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evilasiangenius · 6 years ago

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Ekstasis end notes, part 2

Part 1 can be found here. Again, this is a working draft of notes, I’ll probably revise it at a future date.

Progress on the next chapter is a little slow, but one hint for what’s to come: Furiosa is on her way to the Immortan’s Tower.

Chapter 11

The Loading Gate is based on the bus gate in Mad Max 2: Road Warrior.

A comment from reader veeeeight: “On tonight's episode of Cooking With The Ace: Doing More With Less.”

Immortan Joe talks about buying more children in Vulnera, chapter 6.

AAA rating is mostly a reference to credit ratings (e.g. Standard & Poor's), but it's also a reference to the Auto Club.

Slit soldered his arm bracer on in chapter 2 of Ekstasis so as to never be unarmed, but he thought ahead; he can take it apart enough so that he can get into Bartertown without having to saw off the bracer.

The model of slavery in Bartertown is more like slavery in classical antiquity than the model of chattel slavery that most people are more familiar with, i.e. the type of slavery that existed in the transatlantic trade. More on this later.

In Vulnera, chapter 8, Slit reveals that his parents were slaves. “Slaves, the kind that get themselves made slaves because they buy their way into Bartertown with what little they got left, get in debt once they get inside, and never figure a way to buy themselves out.”

This is definitely a reference to Max wrecking the Underworld methane farm in Beyond Thunderdome.

The first reference to the slave pens in the Underworld was in Vulnera, chapter 7 when Capable talks about how she was brought to Bartertown to be sold.

I imagined this dealer like any number of stereotypical American car dealers, except he trades in slaves.

Thanks to shejackalarts for the discussions on dog breeds and dog training. A lot of it inspired this section of the chapter and many elements of how the Ace selects the new War Pups.

Now we know why Slit specifically was brought along.

For those curious, Gamble is based on a Belgian Malinois owned by shejackalarts. He is a handsome boy, a bracelet thief, a hoarder of plush toys, and a gentleman. And of course, a very good boy. https://shejackalarts.tumblr.com/tagged/gamble

The real life Gamble steals watches, bracelets, and anything else attached to wrists.

The Ace's training toy is mentioned in Vulnera, chapter 8 and in Gloria, chapter 11.

Much of the fictional Gamble's life is based on the dog's life, though I don't think the dog has ever broken his nose (that would be too sad).

Morsov just loves those cannibalism jokes.

This model of slavery means that children born to slaves are not automatically slaves themselves; they are nominally free. That means that even though Slit's parents were slaves, Slit was technically free-born, which meant that he belonged to his parents and not his parents' owner(s). This suggests that at least some slaves in Bartertown are more like indentured servants than what we would consider slaves in the transatlantic chattel slavery model more people are familiar with. In Vulnera, chapter 8, Slit talks about how he worked as a thief to try to help his parents buy their freedom.

This was how Slit was brought out of Bartertown, chained by his wrist to the Ace's belt at the end of the first part of this series, in the story titled Furiosa.

The Ace calls Furiosa by her title in public and during official work.

Slit has no reason to trust Traders, after he was abused (Vulnera, chapter 8).

The description of the shady merchant is based on Josh Helman, just aged up.

Uncharacteristically, Slit slips into the personal “I” which shows just how serious this accusation is; he is taking full responsibility and credit for his statement.

100 kliks (about 62 miles) is probably an exaggeration or a symbolic number, but it signifies that Bartertown is a regional power.

I intentionally genderswapped some of the original characters from Beyond Thunderdome, partially to show that time had passed, but also to show that it would not matter what gender these characters are in their society; it is the function that matters.

Math fun fact time: the wheel is actually continuous probability instead of discrete.

Just like Gulag meant something odd in Beyond Thunderdome that didn't match the usual definition of the term, Life Imprisonment is not exactly what it seems it should be either.

Coil and Tran have bet on various things over the course of the stories. In Vulnera, chapter 3 they bet on Slit and Morsov's fight for rank, and in Ekstasis, chapter 2, they bet on the reason Morsov went to sit with Slit.

“Rota Fortunae, Imperatrix Mundi” means “Wheel of Fortune, Empress of the World.” This is from the medieval imagery of the wheel of fortune, as well as a reference to the Carmina Burana, from which the title of the series comes from.

Of the bets made by the two War Boys, this is the first time that we've seen Tran win.

Chapter 12

Without heels, Aunty Entity is about 11 hands, so just about 6'4”.

Aunty's Perch is the headquarters seen in Beyond Thunderdome.

It makes sense that Bartertown became very powerful not just because it was located on a major trade route, but because it had a reliable source of food and water. Perhaps it's analogous to those fast food-based economies that get built along major highways, where there's a little town in the middle of nowhere that has fast food, motels, and gasoline, and nearly nothing else. Strict control of the resources has made Bartertown and Aunty very wealthy.

Aunty's Palace is modeled after caravanserai cave dwellings (now hotels) in Göreme, Cappadocia, Turkey. The imagery of a caravanserai is to suggest the importance of Bartertown as an important trading town on a major trade route, except unlike an actual caravanserai, there are rarely visitors and the only full-time resident is Aunty.

Given the frequent storms and the relative sterility of Aunty's Perch, it seemed reasonable to give Aunty Entity a better place to live.

The wire-wrapped glass vessel with water is the same one as the one that Aunty Entity offered to Max in Beyond Thunderdome.

Aunty Entity has sole ownership of the very lucrative production of food and water, and therefore is by far the richest person in the wasteland, probably richer than Immortan Joe. With this resource control, she can afford all the finest things from Before, including wooden furniture, most of which has been burnt, crumbled, or decayed over the many years.

Like many other people in the Wasteland world, Aunty Entity is more of a title than a person.

Fruit porn.

Aunty is talking about fruits like oranges, watermelon, grapes, bananas, etc.

There's some bit of Fury Road lore that suggests that Furiosa has a peach pit. It's unlikely that she could have kept it safe from a before her kidnapping and captivity, so here it is introduced as a gift from Aunty Entity.

Aunty Entity is not just a title but comes with a style, both of wardrobe and of speech, imitating the first, the one known as the Great.

Greater wealth and an increased settlement means Thunderdome fights are now all fought by proxy, suggesting that the times depicted in Mad Max: Beyond Thunderdome are considered more primitive and crude. This is analogous to civilizations eschewing human sacrifice for proxy sacrifice with animals or representative tokens (like ancient Egyptian ushabti, for example). This prosperity and changing culture is a result of the gradual changing climate that is warmer and wetter than the very long drought that grips the region during the height of global nuclear winter.

Aunty Entity brings up Acosta as a challenge; the charisma hides a cunning mind for strategy.

The bed in the guest room is a charpoy bed made with hemp rope. This is a method of bed-making that comes from India, Pakistan, and Bangladesh. Here is a cool video of a man making a charpoy bed. https://www.youtube.com/watch?v=bJ4pGPFpwnA Beyond practicality, this was meant to invoke the sense of an important stop along a wasteland Silk Road.

I originally wanted to write this olive oil soap as savon d'Aleppo (olive oil and laurel oil soap) but it seemed unlikely they could get enough Mediterranean laurel where they are. Besides the lovely smell, I wanted to at least obliquely reference the Syrian conflict, which has in part deprived the world of this ancient olive soapmaking tradition.

A little reference here to that “We can do it!” Furiosa t-shirt. Tfuriosa actually sent me one from Japan. <3

Since new cotton cloth is so valuable (a water-thirsty crop), Aunty Entity/Alex is wearing a fortune in clothing. There is some serious ostentatious to the drabness. Compare that with the highly decorated world outside of Aunty's Palace,

The weight of the dress was based on the weight of Aunty Entity's original dress in Beyond Thunderdome, which was a whopping 55 kilos. Alex's dress is 65 kilos, to be precise, calculated using proportionate heights of characters and weight of the original dress.

“A somebody who has become a nobody” is the converse of the line spoken by Tina Turner in Beyond Thunderdome.

Furiosa is referring to eating pigeons and rabbits.

However the birthrate is skewed through environmental factors, social factors, and infanticide, the main idea that there are more males turns on the notion that in the more uncertain parts of the waste, people have fewer children, hide their births, and children of both genders are often raised male for their own safety. After all, healthy young females are a very desirable commodity in the wasteland, so much so that they are trafficked great distances to warlords like Immortan Joe. There are many people in the waste who might have in the past identified/lived openly as women who instead live, work, and appear on the surface to be male. Thus it looks like there are more men than women.

The title of Aunty Entity is not strictly hereditary; Aunty Entity can also adopt an heir, which has happened more than once in the past.

The tea they drink is made from chrysanthemum and rosebuds, and is based on a Chinese tea blend, continuing the Silk Road references. Furiosa is treating it almost more like soup than tea.

This style of heavy cast iron teapot is common to East Asia.

In the past, outdoor furniture like this would have been made of wood, but wood is so rare and valuable now that no wooden object would be allowed to be outside where it could crack or break due to the dry air. Of course, Immortan Joe is so rich and ostentatious that he does whatever he likes (and in fact has some wood mountings on the Gigahorse's weapons).

I had originally written a bit where Slit moves up a rank every day for 10 days because of his fighting in the line for Vulnera, but it didn't fit so I left it out. Finally was able to use the idea here.

Slit fought Elvis (now the Secundus) in chapter 4 of Euphoria.

Bucket (with his filed teeth) looks a lot scarier than he actually is.

Chapter 13

One detail that I noticed was that many vehicles including the War Rig and the Interceptor have interior curtains that are rolled up along the frames of the doors. The later Nux car in the movies doesn't, but bear with me, I have reason for the apparent inconsistency, just as the interiors are different in this first car compared to the later Nux car.

Socially awkward Morsov.

This description of Stonker was sort of a parody of more standard canonical literature.

In the Iliad, Achilles is forced to choose between glory and living a long life. Like Achilles, the War Boys choose glory.

This image of the War Boys' horseplay comes from behind the scenes videos.

Apparently flipping water bottles is still a thing.

The setting for Aunty's Perch is the same as in Beyond Thunderdome.

Te Ao is a Maori name.

The whistle is what helped Max gain an advantage in the Thunderdome fight in Mad Max: Beyond Thunderdome.

Of course, the feral on trial is Max.

There is injustice to justice when a person can buy their way to favorable results.

I've always wanted to write a story about Imperator Acosta's background.

Chapter 14

Modern western culture has a strong emphasis on the individual, but War Boy society has a stronger emphasis on the collective, the community.

This scene of War Boys banging together tools and metal objects is inspired by a similar scene in the deleted scenes where the War Boys are banging on their cars and other metal items in unison.

The famous quote “Fear is the mind-killer” comes from Dune by Frank Herbert.

Doctor Dealgood is totally flirting with Slit. Too bad Slit doesn't notice.

Many bits of dialogue from these Bartertown moments come from Mad Max: Beyond Thunderdome.

Writing this fight, it seemed that a possible interpretation of Slit's weird lumpy right ear is that it was caused at least in part due to cauliflowering from taking a heavy blow.

A nice double meaning for the Thunderdome Live! sign.

Slit counts the seconds as though he were on the car gauging distances.

Nux is the one who shouts, “Slit, no!”

At the very end of the story Furiosa, Slit is sold to the War Boys by his own father.

Chapter 15

Early on writing segments like Furiosa, I didn't know what the interior of the tanker looked like, but by this time I had seen some behind the scenes pictures, so it now aligns more closely to those images.

Often these symptoms can manifest in children who have survived great trauma such as during war. I learned about this from reading about the survivors of the Syrian conflict.

Using the third person neuter pronoun “it” for children is an old-fashioned way (that still persists in German). It is both to signify the lack of importance of gender as well as the status of War Pups as goods.

Dart's father was definitely an Imperator.

Smaller fighting War Boys end up being sent to Gas Town as their smaller size means they need less food and water. The larger ones stay in the Citadel.

I spent an hour or two watching Russian dashcam crash videos before deciding on a proper exclamation for Morsov.

For more backstory about Coil, Win, and Stonker, check out Vincula.

Bucket is named after a friend's dog. Bristow is Bucket's best mate and is named after the same friend's cat who has since passed on (Witnessed).

Morsov's reciting War Boy principles that he learned from the Ace in Refuge.

Bucket is referencing the Alien movie series.

Zombie stories keep going on. No specific movie, just zombies in general. I'm always slightly amused by how many people have zombie apocalypse survival plans.

Zombie's baby teeth haven't fallen out yet; it's just that he's been hit/knocked over a few times and had some teeth knocked out. So he's a lot younger than he looks and big for his age.

Stonker is alluding to Win, who was killed on the daily patrol and probably un-Witnessed. Win was Stonker's parent. More details can be found in Vincula.

Bucket is asking for Stonker to retell Frozen but then settles on Moana.

Coil inherited this small mirror from Win after Win was killed. It's mentioned in chapter 17 of Vincula.

The Ace knows what he's doing.

Since Win grew up a Trader, he had a sharp eye for expression and only really focused on the parts that would have conceivably been exposed and not always masked.

As an Imperator, Furiosa is allowed to wear a petroleum black that's been chromed with aluminum dust.

Coil is wrong about Furiosa's hesitation here, and he was wrong about Win's too.

Chapter 16

Chapter 16 begins a new section of the story, which as far as my current plans are, is the middle section (volume 2?).

This is also how sailors return from the sea (manning the rail).

Many ideas about jobs such as the HazMat (Hazardous Materials) Imperator came from conversations with veeeeight who inspired many of these ideas. More on this later.

The Citadel has its own cache of clothing that it hoards in storage.

By custom, the Imperator is rarely alone and always has someone close by. The Ace is going against habit, but he knows she'll be with Coil so he's willing to let her go on her own for a little bit.

Even though the War Rig is cleaned by random Revheads, no War Boy is foolish enough to steal from the Imperator. War Boy society is fairly honest.

Furiosa's experience with the Prime Imperator can be found in the first story of the series, Furiosa.

I imagine most of the warren hallways look like the ones that Max ran through in the beginning of Fury Road.

I think the fact that the Imperator is rarely alone may imply that Acosta had enemies, despite his prominent standing.

The War Boys' soap is made from petroleum byproducts.

Memories of the past Green Place and the green place within Bartertown running together.

Clear grease is refined petroleum jelly, which is naturally black otherwise.

The items in the shrine were previously mentioned at the beginning of chapter 1. Not all of the things belonged to Acosta, but many did. The toy car appears in chapter 7 of Vincula, when a young Acosta and Ace made toy cars for the younger children to play with.

The particular tree oil is olive oil. Acetone comes from Gastown. Flower oil is lavender oil. Capsaisin, menthol, and lavender oil come from Bartertown.

The Ace is talking about finding a cache of essential oils.

Morsov is talking about opium poppies.

The Brand Imperator has many brandings all over his body from this sort of thing.

Baxter is the name of a friend's cat who unfortunately died as a kitten.

veeeeight helped me with the water plant details.

Chapter 17

Definitely a commentary on health care.

The elegant War Boy doesn't have a name yet, but chapter 20 we find that he's called Ducky (after sigmastolen's cat).

A high-ranked Organic like Ducky has nearly as much run of the Citadel as an Imperator, though mainly of the farms.

The windmills are dismantled and stored ahead of major storms.

The last War was when Furiosa lost her hand. Though there were many gains (cars, captives, etc.), there were probably too many important losses, such as Imperator Acosta and his remaining crew, for there to be a seemly celebration.

Modern high rise buildings have issues with pressure differences between the outside atmosphere and inside the building. Here, I assume the Citadel has similar issues.

These are wool military surplus blankets. The gray with blue stripes and red edging is the Australian World War II era Army issue blanket, and the sand colored one with green stripes and edging is the Australian Vietnam War era Army issue blanket.

Translated lyrics for the Russian lullaby Bayu Bayushki Bayu can be found here: https://steamcommunity.com/app/381210/discussions/0/1471966894869331810/ Youtube has a few recordings for those curious.

In the movie, from inside the War Tower (when Slit flies in on a chain) the floor looks closed, and from outside it looks open, so I split the difference so that it's partially open toward the waste side, but closed all the way back.

Most major engineering works of the past (and even present) involve some deaths, but in this case this also alludes to ancient practices of human sacrifice while building structures.

The image of the Immortan's family and their seating arrangement at the McFeast comes from a scene of the actors workshopping in a behind the scenes video: http://www.youtube.com/watch?v=jTH2fDyAHcY&t=1m30s

The Haynes, Clymer, and Chilton are all auto repair manual books Haynes is British and Clymer and Chilton are American.

Chapter 18

Chapter 17-19 were were really troublesome writing and it took completing all three before I could see where the logical chapter breaks were.

In the movie, the Prime Imperator is wearing what I am calling the full emblem, and the Secondus Imperator is not, only a leather badge. In the movie, Furiosa wears the full emblem too.

McFeasting: http://evilasiangenius.tumblr.com/post/142858754454/mcfeasting-in-valhalla

In many parts of the world, ink is used to mark voter's thumbs so they can't vote again.

This is of course, Bohemian Rhapsody, by Queen.

The Immortan's musicians consists of the Doof Warrior and the drummers.

This conversation about dumping Bucket is very similar to a conversation I overheard once in a Target, except without as much cannibalism.

Bucket is merely an outsider, Morsov is from the much detested Buzzard tribe, which shows some differences in their social standing.

As sigmastolen pointed out, brake drums are sometimes used in orchestral percussion. Bone flutes and rattles constitute some of the first instruments that humans made. There is definitely a harp in there somewhere. The only major families of instruments not obviously depicted are reed instruments and electrophones, reeds being hard to obtain at the Citadel. Many broad elements of the McFeast music scenes come from discussions with sigmastolen.

Booster is doing a very awkward cover of the Fresh Prince of Bel-Air.

The second War Boy sings Beds are Burning by Midnight Oil, a song that originally was meant to support the rights of the indigenous people of Australia, but has been twisted through the lens of War Boy society to imply it's about Immortan Joe's land rights. I can't remember who recommended this song to me, but I am pretty sure it was shejackalarts.

This old Organic doesn't have a name yet, but in chapter 20 we find out he's called Scythe.

The War Boys bring their own meaning to the music and lyrics that get distorted over time and distance. This is Bulls on Parade by Rage Against the Machine, suggested by veeeeight.

I was once given dried jujubes stuffed with walnuts once as a snack while traveling in Asia.

Nux doesn't know that the games were canceled.

Chapter 19

Elvis was Morsov's first partner and Driver but was abusive to him. In the last chapter of Euphoria, Morsov left Elvis after encouragement from Nux. After fighting Slit, who was protecting Morsov, at a War Games, Elvis was raised as an Imperator and went on to become the new Secundus.

Originally, I had wanted to write this scene with Furiosa and Coil as a more typical love scene, but it didn't feel right coming on the heels of Morsov's story. So it's still a love scene, but here we can see that love comes in many forms and is expressed in many ways, not just sexual.

Coil is teaching her the electric slide. Many years ago in conversation with sigmastolen, we decided that War Boys would definitely line dance, and there would definitely be 100 War Boys doing the electric slide.

This sketch of Coil was drawn by Win, in chapter 17 of Vincula.

In Vulnera chapter 4, a lifetime ago, Coil and Furiosa also sat on a mechanic's creeper together in the War Rig shop under very different circumstances and with a very different relationship.

This unfinished project is referenced by Coil at the end of Lamia and says something about how little Coil really understood Win.

Those high status vehicles get protective coats, whereas when War Boys grind down their vehicles, it'll end up going to rust at some point because there is no way for them to do the same thing.

Much like Viking flyting, War Boys can settle disputes with rap battles.

The old Organic's song references his past, and is a contrafactum (filk!) of Whatever it Takes by Imagine Dragons.

Chapter 20

Kyber is veeeeight's dog. Much of the details of industrial work in this chapter is thanks to inspiration and help from veeeeight, such as the idea of Safety workers who function as Kill Switches, as well as the HazMat, water storage divers, and

Pappy is the name of a dog that belongs to someone we know who works in HazMat.

One thought I had was that later, Max would have been put into quarantine for three or four days, with reduced food and water to try to make him easier to handle. That obviously didn't work very well.

Duke, Kit, and Tempo are all named after dogs, mostly belonging to veeeeight or friends in the past or present. Kit is short for Kit-Kat.

The climate is changing in the wasteland, getting warmer and wetter after a long nuclear winter, so that new thriving agricultural societies such as the Citadel are gaining in power and population. Or perhaps power through population.

Stonker tells the Ace who did it without actually saying their names. One and Two, the Prime and Secundus Imperators.

Both Vulnera and Euphoria mention this concept of War Pups acting like a messaging system in the Citadel.

Furiosa is definitely being misgendered here, because socially, all War Boys are considered male, even if they're not. I've tried to make the distinction that people who don't really know her misgender her, and sometimes even people who are close to her refer to her as male in public.

I wouldn't be surprised if this act of kindness toward the Bridge Imperators would be something that would inadvertently lead to helping Furiosa smuggle the Wives over in the future, if the Imperators can't see as clearly who is making the crossings...

The grindstones and flour mixing imagery refers back to ancient Egyptians.

Fermented foods are a crucial way for War Boys to get enough vitamin B-12 in their diets.

Ducky is the black cat...sigmastolen's black cat, to be specific.

The Ace subsisted on the broth when he broke his jaw in Vulnera.

Ducky's question to the pup is very mathematical, asking about a maximum number using “at most” (compare this with “at least”).

I worked out an entire page of notes in my writing notebook on food bar accounting. The Citadel definitely stores a lot more bars than are being used.

It always seemed to me that Mad Max: Fury Road was both very serious and kind of absurd at the same time, which is a very unusual mix.

The old Organic Scythe greets Furiosa in Latin.

I always thought that one of the Wretched whom we see at the very end of the movie, legless and crawling out of a hole, was formerly a War Boy but one who had been sent down because he lost his legs.

Furiosa's first run to Bartertown is mentioned in the story by the same name.

Pomegranates are associated with death in ancient Greek culture, notably the myth of Persephone.

#mad max #mad max fury road #mmfr #wasteland culture #worldbuilding #fortunae plango vulnera series

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miriyos · 7 years ago

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chosen (wc: 1,208)

From a random prompt generator — Mad Max AU. Partly influenced by End of the Road by Aoidos (Inception Mad Max AU).

There’s no denying that the Immortan is a bad man.

At one point Geno might have been a Rock Rider. It’s been so long so he can’t remember clearly. Sometimes he barely remembers his name since the War Boys have reduced him to merely a letter.

He has to remind himself who he is on his own.

Immortan has tried converting him. In his weakened state, G has given it thought. If becoming a War Boy would mean being released from his blood bag status, maybe being a War Boy wouldn’t be too bad after all. But he doesn’t become a War Boy. His blood is too valuable and Immortan has no shortage of ignorant and easily brainwashed boys to be his pawns.

The War Boy that usually comes round noon for his transfusion one day does not.

There’s quite a bit of yelling and smoke instead. He sees a flurry of bodies running past and a woman barking orders. The yelling becomes more high pitched, making G realize that it’s women that’s screaming. A voice much deeper, much calmer despite the situation, comes closer but never moves away.

“We’re just leaving them?” the male voice asks.

The woman, the one G thinks must be in charge, sighs. “We don’t have time! We have to leave now.”

“But—”

“No time, Sidney!” The woman pushes the man away until they’re merely just a distant sound.

Slowly, tiredly, G’s eyes begin to close. He’s tired. He’ll get some sleep now and later when the War Boy returns, surely the boy will wake him.

G wakes up able to roll his his shoulders and stretch out his legs and his body. His whole body feels warm. A wool blanket is draped over him although the length of the blanket barely reaches his knees.

He goes to close his eyes again, to savor the warmth and quite possibly the nicest dream he’s had in months, but an angel beside him won’t let him.

“You should eat,” the angel encourages, holding out a ration bar. It looks like it’s already had a bite taken out of it yet G takes it anyway. His mouth is so dry he can barely open it to say thanks. “You must be thirsty too.” Carefully, the angel presses a chipped cup into his hand.

The water is warm and perhaps a bit stale but G doesn’t care. He drinks it down in several long gulps and licks his lips to savor the rest of it all.

“Immortan—” the angel begins but decides against continuing. “Sleep,” the young man advises instead.

As if G had any other plans. He falls back asleep, the blanket tucked around his shoulders by the angel, instantly.

“We should let the Riders deal with him.”

“Or he could entertain us. We can do that now.”

“Please, you find that blood bag attractive?”

“It’s not as if we’ve seen many other man before now.”

“Well I wouldn’t, not without Sidney’s permission first.”

G barely registers the conversation, barely understanding the context, when he opens his eyes to see four women staring at him curiously. They’re all dressed in threadbare clothes looking even worse for wear than what G was given. All young and innocent looking.

“He’s awake!” one announces, holding onto her friend and hiding partly behind her.

G looks at the pair carefully. They have Immortan’s brand on them but he’s not sure who these women could possibly be. He sees that the bravest one, the one daring to prod at his face, is pregnant.

Immortan’s wives.

He can’t move away from them fast enough. There’s only so much room in the vehicle that must have served as their getaway that his back quickly comes to press against the seat.

“You’re scaring him,” another one says sympathetically.

“Maybe we should get Furiosa.”

G doesn’t want anyone. He only wants out. He makes a move for the door foolishly. He doesn’t know where he is, and certainly has no way of navigating through the desert wasteland outside of Immortan’s territory but he isn’t going to take this vehicle with Immortan’s brides inside. He’ll barely last a day running from Immortan and his head is pounding.

“He’s trying to escape,” the pregnant one points out blandly.

“He won’t get far.”

Sure enough, he can’t. G nearly chokes when he lunges for the door. The colar the women must have put on him in his sleep is old and rusted but clearly effective. When he yanks on the chain to find its source it goes beneath the bottom of the vehicle into a hidden compartment. A compartment which G’s dream angel is standing in.

“We’re on the same side,” the angel informs G. He hoists himself up into the main backseat of the tank. “We’re all trying to do the same thing. We’re all trying to get away from the Immortan.”

Sidney, G finds, is not a War Boy or an angel but another one of Immortan’s wives that escaped. Or from what at least G has pieced together from eavesdropping, Sidney is one of the Immortan’s prizes.

It’s dangerous but as Sidney curls up on the floor of the War Rig to examine G closely, G can’t bring himself to turn away or make another run for it. Furiosa tries to keep Sidney away but Sidney doesn’t seem to listen to orders well. Sidney keeps coming back and as long as they keep driving, G can’t do anything but let the pretty man continue to study him.

“You like?” he jokes after allowing Sidney to come closer.

“I do,” Sidney replies honestly.

Sidney’s lips are chapped when he kisses G for the first time. He kisses like he’s unsure and hesitant, allowing Geno to take the lead although he was the one that initiated the kiss. Desperate for the warmth of another, G pulls the young man closer until their bodies are pressed together. He thinks briefly as Sidney hooks a leg on top of G’s hips that Sidney means to be the one on top but he makes no move for it.

Instead, G presses Sidney softly into the War Rig’s floor, rolling their hips together. Sidney lets out a breathy moan, both his hands falling onto the thin mattress on either side of his head. His fingers twitch but he doesn’t try to touch Geno.

Geno doesn’t mind.

He kisses Sidney all along the side of his face to the crook of his neck. There he sucks away the fine layer of sweat away from the man’s skin. Sidney’s breath hitches and his legs come up to wrap firmly around G’s waist.

“Do you want to fuck me?” Sidney asks bluntly, a flush on his cheeks.

“I do,” Geno groans, squeezing Sidney’s hips tightly.

“Then fuck me,” Sidney says.

Geno thinks about it but doesn’t try too hard. His hands are already doing the answering for him.

With reluctance Furiosa lets G free of his chain. To celebrate, Sidney climbs on top of his lap and rides him until the Rig’s windows are fogged and his thighs are shaking.

“You chose me,” G tells him.

Sidney smiles wide although his chapped lips crack ever so slightly. “I chose you.”

#sidgeno #hockey rpf #mad max au #i keep typing it max mad and that is not it #i just loved fury road #i could develop this #if i dared #myfic

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so-shiny-so-chrome · 7 years ago

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Holy V8, there are a lot of nominated short fic! Voting is now open.

Gen 15

Brace By Dareyoutoread 15 Rated T, Creator Chooses Not to Warn He builds the first one from the hinges of a truck tailgate. http://archiveofourown.org/works/4025512

Brunch at the Citadel By Bethagain 15 Rated G Someone thinks they saw a chicken. Insanity ensues. (Another one that started out as crack… and turned into a story. Oops.) https://archiveofourown.org/works/4126554/chapters/9302292

Everyone had a Show By Pavuvu 15 Rated G The power of Radio exists in the wasteland, unfortunately for the Listeners, it is run by a sharp tongued chatterbox. https://archiveofourown.org/works/4767485

Five Stages of Grief By Foolscapper 15 Max comes and goes, until one day, he doesn’t come back. http://archiveofourown.org/works/4521045

The Scarf By Xenowhore 15 Rated T, Creator Chooses not to Warn Slit takes care of his first war pup. This is the story of how he got his scarf. http://archiveofourown.org/works/4381523 Very Max, Much Wasteland, Such Dog By Tyellas 15 Rated T with Graphic Depictions of Violence This isn’t his dog, Max knows. His Dog was irreplaceable. Survive and drive, that’s what Max does. But with the red dog along, the Wasteland’s more alive. https://archiveofourown.org/works/5342645 The Widow Maker By Glorybox 15 Rated T with Graphic Depictions of Violence “You a ghost?” He asked, barely able to mumble out his question. She huffed a laugh. “Of course not. I’m Death.” https://archiveofourown.org/works/5122205

Gen 16-17

Somebody Out There By Tyellas 16 Rated M with Graphic Depictions of Violence A road warrior stumbles on an enduring satellite base, and the missions and madness inside are a match for his own. What does it take to open the door to the apocalypse? The answer’s in there. Under a tinfoil hat, tangled in a faded flag, inside the manual for the end of the world. If it’s not too late - if there’s still somebody out there. https://archiveofourown.org/works/9044507

Everybody Had a Show by Splinter 17 Rated G There’s so much Toast can’t recall, or never knew. She wants to rage at the time stolen from her: all the things she could have been doing, could have been learning. She would spit on Joe, for taking that from her. http://archiveofourown.org/works/11814003

Five Thumbs By Fadagaski 17 Rated G Five times Max gave a thumbs up to the Wives, and one time they gave it back. https://archiveofourown.org/works/10936299

For Want of a nail by Tyellas 17 Rated G Corpus decides it’s time to meet his new sibling: the Dag’s child. https://archiveofourown.org/works/11042847

Now and Zen by Donda 17 Rated G Out on a search for Max, Furiosa finds herself following an odd trail of rock gardens. She doesn’t know if this is what she’s looking for or is merely a distraction from her objective, but she can’t help but be curious about who built them and why. https://archiveofourown.org/works/10828710

Ship 15

And in Blood and Worse By Frosbitepanda 15 Furiosa/Max Rated G He returns one cool night, 150 days after he had left her last, burdened with scavenged guzzoline and pilfered guns. https://archiveofourown.org/works/4144179

A favor for a friend By Redcandle17 15 Slit/Toast Rated M Modern AU. Slit’s roommate’s girlfriend asks him to fulfill a fantasy for one of her sisters. http://archiveofourown.org/works/4948393 Never Mediocre By Xenowhore 15 Nux/Slit Rated M with Main Character Death Those blue eyes look up into Slit’s face and Nux’s hands grab at his arms and squeeze, trembling, and Slit thinks his face will split in two from his smile – he’s gonna need new staples – but then he notices the blood. The Coupe is badly wrecked in an accident during a supply run, and Nux and Slit have been left for dead. http://archiveofourown.org/works/4162107

Old Roads By Bethagain 15 Furiosa/Max Rated G Sometimes we need to remember what’s down old roads, before we can build new ones. http://archiveofourown.org/works/5486138 Oral Imperative By Foolishgames 15 Furiosa/Max Rated M She’s never let a man fuck her just because she liked him. Furiosa offers, and Max accepts, but it’s not what either of them expected. http://archiveofourown.org/works/4512117

Sandcastles By Xenowhore 15 Nux/Slit Rated E “The coupe creaks as Slit climbs up behind him, brushing against his body, securing his hands with the rope. It is smooth along his skin, his fingers still have wiggle room but he wants it tight, tighter – wants to be a prisoner – and then his body jerks as Slit finishes the knot roughly with one yank.” http://archiveofourown.org/works/4237650 Witnessed By Yahtzee 15 Furiosa/Max Rated E Creator Chooses Not to Warn Immortan Joe liked all those eyes on him, so he got done faster. That was all you could ask for, him finishing faster and leaving. And what did it matter if they were seen naked on all fours for Joe? Being watched was nothing, compared to having to do it. And so these women, who had been watched in the act of sex countless times, did not see such witnessing as a violation. They only knew that, once begun, no one was to interrupt. https://archiveofourown.org/works/4043263

Ship 16 Drawing from Memory By Battle_Cat 16 Furiosa/Max Rated G For the prompt “Paint me”: Max/Furiosa. https://archiveofourown.org/works/8558152 Reunion By Battle_cat 16 Furiosa/Max Rated E “Did you miss me?” A low rumble against her neck between kisses. “Always.” https://archiveofourown.org/works/5673769

Scar maps By Battle_cat 16 Furiosa/Max Rated T She is covered in scars, and she mostly doesn’t think about them. But Max has a way of looking at her… https://archiveofourown.org/works/7836682

These Inches Between Us By Squishy_TRex 16 Angharad/Furiosa Rated T Furiosa sees too many gaps between them. Angharad doesn’t see any. http://archiveofourown.org/works/6138490

Though the Way is Clear By Frosbitepanda 16 Furiosa/Max Rated M Everything dies and he was gone, she was sure of that. (Max and Furiosa have to deal with something.) https://archiveofourown.org/works/5958243/chapters/13694022

Weak spot By Battle_cat 16 Furiosa/Max Rated M A scavenging run takes a dangerous turn when Max and Furiosa get taken prisoner. http://archiveofourown.org/works/5988850

Ship 17

Flutterby By Owlship 17 Furiosa/Max Rated G There’s an insect clinging to a piece of the charred wood, wings full of shockingly vivid colors, blues and blacks iridescent in the sunlight. Furiosa’s never seen a moth so bright, can understand why it caught his attention. http://archiveofourown.org/works/9815996

In Your Shadow Tyellas 17 Furiosa/Valkyrie Rated E Valkyrie lives! And her road to the Citadel gets her stories about Furiosa’s Citadel deeds. By the time they reunite, the only guarantee is that passions will run high. https://archiveofourown.org/works/12288093 See Me By Splinter 17 Furiosa/Max Rated E Tyellas asked for “Dominant Furiosa. Submissive Max. Kinky as fuck. During, after, or before (!) Fury Road.” https://archiveofourown.org/works/10920123

Something, anything By Battle_cat 17 Furiosa/Max Rated E She’s never fucked a man just because she wanted to. But she’s already trusted him with her Rig, her mission and her life, and he’s leaving in the morning, so when the hell will she get another chance? https://archiveofourown.org/works/10581363

@fuckyeahisawthat @lurkinghistoric @freshhexes @thebyrchentwigges @v8roadworrier @yahtzee @redcandle17 @squishytrex @foolishgames @fadagaski @shiningstar-kastle @pavuvu @glorybox @dareyoutoread @bethagain @foolscapper @thatonezombiecosplayer

#mad max fanfic awards #mad max fanfic #mad max fic #fury road fanfic #fury road fic #mad max fic awards

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driveincinema · 7 years ago

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Mad Max

The voice over identifies the beginning of how things are in an apocalyptic setting. As well as the introduction of Max as a character within this apocalyptic world. The beginning gives off a vibe that the main plot will be about his own experience when he accidentally gets wrapped up in something entirely different.

A showing of frantic PTSD can make or break an environment. Whereas his running away from these unknown people caused a trigger to switch, and something to change his drive just enough for the rest of the men to catch up with him. This shows the struggles he deals with throughout the movie and how it affects someone in that position.

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Running the huge truck off the road is a sign of rebellion against him. The woman that was supposedly his property had gotten up to the point to drive an important vehicle. Apparently every one of those bald men are taught how to drive the cars correctly as opposed to Furiosa who obtained the vehicle through manipulative means. This very idea presents the outlook of sexism if the “breeders” weren’t enough to raise any red flags. Not to mention the bald men are all the same making it difficult to pay any attention to names.

Launching into this metallic storm everyone could feel the tension in the room. It was an uncanny discovery when everyone adjusted in their seats after it. Something that obviously shouldn’t be done is driven to great lengths to get these innocent women out of the poisonous environment some called home. Although as innocent as these women may be they are far from ignorant. Holding their own on a battlefield others can only dream of they flourished as opposed to requesting help instead of running away.

Instead of the story line centering around the males the women are the ones fighting for their lives. This story is one where Max is taken along for the ride, quite literally since he cant be the one to drive. Furiosa took the time to punch in a code of sorts, so only she could run the engine. As Max gets every other gun from the front of the truck he forgets one knife that’s connected to the gear shift. Instead of coming to a truce where these people still get there water, they go the violent route and bustle there way through. While Max and these women are trying to escape the favorite of the bunch went into labor. In turn having the mother of the child put into danger and killed.

Ruling with lies he gets whatever he wants from holding power over the one thing people need, water. In the scene where the pregnant woman died she survived a head on collision with a rock, and given praise by Max. Giving these women respect was a new step, and a journey to the green place. The gun with only one shot left was nailed by the female lead. Giving her more experience whether she was trained or works effectively to have a careful eye.

When Nux finally decided to think for himself he joined the rebellions. As crows surround them as a sign of death. The fade out makes time move faster and dreams to be made. In one of the only slow moments its discovered that the main female lead just wants to go back home. A very simple request for herself and others, for it to be tarnished by the elements. Dreaming of a utopia she was given the last scraps of humanity as she knew it. Reference to the old testament my mentioning the “old world” as a religious niche.

When he is with other people the visions do not appear, but as soon as hes alone they resurface. Causing him to re-join the group and present an idea. The scene with the males on sticks was actually shot the way you see it. The people on them were strapped down, but nevertheless the ways that they realistically used the spring functioning. Instead of dying for some unknown cause he dies for a loved one.

The one who started everything just to make it back home is dying before him and Max finally tells her his name after keeping it a secret for the majority of their interactions. Maybe his name was more important than I originally thought. Finally letting Furiosa raise the ranks everyone presents the fallen Immortan Joe.

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soap-brain · 7 years ago

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a discovery / tos comparison meta about sexism that got very long i’m sorry

hey so am i the only one who noticed the absolute lack of sexism in discovery? bc i haven’t seen any post on this at all so far.

(note that i’m sick and probably won’t make much sense, but i think i’ve got a point here)

the thing i noticed most was the complete and utter lack of sexism being addressed. there are usually a couple ways sexism can be addressed. it’s either shown, aka the world is portrayed as it is irl, with the figures of authority being men, the women rather occupied with children / “feminine/girly things” and/or jokes being made about how women aren’t “as important” or are “worth less”; generally this kind of portrayal has less female characters, even if the main character is a woman. in a way, tos did that a tiny little bit with uhura, having her be very feminine while also reducing her role to a galactic phone operator on occasion. version number two has a definite, deliberate presence of “strong women”with the point that they are “just as good as men” - see for example mad max fury road. version number three jokes about sexism, aka “haha, but women are exactly as strong as men, lol sexism is stupid”. those jokes are often made by men. version number four is “woman rises above casual sexism” - a movie that did that very well was legally blonde, where elle stayed traditionally feminine while also kicking ass.

discovery doesn’t address sexism at all (which is also due to the tos-type social commentary that it hasn’t done so far), but it also has absolutely 0 sexism. like there is absolutely no difference between genders. for example the bridge crew has three women. cpt georgiou was just a captain. that admiral whose name i’ve forgotten is just an admiral. cmdr landry was just head of security. tilly and burnham are just scientists. and at no point does anybody assume anything or say anything about how it’s “unnatural” or how the women maybe aren’t “as good as men”. the women are simply there, doing their job, and nobody bats an eyelash because it’s not something to bat your eyelashes at.

in storytelling, there are two modes with which you can tell the reader something about the character - you can show it or you tell it. for example: “tilly is happy.” is telling. “tilly couldn’t stop smiling all day.” is showing. telling gives the reader an exact statement, and there’s no room for interpretation. she’s happy. that’s it. showing, on the other hand, leaves room for interpretation, which means it engages the audience. she couldn’t stop smiling. the audience begins to imagine her smiling, maybe even associates memories of their own giddiness, and suddenly the audience is involved. showing is the stronger form of narrating, because it involves the audience. a passive audience is a bored audience, an engaged audience is active and more likely to think.

tos had a male character go and say (paraphrased, bc i can’t remember the exact words): “she’s human, and she’s allowed to do as she pleases!” (kirk about reyna (?) sorry i have 0 sources but there’s a screenshotset being perpetuated, you probably know the one). tos does that a lot, and considering the time it was made in, and considering how many female characters that weren’t entirely ridiculed / pushed to the sidelines it had, that was revolutionary. tos went and said: “hey, women are people too! women are strong, too!” for its time, that was revolutionary. but today, we need to redefine what revolutionary means. if discovery had blatant sexism, and a character would constantly go and say “hey, that’s bad, women are people too!”, then that would be a step back from what tos did. we are 50 years in the future, after all.

so instead, discovery shows what equality/feminism looks like. by giving us a ton of diverse female characters. by having random background characters be female. and by not having anyone remark upon that, because there is nothing to be remarked about.

tos wrote and cast women. discovery wrote and cast people. tos made revolutionary statements. discovery shows revolution. that’s where discovery’s social commentary is. (even though i do hope they do make some statements, don’t get me wrong!)

also, in regards to “but they killed off georgiou and replaced her with a white male captain!” - yes, they did. and they show a massive, massive contrast there. georgiou is kind, calm, straightforward, honest, even loving, a thoroughly likeable character. lorca is twisted, manipulating, scheming, even downright evil on occasion (which makes him a very great kind of villain, which is nice. most villains we have atm are just plain boring - see loki, immortan joe, ares etc). they gave georgiou the white, male, asshole admiral - and lorca gets the female, not quite asshole admiral. it’s a lovely contrast. also, notice how lorca, the only (assumed) straight white male of importance on the show, is evil? i don’t know whether that just so happened or whether that’s a conscious choice made by the creators, but ... man, it’s nice. and tilly! the only (assumed) straight white woman of importance - kind of oblivious, tries but does tend to fall short a little bit. there’s a message there. and meanwhile, tilly isn’t even the obvious kind of white woman - in comparison to burnham, she’s a little on the chubby side, and red hair is not what we commonly imagine for white woman. discovery is sending us a ton of messages. we just have to see them.

also, a lot of tos plots were kind of flawed, don’t you think? they relied on the “savior” storytelling method, which is a trope that is very predominant in our stories. it assumes that in times of trouble, somebody will come save you, speaking words of wisdom, whether it’s jesus, captain kirk, iron man or your politician of choice. popular media (and yes, i’ll count the bible as a popular media because it did and still does influence western culture incredibly much) has always told us that we will be saved. that we are already inherently good, and that after we’ve suffered enough, somebody will come to save us. a lot of tos plots were exactly like that. kirk and his officers descended onto cultures or groups with “inferior thoughts” and spoke out against that (see for example plato’s stepchildren), effectively “saving” the people. that’s pretty idealistic. as lovely as the concept of a savior is, it’s just not realistic. when the monsters come, we can’t wait for heroes to fall from the sky and save us. we have to save ourselves. (yes, pacrim. but i like the way they said it). we have to become what we want to be, not talk about how we want it to be. and that’s what discovery is doing far better than tos, in my opinion. yes, tos was a different time period, i know, i get that, but so many people complain about discovery in comparison to tos, while discovery is going places tos never did. tos said “it should be like this”. in discover it is like that. and that’s pretty damn great.

tl;dr: discovery is pretty damn cool and also the least sexist piece of media i have ever encountered.

thoughts anyone?

#discovery #discovery spoilers #tos #star trek tos #star trek #meta #star trek meta #discovery meta #my post

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jm-bb-blog · 4 years ago

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Blog#3

So I watched Mad Max: Fury Road and The Silence of the Lambs and I want to talk some memorable scenes in those two movies

Mad Max: Fury Road, directed by George Miller, who also directed the movie “Happy Feet”. It is an action film that sets on a post-apocalyptic future where all life on earth became a desolate, harsh desert that fills with savage and insane people. The Movie sets around on our protagonist, Max, who got kidnapped by a group of Warboys and sent to the Citadel, the place that the story centers around throughout the film, to be a universal donor for them at the start of the film. There we got an introduction of the casts of characters and what is the story about. Furiosa, another protagonist, ran away with a War Rig, a truck, and the wives of Immortan Joe, the Antagonist. This made Immortan Joe furious and made a full-on car chase on her, bringing along Max, captured and restrained, as well. The story of the movie is simple, short and straight to the point, and it is amazing. The movie gave a lot of memorable scene from start to finish. Everything filled with action, provided with the sounds and music, gives you the sense of urgency and adrenaline. Dramatic scenes are few, but well done in this movie. There aren’t over the top, nor it will fill you with any exposition dumping about the characters. The characters in the movie are amazing, every single one of them, it makes the movie feel alive. Other than the main cast of characters, the minor and even extras has they’re own input in the situation.

For my understanding on the what Mise en scene is, Mad Max: Fury has a lot of mise en scenes. Like I said from earlier, there are a lot of memorable scenes. If you watched it, its literally a car chase no more or less. Its in a middle of the desert, where an army of cars are chasing a single truck, which clearly stands out and easy to focus at. Most of the lighting is high key, hot as a sun, the only low-key lighting was at night, gloomy and misty blue. There are some scenes that would consider as a Mise en scene. The first one would be the time when Immortal Joe declared the chase on Furiosa. Every available Warboy was deployed on the chase. They were getting prepared and readying their cars, they also pray on some kind of altar before they leave. During the start that there is a vehicle that is equipped with battle drums and a guy playing a guitar it would suggest that they love the thrill. The other scene would be the part where Max and Furiosa was passing by an eerie and strange place that was filled crows, murky soil and people covered with like a camouflage walking on all fours using sticks. The last one would be at the near end of the film where a scene in where Furiosa alone was crying in the middle of the desert due to her home was gone and her tribe was almost extinct.

Another film that I would like to mention is titled, “The Silence of the Lambs” that is directed by Jonathan Demme. It is an adaptation from Thomas Harris’s 1988 novel of the same name. The story centers around an FBI trainee named Clarice Starling, who is recruited by Jack Crawford in helping catching a killer named Buffalo Bill. To catch the killer, Jack Crawford assigned Clarice Starling to go to an Asylum and meet Dr. Hannibal Lecter the Cannibal, in order for her understand and catch the killer. This is a Psychological Horror Film even though it is detective movie. It is good movie, it has suspense, it has realistic horror and how the insanity of Buffalo Bill and Hannibal Lector works. We get to see a character arc of Clarice both physically and mentally.

There were many iconic scenes throughout the movie. The first one would be on the early part of the film, where agent Starling is walking cell to cell of prisoners each becoming darker and crazier as each cell she passes by, then we go to Hannibal Lecter’s cell, fully lighted, clean room filled with drawings, has thick glass barriers and Hannibal Lecter himself standing straight like an ordinary man. The other part where Hannibal escape from the police station. That scene was horrifying and yet, it was mesmerizing. In that scene Police barged in onto Hannibal Lecter’s cell only to find a dead cop in an angelic posture hanging in the middle of the room, lights are covered behind him with a curtain wrapped around his body, and his guts are hanging from his sliced-up body. The most Iconic scene for me for this movie, Is the face of Hannibal Lecter. Every interaction agent Starling made with Hannibal Lecter; the shot always makes close-up with the face of Hannibal Lecter. The lighting was high key, no effects, just the face of Hannibal Lecter, It was like you yourself are talking to him while his eyes stare back at yours.

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sunmonkey · 8 years ago

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Why Mad Max: Fury Road Is The Most Amazing Movie Ever

This is a long ramble. This movie is worth it. For those about to read this in its entirety, I thank you. This hasn’t been edited. It’s right from my brain pan to your eye sockets. Livin’ dangerously!

Two parts to this monster:

Part The First: Creative and Technical Merit

Part The Second: Jungian Psychology

So, to begin:

Part The First: Creative and Technical Merit

There are a couple of principles that good cinema is built on:

Show, don’t tell.

For every action, there is a reaction.

Be as concise as possible (macro and micro).

In late, out early.

Have interesting and wide arcs for your main characters.

Pivot the plot (reversals) in unexpected ways.

MM:FR has this all in spades. By my estimation, from a technical and creative aspect, it is one of the tightest movies ever made. There is hardly ANY wasted screen time: each shot, each spoken line, each cut, conveys a necessary detail that keeps the movie moving in a forward direction. Some examples of each of the above:

1. Show, don’t tell.

Well, the whole movie is based on this. The largest amount of exposition is in the scene with the Many Mothers, and even then it’s only a few lines spoken off-camera. If you look at the nature of the alliances throughout the movie and how they swing (Furiosa learning to trust Max, Max deciding to stay with her and the Breeders, Nux’s change of heart, the Many Mothers coming along for the ride) they all happen largely without dialog. They are set-up by circumstance, and usually conveyed by a look, or simple action. We never learn about so much, it just IS and is taken as fact. How do they farm bullets? How was the aqua-cola pumped up? Etc etc. No need to explain, everyone in the MM:FR universe believes in it, thus so do we.

2. For every action, there is a reaction.

This can be considered on two levels: what is shown on screen (the action) and then how it is cut together (the editing).

First, the action. For anything that happens onscreen, there is a reaction. If someone shoots something, you see the result of that. If someone hits someone, you see the result of it. If someone insults someone, you see the result of that. And generally, the actions/reactions are so tightly knit that they bleed together to create a steady flow of forward movement (both specially and emotionally). The amount of planning that had to take place at the story board level is staggering.

Considering the massive amount of cuts that are made in an action movie, and the sheer amount of spectacle and movement and amount of objects to tackle, I am not sure how the fuck George Miller is able to keep the user anchored in the action, but a lot of it is by matching action within the frame and across cuts. This is a tough concept to explain without having the movie in front of us, so I think I’ll leave it here.

3. Be as concise as possible (macro and micro).

The movie is tight. There is no lingering. It makes a point, and instantly moves on. The movie does it at a high level (taking place across an afternoon, a night and morning) and at the shot level: it never belabors or repeats a point. It makes it, and moves on. It does this by making sure that a shot, even if it is only a second long, conveys the information necessary for the viewer to understand what has happened. Furiosa grimacing as she removes the knife, the straps popping on her prosthetic arm holding onto Max, the look of dismay on Toast the Knowing (Zoe Kravitz) as she is captive in Immortan Joe’s truck. That 30 second sequence is so brilliantly executed it makes the hairs stand up on my neck every time I see it.

4. In late, out early.

The audience doesn’t need every set-up, and doesn’t need every resolution. MM:FR keeps us going at a good clip. It takes us 15 minutes to figure out what the hell Furiosa is up to, and even then we need to piece it together for ourselves. Max collapses in the tornado-mega-storm, but we don’t need to see the storm die out. Furiosa collapses on the dune, but we don’t wait around to see people consoling her or any of that gobbled-gook: we see the emotional notes that matter, and we get out at the peak.

5. Have interesting and wide arcs for your main characters.

Max goes from raving lunatic without a name to a fully-restored Max. Furiosa goes from homeless and without a family to having a home and a family. Nux realizes his destiny (to die in War) but does it for the right reasons (to save lives, not end them). There are some brilliant arcs in this movie, and the fact that they develop and are conveyed with such minimal dialog and in the midst of massive amounts of action, is genius.

6. Pivot the plot (reversals) in unexpected ways.

Max and Furiosa go from enemies to allies literally in two shots. Once faced with superior forces, they need to work together. The green place is dead. Oh, let’s go back, its green there. The journey ends where it begins, but all is changed. So good.

Part The Second: Jungian Psychology

OK. This aspect of the movie is utterly brilliant, and provides an amazing amount of depth and nuance. I have a feeling you might think I am blazingly nuts, but I swear on a stack of bibles that 1) what I am about to say is all true and 2) I have zero doubt this was all very much intentional and excruciatingly mapped out.

So, on the surface, this movie is about Max’s journey from insanity to sanity. But. How the movie maps to a patient’s journey, and the processes going on within the psyche, is rich in allegory and archetype, spanning Jungian philosophy, Faustian imagery and modern psychology. Bear with me, this is a bit of a mess, but I’ll do the best I can to keep it orderly.

We first meet Max (this is bookended with the last scene, so keep this in mind). We meet Max on his own, in a wilderness. He’s stark raving mad. He’s hearing voices, eating lizards, crazy-eyed and unkempt. He’s captured by the War Boys. As he is led away in chains, his hat falls off which is a fairly common metaphor for losing one’s mind / identity (hats are widely accepted as a way to hide thoughts or persona, and in a wider sense represent the mind. People who are looking to change themselves often will turn to hats, or doing extreme things with their hair: cutting, dying, etc.) Right then, we know Max has totally gone insane.

This is reinforced as he is chased through the Citadel. He’s hallucinating, hearing voices. He truly has been reduced to an instinct. There is no super-ego left. He’s pure impulse.

The Citadel itself is a metaphor for the mind. Hear me out. In dream psychology, water is used to represent the sub-conscious. Things in water are taken to be ‘hidden’ in the subconscious. Moving water usually means contents are being shared between the conscious and the subconscious. Angry water (big waves, rushing rivers) can represent strong division or stresses in the psyche. As a model of the mind, the Citadel is chugging away. It is bringing subconscious contents up from the deep, and storing them. But there is a crazed asshole running the citadel, and he’s is blocking these contents from getting to the places it needs to. You have the mega maniacal and ultra-testosterone warlord in charge of the mind. All the feminine parts are slaves to him. No good. This is a lack of balance and this leads to psychosis, and yes, you can see that the society that exists under Immortan Joe is barely functional. Definitely not rational.

It’s also worthy to note a few more details about the Citadel: the room where they Wives were kept was large and dome shaped, like the brain pan (even with a little pool of water in the middle, running out of where the mouth would be) and locked in a vault in the back of this room is a vault full of books (memories!), guarded by a feminine aspect (Ms. Kitty).

OK. So. We are introduced to Furiosa. She is the anima. The anima is the female part of Max. Every man has an anima. It is the female part of the male psyche. It lives in the subconscious, is considered an autonomous personality, and it can be argued it totally rules us (females have the animus, which is a male personality, and it runs the same way). Now, the anima is wiley. It is mischievous and tough to tame, and when it is out of balance with the ego, all sorts of problems arise. Obviously, Max, in his crazy state, is totally out of whack with his anima (Furiosa).

As we head out of the Citadel, we are really heading into Max’s psyche. This is his journey, and his attempt to heal. With him are going all of the psychological agents that comprise him: his anima (Furiosa), the better angels (or feminine aspects) the Wives, and he is hunted by dominant male elements that represent rage, and machismo, and all manner of things he really already has in spades; in other words, the other part of him that doesn’t want to heal.

Jump to the first time Max sees the Wives, standing beside the truck. This is the first step in his healing. How do we know? Well, there is water here, and although it is just a trickle (a hose), it means that elements in Max’s subconscious are starting to flow, even just a little bit. Splendid brings him the hose, held in front of her pregnant belly. The water represents rebirth: in this water is the power to be reborn, to heal. Max drinks of it greedily (he desires to be well), but he’s not nearly ready for this step: his anima attacks him (which the anima is want to do! it is tricky and treacherous!) and he responds like an animal. His first attempt at healing results in him getting his ass kicked. He would be done in by the anima if he didn’t get a bit of help from Nux and the threat of death (killing the anima, which would end poorly for everyone.) He doesn’t and we move on.

Furiosa and Max make an uneasy alliance before going into the canyon lands. They are forced into it out of necessity: they are now hunted by three massive search parties, and they have no choice if the organism is to survive (an easy way to think of this is that everyone in the War Rig is an aspect of Max’s psyche.) Max, and the anima, has realized that in order to survive, it has to find a way to work with the other. The canyon land is a metaphor for a maze, for the torturous path that this represents. There is no easy way (in fact, Max says, “No, stay outta there”. He doesn’t want to face this ordeal, these memories, its too painful and difficult) but they have no choice. The organism doesn’t want to be destroyed.

The death of Splendid is another shedding and a step forward. She’s pregnant with a boy. While it is rebirth, it is Immortan’s child, and as such is malignant. Splendid and the child have to be removed (like a cancer). The imperfection of Splendid is also reflected in her scarred face. She’s carrying a link back to the original crazy, and that link has to be severed. And so it is, when Splendid falls from the War Rig and is run over by Immortan Joe.

We go through some more struggles as Max continues his journey deeper into his psyche and into the subconscious. The chase through the marsh, the bleeding and the bathing in mother’s milk (a ritual cleansing?), the finding of the tree (growth and rebirth, as above so below [branches and roots, heaven and hell, conscious and subsconsious], a rich symbol of rebirth and growth in dream imagery and in alchemy) which in this case is dead but still proves instrumental in continuing Max’s spiritual journey.

And finally he reaches the green place. The subconscious. But in this case it is dead. Toxic. Black and infested by crows. This shouldn’t be a surprise: Max is crazy, and has hidden all sorts of terrible stuff down there. Of course nothing can live there. But, just because this is so, doesn’t mean it can’t be salvaged. And so they push through and come to…

The Many Mothers. Goethe’s Faust introduces the concept. From Wikipedia: “Faust enters the "realm of the mothers" — variously described as the depths of the psyche or the womb — in order to bring back the "ideal form" of beauty for the Emperor's delight.” Mephistopheles warns Faust to “take courage, for the danger’s great.” The realm of the mothers is fraught with peril.

And so it is in Max’s world. He’s reached the end of himself. The deepest part of his subconscious. All that is there is barren sand and the Many Mothers. They’ve never met anyone out there they haven’t killed. “Headshots. All of them. Snap. Right in the medulla.” Talk about danger. But luckily, Max at this point has befriended his feminine aspects and his anima, and they vouch for him.

And what also do they find there?

Seeds. The potential for regrowth. Healthy seeds, and so many kinds. But these fresh, viable psychic contents can’t flourish this far down. They need water and light and room to grow. They need to be brought back to the conscious so they can flourish. But, at least Max has found the treasure, the keys, as it were, to regrowth.

He almost loses it when the entire party decides to keep going deeper. Like the idea of limbo in Inception, there is a point where going “down” simply isn’t productive. There isn’t anything there. In Mad Max, it is thousands upon thousands of miles of salt. The ocean floor. Literally, nothing. You can’t delve any deeper than the Mothers. There is only one way back to sanity: and that is the way you came: up.

Luckily, Max has now assembled all the parts he needs to repair his psyche. He still has to install them in their rightful places and as such has a tough journey, but at least he’s got a chance. And so the party begins the journey back to the Citadel (or the brain, or consciousness, if you will).

I’ll skip ahead now to the exit of the canyon lands. Much of the negative overwhelmingly destructive male bits are killed (culminating in the spectacular death of uber idiot-manchild Rictus and Nux’s sacrifice to that the part can be reborn. They exit the canyon land in what is not-very-subtle birth, coming out of the pelvis of the rock arches as they collapse.

It is interesting to note that they are now in Immortan Joe’s truck, which is very quick and silver. Quicksilver, aka mercury, was a favorite of the alchemists, and a powerful symbol of psychic transformation and transferral of libido–psychic energy moving between the conscious and subconscious.

At this point however, the anima is almost dead. In taming that portion of him and bringing her to the conscious, Furiosa has been spent. Bled dry. She murmurs “home”, realizing that her true home is the conscious (the Citadel), not hidden down in the subconscious with the Mothers. And it is with this realization that enables Max to finally join with her, fusing the male and female portions of himself and creating a healthy unity. This unity is carried out quite literally through a blood transfusion, thus in some ways you could say Max and Furiosa bodily become one, if not spiritually.

And as they unite, Max is finally healed and remembers his name and identity. Max. My name is Max.

(Which is how the movie starts, with the VO introducing Max, “My name is Max”, before he loses his hat, and sanity, in the early scene).

But we are not quite done. We have to come out of the psychic world and back into the real one. As all of these united elements are carried aloft to the Citadel (brain, self, ego), Max steps from the platform. Where he was previously standing, is now to be found a little lumpy curiously twisted creature, the physical manifestation of Max’s insanity. But he’s left it behind. He’s healed, and so we come OUT of Max’s psychic world (just as we entered it at the beginning of the movie) and we find Max on his own. But this time, he’s no longer in a wasteland, but instead in a sea of people, and he’s grinning. Max has found his way back into the world.

The movie ends with a quote:

"Where must we go, we who wander this wasteland, in search of our better selves?" -The First History Man

The answer of course, which the movie has just spent 100 minutes exploring, is “deep within our selves”. That’s the only place where you can find a better you, for if you don’t fix what’s broken, you’ll go insane.

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fragiletreasures-blog · 8 years ago

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@ganymedeisms

A visitor in the Bio-Dome was a rare occurrence in itself, with the wives being kept from the outside world in total isolation. No man was ever allowed to set foot inside, unless the Immortan stood beside him. That was why the girls were left in utter shock when a stranger was placed in their presence, before the door was shut behind them.

It became apparent that this wasn’t a visitor, but a permanent resident. Miss Giddy explained the situation to them, but Cheedo was only half listening, mind wandering as she wondered whether or not to approach them.

After a full day of awkwardly tip-toeing around the situation, Cheedo slipped out of her bed and into the main room, knowing well that the stranger would be there. It was where all newcomers seemed to spend their first night, unable to find any slumber in the darkness.

“Why did he let you in here?”

She was afraid, of course, but there wasn’t much that the man could do to her if he turned. The others slept soundly in their beds, a guard stood right outside the door, and Cheedo had the ominous chastity belt padlocked around her waist.

#ganymedeisms #v; we were his treasures #hope this is okay!

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xenobicorn · 8 years ago

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Leave Room for Character Development

TL;DR: The less action and the more character development, the more depth a movie has. Through character development and a slower pace, Mad Max: Fury Road could have been an excellent movie.

I watched Mad Max: Fury Road two years ago, and to this day I think about it. The story is one you may have heard before because this movie is a re-exploration of the trilogy released in the 1980s. George Miller directed all four. I haven’t seen the first three, but the fourth, Fury Road tells a simple story of survival and redemption through eight important characters. Imperator Furiosa (played by Charlize Theron) and the Five Wives of the Citadel (a desert fortress run by the dictator-like Immortal Joe) run away into the desert. They hope to find the Green Place, a place of respite and safety, far from the horrors that the post-apocalyptic desert wasteland has to offer. Max Rockatansky (played by Tom Hardy), whom fans know as the main character from the pre-trilogy, only plays a minor part in the escape. He has been captured by the Citadel but finds a chance to escape when Immortan’s men chase after Furiosa and the Wives. The final character is a War Boy Nux, one of Immortan’s men. After many failed attempts to die gloriously for Immortan in a ritual called Witnessing, Nux sees his chance to escape his shame by joining Furiosa and the Wives. Finally, there are the Vulvani, the original wives who Furiosa and her crew find later in the movie. They are rich in culture, and Furiosa seems to know them. With this strong cast of characters, the movie has a potential to be great. However, I found quite a few problems that made the move great instead of the best. There’s too much action which detracts from the story and doesn’t give enough time for contemplation and character development, and the culture behind the movie’s civilization could have been explored more in depth. These two factors would have contributed to the movie by adding a level of richness one can only find in very few films such as Blade Runner. This added level of depth not only brings the film to life, but applies it to our own. Right off the bat, the movie starts with a chase scene. After we see Max captured in the beginning, we are introduced to Immortan’s world through Max’s eyes as he is taken in for processing. Then next scene introduces us to Nux. Through Nux’s account, we hear of Furiosa’s escape. He asks “What is happening?” to answer the audience’s questions (he would know what’s happening, however, since he grew up in the Citadel). We are then introduced to Immortan’s war party as they are sent out to reclaim Furiosa. I believe this scene was weak because it did more telling instead of showing. We hear of Furiosa’s escape and can only imagine what it looked like. It would have been better to have cut to Furiosa and the Wives immediately after Max’s capture because they are really what the movie’s about. Through images, we could have seen Furiosa and the Wives preparing to run. Then we could have seen the Citadel noticing her escape and then the immediate reaction to that escape. We would then be able to establish Immortan as the enemy and Furiosa, the hidden Wives, and the War Rig as main characters. Then we cut to Nux’s scene, minus the “What’s happening?” Nux talks to his driving partner, and we see the Citadel explode into life around them. Through this, we see the culture of the Citadel and how it revolves around engines as well as how central their cars are to their society. We don’t know what’s happened to Max until we see him on the front of Nux’s car. After this first chase scene, their are multiple others. Though they are wonderfully edited and include mostly real special effects instead of CG (thus adding much realism), there are too many. And because there are too many chase scenes, they lose their impact and their charm. Furiosa’s escape suddenly becomes too easy, and by the last climatic chase scene, we know she will win. Furthermore, we aren’t allowed to see Immortan’s side of things, and therefore, we are not afraid of him. Had he been allowed time to develop (for example, it can be seen in one scene that he feels bad one of the Wives dies), he would have become a more realistic, and therefore more terrifying villain. The stakes aren’t high enough, and there is therefore no dramatic tension. Therefore, because there is mostly action, there is not enough time left to develop the characters. There needs to be more distrust between certain characters, and more character development in each separate character such as doubt from Furiosa’s side (an internal conflict between what she has always wanted to do and her position of power to Immortal), struggle with his past from Max’s side, freedom from the Wives, and guilt from Nux as well as a deeper look into the Wives’ culture such as their beliefs or their backstory (perhaps through traditional storytelling). Furiosa trusts Max too quickly. About halfway through, Max sets off to kill an enemy for Furiosa and the Wives and returns. This is the turning point between trust and distrust. However, up until this point, we aren’t aware of the distrust. We see Furiosa watching Max warily (through use of eye contact, which is very well done), but we don’t see her act upon her distrust. Perhaps it is because not enough time was given for this distrust to build (instead replaced by action), but I never saw conflict between Max and Furiosa besides their first meeting, where Max, always fending for himself, tries to overpower Furiosa. From then on, however, she lets him ride in the War Rig with the Wives because she knows he can offer much needed help. Furiosa is too quick to trust Max because she doesn’t know his background and because he is a man. She and the wives don’t have good history with men. And because Furiosa trusts Max, the Wives trust Max, right? I think the Wives are much too independent to follow a single leader. Yes Furiosa does exact a certain power over them, but they are their own people. Therefore, they too would have a hard time trusting Max. Furthermore, Max should be wary of the Wives as well. He knows they’re from the Citadel, and he doesn’t know if they’ll trust him or turn him in. He’s had too much experience in the Wasteland to trust people easily. Finally, Nux shouldn’t be trusted by anyone. He’s not only a man, but from the Citadel. Both parties would be against him. Nux, on the other hand, wouldn’t trust Furiosa because he’d be afraid she’d turn him in to get rid of him. He’d be okay with Max because Max keeps mostly to himself. Furiosa should have had more guilt. She should have been worried about disobeying the Citadel, and therefore should have had more doubt with what she was doing as well as doubt towards trusting Max. Max’s past should have come to haunt him more, thus causing him to slip up and lessen trust between him and the women. The Wives could have enjoyed their freedom more shown through increasing talk amongst themselves. Nux should have also had more guilt (because he disobeyed his Immortan by escaping), indecision (because he is unsure if he should go back or not) as well as other troubles before he transitions to relief because he has changed in terms of character because he assured that what he has done is the right thing. The Wives’ cultures could have explored more in depth through the stories they tell to one another. Max could have brought in different viewpoints and knowledge of the wasteland, and Nux could have brought in information on the workings of the war parties. Mad Max: Fury Road is a masterpiece of editing and special effects, using real-time effects and super-saturated color. But the lack of downtime resulted in a lack of character development which would have contributed greatly to the depth of the movie’s story. By slowing the movie down and decreasing the amount of action sequences, the stakes would be raised higher and the final climatic scene would have been much more tense. And we, the audience, would wonder if those characters we’ve followed all along can win this final battle.

#mad max: fury road #filmbr #film analysis #don't get me wrong i loved this film #long post

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3d-explainer-video · 5 years ago

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Kelly Brings J.Lo and Keith Urban to Tears

Thousands of fans have begun to prepare for Oscars parties to find out which actors, actresses, and movies of the 88th Academy Awards will win a gold statue. As part of the celebration, Shutterstock’s company designers have worked again this year to create fascinating pop art-inspired posters for popular films nominated by the Academy.

Like the many of the different types of movies nominated for the Best Picture award, Shutterstock says its posters share a theme of endurance and testing how far you can stretch the lengths of human nature.

“On the surface his work simply looks cool, but this shallow analysis misses the irony behind his cultural representations”

When you think of many of this year’s Best Picture nominees, movies like The Revenant, The Martian, and Mad Max share a common theme of strength, resilience, determination, and power. These themes are stunningly carried over into Shutterstock’s pop-art posters this year. Posters featured include Jordan Roland’s Warhol-inspired Mad Max: Fury Road, which offer a take on Warhol’s “subversive dictator portraits to shape this poster of Immortan Joe,” says the artist. In Cristin Burton’s Flirst-inspired Oscar Pop 2016 The Revenant, the poster includes assembled pieces the artist used to “create a vast, sinister, and lonely landscape.”

People Happily Await the Begining of the Show

The pop-art posters include a fun view of movies but also of topics that aren’t so fun. In Flo Lau’s The Big Short, inspired by Keith Haring, the artist chose a comedic approach to the dark subject of the bursting of the 2008 housing bubble.

Flirst is a collage artist who assembles disparate pieces to explore how he can change the harmony of the whole. For my poster, a homage to The Revenant, I assembled pieces to create a vast, sinister, and lonely landscape. The poster features a figure with very few people on his side; this represents the film’s main character, Hugh Glass, who was brutally attacked by a bear and left for dead in the winter wilderness.

“I wanted to portray the same witty chaotic vibe in my poster”

In his “Barcelona” series, Mario Corea Aiello forms a grungy collage of newspaper and magazine cutouts and heavy paint strokes. I felt this style would parallel the vicious storm that left Mark Watney for dead on Mars in The Martian. For the color scheme, I deferred to Eric White’s cover art from the original novel by Andy Weir to capture the characteristics of an otherworldly storm.

On Set with the Crew

My inspiration for this poster is one part Roy Lichtenstein and one part Stefan Sagmeister. Spotlight is about journalists uncovering a massive scandal in one of Boston’s oldest institutions, and I found that the perfectly contradictory homophone “pray/prey” encapsulates the shock and horror felt by the community when this scandal was made public.

To illustrate this, I pixelated an image of a priest, then tore off his head and replaced it with an image of a wolf. I looked to Warhol’s subversive dictator portraits to shape this poster of Immortan Joe.Warhol had a remarkable ability to distract from the meaning of his art. On the surface his work simply looks “cool”.

Mad Max: Fury Road has the same effect: The stylized nature of the film gets more attention than the meaning behind it.

I chose to feature Immortan Joe because he is a terrible person, but his iconic look makes him instantly recognizable. When I first read the plot summary for Room, I envisioned lonely, sterile characters, who had been institutionalized by their secluded environment.

Of course, when I saw the movie that perception quickly changed; the characters are full of life, love, and joy, and the audience instantly empathizes with them on a raw, human level. KAWS’ statues play on a similar deceit. Initially they have a sterile, robotic feel, but when you view them in their human-scale sizes and see their playful aesthetic, you experience an unexpected sense of connection.

“Welcome to the Oscars, Or as some people like to call it, the white people’s choice awards”

The Big Short takes a comedic approach to a dark subject, and I wanted to portray the same witty, chaotic vibe in my poster. Keith Haring was my inspiration because his high-contrast, brightly colored political work, which touches on grim subjects like rape, death, and war, hinges on the same contrast as the film. The poster is based on the film’s alligator-in-an-abandoned-pool scene; the alligator represents the main characters in the movie, who took advantage of the 2008 housing bubble and left the world in desperation when it burst.

Getting Ready for the Big Night

I chose to focus on the muddy gray areas and loopholes within Bridge of Spies. The Cold War was fueled by each side’s increasingly dire hypotheticals, causing mass paranoia among citizens and governments alike.

A large part of the film’s narrative focuses on the extent of protection under the law, especially for a Soviet spy. I reimagined Lady Justice, mixing her blindfold with the American and Soviet flags to represent how both countries were tied to their individuals’ principles of justice even while locked in an unending battle for the upper hand. Set in the eponymous 1950s borough, Brooklyn features then-contemporary imagery that now exemplifies the commodification of Brooklyn as a global brand.

Telephone Booth Shooting

In that vein, I applied the animated footage and vector elements to illustrate how the contrasting settings of Brooklyn and Ireland re-contextualized the protagonist’s identity through a fluctuating sense of “home.”

The 88th annual Academy Awards are underway, and viewers are anxiously awaiting the ceremony to find out if their favorite flicks and actors win, which categories will see big “upsets,” and which speeches and performances will stand out. Not to mention how host Chris Rock will approach the “Oscars So White” controversy, and who he will target during the opening monologue. Did Leo finally take home a golden statue? The buzz began during the red carpet events prior to the official event.

Jennifer Jason Leigh, nominated for Best Actress in a Supporting Role for The Hateful Eight, seemed slightly out of it during her interview with Ryan Seacrest on E!’s special. But arguably the biggest surprise was Best Actor nominee Leonardo DiCaprio (The Revenant) and Best Actress in a Supporting Role nominee Kate Winslet (Steve Jobs) playing to their nostalgic fans by walking the red carpet together. Can you believe it’s been nearly two decades since they starred together in the 1997 blockbuster film Titanic (which took home Best Picture)?

“If hosts were nominated, I wouldn’t be here; instead, you’d have Neil Patrick Harris.”

Rock, who addressed the issues with ease and expected humor, added that he did seriously consider quitting after so many people spoke out and pressured him to do so. “But the last thing I need is to lose another job to Kevin Hart,” he said, as the crowd erupted in laughter (including Hart himself, who was in the audience).

Arguably, the best part of Rock’s monologue was his blatant dig at Jada Pinkett-Smith and her vocal “boycott” of the Oscars. “Isn’t she on a TV show? Jada boycotting the Oscars is like me boycotting Rihanna’s panties,” he said.

The post Kelly Brings J.Lo and Keith Urban to Tears appeared first on Kids Bikes Shop Real bicycle customer reviews.

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3dfreelearn · 5 years ago

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Rupert Murdoch and Jerry Hall Tie the Knot

“On the surface his work simply looks cool, but this shallow analysis misses the irony behind his cultural representations”

When you think of many of this year’s Best Picture nominees, movies like The Revenant, The Martian, and Mad Max share a common theme of strength, resilience, determination, and power. These themes are stunningly carried over into Shutterstock’s pop-art posters this year. Posters featured include Jordan Roland’s Warhol-inspired Mad Max: Fury Road, which offer a take on Warhol’s subversive dictator portraits to shape this poster of Immortan Joe, says the artist. In Cristin Burton’s Flirst-inspired Oscar Pop 2016 The Revenant, the poster includes assembled pieces the artist used to create a vast, sinister, and lonely landscape.

People Watching a Movie

I wanted to portray the same witty chaotic vibe in my poster

In his Barcelona series, Mario Corea Aiello forms a grungy collage of newspaper and magazine cutouts and heavy paint strokes. I felt this style would parallel the vicious storm that left Mark Watney for dead on Mars in The Martian. For the color scheme, I deferred to Eric White’s cover art from the original novel by Andy Weir to capture the characteristics of an otherworldly storm.

My inspiration for this poster is one part Roy Lichtenstein and one part Stefan Sagmeister. Spotlight is about journalists uncovering a massive scandal in one of Boston’s oldest institutions, and I found that the perfectly contradictory homophone pray/prey encapsulates the shock and horror felt by the community when this scandal was made public.

This shallow analysis misses the irony behind his cultural representations. Mad Max: Fury Road has the same effect: The stylized nature of the film gets more attention than the meaning behind it.

Of course, when I saw the movie that perception quickly changed; the characters are full of life, love, and joy, and the audience instantly empathizes with them on a raw, human level. KAWS statues play on a similar deceit. Initially they have a sterile, robotic feel, but when you view them in their human-scale sizes and see their playful aesthetic, you experience an unexpected sense of connection.

Welcome to the Oscars, Or as some people like to call it, the white people’s choice awards

Backstage Preparations

A large part of the film’s narrative focuses on the extent of protection under the law, especially for a Soviet spy. I reimagined Lady Justice, mixing her blindfold with the American and Soviet flags to represent how both countries were tied to their individuals principles of justice even while locked in an unending battle for the upper hand. Set in the eponymous 1950s borough, Brooklyn features then-contemporary imagery that now exemplifies the commodification of Brooklyn as a global brand.

Just as the Pop Art movement utilized mass advertising and irony to re-contextualize commercial art, I drew from today’s vintage, artisanal design trends, which are inspired by that era and setting. In that vein, I applied the animated footage and vector elements to illustrate how the contrasting settings of Brooklyn and Ireland re-contextualized the protagonist’s identity through a fluctuating sense of home.

The 88th annual Academy Awards are underway, and viewers are anxiously awaiting the ceremony to find out if their favorite flicks and actors win, which categories will see big upsets, and which speeches and performances will stand out.

Not to mention how host Chris Rock will approach the Oscars So White controversy, and who he will target during the opening monologue. Did Leo finally take home a golden statue? The buzz began during the red carpet events prior to the official event. Jennifer Jason Leigh, nominated for Best Actress in a Supporting Role for The Hateful Eight, seemed slightly out of it during her interview with Ryan Seacrest on E!’s special. But arguably the biggest surprise was Best Actor nominee Leonardo DiCaprio (The Revenant).

If hosts were nominated, I wouldn’t be here; instead, you’d have Neil Patrick Harris.

Rock, who addressed the issues with ease and expected humor, added that he did seriously consider quitting after so many people spoke out and pressured him to do so. But the last thing I need is to lose another job to Kevin Hart, he said, as the crowd erupted in laughter (including Hart himself, who was in the audience).

Arguably, the best part of Rock’s monologue was his blatant dig at Jada Pinkett-Smith and her vocal boycott of the Oscars. Isn’t she on a TV show? Jada boycotting the Oscars is like me boycotting Rihanna’s panties, he said.

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sexynatacha · 6 years ago

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Silicon Valley Stunned by Slashed Investments

https://just-porno.com/?p=11917&utm_source=SocialAutoPoster&utm_medium=Social&utm_campaign=Tumblr Silicon Valley Stunned by Slashed Investments - https://just-porno.com/?p=11917&utm_source=SocialAutoPoster&utm_medium=Social&utm_campaign=Tumblr Thousands of fans have begun to prepare for Oscars parties to find out which actors, actresses, and movies of the 88th Academy Awards will win a gold statue. As part of the celebration, Shutterstock’s company designers have worked again this year to create fascinating pop art-inspired posters for popular films nominated by the Academy. Like the many of the different types of movies nominated for the Best Picture award, Shutterstock says its posters share a theme of endurance and testing how far you can stretch the lengths of human nature. “On the surface his work simply looks cool, but this shallow analysis misses the irony behind his cultural representations” When you think of many of this year’s Best Picture nominees, movies like The Revenant, The Martian, and Mad Max share a common theme of strength, resilience, determination, and power. These themes are stunningly carried over into Shutterstock’s pop-art posters this year. Posters featured include Jordan Roland’s Warhol-inspired Mad Max: Fury Road, which offer a take on Warhol’s subversive dictator portraits to shape this poster of Immortan Joe, says the artist. In Cristin Burton’s Flirst-inspired Oscar Pop 2016 The Revenant, the poster includes assembled pieces the artist used to create a vast, sinister, and lonely landscape. The pop-art posters include a fun view of movies but also of topics that aren’t so fun. In Flo Lau’s The Big Short, inspired by Keith Haring, the artist chose a comedic approach to the dark subject of the bursting of the 2008 housing bubble. Flirst is a collage artist who assembles disparate pieces to explore how he can change the harmony of the whole. For my poster, a homage to The Revenant, I assembled pieces to create a vast, sinister, and lonely landscape. The poster features a figure with very few people on his side; this represents the film’s main character, Hugh Glass, who was brutally attacked by a bear and left for dead in the winter wilderness. I wanted to portray the same witty chaotic vibe in my poster In his Barcelona series, Mario Corea Aiello forms a grungy collage of newspaper and magazine cutouts and heavy paint strokes. I felt this style would parallel the vicious storm that left Mark Watney for dead on Mars in The Martian. For the color scheme, I deferred to Eric White’s cover art from the original novel by Andy Weir to capture the characteristics of an otherworldly storm. My inspiration for this poster is one part Roy Lichtenstein and one part Stefan Sagmeister. Spotlight is about journalists uncovering a massive scandal in one of Boston’s oldest institutions, and I found that the perfectly contradictory homophone pray/prey encapsulates the shock and horror felt by the community when this scandal was made public. To illustrate this, I pixelated an image of a priest, then tore off his head and replaced it with an image of a wolf. I looked to Warhol’s subversive dictator portraits to shape this poster of Immortan Joe.Warhol had a remarkable ability to distract from the meaning of his art. On the surface his work simply looks cool! This shallow analysis misses the irony behind his cultural representations. Mad Max: Fury Road has the same effect: The stylized nature of the film gets more attention than the meaning behind it. I chose to feature Immortan Joe because he is a terrible person, but his iconic look makes him instantly recognizable. When I first read the plot summary for Room, I envisioned lonely, sterile characters, who had been institutionalized by their secluded environment. Of course, when I saw the movie that perception quickly changed; the characters are full of life, love, and joy, and the audience instantly empathizes with them on a raw, human level. KAWS statues play on a similar deceit. Initially they have a sterile, robotic feel, but when you view them in their human-scale sizes and see their playful aesthetic, you experience an unexpected sense of connection. Welcome to the Oscars, Or as some people like to call it, the white people’s choice awards The Big Short takes a comedic approach to a dark subject, and I wanted to portray the same witty, chaotic vibe in my poster. Keith Haring was my inspiration because his high-contrast, brightly colored political work, which touches on grim subjects like rape, death, and war, hinges on the same contrast as the film. The poster is based on the film’s alligator-in-an-abandoned-pool scene; the alligator represents the main characters in the movie, who took advantage of the 2008 housing bubble and left the world in desperation when it burst. I chose to focus on the muddy gray areas and loopholes within Bridge of Spies. The Cold War was fueled by each side’s increasingly dire hypotheticals, causing mass paranoia among citizens and governments alike. A large part of the film’s narrative focuses on the extent of protection under the law, especially for a Soviet spy. I reimagined Lady Justice, mixing her blindfold with the American and Soviet flags to represent how both countries were tied to their individuals principles of justice even while locked in an unending battle for the upper hand. Set in the eponymous 1950s borough, Brooklyn features then-contemporary imagery that now exemplifies the commodification of Brooklyn as a global brand. Just as the Pop Art movement utilized mass advertising and irony to re-contextualize commercial art, I drew from today’s vintage, artisanal design trends, which are inspired by that era and setting. In that vein, I applied the animated footage and vector elements to illustrate how the contrasting settings of Brooklyn and Ireland re-contextualized the protagonist’s identity through a fluctuating sense of home. The 88th annual Academy Awards are underway, and viewers are anxiously awaiting the ceremony to find out if their favorite flicks and actors win, which categories will see big upsets, and which speeches and performances will stand out. Not to mention how host Chris Rock will approach the Oscars So White controversy, and who he will target during the opening monologue. Did Leo finally take home a golden statue? The buzz began during the red carpet events prior to the official event. Jennifer Jason Leigh, nominated for Best Actress in a Supporting Role for The Hateful Eight, seemed slightly out of it during her interview with Ryan Seacrest on E!’s special. But arguably the biggest surprise was Best Actor nominee Leonardo DiCaprio (The Revenant). If hosts were nominated, I wouldn’t be here; instead, you’d have Neil Patrick Harris. Rock, who addressed the issues with ease and expected humor, added that he did seriously consider quitting after so many people spoke out and pressured him to do so. But the last thing I need is to lose another job to Kevin Hart, he said, as the crowd erupted in laughter (including Hart himself, who was in the audience). Arguably, the best part of Rock’s monologue was his blatant dig at Jada Pinkett-Smith and her vocal boycott of the Oscars. Isn’t she on a TV show? Jada boycotting the Oscars is like me boycotting Rihanna’s panties, he said.

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