me when it comes to the ancient classics to a large degree because of how much the plots need to be overly simplified to fit the time frame) but I am more happy that it din't get blasted out of proportions like Epic was so the plot of it doesn't even need to be pointed out that it is not accurate and all. It is self-evident. The fact that the creator of Epic needed to "warn the fans" on how inaccurate his work is, speaks volumes to me.

I will close this runt now because is already too long. I think both Epic and Paris musicals have little to nothing to do with the things they adapt but Ironically Paris the Musical changed less stuff than Epic in comparison to magnitude. Both are passionate projects with great potential and very good music but plot wise I am not anymore surprised that they do not follow the actual plots or character developments. I am surprised that Epic was more accurate to the character development of Eurylochus than the main protagonist Odysseus! Made me focus more on Eurylochus than Odysseus! Hahaha!

I am glad that the musicals make more people willing to read the originals though. For that I am grateful.

And if I have to pick one song from each musical I would say "Just a Man" and "Business" respectably but of course I like others as well especially from Epic such as "Horse and the Infant", "Will of the gods" and "Storm".

I hope this answers your questions! I will elaborate further on some of the points I make here if you want! ^_^

[assiraphales]

mamma mia is a modern day masterpiece because the entire cast was plastered for the entire filming of it

[pianokantzart]

When you pointed out the green lighting in the climax scene, it reminded me of how it seems like people who watched the Mario movie seem to think that it's either some barebones mediocre flick, or it's a cinematic masterpiece and I don't see a whole lot of inbetween. Partly because of your posts I'm finding new things to appreciate it with more with all those clever cinematography things that I never even noticed.

This movie deserves more credit honestly. I never understood why people think the plot was super thin when I'd say the story is at least on par with (and exceeds in some respects) the stories that Mario RPGs have.

In all fairness, the entertainment value of an RPG is based partly on gameplay, while in a movie the experience relies way more on the story and characters. It's easier for an RPG to get away with a thin plot than a movie.

The thing about many modern critics is they tend to focus on a desire to be challenged in some way; presented with novel ideas, unexpected twists, or new takes on classic tropes, but The Mario Movie doesn't really focus on that.

It gives you just enough information to connect with the characters, then proceeds to put all its focus on cinematically recreating the emotions you feel while playing a Mario game: exploration and discovery, fun/bouncy movement, fast paced action, and as much silliness as one can get away with without ruining a sense of stakes.

The movie pulled it off about as well as it possibly could, which is why it was such a big hit with its target audience.

Now, there are some things in The Mario Movie that are extremely unique. For instance, adult brothers who are intensely (yet healthily) attached to and protective of each other as the central focus? Not something I can say I've ever seen before.

And... this may not be a positive for everyone... but the main male and female protagonist growing closer over the course of the story but never really establishing a relationship beyond mutual respect? Given how almost every other animated movie I've seen that isn't a Miyazaki film has to force a romance by the end of its runtime, Mario and Peach's relationship was a huge a breath of fresh air.

But if neither of these dynamics grab your attention it's pretty easy to see the movie as nothing more than a silly romp with straightforward characters and a simple story.

But even as a silly little romp a lot of love and care went into the set pieces, the worlds, and the way the characters move and interact, as well as all the tiny background details and easter eggs. Say what you will about Illumination, but it is a company with extremely skilled animators and designers in its ranks.

So while the end result is nothing ground breaking, The Super Mario Bros. Movie is what it set out to be: just fun. Likable characters, funny jokes, beautiful visuals, and just a general good time.

[crazylittlejester]

What kind of movies/shows do you think the modern boys would like? I personally think Sky would LOVE Studio Ghibli and War and Wild would enjoy movie musicals

OOOH!!

You’re absolutely right Sky would love Studio Ghibli, and he’d like those older animated disney movies like Cinderella and winnie the pooh. He’d also love those plotless lifetime and hallmark movies, because it’s really just people walking around and its always the same five actors doing the same 2 plots over and over again and he’d love making fun of them and ‘predicting’ what comes next akdmdkd. I think he and Sun would like watching the christmas themed ones together. Also you can pry his nature documentaries out of his cold dead hands

WARRIORS DRAGGED TWILIGHT TO SEE WICKED WITH HIM, BAWLED HIS EYES OUT, AND THEN MADE HIM GO SEE IT WITH HIM AGAIN. He’s a theater kid in theory, he’s not the worlds most talented singer (if you ask Twi he’d say War can’t sing at all and that him “screaming to lady gaga” is “the most horrific sound ive ever heard in my life, War, you’re gonna make my ears bleed”) but he has the passion and borderline obnoxious energy, he just never had the time to do musicals in school. War also really likes dramas and reality tv. When he’s really sad he’ll throw on something like Dance Moms and then just scream at the tv or sit there in absolute shock because how in the name of the gods did this air

Twilight LOVES weird mystery/thriller shows, which is hilarious coming from the guy who at age 11 was so scared of muppets most wanted he broke down sobbing when his dad stuck a picture of kermit the frog on the fridge (and also several other locations in the house) and now has a lifelong fear of the muppets (though its simmered down to more of an anxiety now, he can watch the muppets but he WILL jump if he unexpectedly sees kermit). He’s a big film guy, he really appreciates looking at how frames and scenes were shot and how that adds into storytelling, he doesn’t have a genre he sticks to he’s just biased towards mystery stuff. He loves Knives Out, and does genuinely think the first Twilight movie is a cinematic masterpiece (hence the nickname, ‘Twilight’), and he appreciates a good movie musical as well

this was a fun question to answer!! thanks for asking it :)