#oz ripley

[atimeodyssey]

The Tiny Awards

pt.7

[denimbex1986]

'Netflix’s Ripley has a tremendous amount to offer. It’s dark and stylish. It’s one of the most beautiful things on television. It has an exceptional cat in it. However, there is one moment in Ripley that is so preposterous it threatens to undermine the entire series. If you haven’t seen Ripley, stop reading now. If you have, you already know exactly what I’m about to say.

It’s the bloody wig, isn’t it? For most of the series, Andrew Scott’s Ripley is the charming and dapper conman he’s always been; an indisputable master of impersonation and misdirection. But in the final episode that all falls apart. As the net around him closes in, Ripley decides to confront the inspector on his case. But he does this in – and unfortunately there’s no way of using this word without inverted commas – “disguise”, because he already met him once before under an alias. So we see Ripley enter a wig shop, to choose the best possible way for him to camouflage himself entirely. We see the tools of his work at home, scissors and combs and spirit gum, to reassure us that Tom Ripley is a master of disguise with a level of unparalleled expertise. And then …

And then, well, it looks bloody awful, doesn’t it. It’s hard to fully do justice to the disguise Tom Ripley comes up with in words alone. On one hand, it makes him look like a stray Bee Gee, or the cowardly lion from The Wizard of Oz begrudgingly attending the wedding of one of his girlfriend’s friends, or a version of Noel Edmonds that hasn’t invested in proper lighting for his house. But on the other, and I really cannot state this strongly enough, it also makes him look exactly like Andrew Scott. If the point of a disguise is to conceal your true identity to other people, it is an outright failure. This episode of Ripley is essentially about Andrew Scott walking into a wig shop then walking out looking like Andrew Scott, but Andrew Scott in a woeful wig.

The worst thing about it, of course – the thing that makes the full series disintegrate on sight – is that it actually works. The inspector visits Andrew Scott, has a full conversation with Andrew Scott and instead of thinking “Wait a minute, that’s just the guy I met before, but in a wig that makes him look a bit how General Zod would if General Zod was inexplicably into disco music,” simply walks away. He doesn’t twig until the very end of the series, the massive idiot.

Two things to take from this, really. The first is that we really need to petition Netflix to make a new Inspector Ravini spin-off, entitled The Further Adventures of The World’s Biggest Numpty, in which he bumbles around Italy screwing up every single crime he encounters by letting suspects go and handcuffing himself to horses and generally skidding around on crime-scene viscera like Todd Carty in Dancing on Ice. The second is that it’s time for Ripley to enter the pantheon of terrible screen wigs.

Obviously Dexter is the runaway leader when it comes to bad screen wigs. Which is strange, because wigs were a practical necessity for that show. For the whole of season five, Michael C Hall wore a wig to cover up the hair loss he sustained having chemotherapy for his Hodgkin’s Lymphoma. But while this wig did the job perfectly, its success was undermined by another wig he was forced to wear. Intermittently throughout the series we saw Dexter in flashback, which basically amounted to a middle-aged man putting on a novelty Justin Bieber wig.

There have been other frighteningly distracting wigs, too. When the producers of How I Met Your Mother decided to age-up Cobie Smulders, they did so by putting her in a wig so visibly made of nylon that it makes your teeth itch...

But there’s something about the deranged chutzpah of the Ripley wig – the blistering sense of “will this do?” – that puts it ahead of the competition. It is almost unbeatable in how ridiculous it is. TV wigmakers, consider this a challenge.'

[jupiterofetheria]

Currently wondering why Ripley's entire thing wasn't based around getting revenge on the Cerberus Assembly or Trent for completely decimating her home.

I'm not very educated on anything besides what's on her wiki and what I've deduced from the show and where she was in the campaign, so if I'm ignorant to any information by all means say something.

Her gun, Animus, had four names on it. From the wiki, it said they were; Percival De Rolo, Oz Gruude, King Bertrand Dwendal, and Rictor Wells. From what I gathered Gruude and Wells worked with her while she was in the Dwendalian empire or whatever it's title is and sold her out for her experiments, so it makes sense that she'd kinda be pissed at them, but why wouldn't she be even more vengeful towards the people that destroyed her home and killed her father in front of her?

From what I remember of Percy and Orthax, Matt (?) said something like "if he finished the names on the list new ones would appear" so I guess by that logic the next set of names on Animus could've very well been of Trent and such characters. Maybe these four were the most important in her mind right now? I don't know.

Maybe she didn't exactly know who the people were that attacked, therefore Orthax couldn't get a name? Then again wouldn't Orthax have means of figuring stuff like this out? Maybe not.

I think I'm reading way too far into this. I also think I just don't like the way Anna was written. But eh that's what headcannons and stuff are for. Anyways I'll shut up now ♡

[feralroyal]

huge if true: you can now download a free preview of t4t erotic horror graphic novel The Vow on itch.io!!

In the icy forests of Sahull, a monster steals brides on their wedding nights. The Arcana Imperii — a secret organization dedicated to hunting monsters and investigating magical anomalies — enlists two of its most powerful agents to put an end to the terror.

Lalo and Oz have been at each other's throats since the moment they first met, but the only thing that can match the intensity of their rivalry is the heat of their repressed desires for one another. Forced together on a dangerous mission where survival is uncertain, neither of them are prepared for the sparks and blood that will fly in the cold north.

please download and share!! this book is the result of almost four years of hard work between myself and my partner arden ripley and we are REALLY EXCITED to get to share it + will also be crowdfunding VERY SOON to bring it to print. read it! leave a comment and tell us why you love it!

[queeringclassiclit]

Masterlist of Previous Polls

And Then There Were None - Philip Lombard

Anne of Green Gables series Anne Shirley Anne & Diana

Arthurian Legend Lancelot du Lac Arthur & Lancelot Morgan le Fay Guinevere & Morgan Gawain The Green Knight

As You Like It - Rosalind & Celia

Beowulf - Beowulf

Breakfast at Tiffany's - Holly Golightly

Brideshead Revisited - Charles & Sebastian

Carmilla - Carmilla & Laura

The Catcher in the Rye - Holden Caulfield

The Chronicles of Narnia - Edmund Pevensie

The Count of Monte Cristo - Eugenie & Louise

Crime and Punishment - Raskolnikov & Razumikhin

Dracula Count Dracula Jonathan Harker Mina & Lucy

The Strange Case of Dr. Jekyll and Mr. Hyde - Jekyll/Hyde

The Divine Comedy - Dante & Virgil

Emma Emma Woodhouse Emma & Harriet

The Enchanted Island of Yew - Prince Marvel

The Epic of Gilgamesh - Gilgamesh & Enkidu

Eugene Onegin - Onegin & Lensky

Fahrenheit 451 - Guy Montag

The Famous Five series - George Kirrin

The Fate of the Crown - Valcour & Francisco de Paola

Frankenstein Victor Frankenstein Victor & Henry Captain Walton

The Great Gatsby Nick Carraway Nick & Gatsby Jordan Baker Daisy & Jordan

Hamlet Hamlet & Horatio Rosencrantz & Guildenstern

The Haunting of Hill House - Eleanor & Theodora

Herbert West–Reanimator - Herbert West

The Adventures of Huckleberry Finn - Huckleberry Finn

The Idiot Myshkin Rogozhin

The Iliad - Achilles & Patroclus

The Invisible Man - Jack Griffin

In Memoriam A. H. H. - Alfred Tennyson & Arthur Hallam

Jane Eyre - Jane Eyre

Jasper Jones - Charlie & Jasper

Jeeves and Wooster series - Jeeves & Wooster

Jude the Obscure - Sue Bridehead

Julius Caesar - Brutus & Cassius

Les Misérables Enjolras Enjolras & Grantaire Javert

Little Women Jo March Laurie Lawrence

Lord of the Flies - Piggy

The Lord of the Rings series Frodo & Sam Galadriel Boromir Fingon & Maedhros (The Silmarillion)

Macbeth - Lady Macbeth

Mansfield Park - Fanny & Mary

The Merchant of Venice - Antonio

A Midsummer Night's Dream - Puck

Moby Dick - Ishmael

The Most Dangerous Game - General Zaroff

Mrs Dalloway - Clarissa

Much Ado About Nothing Benedict Beatrice

Oliver Twist - Oliver Twist

Orlando - Orlando

Othello - Iago

The Outsiders Ponyboy Curtis Johnny & Dally

Peter Pan - Peter Pan

The Picture of Dorian Gray Dorian Gray Dorian & Basil Henry Wotton

Pride and Prejudice - Charlotte Lucas

Richard II - Richard II

Rosencrantz and Guildenstern are Dead - Rosencrantz & Guildenstern

Romeo and Juliet - Mercutio

The Secret History - Richard Papen

A Separate Peace - Gene & Finneas

Sherlock Holmes Series Sherlock Holmes Sherlock & John James Moriarty which adaptation is the most queer?

The Talented Mr Ripley Tom Ripley Tom & Dickie

The Tempest - Ariel

To Kill a Mockingbird - Scout Finch

Twelfth Night Viola Corsino Olivia

Ulster Cycle (Celtic Mythology) - Cú Chulainn

Waiting for Godot - Vladimir & Estragon

The Wonderful Wizard of Oz - Dorothy Gale

[godlessondheimite]

everyone was doing this and i felt left out

[slothpower-central]

Oh yeah remember when I posted about my fan branch for Limbus from like.... a while ago? Yea, they have advanced. I have many more sinners to show (In various degrees of being finished) So I wanted to show off some of the new crew, as a refresher, I showed off the manager, Dorothy, Chaplin and Judy and mentioned Kane and our guide Glinda...Well, I slightly updated Chaplin and Dorothy's art(Mainly just background and doodles but whatever) I'm working on redrawing Judy tho and Kane is uh.....Still not done(He is giving me a damn battle in the art department because I am not good at drawing men) I still don't have things like weapons done for most of the sinners but I just wanna share the lil guys

And I've officially drawn Glinda! She's the guide of the branch and she's a color fixer. She's pretty hands off and is pretty apathetic to a lot of the City and the cinema branch since her "Very good friend" was killed... too bad Glinda has no idea who did it tho.... Glinda has elements of both the Wizard of Oz and Wicked for her character, so I have a bunch planned for her. Here she is, I mainly took inspiration from her Wizard of Oz design while incorporating some stuff from Wicked and Oz: The Great and Powerful in there too

Next up we have our Bus Driver, Maria! She's based on Maria from the Sound of Music, she's an ex-Deici association member who has way too much positivity, like toxic levels. She's probably one of the like, actual nice people on the bus. Her outfit is very much based on the beginning of the movie. She may not have the Von Trapp family to take care of, but she has the idiots of the Cinema branch to drive around.

Next up I'm we have Norma, based on Sunset Boulevard!! She's a fixer who used to be like, big in the limelight but fell to obscurity, she's now extremely delusional that her fans are waiting for her to make her grand return to the world (spoiler: No one remembers her) I may redraw a few aspects of her but here she is!

Okay next up we have quite a few sinners who I don't currently have any reference images for since I'm either drawing them or in one case, I am fighting the good fight at thinking of a fun way to adapt the source So next up is actually my Sinner based on West Side Story! I couldn't tell ya much about them because i don't know who the hell it is, I went with Tony initially but then I didn't like it so I'm changing it up

Sinner #6 is Truman based on the Truman Show! This is the first of my sinner sources to be based on a movie that wasn't in my film class. In the branch though unlike the movie where Truman is a guy who is unknowingly living in a TV show, Truman sees the world as a TV show, everyone dying? nah that's special effects. Why is this the case? you'll just have to wait and see (I know why but I'm not telling you) His design isn't done yet so no art for him

FINALLY, a sinner with art and an actual weapon decided. I'm gonna be so for real, this is probably my favorite sinner of the bunch I absolutely adore her. Sinner #7 is Ripley based on Alien! Basically, I mixed the plots of the first two Alien movies to make her backstory (I'll make a bigger lore post on the cinema branch later) Her weapon is a flamethrower, based on the first movie. She's pretty wary of the company and she definitely has her suspicions that her crew is expendable just like her last job where she was the only one to make it out. She's overprotective of the manager and she slowly forms bonds with the crew (Her and Judy have something going on) Oh and how could I forget she has an ESA in the form of Jones! Yes, based on the cat from the movie

Sinners 8 and 9 are a pair, since they both come from the same source! Sinners 8 and 9 are Thelma and Louise based on Thelma and Louise. These two are basically on the run from one of the high up groups in the City and are laying low in Limbus since no one knows they committed the crime that caused this mess. I'm being vague since I'm not quite done with them, yet I only have like, Thelma's design done but not Louise's, so I'll wait till they're both done.

Sinner #10 is Princess Ann, also known as Anya, based on Princess Ann from the movie Roman Holiday! She's the daughter of a CEO of a wing and she runs off one night from all the pressure and joins Limbus to go on an adventure and see how life is when you're not y'know a sheltered little princess. I actually have to rewatch this source so she's definitely no done, though I am almost done with her design.

Finally, Sinner #11 is Satine based on Moulin Rouge! Interesting choice I know but I think she would be fun. I have nothing to give you right now for backstory because I am majorly changing up the plotline for her. I will say she is interesting in the way of being my one chronically ill sinner. Satine, like in her source has Tuberculosis meaning Manager Dorothy is the only thing keeping her from death. Her design is like mostly done, done enough to show at least.

And That's everyone for now! I know most of them aren't done yet and I have like no weapons for anyone, but I just wanted to show off how far I've come since the original idea. I love my lil guys and I'm gonna keep working on them since I love thinking about them! So yea I hope you enjoyed the Cinema branch update

[zhansww]

I finished watching all episodes of The Penguin and that show is so fucking great. Top notch writing, acting, directing.

I actually watched Ripley not long before this which is also a well-written show with a villain as its main character. As far as villains go, I don’t think I’ve ever come across one as monstrous as Oz, though. Like, I’ve seen one-dimensional villains, smart and kinda charming villains, villains who are a product of their upbringing and/or surroundings and villains who are sorta understandable cuz they retain some kind of humanity. But Oz is none of those. If anything, he actually kind of starts of as humane but the more you get to know him, the more you realize he isn’t. I didn’t like him from the get-go ngl. I was actually close to just quitting watching in the first episode cuz I thought it’s kinda pointless when I don’t like the main character at all. But then enter Sofia (my kind of villain lol). I can appreciate the great writing for any characters of course but Sofia was by far my favorite. She made the show for me, honestly. I was unapologetically rooting for her the entire time.

Anyway, if you don’t mind dark themes and appreciate good writing, I’d highly recommend The Penguin.

[cityofruinrp]

With our masquerade event now over, please see below for a list of the current key items now in play and who they belong to! You may also find this list on our key items page for easy referencing or on the spreadsheet linked in our discord. Our skeleton keys earned by posting an outfit for the masquerade event will be found only on the spreadsheet!

Sleeping Potion The sleeping potion is a milky white odorless potion that will make someone fall to sleep for 12 hours after ingesting.

Held By: Grace Xiong, Cyrus Ripley, Madison Paige, August Choi, Eliza Holloway, Aoife O'Sullivan, Chamomile Greensmith, Annalise Halstead, Rose Halstead, Marcia Cruz, Vera Montgomery, Thomas Skinner, Morgan Moss, Nolan Thatcher

Potion of Poison The poison will induce stomach flu like symptoms after ingesting, and lasts for 12 hours. 

Held By: Valka Hadley, Aurelia Kennedy, Desmona Atticus, Lara Rivkin, Nikko Atticus, Arte Ryan, Blair Davenport, Anika Booker, Mila Nivokova, Cordelia Verges, Vanessa Koblizka, Felicity van Brunt, Nsilo Castillon, Hester Lomidze, Talullah Kia, Zane Patel, Chamomile Greensmith, Reid Halstead, Nadia Holme, Syndra Ashburn, Elias Hunt, August Choi, Eliza Holloway, Mavi Badem, Aviel Gillinski, Theodora Blackthorn, Dahlia Alcott, Nikko Atticus, Freyja Carter, Heron Yearwood, Annalise Halstead, Willow Raya

Red Gemstone Can be exchanged for a favor with the Vampire Council. 

Held By: Lara Rivkin, Vicente Rosas, Lucia Mazzoni, Grace Xiong, Cameron McCormick, Nadia Holme, Elyse Kerr, Cordelia Verges, Desmona Atticus, Markus de Villiers, Ezra Lomidze, Orphia Sinclair, Lilia Noallies, Matteo Lazkano, Annika Booker, Nisha Eleazar, Theodora Blackthorn, Nsilo Castillon, Tomas Priestley, Freyja Carter, Zane Patel, Liam Slater, Felicity van Brunt, Aoife O'Sullivan, Asa Holland, Aviel Gillinski, Remi Felix, Oz Saffet, Jac Feng, Kevin Ma, Dahlia Alcott, Michael Booker, Kore Matsui, Valka Hadley, Cyrus Ripley, Ash Blythe, Elias King, Birdie Templeton, Syndra Ashburn, Tallulah Kia, Blair Davenport, Aurelia Kennedy, Chamomile Greensmith, Vanessa Koblizka, Tressa Shaw, Rafael Garza, Natasha Kassin, Svetlana Lomidze, Narcisse LeBlanc, Nicole Stueck, Eric Honeyfield, Apsara Urvashi, Annalise Halstead, Willow Raya, Malcolm Deveraux, Marcia Cruz, Eliza Holloway, Dani Feng, Vera Montgomery

Blue Gemstone Can be exchanged for a favor from the hunters. 

Held By: Hester Lomidze, Laure Stephens, Madison Paige, Rose Halstead, Morgan Moss, Autumn Howell, Aria Boughton, Nikko Atticus, August Choi, Mila Nivokova, Reid Halstead, Thomas Skinner, Heron Yearwood, Harley Hunt, Arte Ryan, Kelly Kane

Clairvoyance Potion This potion allows the user to scry on any location or person. The duration of the potion’s effect lasts for an hour.  

Held By: Birdie Templeton, Aria Boughton, Nisha Eleazar

Duality Potion This potion must be imbibed by two separate witches. After consuming, the two witches will be able to swap powers for 12 hours. 

Held By: Grace Xiong, Eric Honeyfield

Moonbane Talisman This talisman allows werewolves to turn during the full moon without any pain - thus making the transformation much quicker (30 minutes). After one full moon, the talisman shatters.  

Held By: Felicity van Brunt, Theo Blackthorn

Enhanced Strength Potion For one hour, after ingesting, the user is filled with strength equivalent to a vampire’s. 

Held By: Valka Hadley

Invisibility Potion For one hour, after ingesting, the user is completely invisible - including their clothing. 

Held By: Autumn Howell, Elyse Kerr, Morgan Moss

[blogthebooklover]

Happy International Women’s Day! Ft. Favorite Female Characters

Belle from Beauty and the Beast (1991)

Tiana from Princess and the Frog

Evelyn “Evey” O’Connell from The Mummy series

Ellen Ripley from the Alien franchise

Madeline 

Esmeralda from The Hunchback of Notre Dame

Anne Shirley from Anne of Green Gables

Mulan

Anya from Anastasia

Dorothy Gale from the Wizard of Oz

Demona from Gargoyles

[kevinsreviewcatalogue]

Review: Wild at Heart (1990)

Wild at Heart (1990)

Rated R

<Originally posted at https://kevinsreviewcatalogue.blogspot.com/2023/05/review-wild-at-heart-1990.html>

Score: 5 out of 5

Wild at Heart is a quintessential David Lynch movie, a film that's not as weird as his reputation suggests but gets treated as such anyway (including by Popcorn Frights, who hosted a screening this past Friday night) because he often uses a lot of stylish camera tricks and goes for a very offbeat tone. The "non-linear storytelling" is really just a very liberal use of flashbacks, and beneath the stylization, the story is very coherent, even if it doesn't hit the beats you'd normally expect. What it is, rather, is a film that carries the substance one would normally expect from Lynch, a melancholy exploration of Americana as our protagonists take a long road trip across the South that evokes a dark subversion of The Wizard of Oz. It's the kind of movie where you can immediately understand why a musician like Lana Del Rey seemingly built her entire persona around Lynch's films, as I found myself immediately drawn in by its modern-day Southern gothic atmosphere, its captivating lead performances by Nicolas Cage and Laura Dern, and the mounting sense of dread as two seemingly star-crossed lovers take a long road trip and encounter a number of increasingly weird characters along the way. I've heard that it's divisive, regarded as either one of Lynch's best films or one of his worst with not a whole lot of middle ground between them, but as somebody for whom this was his introduction to Lynch's films, I can say that I'm certainly intrigued, and eager to seek out his other movies.

The film opens in Cape Fear, North Carolina with one of our two protagonists, Sailor Ripley, getting targeted for murder by Marietta Fortune, the wealthy, snobbish mother of his girlfriend Lula, only for him to brutally beat the assassin she hired to death in front of a large crowd at a fancy party. Two years later, with Sailor out on parole (the court judged that, while excessive, he was acting in self-defense), he and Lula immediately hook up again, much to the horror of her mother, who sees him as a sleazeball who's corrupting her daughter (and also wanted him for herself). Thus begins a long road trip as Sailor and Lula drive west in a vintage Ford Thunderbird, breaking parole, while unbeknownst to them, Marietta hires the private detective (and her on-and-off boyfriend) Johnny Farragut to retrieve Lula -- and also hires the vicious gangster Marcello Santos to outright kill Sailor.

The plot of the film is largely in Marietta's side of the story, but the actual meat of the film concerns Sailor and Lula, a pair of young lovebirds on the run. Everybody involved with the film has described them as two halves of one character, and that is how they function, a young couple deeply in love who won't let the disapproval of Lula's mother get in the way of that love. While Nicolas Cage does get one of his famous freakouts at the start of the film, for most of it he's channeling Elvis Presley and James Dean, and not just because he's in a T-Bird and sings the King's romantic songs to Lula; from his accent to his snakeskin jacket, he projects an image of '50s cool that even the film itself admits is kind of a put-on, but it's one that he makes work. Laura Dern, meanwhile, was both beautiful and challenging as Lula, the rebellious daughter of an aristocratic Southern belle who's seen up-close the hypocrisy and hidden horrors of her upbringing that you're not supposed to talk about in polite company. And together, I fully bought their love story. Not only was it hot as hell (fair warning: there's a lot of sex in this movie), the two characters at the center were compelling thanks to Cage and Dern's performances, such that I wanted to see them together and quickly came to despise Willem Dafoe's character in his brief but instantly despicable role. In real life, you know that a relationship like theirs shouldn't work, but on the screen here, it did anyway. The ending of this film was a difficult one that could've easily turned corny, but it felt earned.

The supporting characters, too, were outstanding and prevented the film from just becoming a meandering mess, the big one being Diane Ladd as Lula's mother Marietta. We're shown early on that Marietta wanted Sailor for herself, the implication being that she's jealous of her daughter's relationship with him and has decided that, if she can't have him, no one can. Further revelations of her past with Sailor only drive home just how disturbed she actually is, especially her history with J. E. Freeman's Santos and Harry Dean Stanton's Farragut, the men she sends after Sailor and Lula, and how Sailor's life intersected with hers in the past. Willem Dafoe, meanwhile, is only in the film briefly, but his character Bobby Peru immediately steals the show once Sailor and Lula meet him in a small town in Texas, an absolute scumbag of a criminal whose entire time on screen is spent doing, planning for, or implying terrible things. The whole movie is filled with the kinds of little characters who you might encounter in these kinds of small towns, as well as minor figures in the characters' lives, played by a host of character actors like Crispin Glover, Sherilyn Fenn, and Isabella Rossellini. "It's about the journey, not the destination" is a cliché, but it absolutely applies here: I felt like I was on a road trip with Sailor and Lula as they journeyed across America, blissfully unaware of Marietta's goons coming for them.

Lynch, for his part, does a great job of capturing that dreamlike feel on the screen. His American South is a land of lonely roads, rock music, and interesting sights that you might not experience anywhere else. The brief plot detour involving the people who crashed on the side of the highway, for instance, may not have had any real plot purpose, but it did a lot of work building up that sense of dread as you began to suspect that Sailor and Lula's journey was not going to end well for them. It was stylish without feeling stylized, a film that made great use of the rural South from the forests back east to the dust of West Texas, and it got me in the feeling of taking a long journey to nowhere in particular, reminding me of some of the sights I saw last year driving from Florida to Utah.

The Bottom Line

It's a hard movie to describe, and it's not for everyone, but I absolutely adored Wild at Heart. I'm now eager to seek out the rest of David Lynch's filmography thanks to this beautiful, captivating dark romance, a film where even the few flaws I could come up with felt like they were put in there for deliberate effect. Check it out.

[atimeodyssey]

Créditos al viajero secreto de AURORA GOUZE.

[denimbex1986]

'I almost knock into Andrew Scott before I see him. He’s just dashed out of the Tate Modern, frantic and slightly late: “There’s just so many entrances!” he exclaims. His patrician forehead crinkles, and the brown eyes charmingly plead: Forgive me! He was just inside, picking up his membership card. Surely he can get in for free? “Excuse me,” he huffs, “I’m a fully paid-up member.” Then he flashes the broad grin that seduced a legion of Fleabag viewers, and we’re off.

The plan today is to meander in a loop along the Thames. On a midafternoon Friday in London, this involves much ducking and diving through crowds, which suits Scott just fine. The weather is one of those bright, springlike days that convinces you that winter is over—except the rain-swollen river is now sloshing ominously onto the pavement. We slow down to regard an underwater section of our route. “I don’t think we’re gonna get through there,” he says. “I’ve probably got a hole in my trainers.”

We head for the road instead, words pouring out of the 47-year-old actor in that mellifluous Irish lilt, peppered with “you knows” and interrupted frequently by his laugh. It’s no surprise that his colleagues quickly become friends: “It was clear from the moment that I met and worked with Andrew that he was an exceptionally gifted actor,” says Julianne Moore, who starred alongside Scott on Broadway in 2006’s The Vertical Hour. It was both actors’ Broadway debuts, though Scott has juggled screen and theater from the start. “I’ve always done both,” he says, though he acknowledges modestly: “I used to do maybe a few plays a year and one television show. Now maybe it’s kind of the opposite.” That’s somewhat underselling his dramatic accomplishments. Scott has won two Olivier Awards, for the experimental A Girl in a Car With a Man in 2005 and Noël Coward’s Present Laughter in 2020. He has performed in productions of Eugene O’Neill, Oscar Wilde—he’s played Hamlet, too, and was nominated for an Olivier for that as well. “Scott gives carefully controlled, thrillingly virtuoso physical performances,” wrote The Guardian last year, when he performed eight roles from Uncle Vanya by himself, in a much-lauded West End solo adaptation of the Chekhov play. (A New York transfer could not be confirmed when this piece went to press, but seems highly likely.) “He wore his talent so lightly and modestly,” Moore says. “He was joyful and fun and an amazing partner to have onstage and off.”

Scott was born in Dublin, sandwiched between two sisters; his mother is a teacher and an artist, and his father works at an employment agency. As a child, he was brought to art galleries and theaters. A performance by the great Irish actor Donal McCann in Sean O’Casey’s Juno and the Paycock when he was 11 or 12 made a lasting impression: “There was just something about the power in his stillness—people think that, in theater, it’s all about the grand gesture, but stillness onstage is absolutely mesmerizing.”

An eerie stillness characterizes all of Scott’s performances as well. As Moriarty in Sherlock, the BBC One show that catapulted him to fame in Britain in the 2010s, he requested fewer lines to play up the villain’s spookiness. And then there is that agonizing stretch of silence in Phoebe Waller-Bridge’s Fleabag right after its titular protagonist confesses her love. Has the line “It’ll pass” ever been delivered with so much pathos? Scott’s acting is all submerged passion; when he does speak, his words have depth. “Andrew has an intensity and a precision in his work,” Moore tells me. “I love his vulnerability, the way his eyes glitter onscreen.”

As a child, Scott was sent to drama classes to get over his shyness. He still remembers his first role, as the Tin Man in a production of The Wizard of Oz. “I felt completely free,” he says, seemingly transported to the moment he launched into “If I Only Had a Heart” onstage. “I felt joy—that’s the word. Not only did I feel it, but I felt that other people felt it when they were looking at me…. Some intuition told me as an 11-year-old: ‘You have to be this expressive, that’s what theater is!’ Nobody taught me that. I just felt it.” Then he swerves to avoid a clutch of tourists on Tower Bridge, and the reverie is lost.

These days, walking around London is something of an ongoing pastime for Scott. During the press rollout for Andrew Haigh’s Golden Globe–nominated romance All of Us Strangers, he and costar Paul Mescal went to their PR engagements on foot. One day, two boys on bikes clocked the pair and started chasing after them in an alarming fashion: “We escaped them—it was quite fun, actually!” Does he ever feel slightly protective of Mescal, two decades his junior? “Not any more than I would with any of my other people in my life. Because he’s got his head screwed on, you know? I absolutely adore Paul,” Scott adds, though he wants to make one thing clear: “Bromance is not the word that we associate with it, because neither of us are very bro-ey.”

Waller-Bridge, who has known Scott for 15 years, describes him as “an absolute pixie of mischief.” When asked to elaborate, she continues: “I could write a novel. But I love how naughty he is. He has the magical ability to make you feel instantly present—no matter what’s going on in your life, you’re suddenly there in the moment and feeling joyful. I think that’s what it’s like to watch him as an actor too…like he can stop time with his honesty.”

Between 2020 and 2021, Scott also traversed the lengths of the Thames, pondering the script from Ripley, his upcoming eight-episode project for Netflix, in which he plays the titular protagonist. “Quite unusually, I got sent all eight scripts at the same time,” he remembers. Steven Zaillian, the screenwriter behind Schindler’s List and Gangs of New York and the director and writer behind All the King’s Men, had written all eight at the outset.

Tom Ripley is crime novelist Patricia Highsmith’s slipperiest literary creation; a pathological liar and murderer with whom she felt a strange kinship—she sometimes signed letters with some variation of “Pat H., alias Ripley.” It is not so much a spoiler as an ongoing feature of the books that Ripley, despite splurging on Venetian palazzi and Gucci suitcases, never gets caught. If anybody comes close, there is always a conveniently located oar or glass paperweight nearby. Ripley, in other words, is the hero of the tale. “That’s why he fascinates so many,” says Scott. “There’s been so many iterations of him. I think it’s because people root for him.” Actors like Alain Delon and Dennis Hopper have tried the role; Matt Damon played him as an obsequious, lower-class naïf; John Malkovich, as a slimy, camp killer. Scott’s Ripley is different; a watchful loner escaping rodent-infested poverty, more at home among art than he is around people. Musician and actor Johnny Flynn plays his first victim—the monied Dickie Greenleaf—and Dakota Fanning is Dickie’s suspicious ex-girlfriend. “I find Tom quite vulnerable,” Scott tells me. “I don’t think he’s necessarily lonely, but I certainly think he’s solitary…. He seems to me by his nature that he just can’t fit in. He’s trying to survive.”

In Ripley, Zaillian extracts maximum Hitchcockian dread from every creaky footstep. But most sinister of all is Scott’s face, which exhibits a sharklike steeliness throughout. It’s a performance that exudes queasy force. Is Ripley a scammer, a psychopath, or both? “There’s so many things lurking beneath him that I’ve been very reluctant to diagnose him with anything. I never thought of him as a sociopath or murderous,” Scott declares. “It’s up to everybody else to characterize him or call him whatever they want.”

As we weave through tourists near the Tower of London, barely anybody notices Scott, save for a faint glimmer of recognition among mainly young women. He seems to draw reassurance from it. “I don’t like to think about it too much, if I’m honest,” he muses of fame. “I find it a little bit, er, frightening.” He is known but not blockbuster-recognizable, although he is in the upcoming Back in Action with Cameron Diaz and Jamie Foxx. What stunts did he do? “I can’t give that away, I’m afraid, or somebody from Netflix will come and shoot me in the head.”

What’s been on Scott’s mind the most hasn’t been acting at all, in fact, but art. As a 17-year-old, he was offered his first movie role on the same day he was given a scholarship to study painting. He chose acting, but has recently been thinking about Oliver Burkeman’s philosophical self-help tract from 2021, Four Thousand Weeks, which makes the case for focusing on the five things you truly want to accomplish. “For me at the moment, it’s like, What do you want to do? What do you want to say?”

He scrolls through his phone to show me his work. There’s a watercolor of a couple arguing in a restaurant in rich reds and greens, line drawings of friends and people on the beach, and two self-portraits. “It’s a bit weird,” he acknowledges of his depiction of himself, all bulbous forehead and Pan-like tufts of hair. His brisk, nervy lines are reminiscent of Egon Schiele or Francis Bacon, who turns out to be one of his favorite painters. “Well, God, I’ll take that,” he mutters at the comparison. He would like someday to go to art school. “I don’t ever regret it,” he says of acting. “But I suppose you just get to a stage where you think, What else? That’s one of the big painful things in life for me, where you can’t quite live all the lives.” As he gets older, he feels the tug toward revisiting old working relationships, including with Waller-Bridge: “We’ve definitely got things cooking,” he smiles. “I’d love to work with her again. She’s just a singular, wonderful person.” For her part, Waller-Bridge says: “I’d love to see him do a fully unhinged slapstick comedy character. Someone who is outraged at everything, all of the time.”

As we round the pavement and the Tate Modern looms back into sight, he recalls a poster he received in 2017—a monstrously large graphic that detailed every week in a human life span. “It’s your entire life if you live to 80—you have to fill in all the bits that you’ve already lived,” he remembers in awe, “a visually terrifying gift.” What did he do with it? “I didn’t hold on to it for too long.” Easy come, easy go: We finally finish our loop around the Thames and, as Scott disappears back into the throng, anonymous just the way he likes it, it occurs to me that the actor has many lives to live yet.'

[messmertheimpaler]

rules: take this quiz and share 5 (or more! or less! the world is your oyster!) results from the top 50 that you feel really fit your oc(s). if you don’t recognize very many from the top 50, feel free to expand into the top 100.

tagged by @50sjello @cryptcombat @denerims

not tagging anyone because i think everyone's done it by now 😅

althelia 🪷 (ffxiv)

alice cullen (twilight)

belle (beauty and the beast)

sailor venus (sailor moon)

rapunzel (tangled)

dorothy gale (wizard of oz)

gwen 🧪 (resident evil)

mystique (x-men)

yennefer of vengerberg (the witcher)

shiv roy (succession)

faye valentine (cowboy bebop)

villanelle (killing eve)

elena ��� (outlast)

glenn rhee (the walking dead)

chloe decker (lucifer)

sailor mercury (sailor moon)

ellen ripley (alien)

riza hawkeye (fullmetal alchemist)

[youleftandnevercomeback]

SAG AWARDS 2025: NOMINACIONES

¡Ya se conocieron las nominaciones a los premios SAG 2025!

La 31.ª edición anual de los premios Screen Actors Guild Awards se transmitirá en vivo a nivel mundial en Netflix el domingo 23 de febrero de 2025 a las 8 p. m. ET/5 p. m. PT desde el Shrine Auditorium & Expo Hall. Kristen Bell será la presentadora.

Y los nominados son ...

NOMINACIONES A PELÍCULAS:

Mejor interpretación masculina en un papel principal

ADRIEN BRODY / László Tóth – “THE BRUTALIST” TIMOTHÉE CHALAMET / Bob Dylan – “A COMPLETE UNKNOWN” DANIEL CRAIG / William Lee – “QUEER” COLMAN DOMINGO / Divine G – “SING SING” RALPH FIENNES / Lawrence – “CONCLAVE”

Mejor interpretación femenina en un papel principal

PAMELA ANDERSON / Shelly – “THE LAST SHOWGIRL” CYNTHIA ERIVO / Elphaba – “WICKED” KARLA SOFÍA GASCÓN / Emilia/Manitas – “EMILIA PÉREZ” MIKEY MADISON / Ani – “ANORA” DEMI MOORE / Elisabeth – “THE SUBSTANCE”

Mejor interpretación masculina en un papel secundario Papel

JONATHAN BAILEY / Fiyero – “WICKED” YURA BORISOV / Igor – “ANORA” KIERAN CULKIN / Benji Kaplan – “A REAL PAIN” EDWARD NORTON / Pete Seeger – “A COMPLETE UNKNOWN” JEREMY STRONG / Roy Cohn – “THE APPRENTICE”

Actuación destacada de una actriz en un papel secundario

MONICA BARBARO / Joan Baez – “A COMPLETE UNKNOWN” JAMIE LEE CURTIS / Annette – “THE LAST SHOWGIRL” DANIELLE DEADWYLER / Berniece – “THE PIANO LESSON” ARIANA GRANDE / Galinda/Glinda – “WICKED” ZOE SALDAÑA / Rita – “EMILIA PÉREZ”

Actuación destacada de un elenco en una película

A COMPLETE UNKNOWN MONICA BÁRBARO / Joan Báez NORBERT LEO BUTZ / Alan Lomax TIMOTHÉE CHALAMET / Bob Dylan ELLE FANNING / Sylvie Russo DAN FOGLER / Albert Grossman WILL HARRISON / Bobby Neuwirth ERIKO HATSUNE / Toshi Seeger BOYD HOLBROOK / Johnny Cash SCOOT MCNAIRY / Woody Guthrie GRAN BILL MORGANFIELD / Jesse Moffette EDWARD NORTON / Pete Seeger

ANORA YURA BORISOV / Igor MARK EYDELSHTEYN / Iván KARREN KARAGULIAN / Toros MIKEY MADISON / Ani ALEKSEY SEREBRYAKOV / Nikolai Zakharov VACHE TOVMASYAN / Garnick

CÓNCLAVE SERGIO CASTELLITTO / Tedesco RALPH FIENNES / Lawrence JOHN LITHGOW / Tremblay LUCIAN MSAMATI / Adeyemi ISABELLA ROSSELLINI / Hermana Inés STANLEY TUCCI / Bellini

EMILIA PÉREZ KARLA SOFÍA GASCÓN / Emilia/Manitas SELENA GÓMEZ / Jessi ADRIANA PAZ / Epifania ZOE SALDAÑA / Rita

MALVADO JONATHAN BAILEY / Fiyero MARISSA BODE / Nessarose PETER DINKLAGE / Dr. Dillamond CYNTHIA ERIVO / Elphaba JEFF GOLDBLUM / El maravilloso mago de Oz ARIANA GRANDE / Galinda/Glinda ETHAN SLATER / Boq BOWEN YANG / Pfannee MICHELLE YEOH / Madame Morrible

Mejor interpretación de acción de un grupo de especialistas en una película

DEADPOOL & WOLVERINE DUNE: PART TWO THE FALL GUY GLADIATOR II WICKED

NOMINACIONES DE TV

Mejor interpretación de un actor masculino en una película para televisión o miniserie

JAVIER BARDEM / Jose Menendez – “MONSTERS: THE LYLE AND ERIK MENENDEZ STORY” COLIN FARRELL / Oz Cobb – “THE PENGUIN” RICHARD GADD / Donny – “BABY REINDEER” KEVIN KLINE / Stephen Brigstocke – “DESCARGO DE RESPONSABILIDAD” ANDREW SCOTT / Tom Ripley – “RIPLEY”

Mejor interpretación de una actriz en una película para televisión o miniserie

KATHY BATES / Edith Wilson – “THE GREAT LILLIAN HALL” CATE BLANCHETT / Catherine Ravenscroft – "DESCARGO DE RESPONSABILIDAD" JODIE FOSTER / Detective. Elizabeth Danvers – “TRUE DETECTIVE: NIGHT COUNTRY” LILY GLADSTONE / Cam Bentland – “UNDER THE BRIDGE” JESSICA GUNNING / Martha – “BABY REINDEER” CRISTIN MILIOTI / Sofia Falcone – “THE PENGUIN”

Actuación destacada de un actor masculino en una serie dramática

TADANOBU ASANO / Kashigi Yabushige – “SHŌGUN” JEFF BRIDGES / Dan Chase – “THE OLD MAN” GARY OLDMAN / Jackson Lamb – “SLOW HORSES” EDDIE REDMAYNE / The Jackal – “THE DAY OF THE JACKAL” HIROYUKI SANADA / Yoshii Toranaga – “SHŌGUN”

Actuación destacada de una actriz en una serie dramática

KATHY BATES / Madeline Matlock – “MATLOCK” NICOLA COUGHLAN / Penelope Featherington – “BRIDGERTON” ALLISON JANNEY / Vicepresidenta Grace Penn – “THE DIPLOMAT” KERI RUSSELL / Kate Wyler – “THE DIPLOMAT” ANNA SAWAI / Toda Mariko – “SHŌGUN”

Actuación destacada de un actor masculino en una serie de comedia

ADAM BRODY / Noah Roklov – “NOBODY WANTS THIS” TED DANSON / Charles Nieuwendyk – “A MAN ON THE INSIDE” HARRISON FORD / Paul – “SHRINKING” MARTIN SHORT / Oliver Putnam – “ONLY MURDERS IN THE BUILDING” JEREMY ALLEN WHITE / Carmen “Carmy” Berzatto – “THE BEAR”

Actuación destacada de una actriz en una serie de comedia

KRISTEN BELL / Joanne – “NOBODY WANTS THIS” QUINTA BRUNSON / Janine Teagues – “ABBOTT ELEMENTARY” LIZA COLÓN-ZAYAS / Tina – “THE BEAR” AYO EDEBIRI / Sydney Adamu – “THE BEAR” JEAN SMART / Deborah Vance – “HACKS”

Actuación destacada de un elenco en una serie dramática

BRIDGERTON GERALDINE ALEXANDER / Sra. Wilson VICTOR ALLI / John Stirling ADJOA ANDOH / Lady Danbury JULIE ANDREWS / Lady Whistledown LORRAINE ASHBOURNE / Sra. Varley SIMONE ASHLEY / Kate Bridgerton JONATHAN BAILEY / Anthony Bridgerton JOE BARNES / Lord Wilding JOANNA BOBIN / Lady Cowper JAMES BRYAN / Nicky Mondrich HARRIET CAINS / Philipa Featherington BESSIE CARTER / Prudence Featherington GENEVIEVE CHENNEOUR / Señorita Livingston DOMINIC COLEMAN / Lord Cowper NICOLA COUGHLAN / Penelope Featherington KITTY DEVLIN / Señorita Stowell HANNAH DODD / Francesca Bridgerton DANIEL FRANCIS / Lord Marcus Anderson RUTH GEMMELL / Violet Bridgerton ROSA HESMONDHALGH / Rae SESLEY HOPE / Señorita Kenworthy FLORENCE HUNT / Hyacinth Bridgerton MARTINS IMHANGBE / Will Mondrich MOLLY JACKSON-SHAW / Señorita Hartigan CLAUDIA JESSIE / Eloise Bridgerton LORN MACDONALD / Albion Finch JESSICA MADSEN / Cressida Cowper EMMA NAOMI / Alice Mondrich HANNAH NEW / Lady Tilley Arnold LUKE NEWTON / Colin Bridgerton CALEB OBEDIAH / Lord Cho JAMES PHOON / Harry Dankworth VINEETA RISHI / Lady Malhotra GOLDA ROSHEUVEL / Reina Carlota HUGH SACHS / Brimsley BANITA SANDHU / Señorita Malhotra LUKE THOMPSON / Benedict Bridgerton WILL TILSTON / Gregory Bridgerton POLLY WALKER / Lady Featherington ANNA WILSON-JONES / Lady Livingston SOPHIE WOOLLEY / Lady Stowell

EL DÍA DEL CHACAL KHALID ABDALLA / Ulle Dag Charles JON ARIAS / Álvaro NICK BLOOD / Vince Pyne ÚRSULA CORBERÓ / Nuria CHARLES DANCE / Timothy Winthrop BEN HALL / Damian Richardson CHUKWUDI IWUJI / Osita Halcrow PATRICK KENNEDY / Teddy PUCHI LAGARDE / Marisa LASHANA LYNCH / Bianca Pullman ELEANOR MATSUURA / Zina Jansone JONJO O’NEILL / Edward Carver EDDIE REDMAYNE / El Chacal SULE RIMI / Paul Pullman LIA WILLIAMS / Isabel Kirby

EL DIPLOMÁTICO ALI AHN / Eidra Park SANDY AMON-SCHWARTZ / Sandy TIM DELAP / Byron PENNY DOWNIE / Frances Munning ATO ESSANDOH / Stuart Hayford DAVID GYASI / Secretario de Asuntos Exteriores, Austin Dennison CELIA IMRIE / Margaret Roylin RORY KINNEAR / Primer Ministro Nicol Trowbridge PERLA MACKIE / Alysse NANA MENSAH / Billie Appiah GRAHAM MILLER/Neil Barrow KERI RUSSELL / Kate Wyler RUFUS SEWELL / Hal Wyler ADAM PLATA / Howard KENICHIRO THOMSON / Martín

SHŌGUN SHINNOSUKE ABE / Buntaro TADANOBU ASANO / Kashigi Yabushige TOMMY BASTOW / Padre Martín Alvito TAKEHIRO HIRA / Ishido Kazunari MOEKA HOSHI / Usami Fuji HIROMOTO IDA / Señor Kiyama COSMO JARVIS/John Blackthorne HIROTO KANAI / Kashigi Omi YUKI KURA / Yoshii Nagakado TAKESHI KUROKAWA / Señor Ohno FUMÍ NIKAIDO / Ochiba No Kata TOKUMA NISHIOKA / Toda Hiromatsu HIROYUKI SANADA / Yoshii Toranaga ANNA SAWAI / Toda Mariko

CABALLOS LENTOS RUTH BRADLEY/Emma Flyte TOM BROOKE / JK Coe JAMES CALLIS / Claude Whelan CHRISTOPHER CHUNG / Roddy Ho AIMEE-FFION EDWARDS / Shirley Dander ROSALIND ELEAZAR / Louisa Guy SEAN GILDER / Sam Chapman KADIFF KIRWAN / Marcus Longridge JACK LOWDEN / Río Cartwright GARY OLDMAN/Jackson Lamb JONATHAN PRYCE / David Cartwright SASKIA REEVES / Catherine Standish JOANNA SCANLAN / Moira Tregorian KRISTIN SCOTT THOMAS / Diana Taverner HUGO TEJIENDO / Frank Harkness NAOMI WIRTHNER / Molly Doran TOM WOZNICZKA / Patrice

Actuación destacada de un elenco en una serie de comedia

ESCUELA PRIMARIA ABBOTT

QUINTA BRUNSON / Janine Teagues WILLIAM STANFORD DAVIS / Mr. Johnson JANELLE JAMES / Ava Coleman CHRIS PERFETTI / Jacob Hill SHERYL LEE RALPH / Barbara Howard LISA ANN WALTER / Melissa Schemmenti TYLER JAMES WILLIAMS / Gregory Eddie

EL OSO LIONEL BOYCE / Marcus LIZA COLÓN-ZAYAS / Tina AYO EDEBIRI / Sydney Adamu ABBY ELLIOTT / Natalie “Sugar” Berzatto EDWIN LEE GIBSON / Ebraheim COREY HENDRIX / Sweeps MATTY MATHESON / Neil Fak EBON MOSS-BACHRACH / Richard “Richie” Jerimovich RICKY STAFFIERI / Theodore Fak JEREMY ALLEN WHITE / Carmen “Carmy” Berzatto

HACKS ROSE ABDOO / Josefina CARL CLEMONS-HOPKINS / Marcus Vaughan PAUL W. DOWNS / Jimmy Lusaque, Jr. HANNAH EINBINDER / Ava Daniels MARK INDELICATO / Damien JEAN SMART / Deborah Vance MEGAN STALTER / Kayla Schaeffer

SOLO ASESINATOS EN EL EDIFICIO MICHAEL CYRIL CREIGHTON / Howard Morris ZACH GALIFIANAKIS / Zach Galifianakis SELENA GOMEZ / Mabel Mora RICHARD KIND / Vince Fish EUGENE LEVY / Eugene Levy EVA LONGORIA / Eva Longoria STEVE MARTIN / Charles-Haden Savage KUMAIL NANJIANI / Rudy Thurber MOLLY SHANNON / Bev Melon MARTIN SHORT / Oliver Putnam

SHRINKING HARRISON FORD / Paul BRETT GOLDSTEIN / Louis DEVIN KAWAOKA / Charlie GAVIN LEWIS / Connor WENDIE MALICK / Dra. Julie Baram LUKITA MAXWELL / Alice TED MCGINLEY / Derek CHRISTA MILLER / Liz JASON SEGEL / Jimmy RACHEL STUBINGTON / Summer LUKE TENNIE / Sean MICHAEL URIE / Brian JESSICA WILLIAMS / Gaby

Mejor actuación de acción de un grupo de especialistas en una serie de televisión

THE BOYS FALLOUT HOUSE OF THE DRAGON THE PENGUIN SHŌGUN

[rottenbrainstuff]

Hey you know what. I started adding tags then realized I could think of a LOT actually, and it made me surprised. It made me realize movie adaptations don’t actually generally suck, because I think there are a lot of good movies that you don’t even realize were adaptations from books. The adaptations that suck, in my opinion, are the ones based on very popular books trying to cash in on the popularity of the book, and doing a weird and unsatisfying combo of trying to stick way too close to the book while also puzzlingly missing the point of the book and changing the plot or themes in ways that suck.

Examples of movies that in my opinion were good adaptations of books:

The Talented Mr. Ripley, Coraline, Howl’s Moving Castle, Frankenstein, Jurassic Park, Wizard of Oz, Clockwork Orange, the Shining, the Fountain, Hugo, Silence of the Lambs, The Crow, the lord of the rings trilogy (NOT the hobbit, obviously). These are just examples off the top of my head based on me looking at my bookshelf and my dvd collection. Some Stephen King short stories have been very successfully adapted, ie Shawshank Redemption, The Green Mile. These are literally just off the top of my head! I’m sure I could think of more. (You’ll notice as well that each of these movies significantly deviates from the source material: I think that is also a key. I’m not sure where this idea came from that a good adaptation follows the book as closely as possible. It’s a book! It’s a different medium! You need to make some changes for a movie!)

So you know. This made me realize like, hey movie adaptions do NOT generally suck, actually. There are actually a ton of really great adaptations, but because maybe the books were not as crazy popular, a lot of people don’t even think about them as being a book adaptation.

Edit: omg I forgot the best adaptation of all, the Godfather. The original book was dumb and pulpy and included a subplot about a woman getting surgery because her vagina was too loose, and only Sonny had a big enough dick to make her feel satisfied. I am not making that up

book to movie adaptations generally suck, but reblog with ur exception in the tags