#patrick page was phenomenal

[a-kinda-nerdy-girl]

Welp I just watched the stream of King Lear that the Shakespeare Theatre Company in DC offered before their run ends and I am now going to watch parks and rec to recover

[kelcemenow]

Drive Me Crazy - Chapter 7.

Pairing Travis Kelce x Reader

Words 2041

Warnings Mentions of fainting/panic attack, this one has a little bit of an angsty theme to it, but there's still a bit of fluff at the end.

Huge thank you to the Anon who sent this in! They had such amazing words to say about my writing which I massively appreciate and then to top it off, had an incredible request for me! I only have experience with mechanics in the UK, so I’ve tried my best with this one! “I just recently got interested in Travis K. X reader stories and wanted to let you know, I read all of yours as quickly as I could. They are so well done and I couldn’t help but laugh/giggle and feel through each word you typed out. You’re doing amazing and I’m so glad to have stumbled onto your page. If you have any space for a request, I’d be curious about what Trav would think about having a military (like fighter pilot) or engineer or mechanic girlfriend. I see a lot of stories with him paired with models/singers/social media individuals (which are phenomenal!) but just wondering how he would be with a more tomboy like girlfriend!”

CHAPTER 6

CHAPTER 7

"Wooooooh!" Your Dad bellowed as he raised his clenched fists into the air.

You glanced around the viewing box as a couple of other people were watching and smiling at him, "I'm sorry, he's really excited." You nodded.

"This is so awesome!" He beamed back at you, "I can't believe I'm here!"

You grinned and leaned in closer to him, straining your voice over the music, "Well, believe it, it's happening!"

Gripping your plastic tumbler of beer, your wide eyes scanned the stadium as thousands of fan poured into the stadium, filling their seats. There was a sea of red and white clad supporters below you, all anxiously waiting for the game to start. As you took a quick sip of your drink, a loud and low voice boomed in your ears.

"Ladies and gentlemen! Your Kansas City Chiefs!"

The stadium roared as several dozen pumped up men spilled out onto the field, running and jumping in the air to hype up the crowd. Your gaze danced around them until it finally settled onto Travis, who was jogging out close to Patrick, speaking in his ear. They stopped and Travis lifted his knee to begin warming up, his eyes checking the stands. When he finally looked in your direction, your stomach gave a flutter and he waved gently towards you.

Your Dad nudged you playfully with his elbow and you felt your cheeks flush bright red. The excitement built up in your stomach as the floor rumbled with noise, the atmosphere thick with anticipation. The Las Vegas Raiders were the Chiefs' biggest rivals, and with 71 wins against them behind their belts, the Chiefs were preparing for a another one to add to the list.

As the game began, you noticed that your eyes always seemed to drift to Travis. You were watching the game, but there was something about him that drew you in. He was showman, giving the crowd what they wanted and every play was a spectacle. Your Dad was fully immersed, shouting and cheering at every necessary opportunity and it warmed your heart to see him so happy. His kind eyes sparkled like a child at Christmas and by the time half time had rolled around, he had already made a friend in a gentleman next to him.

"Hey, Pop." You leaned closer to him and placed your hand on his shoulder, "I'm heading for another beer, do you want one?"

"Yes please, Sport." He reached into his jeans pocket, "And get one for my friend here."

You smiled and nodded, ducking out of the viewing box, grabbing your bag on the way out. As you paced through the corridors, the roaring sounds of the stadium surrounding you, you pulled your phone from your pocket to check Instagram. You scrolled a few times before your heart stopped as your eyes settled on a post. It was a photograph, although blurry, showing Travis leaning across a small table in a booth to kiss you. You swiped across where there was another picture of the two of you leaving the bar, your hand clasped in his and his gaze fixed on you. You hesitated for a second before tapping on the comments.

"He's dating her???? He can do better."

"I swear she serviced my car last week, not exactly girlfriend material."

"Travis should be dating someone waaay hotter than her."

"She's giving tomboy...and not in a good way."

Moisture quickly flooded your eyes and blurred your vision. You threw your phone back into your purse as you blinked hard, tears rolling down your cheeks. The crowd noises suddenly became muffled and you felt your chest become heavy, your breathing quickening it's pace.

"Are you okay?" A concerned voice said to your right.

You lifted your head as you stumbled back towards the wall, your fingers feeling the cool painted brick.

"Ummm...yeah, thanks." Was all you could manage through your dizzying haze, a numbing sensation spreading from your chest to your face. Your hands pressed against the wall behind you and kept you upright as your mind whirred with the words you had just read.

"Are you sure? I could go and get someone if-"

You sniffed loudly and wiped away some of the moisture that had stained your cheeks with the sleeve of your sweater, "No, no. Honestly, I'm fine. Thank you, anyway."

The stranger kept his gaze on you for a little longer, concern strewn across his face before disappearing around the corner of the corridor. You took some deep breaths, rubbing the underneath of your eyes a few more times before rolling your shoulders back and heading towards the bar.

You knew that you probably weren't Travis' usual type and the sudden attention was something you had been apprehensive about. But Travis had sucked you into his life, something drew you to him without your knowledge and now you were fully in the deep end. The comments had not only hurt your feelings, but had confirmed something you were afraid of. Rejection.

"What can I get for you?"

"He can do better."

"I'll take three beers please."

"Not exactly girlfriend material."

"Sure, coming up."

"Not in a good way."

The words span around in your mind, your chest becoming heavy again with your laboured breathing. Your fingers fumbled with the opening of your purse, trying desperately to find your wallet but your skin tingled, the numbness returning.

As the three plastic cups of beer were placed on the bar top in front of you, you noticed that your vision was blurring and you were becoming unsteady. You inhaled deeply in an attempt to secure as much oxygen as you could before your legs gave way and you found yourself slumped on the floor, your elbow throbbing in pain from hitting it against the hard walled surface behind you. Two bartenders rushed to your side, their faces appearing in your foggy vision with expressions filled with concern.

"I'm fine...I'm fine." You mumbled, holding your hands out to try and lift yourself from the ground.

"I think we should get someone." A bright female voice stated confidently, "Aaron, go and get someone from medical."

"Honestly, I'm fine."

She placed her hand firmly on your shoulder, "You're not going anywhere, okay? We going to get you looked at."

As you rested your head against the wall behind you, your eyes floated closed and a warm feeling filled your body, blackness drifting in.

______________________________________________________________

"Really, I'm fine."

"That's all she keeps saying."

"Because I am!" You laughed, shaking your head and looking away.

"You hit your head."

"I hit my elbow."

The bartender had called for an Emergency Medical Technician to check you over, bringing you behind the bar and into the staff area as crowds were beginning to form in the bar during half time. Half time was over now though, and you could hear the game ramping up again.

The EMT continued to check your blood pressure, "Okay, okay. This will only take a few more minutes and we can see what's going on here. You see, people don't just collapse for no reason, Miss."

You rubbed your forehead, "I know. But I'm okay now, I just had a moment."

"Your blood pressure is quite high, this game must be really exciting."

You looked down at the floor, "Something like that."

"That could explain why you collapsed." The EMT furrowed his brow, his apprehensive gaze fully fixed on you, "Are you sure you're okay?"

You rolled your eyes slightly, "For the hundredth time, I'm fine."

The EMT glanced towards the female bartender and then back at you, "Okay. But I would suggest no more alcohol, and take it easy, alright?"

You quickly stood up from the chair, your mouth moving into a smile, "Two beers, please."

______________________________________________________________

The rest of the game was exactly how you imagined it to be. The Chiefs fan's were traditionally loud and the players themselves ate it up. It was truly entertaining and whilst you didn't follow along completely, seeing Travis happy with his win warmed your heart. You didn't tell your Dad about your incident at the bar, instead lying and saying that you were gone a while due to a line at the restroom.

As the stadium began to empty, your Dad said his goodbyes to his friend as you pulled your jacket on. You quickly checked your phone, knowing it would be too early to hear from Travis and instead took a quick photo of the stadium.

"Come on, Sport." Your Dad called as he threw an arm around your shoulder, "I've had the best time!"

You smiled up at him, "I'm so pleased you've enjoyed yourself."

"Are you kidding me? At Arrowhead with my best girl, watching a Chiefs game in Travis Kelce's viewing box? I can die a happy man now,"

You poked him in the stomach, "Hey now. You know I hate it when you say that!" You drew in closer to him, "What do you wanna do now?"

He frowned down at you, "Are you not going to see Travis? Surely, you'll be okay to go to the locker room as congratulate him? Plus, I'd love to meet him and say thank you for the tickets."

"I don't know." You twisted your face as you absently glanced at your cell phone again, "I don't really know if I'm allowed."

You both meandered down the corridor before you spilled out into the crowd, following the natural flow of people out towards the exits. There was a natural buzz amongst the fans due to another win during an already great season but suddenly, the sound of a gentle commotion distracted your attention.

"What's going on there?" Your Dad asked curiously.

Bodies began moving quickly and cell phones were held high up in the air as people started to swarm towards one particular point.

"Travis!" "Travis Kelce!" "Hey, Travis!"

Your eyes widened as Travis pushed himself through the crowd, reaching out for your hands, "Hey, are you okay?"

"Uhhh...yeah. I'm fine." You licked your lips to ease your sudden dry mouth.

"Are you sure?" His hands moved to your arms, giving them a gentle squeeze as his eyes darted across your face, searching for any indication of injury.

"Travis..."

"One of the medics told me you passed out?"

Your Dad edged his way closer to the pair of you, his eyebrows lowered, "Sorry, what was that?"

You sighed, displaying your clear exasperation, "I had a little moment at the bar during half time, I think I was just overwhelmed and I fell down, that's all."

"Why didn't you tell me?" Your Dad pursed his lips, disappointed that you had kept the truth from him.

"Because I didn't think it was that big of a deal. I'm fine."

"Are you okay?" Travis' hold on you was urgent, as if he didn't want to let you go.

"Travis. Like I said, I'm fine."

You were abruptly aware that a crowd of people had begun to gather, their attention fully on Travis. Looking across to him, you noticed that he was barely out of his kit, his pants and undershirt still on, his feet bearing socks instead of his cleats. His brow was glistening and his hands still had remnants of white tape covering them.

Travis detected your gaze, "I came out to find you as soon as I heard."

Your mouth moved into a soft smile, your heart skipping slightly, "That's really cute."

His eyes flickered down to your lips and you could swear you saw him go to lean in towards you before he realised that you had an audience. He straightened his shoulders and turned towards your Dad.

"It's really good to meet you, sir." Travis held his hand out, nodding his head.

Your Dad exhaled quickly in shock as his face flushed a deep crimson colour, "Oh, Mr Kelce. The pleasure is all mine." He took hold of Travis' hand and shook it enthusiastically.

You leaned towards Travis, moving your mouth slightly closer to his ear, "Dad's a big fan."

Travis turned his head, checking the crowds before pulling your Dad in for a hug, "How's about we all head to the locker room and meet some people, huh?"

______________________________________________________________

Will I ever post new chapters within a decent time frame? Who knows? I was in a little bit of a writing slump but I feel like I've got out of the other side of it, and I think I know where this story is going to go! But as always, I will take all and any suggests for this one! I've had to adjust the way I do my Taglist as there's now so many of you all which is crazy!! If you want to be added, just let me know! This series will be going for a bit longer now that I've definitely figured out the story, so I reckon the next chapter will be posted in, like...July? Kidding, of course!

Taglist  @rd14 @dandelionwrites8 @keiva1000 @fantasywritersstuff @caelipartem @anacarangel @she-lives-in-her-dreams @kkrenae @kristencochefski1125 

@countrygirl120983 @charmed2000 @nouis-bum @cixrosie @delicateearthquakellama @wordsaresimple-imnot @amylouwho9 @queenisa17 @talicat713 

@luvvtrent @purecinnamonextract @savaneafricaine @caelipartem @beyxgrande @caitdaniels @ezgirl1108 @vir-tual @lightsoutstyles @macey234 

@s294749w @kelcemesoftly @calirindo @livinginmyfantasies @bernelflo @secretmywritingfictionlawyer @killatravtramp @there-goes-thefighter @unicornblueberry 

@calirindo @tjkelce87 @kristinamae093 @kmc1989 @ajbird18 @triski73 @ctn26 @kgcaputo07 @abby-splace @bobthe-turmpetman29 

@cedricbitch @abby-splace @jmamas92 @bellstwd @killatravsworld @marchmaiden @chimchimmarie @blackstabbath6 @fanficfanatic15 @jessiemariebarnes 

@mmb219 @vanwritesfan-fiction @futebollover @ks-dreams-fantasies @laurenmcucm @blackstabbath6 @nickie-amore @fictionqueen87 @munsonburner666 @hornyavengers

@spookystitchery @powellssaturn @skywalker0809 @shortttcakkee

[thedragonagebigbang]

Bang Creator Interview: Tumblr: @oxygenforthewicked  |  AO3: Oxygenforthewicked

The Collaboration period has begun! In these quiet months before works are due, we want to foster a sense of excitement, camaraderie, and celebration among our participants. To that end, all participants were given the option of a formal interview by our mod, Dema, or an informal “ask-game” survey. We hope you enjoy getting to know our phenomenal creators as much as we have!

10 Reasons Why Rift Hopping Is Probably Hazardous to Your Health (Hint: Cassandra Is One of Them)

Gin and Dema talk process, inspiration, and what to do when a character kicks down your door

Dema: Since this is a Big Bang I'll start there: have you done one before? If you have, what made you want to do it again? If not: what made you wanna give it a go? 

Gin: I've considered being a part of a Big Bang event before but I haven't actually done one yet. However, after seeing all of the fics and artwork that came out of other bangs last year, I got a better feel for it and decided I wanted to give it a try!

Dema: So exciting! Are you finding that this process feels different from how you usually write?

Gin: Not really, honestly. I've done NaNoWriMo in the past, and this feels similar in terms of working towards a set goal. I think the big difference (and better difference, honestly) is that this is much more community-centered, and the goal is to finish the project instead of just reaching a word count minimum. That in and of itself is a really refreshing new challenge.

Dema: When you tackle a project like this, what does that look like for you?

Gin: Usually I like to prepare a concept/vague outline first, write out in more detail the major plot points, create a mood playlist, and just start writing! I do tend to carve out time for writing, too, as that helps me focus better.

Dema: How much time do you feel like you need in a chunk? (Me, interviewing: “So, writing. How Do You Do It. AND WHY??)

Gin: It depends. Sometimes I can write for several consecutive hours, other times my brain can only handle about thirty minutes. Either way, I know that as long as I get words on the page, I'm making progress! But creativity isn't something that can be forced, so if the words just aren't coming out, I'll take a break for a while and refresh my brain by reading a book or watching something. Once my creative battery is full again, I can knock out a huge chunk of the project, and that usually feels so much better than trying to strongarm my brain into getting words out.

Dema: Is there something you are reading or watching right now that is providing particular inspiration? Or if not inspiration, rejuvenation?

Gin: Yes, actually! I'm currently reading A Wise Man's Fear by Patrick Rothfuss, and it's been giving me all sorts of good inspiration.

Dema: Oh yes! I love that book. Is there anything in particular about it that's scratching the itch?

Gin: The lore and worldbuilding are both so interesting, but I'm also just very invested in the characters. This series so far has done a great job of creating a rich world with fleshed-out characters, an intricate magic system, and I love the complexity of the relationships. (In short, all of it!) 

Dema: Hard agree, I love those complicated characters and dynamics. Speaking of characters, when you're crafting an OC, what's your starting point? What was the spark that birthed Saeris, if you want to be more specific?

Gin: Most of the time, it's a picture or a song that sparks the initial concept. But there are other times when OCs kick down the door in my head and decide that they live there rent-free. Saeris was one of those characters. Admittedly, I did intend on creating Saeris for a specific project after reading The Horror of Hormak, but he was supposed to be a minor character that I was going to write once and never write again after that. (Boy was I wrong.) But what really sparked the inspiration for him was a photo I found while looking up references for gray eyes. The vibe of that photo just seemed like it fit him so well that his entire character quickly started unfolding bit by bit after that. I chose a name for him, a class, and all of it snowballed until he became my most fleshed-out character (and my favorite).

Dema: How long ago was that?

Gin: April 2022

Dema: Awwww! He’s two! 

Gin: LOL! It was when the event I was writing him for took place. 

Dema: I will not ask you if your Bang fic involves Saeris because I do not want to pry any spoilers from you, but thank you for your click-bait title and for your interview! Gin: Sounds good! And thank you!! It was very fun chatting.

[humblefun]

1, 2, 3, 8, 9, 14

How many books did you read this year?

35 novel length books and 35 picture books.

2. Did you reread anything? What?

A picture book called Rescue and Jessica by Jessica Kensky and Patrick Downes and also a couple of Boxcar Children Mysteries. I usually reread the original 5 books in the PJO series every year so I might try to do that before the month is out.

3. What were your top five books of the year?

The Silence That Binds Us by Joanna Ho - It's a beautiful book about a young girl grieving her brother (tw for suicide) and her response to the racism her family faces. The writing is so good and the relationships really well thought out (well except for one of them, but it's a YA book). This is the first book in a long time to make me sob while reading it. 10/10 best book of the year.

The Kaiju Preservation Society by John Scalzi - This book is fun. So, so fun. You wanna have a good time with some Kaiju and sci-fi shenanagins, pick this up. Had I not picked up Silence That Binds Us a few months ago Kaiju would have been my number 1. I want 50 more of these. The writing is very clever.

Crime and Punishment by Fyodor Dostoyevsky (Translator: Michael R. Katz) - I thought Raskolnikov's downward spiral was so well represented on the page, the way his paranoia and guilt just ate and ate at him. It was so, so good. I loved his friend Razumikhin and his sister Dunya. I thought the characters were all very intriguing. It took me a long time to read this cause the text was dense, but I really enjoyed it.

The Decagon House Murders by Yukito Ayatsuji (Translator: Ho-Ling Wong) - This was a mystery done right. Very reminiscent of And Then There Were None, and compared to Lucy Foley's The Guest List which had been advertised as a modern day And Then There Were None (it wasn't, it sucked), Decagon does a phenomenally better job. I honestly didn't see the culprit being who it was, and maybe I should have, but it was enjoyable all the same.

Jenny Mei Is Sad by Tracy Subisak - This is a beautiful picture book that really captures the complexities of sadness and packages it in a way that's digestable to children. I have a really strong adoration for children's literature that takes big things and, without losing the nuances of said big things, and presents them well. This was definitely one of those.

8. Did you meet any of your reading goals? Which ones?

I actually didn't set any reading goals for this year, because I wasn't sure how much reading I'd be able to get done, but I'm really happy with the reading I did do because I read some really great books this year.

9. Did you get into any new genres?

Sci-fi! Just two entries - Kaiju and The Lost World but I loved both of them! Technically it's a continuation of me getting into sci-fi from last year when I read Jurassic Park and 11/22/63 so I'm thinking I might keep trying things out in the genre. Most of these titles have, a some point or another, a group of strangers working together and learning to care for each other in the process and also aren't in completely different universes. They're still on earth or they still can come back to earth. Also, none of them are set super far into the future. So I guess I might enjoy something like The Martian by Andy Weir as opposed to a true sci-fi novel set in another world.

14. What books do you want to finish before the year is over?

PJO #1-5, Anne of Green Gables, The Chronicles of Narnia, and Little Women

[bestshirtcanbuy]

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[meeblo]

This is something I tend to think about as well. I also mostly read serialized works these days, or ongoing long book series. In addition to what you said about the growing skill of the author as the work progresses being resonant, I find serialized works can often be much more interesting to discuss and dissect. Due to their incomplete nature, every small release provides a manageable chunk of new information to analyze, theorize regarding, and make predictions off of. This is something that can be done with completed works, but it requires a lot more diligence; you have to pace out chunks to stop at and think about rather than just continuously reading through, and you would need to either establish a read-along with a friend you trust not to read ahead or fall behind. The small size of each release encourage close reading, whereas larger releases or fully complete works are easy to lose the minute in given the larger impact memorable plot beats get over more understated subtleties.

It's for this reason why I can never relate to people who refuse to or prefer not to read unfinished series. Even when a series is on hiatus, cancelled, or otherwise unfinished without regular releases, it can still be a worthwhile and satisfying experience that is in some ways more interesting to dive into than a completed work. An unfinished story naturally invites interpretation and analysis and leaves the reader to think about what will happen next. The momentum of the narrative may be stopped on the page, but it continues through the reader's mind. In order to make predictions about what is to come, a reader naturally becomes more mindful of structural aspects of the narrative, identifying elements of the story in isolation as well as through their connections. Winds of Winter may not be out yet, but that has allowed fans to pick over the series with a fine tooth comb and come to understand the characters and narrative as a whole in a meaningful way that likely would not have had the community momentum to happen if the series was neatly finished. Patrick Rothfuss may never write The Doors of Stone, but the same phenomena occurs. Hunter x Hunter takes long hiatuses due to the author's chronic pain, but that long gap between releases has allowed the complex and layered narrative of the Succession War arc to be understood and appreciated rather than blazed through weekly and dubbed a confusing mess. Springtime of Yuuth, a spinoff AU to The Boy Who Fell, is a comic that will likely never be finished due to shitty commenters on webtoon killing the author's motivation, but the story is still something I have found fascinating enough to reread multiple times; by all means it has not had a satisfying conclusion, the comic has left off at a tense moment, but that tension is in some ways fitting to the themes the series was covering and leaves the reader in a mindset from which they can consider prior conflicts in the series with their proper weight.

Edit: oh my god how did I forget to mention ONE? Seeing his art and writing develop through the One Punch Man webcomic through Mob Psycho 100 and then back to the webcomic is so enthralling. I just don't find any of the things ONE works on drawn by someone else nearly as interesting. Both narratively and visually the connection just doesn't feel there. To anyone who enjoyed One Punch Man conceptually or early on but doesn't really care for where season 2 or really most of the manga took things, I implore you to check out the original source material. It's fascinating, it's far less bloated, and it's much more of an interesting commentary on ONE's own experience as a hobbyist artist, celebrity culture, the corporate use of celebrities as public faces to establish their own power and influence over politics as they push out a failing and corrupt but theoretically well meaning bureaucracy and establish an even worse system wearing a nicer mask in its place, etc. Mob Psycho as well is phenomenal. Obviously the anime is a good adaptation, but the manga just has that something to it with ONE's own art, and can use its medium in interesting ways unadaptable by the anime such as wildly varying chapter length at crucial moments.

I tend to read serialized works more often than completed ones. And after thinking about it tonight, I think it’s because I genuinely find something emotionally resonant out of a story finding itself as it goes on. Something about seeing a 5/10 yuri gag manga slowly develop complex relationship dynamics and a genuinely compelling shounen power system is weirdly inspiring. I dunno, it just like. Makes me feel like I’m going to be alright eventually. Maybe my 5/10 yuri gag life just needs to find it’s shounen power system.

[meetthefatess]

A 1920s power couple on their way to kick Pluto’s ass.

See @ourladyoftheundcrground’s 1920s Hadestown AU for context lol

This originally going to just be some art of Hades (because I saw that jacket and actually died) but I added Seph last minute. If I had planned this out better she would be holding the gun anyway.

I want to do a fully colored version & clean things up so enjoy the WIP I guess.

I promise I’ll fix the hands lol

[teashh]

Okay it's not even been an hour and I'm already seeing hate towards the actor who plays Nikolai aka Patrick Gibson because he isn't "handsome enough". So.

1. He's perfect as Nikolai.

2. Don't presume to know the actor and how he will play the role if you haven't seen his works. I've seen his works and he's literally phenomenal.

3. Y'all thought Daisy wasn't gorgeous enough to play Genya and she literally stole the show. If you don't like him, y'all can still imagine someone else when you read the books.

4. I know you're entitled to your opinion but...

IF YOU HAVE NOTHING NICE TO SAY THEN KEEP YOUR OPINIONS TO YOURSELF.

Patrick Gibson is literally amazing and he doesn't deserve this hate.

Edit: go through his Instagram page and his casting announcement, HE LITERALLY GIVES NIKOLAI VIBES

[wickedpact]

heres a transcript of that gina & greg interview i mentioned yesterday. literally nothing new is in this, but theres a lot of info in this that was scattered in varying interviews/podcasts and i like having all of it in one place for future reference purposes

(link to vid)

Patrick: Hey everybody, this is Patrick Cavanaugh from comicbook.com here to bring you a very special conversation about Netflix's The Old Guard, which just debuted last week, and everybody has seen it-- I believe people have seen it by now, so that's very exciting. And to dive deep into this film, we're actually very lucky to have the film's director Gina Prince-Bythewood, who also directed Love And Basketball and Beyond The Lights here. Hello, Gina.

Gina: Hey.

P: And we're also joined by the film's writer, as well as the writer of the original comic book series, The Old Guard. Also, you might know him from his DC Comics work, Batwoman, and Lazarus, to name a few of his titles. We have Greg Rucka! Hello, Greg.

Greg: Hello!

P: So this film just first debuted last week, and I know you guys have been inundated with fans, just loving it. And let's just get to what fans want to know, right off the bat; I'm sure you're getting daily questions about this because there's so much for an expanded universe. So let's set the record straight: will there be a Tiger King crossover?

[everyone laughs]

Greg: Uh, we're planning an animated series with giant Mech suits, and, unbeknownst to a certain franchise, we're going to crossover with Transformers and-- no. Come on. [laughs]

P: Okay, alright, we’ll hold onto that big crossover stuff. And I know Netflix, of course, hasn’t fully announced what the future might be for Old Guard, but I'm just kind of curious if you guys have had any recent conversations about what you'd like to do in the future—theoretical, nothing concrete, of course. But since the film has come out and you've seen fan feedback…?

Gina: I will just say, obviously, it's an incredible compliment that people want to see more. It means we did our job in this. It was very important that this film has a beginning middle and end. We wanted to focus on this.

Greg: Yeah.

Gina: And get it right. Having people want more is an incredible gift and I would say those conversations were really… Greg and I, early on in talking through the story... knowing Greg knows where this thing goes --and it's pretty incredible-- helped me in terms of directing this one. So I will say we've had those conversations early on.

Greg: Yeah Gina’s absolutely right. One of the things that I'm really-- one of the many things I am proud of is that the movie is a whole, you certainly leave it going ‘okay, there could be more, I can see how there is more’. But it is a complete work. It is not contingent and does not need anything else. That said, there were plenty of times we were having conversations and would jokingly be like, ‘oh that'll be in the next one, we'll do that in the next one. We had to cut this so we’ll put it in the next one’.

P: I'm sure people would be very thrilled, as would I. So we’ll try to remain patient since it's only been out a week--

Greg: I think that's reasonable.

P: [sarcastic] I mean, fans are nothing but reasonable--

Greg: [very loud laughter] You know what 'fan' is short for right? Fanatic.

P: [laughs] So Greg, I'm curious. You know, since this is a pretty unique situation where you wrote the original books but then also came to write the script-- which doesn't always happen all that often. I was kind of curious what that process was like and if, when revisiting that core story, if you were tempted to kind of go off into a new directions, you know, uncharted territory? And how you managed to stay faithful to that story.

Greg: So when Skydance initially acquired The Old Guard, Matt Grimm and Don Granger were the guys that I was working with. And they were very clear that they had acquired it because they loved the source material. So when I was doing the adaptation, it was ‘adapt this story to be told in a screen format, there are changes that have to be made’. I didn't see it so much as like ‘I can go in a different direction!’ as ‘it's a really rare opportunity to have a second bite at the apple’. Most writers don't get to tell the same story twice. And even with the collaborative nature of comics, making a movie is far more collaborative. So… being able to benefit from a lot of very smart people-- and then when Gina came aboard, and working very closely with her on the screenplay, you know, taking her notes, and talking at length about it was… I mean, I love the comic we made, I'm very proud of it. But I think this is a superior story. Because it allowed me to fix mistakes I had made. And I think that it certainly works as the film that we wanted it to be, but it has a lot more nuance and a lot more ‘shading’ than the comics ever could have had. So yeah, I mean, I'm very proud of the work we've done.

P: Yeah, as you should be, definitely agree with that. And I know, Gina, you've spoken about how you treated the source material essentially as a Bible as the blueprint for adapting the movie. So a question kind of for both of you, I was curious what scene or sequence were you most excited to bring to life? And then what scene were you most apprehensive about whether or not you could pull it off as faithful to that original?

Gina: For me, I mean, there was there were certainly a couple... Joe and Nicky in the van.

Greg: [nodding] Yeah.

Gina: Such a beautiful moment in the comic. And I wanted to get it right. I knew the actors really wanted to get it right. As soon as we started shooting, I was like, 'oh yeah, they're killing it'. Also Booker in the mine, the speech that he gives to Nile, it's everything to his character. It explains both Booker and Andy; where they are, and why they are the way that they are in that moment of time. And I know that as a director, I saw a perfect take. But going into those, you hope that, ‘am I able to evoke what I need to evoke in the audience?’ I think that the hardest really was the Kill Floor, given how iconic it is in the comic. It's just so beautifully drawn by Leandro, it pops off the page. So ‘how am I going to be able to do the same thing on film?’ But it really kind of boiled down to ‘what is the story [of the scene]’ and really focus on that first, but also wanting to really give a bit of a homage to what Leandro did too, which was my use of silhouette throughout it.

Greg: Yeah, I think that… Gina just listed all of the scenes. I mean, I wanted to see the armored car, that was enormously rewarding for me… I couldn't wait to see the killing room floor... You know, when we talk about moments of adaptation, I actually —and I thought this was really well handled in the movie in particular— Nile’s death wasn't wasn't easy in the comic, because it needed to have heart. You know, Kiki's performance and the way it's shot is just, it's phenomenal.

P: And obviously you can't really talk about this movie, which is this big action-fantasy movie, without talking about that scene between Joe and Nicky. I'm curious what both of your reactions have been to seeing that moment hit so hard with so many fans.

Greg: I'm overjoyed that we're able to give that to so many people. I am also frustrated that it's so overdue. While I don't think that either Gina or I felt that this was… It was important and special because it was important and special between these characters. But, you know, I mean I’m in that place where I recognize why we are getting the response that we are, and, I'm frustrated by the fact that it's 2020. And… apparently we're the first people to have done this? And you can say that about a lot of the reactions, you can say that about the reactions to Kiki's Nile. You can say that about reactions about Charlize portraying Andy. There’s a piece of me that's like ‘guys, we didn't invent the wheel here. All we did was show you, THERE’S A WHEEL HERE!’. So.

P: Yeah, it's interesting and it is frustrating that it is 2020 and we have to refer to this as an anomaly. That this is not the norm, that as you said, this is we're showing people that the wheel exists. And so Gina, you know, between having a film with two powered, seemingly super-powered characters, in a comic book adaptation, which is largely been devoid of such characters. [I think he meant to say female powered characters?] and being a black woman, directing a comic book adaptation— again, something in 2020 that we have to treat as a shocking revelation— I was curious, if you felt any sort of pressure about that on set, or if it was like just a confidence in the material, and support from your collaborators, that it wasn't even an issue?

Gina: Um, are you talking about the scene-?

P: Just the project as a whole.

Gina: There was a reason I took this film, because it moved me. It has to start there. There's all these things; I love putting a black female in the world, I love putting Nicky and Joe in the world, I love putting Joe’s character in the world. Those are all such incredible driving forces. But foremost, I have to feel and care about the characters in the story. And I did. And so, for me, it felt... I mean I was honored to be able to be the one to give these characters a life up on screen... or in that big screen in your living room. There's, of course, enormous pressure. Not only just doing a film, like the bigness of it. Certainly me being a woman, me being a black woman, and doing this when nobody has done it before… It's about proving myself and proving that women like me can do this, that we do like action, that we can shoot action… Just changing that narrative. So there's pressure to get it right and do a good job, but I feed off of that. It made me work harder because I felt like I absolutely had a responsibility to get it right.

P: And we've talked about Kiki a few times as Nile, of course. And Gina, I know you said it was within five seconds of meeting her that you knew she was the right one to play Nile. I was curious, how did the rest of the casting process go? Did everybody get hired that easily? Or was it a harder search to round out the ensemble?

Greg: Yes. I’m curious too!

Gina: You know, I knew going into this that I wanted great actors for every role and it's pretty amazing how many of my first choices are in this film. I mean Matthias Schoenaerts who plays Booker is an incredible actor and I knew I wanted him from the get-go. We were told he doesn't do films like this, but he wanted to meet, which was the first thing, like, ‘oh my gosh it’s on me, don't blow this meeting’ and he said again to my face, ‘I don't do these movies, but I love this movie’ and he loved the character Booker. And after that conversation and hearing my vision, he was in, which was amazing. Marwan Kenzari, I saw him in this independent film called Wolf—

Greg: Yeahhhhhh.

Gina: Phenomenal. And he was supposed to read for the part. We had a meeting over FaceTime. Then, Zoom was not what it is now. And it was such an incredible meeting. He was so passionate about the material. So passionate about the character Joe. So passionate about wanting to give that speech. His energy… I just said 'you don't need to read, like, you're Joe'. Luca Marinelli, who plays Nicky, I saw his audition. He has this depth to him, those eyes.. where you just, you felt everything, you felt his soul. But I needed to do a chemistry reading, as I would with any love story. And so, we flew him in to read with Marwan. They did this incredible improv, and it was so obvious that these two were Joe and Nicky. It was a really beautiful moment as a director to just… know, and I was so excited to show everybody what they had. It leapt off the screen, their connection; they’d never met before but, immediate connection. Chiwetel Ejiofor, I mean… [awed silence]

Greg: Chiwetel... yeah.

Gina: Yeah. To hear that he wanted to be in this and work with me on this, I didn't need anything else at that point. He's truly a genius. Charlize, you know, there are very few women who can work in the space and we believe them. And that's the thing about her work, and her action, we believe her. And we needed that for Andy. And of course she's a great actress, so it was, you know, that was kind of a no-brainer. So, lastly Harry Melling, you know our villain. It's funny, Don Granger, at Skydance, says you've done a good job with your villain if the audience wants to punch him in the face. Harry brought that reality of those templates of Mark Zuckerberg and Martin Shkreli and really rocked it.

Greg: I had, you know, I'm the screenwriter, right? And I am pretty much involved in the production at the director’s sufferance, and Gina was so gracious to want me present-- and more than that, want me present and say things, right? As opposed to ‘stand here and be quiet’, but I remember when Kiki… when they knew they wanted Kiki, like in that window before all the paperwork was done and so on. Throughout most of the casting I wasn't hearing a lot from Gina, just the occasional update. Like ‘I think we've got…’ and then the Kiki audition came in, and Gina, you called me, Granger texted me, Grimm texted me. And it was all the same thing. It was all ‘we have found Nile, oh my god, there were these two scenes and she had us howling in one and weeping in the other and she is perfect’. And the exuberant joy, you know, I remember you on that call being like ‘NO, THIS IS HER!!’. It's like, this is gonna be awesome.

P: So, and to open things up a little bit more to the actual mythology of the film and the comic book series, I think one of the coolest things is that this film doesn't entirely explore is why these characters come back to life? But we also don't entirely need to know that to just… witness this slice of time in their journey. So I'm kind of curious, maybe Greg you have more insight on this, but I'm curious if either of you have those ideas in your head of what the root of this, you know, blessing or curse, the curse of immortality? Or is that just stuff that's entirely irrelevant to this journey?

Greg: I think it's irrelevant… to the journey of the first film. That the story is a self-contained story and you don't need to know why they are immortal. And I think that the film actually does tell you, not specifically, but the film does provide you with enough information to allow you to draw certain conclusions. Because there are really a limited number of ways that they're going to get this way, right? We do not, for instance, see Nile fall into a vat of regeneration juice, right? That's not why Nile comes back. There is a mythology. We know the mythology. We know the why and that's for later. Yes, maybe it will become relevant to the story, but for this story that was told as it was told? No, you don't need to know why.

Gina: The striking thing, when I read the script for the first time was I didn't… I didn't care. Like, I didn't need it. And that surprised me because I know Greg had talked about another company who was interested in the project [Gina doesn’t say, but it was Sony lmao] kept asking ‘you have to tell us why though, in this story, an audience needs to know why’. He was absolutely right [for disagreeing with Sony]. Because I didn't need to know why.

Greg: It's the Rian Johnson School of, you know, it's Looper. ‘We can spend two hours talking about time travel or you can accept that we're in time travel. Which is it going to be?’ And I think that that is one of the most brilliant storytelling decisions made in the last 20 years in film! Literally 'here it is—DOESN’T MATTER, MOVING ON!’ you know.

P: Yeah. It's definitely a bold direction to take. And to have an issue with 'oh, well, we never learn [about the] immortality!' proves that you just miss the point of what the movie is, and that that stuff is kind of irrelevant for right now. Although I do kind of hope that because it's on Netflix someone's expecting like a post credit scene, but it's the autoplay feature, right? [Greg and Patrick talk over eachother, laughing]

Greg: We did talk about that button as a post-credit scene, the Booker [scene]—

Gina: That was originally supposed to be a tag.

Greg: And there was, for a while, the contemplation of ‘maybe we can still [put the Booker scene in as a post-credit scene] and really that'll be like a great big reward for those people who actually watch credits on Netflix. It’s like, you got a bonus scene!’

P: So another, you know, people are loving the characters, they're loving the performances, but also the action is so cool in it, and it feels reminiscent of some other films. But the urgency and efficiency of all of the action sequences always feel like they have a point, and they're not just ‘look what we can pull off this week!’ You know, it's not John Wick on a horse fighting motorcycles because we don't need to do that. It's, you know, always to a point. So I'm kind of curious Greg, what does an action scene look like in your script? And then Gina, what was your whole motivation for putting these action scenes together?

Greg: I had two approaches in this script and used both. Sometimes I would write the sequence as you know, as a series-- this is what is happening, ‘he swings and then his head goes flying’ or whatnot. But knowing very well that unless the script needed to see-- because the script has to specify what is a must. It's a must. It's a must document. ‘We must see this’. ‘We must know this information’. So for a lot of the time, I would sort of drop into a narrative voice and say, ‘okay, now we watch the five of them proceeded to kick every ass and take every name that they come across and please bear in mind you are watching over 10,000 years of combat experience, combined between them’. And then that's the description of an action sequence, right? The screenplay… it's a construction document. It's not the interior decorator’s document. It's not even the Foreman's document. It's an architectural document. And then you give it to the Foreman of the whole production, who then goes, ‘I agree, these are the important things’, and then you get out of their way and watch them do the thing that they have, you know, become an expert at doing to make it happen.

P: Gina, what's your reaction when you read Greg’s script saying, ‘oh, you know, just five immortal warriors demonstrating 10,000 years of combat experience’?

Gina: It's like ‘oh shit’. [everyone laughs] Like that's a very cool thing to read—

Greg: But how do you film it?

Gina: Yeah, exactly! Then you start at the beginning of the scene and 'what character can we reveal in the scene'? And when you start like that, it's less overwhelming. Because the best action sequences for me, when I go to the movies, are those that have a story to them and that are character driven, that have an emotion. So I really started there in the vision of what they should be and just working with my incredible, incredible stunt team, Jeff Habberstad and Danny Hernandez and Bryson Counts[? I dont know who that is]. Designing these fights to tell this story, to showcase this part of character, to further the story. And that was important as well, that we never wanted this film to feel like… rushing through the story to get to each action sequence. All of this works seamlessly. The quiet moments are just as important as the action moments. And so that was exciting to me. But being able to tell the story, reveal character, that was fun. And then it's ‘yeah, how do we choreograph so it feels as if these characters finish each other sentences, so to speak, in terms of action, knowing where the other is going to be, knowing when somebody's out of bullets and need another clip?' Like all those things, the way that they're always picking up used guns and used clips, just this dance. And it was very cool, you know, to really put that together and see what the team came up with. And then to see the actors embody that, bring character, bring performance to that. Which is why it was so great that I had the actual actors doing most of the work, so that we can see that performance.

Greg: I think you used a word that I think clearly came from what Gina’s describing and talking about with working with Danny and Jeff and Bryson. Which is 'efficient'. Like, if you watch the film, you will see that there is only one sequence where Andy is ever firing more than twice, and it is on the killing room floor. After that, whenever she fires a gun, it's one bullet. It goes exactly where she wants it to go. Everything she does becomes an issue of ‘her style is efficiency—‘

Gina: Yeah, that was a big—‘brutal efficiency’ is a term we talked about often, where they know a kill shot. They are not the type that are going to go in an environment and spray. It's lazy and not who they are. They are not going to ever hit someone by accident. They are too good. And their moral code is not like an ordinary For Hire who are just trying to get the target by any means necessary.

P: Yeah, and also speaking to what I feel set these action sequences apart from other action films is, we're used to, you know, like thumping techno or hard rock or something kick in. You know, I don't think anyone had like, you know, Frank Ocean being in an action film on Netflix on their 2020 Bingo cards. So I'm just kind of curious how you put that soundtrack together and what that process was like.

Gina: Yeah. I love music so much. It's so much a part of me as an artist. And for me, I love songs for scores, songs that can evoke an emotion, and elevate a scene or the emotion of a scene without taking it over. And music for this film was so important, to the tone. It was such a balance. This is a violent film, yet I never wanted it to feel like a celebration of violence. The fact that there was a cost to the killing and then motion to the killing. So always wanted to keep that in mind-- and music really helped with that. There's also a thing of, you know, I'm the first audience and I actually don't like heavy metal. So, it annoys me when I watch a movie and it's this non-stop thump. In the rectory —spoiler alert— when Andy kills 19 people, the music I chose was important because it took away the sting of that. I didn't want an audience to revel in ‘oh my God, she killed 19 people’. No, it was ‘she killed 19 people and you see on her face that this was not fun, this was not easy’. You see that on Nile’s face when she walks out, and the music helped that. I wanted the music to feel operatic, because what happened in that room did have that depth of emotion, so music again— so important for vibe and tone and it was fun to find these songs that could do exactly what I wanted them to do.

P: Greg, the narrative is definitely very faithful to the first two Old Guard series and, you know, blends together in this compelling and unique way… Just as a —you know, we are comicbook.com— so coming from the purest sense of interpreting the narrative... [Greg laughs] like there's definitely the flashback with Achilles from the comic book, and then also the flashback to Booker's hanging scene. Those are our absent from the film. And I was just curious if those were ever in the script or if you want to rework them for the future…?

Greg: No, I mean we also had, in the original series, the flashback that sort of accounts the Joe and Nicky, ‘we killed each other’, ‘many times’ sequence as well. There were drafts where all of that was there. And sometimes in greater detail than others. There was a version where that hospital scene— [in the movie] you get just the right amount of… when Booker's relaying it to Nile in the mine. But, you know, there was more to that, and you can see sort of Achilles' story’s presence in the mine, right? There's a glimpse of the painting. So those things weren't erased as much as… when you make a comic, every choice you are making is an efficiency choice. ‘You have X many pages, how are you going to spend them?’ And I'm not a filmmaker. I'm the guy who wrote the thing. But one of the things I can tell you when watching is that it's the same calculus but exponentially. It is— every single thing you are doing is asking if it's serving your narrative. And I think the trade —because it is a trade— of the Achilles backstory to build the Quynh story has a benefit that the Achilles story alone didn't have, in that the Quynh story —especially as it's relayed in the movie— not only does it illuminate Joe, Nicky, Booker, and of course Andy, but it's also Illuminating to Nile, in a way that… talking about Achilles would have been repeating a beat. Because as beautiful, and as important, Achilles is to Andy's character… Booker conveys that heartbreak with his story, right? So it becomes an efficiency question as much as anything else. I mean, that that's really what it comes down to.

P: Speaking to some of the changes again, I don't want to get to spoiler heavy but there's definitely a big change with one character and their possible fate. Don't want to ruin anything for anyone, so trying to play it safe.

Greg: [laughing] Yeah, how are we supposed to answer this, Patrick?

P: Why don't we just text each other? [everyone laughs] Well, I'm kind of curious. One character's trajectory has changed a little bit. What were the discussions like over, you know, altering their trajectory and what that could mean, you know, for their future adventures?

Greg: Well, how do we talk around this?

P: Also, if anyone's been watching this for 40 minutes and hasn't seen the movie, they've got to adjust their priorities.

Gina: I would say, it was about adding more jeopardy and stakes. It absolutely did that. What I love so much about the story and what Greg created is that these characters are mostly immortal. So there is always that threat. But it just added another level to that. But it also crystallized so well… the fact that the moment that Andy is truly saying ‘I'm done’ a new Immortal shows up in Nile. So it just seemed to work really well and, you know, obviously having Greg be so on board with that and take it and run with it was really important.

Greg: It externalizes the conflict beautifully. And I believe I think David Ellison at Skydance likes the term downward pressure, I believe. [Gina smiles, Greg sees] Did you hear that? Did you hear that during editing? [Gina nods] But it does. Look, here's a fundamental problem; it's actually one of the problems at the heart of Force Multiplied: what's jeopardy to an immortal? Cuz it's kind of, you know, as Joe says, ‘what are you gonna do, tough guy? Kill me?’ You know, ‘if I go, I go. I don't know when I'm going’. So you you need to be able to inject into the story some level of jeopardy. You want to heighten the stakes. And it also externalizes that particular character’s conflict.

P: Gina, hopefully I don't put you too much on the spot with this question. But, you know, any time there's a big comic book project announced its, you know, fans start saying, oh, I'd love this person who's done action movies to do it’ or ‘this person who’s already done 10 Sci-Fi movies…’, you know, like Taika Waititi can't direct every movie.

Gina: I would love him to!

P: I'm just actually kind of curious, Gina, if there are any directors that you're particularly a fan of who don't necessarily have the same, you know, Marvel DC, Star Wars experience that that you'd love to hear get announced as tackling, you know, a big budget comic book movie.

Greg: I would like to know too.

Gina: Certainly, I'm excited about what Victoria Mahoney's going to be doing-- she just did second unit [director] on Star Wars, first woman to ever do that. I dig her brain so much and her aesthetic. I'm really excited to see what she's going to do in the action space, certainly.

P: Yeah, very cool. Really looking forward to her career for sure. And I think we're just about out of time here. We were down—

Gina: [raising her hand] Can I ask a question real quick? Sorry, I just need a definitive answer on this because I got called out on Twitter and I asked Greg--

Greg: [laughing] Ohhhhhhh—

Gina: So is Old Guard, is it a graphic novel? Or is it a comic?

Greg: You got to answer that Patrick.

P: Oh boy.

Greg: [laughing] Literally he's watching all credibility start to evaporate if he doesn't get this right. [holding up a comic of Opening Fire] This is a what?

P: I mean… part of me, knowing that it is part one of a three-part overall series… You know, my brain goes to ‘trade paperback’, you know, like it's a volume collecting a certain amount of issues. But if you ask me before volume 2 came out, it would be collected as a graphic novel, but… they're all comic books. They're all just comic books, everybody. Let's just take it easy.

Gina: Okay, thank you.

P: That's my answer.

Greg: Thank you. Thank you. I think that is the appropriate answer.

P: They're all just comic books. Take it easy.

P: Yeah, but I am curious. Of course, one of the interesting things about the film is that over the course of hundreds… thousands of years, these characters, the old guard have kind of influenced humanity in some definitely interesting ways… And ultimately for good, is a little bit of what we're seeing in the film. And I can't help but wonder… is it possible that the old guard could have unintentionally influenced the world for bad? And have some negative ripples come from their actions, or do I have to wait for a sequel for that?

Greg: I think that is a very reasonable and logical question to ask, especially when you know, there are 19 dead bodies lying in a church. You know what I mean? There is a certain amount— and it's almost fatuous to talk about it but there is always the doctrine of unintended consequences. I will say this goes to something else— and I'll say it really quickly because I know we're running out of time. I think one of the things that I really, really loved about what's being said, in the movie, is that at the end of the film… The definitive statement is, if you take away everything about immortality, what it's saying is that… our choices matter and our actions matter and they matter in ways and to people that we will never see and never know of. We try to put right in the world by doing right. And we do that without ever seeing what the ramifications of it are. And sometimes we're going to succeed, gloriously, and sometimes we're going to fail and we may never know that either, right? It's the choice paralysis that that you get from cheating in The Good Place, right? I can't eat or drink or move because morally it's all wrong, right? But the takeaway from the film is that, ‘yeah, your life matters and what you do with it matters and it matters to people that you're never ever going to see.’

P: So yeah. Yeah. Well, I mean, I think that's a great positive, you know, message for us to leave on. And I definitely think that comes across in the film, especially, you know, from the characters like Joe and Nicky just professing… you know, it's about the time that you have. And you don't know when your number is going to be up. So you just try and do as many good things before that happens as you can, and hopefully the world responds to that. So I really connected with that message in the film. Thanks so much for taking the time to chat with me. The Old Guard has been out for… five days. So I look forward to reuniting--

Greg: Does it feel longer to you. Gina? It feels like it's longer for me. [Gina laughs]

P: I look forward to reuniting in maybe 10 more days to talk about the sequel and spin-off and the prequel and all that sort of thing. [Greg laughs] But for now, The Old Guard is still on Netflix. And of course don't be tricked into watching any post-credit scenes because you might end up watching, you know, The Great British Bake Off. Well, thanks so much guys, it was a pleasure.

[mylifeinfiction]

Fairy Tale by Stephen King

"A brave man helps. A coward just gives presents." 

Stephen King's Fairy Tale quits being the book I was expecting less than halfway through. Thankfully, the direction it takes works wonders, and quickly made me forget all of the roads down which I was expecting it to travel. I was obviously sad to see the driving force of the entire plot up to that point take a backseat, but it ultimately worked for the book as a whole. That third act does take some getting used to, especially following the unsurprisingly long-winded second act, but it ended up being a creatively interesting shift in tone and plot that made for an exciting reading experience. Plus, it all led into that absolutely phenomenal final act, which delivers brilliantly on all of the promises that were made/teased in the pages that came before it.

I got surprisingly emotional in the final pages of this one. King's world-building throughout is so engrossing, his characters so richly developed, that upon turning that final page, I was hit with the overwhelming feeling that I was saying goodbye to something real, something significant... something magical. The parts throughout are definitely familiar, but the manner in which King utilizes the plot, characters and themes to conjure a coming-of-age fairy tale as emotionally rich as it is creatively daring and wholly satisfying feels totally unique.

A Few Other Random Thoughts:

-Radar is one of those bona fide good dogs. Getting to know her was a treat. -The artwork at the head of each chapter is wonderful, and helps further immerse us in this fantastical journey. -I don’t even care about the blah-blah and yadda-yadda of it all... I already badly want a sequel. -That’s not even a joke. The world-building was so beautifully done. I want to take another trip to ‘the Other’... right now. -Anyone else instantly cast Ted Lasso’s Brett Goldstein as Eye? No? How about Anya Taylor-Joy as Leah? Tommy Lee Jones as Bowditch? No? Just me? Okay.

"Tempus fugit is a good one," she said, "but time doesn't always fly, as everyone who's ever had to wait around for something knows. I think tempus est umbra in mente is a better one. Roughly translated, it means time is a shadow in the mind."

9/10

-Timothy Patrick Boyer.

[party-lemon]

This is gonna be another long post so...yeah. Do with that what you will.

A List of My Top Ten Favorite Movies (So Far) And Why (In No Particular Order)

#1: Juno

Released: December 5, 2007

Cast: Elliot Page, Michael Cera, Jason Bateman, Jennifer Garner, J.K. Simmons

The rest of these aren't in order but this is my favorite movie. I've literally only watched it twice but I absolutely love it. It is so beautifully written, the cast is amazing. Every character is amazing and amazingly written. Juno is the perfect main character and is so likeable. And the soundtrack!? Perfection. Honestly, I just love everything about this movie. Literally everything.

#2: Once Upon a Time...in Hollywood

Released: July 26, 2019

Cast: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Dakota Fanning

I was pleasantly surprised by this movie, only because it took so long for it to get to the final scene. I don't want to call it boring, but for lack of a better word...it was boring. There were hints about what was going on throughout the entire movie and it builds and builds and builds and then we have this insane final scene. What's even better about it is that it's based on something that happened in real life, it just has two characters thrown in, making it never happen. It's such an interesting movie and waiting for it to sort of get to the point is worth it.

#3: Ferris Bueller's Day Off

Released: June 11, 1986

Cast: Matthew Broderick, Alan Ruck, Mia Sara, Jennifer Gray, Jeffrey Jones

A classic. This movie is so quotable and so fun even though the concept is, really, pretty simple. Cameron is one of my favorite movie characters ever. I love Matthew Broderick. Sloane is gorgeous. It's just a really fun movie and one of my go to's for every mood.

#4: Signs

Released: July 29, 2002

Cast: Mel Gibson, Joaquin Phoenix, Rory Culkin, Abigail Breslin, Cherry Jones

This movie is so creepy, mostly because I believe that aliens exist so it isn't like a regular horror/thriller movie because I feel like this is so real. But this movie is so good. The cast, including the kids, is phenomenal. (Yes, unfortunately, even Mel Gibson.) It plays around with so many questions: are aliens real? What if they were? What if signs are real? What if there aren't signs, only coincidences? I'm a fan of M. Night Shyamalan and this is my favorite of his films.

#5: Stranger Than Fiction

Released: November 10, 2006

Cast: Will Ferrell, Maggie Gyllenhaal, Emma Thompson, Dustin Hoffman

I literally bawl my eyes out every time I watch this. Oh my gosh. So let's start with the fact that this is a more serious role than Will Ferrell usually does, and I love when actors that often just star in comedies pull a, "Hey, I can do this, too!" Harold is such a compelling character, you're just rooting for him the whole time. Every character's interactions with each other are amazing. It's such a sweet story and I really love it a lot.

#6: This is Where I Leave You

Released: September 19, 2014

Cast: Jason Bateman, Tina Fey, Adam Driver, Corey Stoll, Rose Byrne

I just watched this recently and I instantly loved it. I talk about casts a lot but this one is absolutely star-studded and it works so well. It tackles the mourning process well and all of the character's interactions are great. I especially love Rose Byrne but I also just really like Rose Byrne in everything I've seen her in.

#7: The Secret Life of Walter Mitty

Released: December 25, 2013

Cast: Ben Stiller, Kristen Wiig, Sean Penn, Adam Scott, Patton Oswalt

I was obsessed with this movie in junior high! I watched it all the time and it still holds up. I love the whimsical fantasy it has to it from time to time and Walter's compelling search for the last photo. This movie is ridiculous sometimes and it knows it and it owns it.

#8: The Perks of Being a Wallflower

Released: September 21, 2012

Cast: Logan Lerman, Emma Watson, Ezra Miller, Mae Whitman, Paul Rudd

I read the book and, while the movie isn't completely accurate, it holds up better than most book to movie adaptations. I absolutely love Charlie. Don't get me wrong, Sam is great, Patrick is lovely, but Charlie is amazing, mostly because I relate to him so much in so many ways. The soundtrack to this movie is great, also, and the tunnel scenes are just *chef's kiss* Such a brilliant book and movie.

#9: The Truman Show

Released: June 5, 1998

Cast: Jim Carrey, Laura Linney, Ed Harris, Natascha McElhone

Another example of a comedian playing a more serious role. Throughout this whole movie, you're just waiting for Truman to find out the truth, for his life to change because the more you watch it, the more you come to love this character. Or, I guess, person. You want the best for him, you want him to break free from this literal cage. It's captivating and angering because this lovable character's entire life is a lie. It's such a brilliant film and I feel like it should get more attention.

#10: Alice in Wonderland

Released: March 5, 2010

Cast: Mia Wasikowska, Johnny Depp, Anne Hathaway, Helena Bonham Carter

Where do I start...this movie is so weird. Which is kind of the point and that's why I love it. The main character doesn't even know what's going on sometimes. Once you figure out what's going on, this movie is just really fun. Kind of. I don't know how to describe this movie, I really don't. But I just love it a lot. There's a dragon and castles and weird creatures and talking animals. Everyone does an excellent job, especially Johnny Depp. I would kill for the Mad Hatter. It's such a weird movie and I can't put my finger on why I love it so much, but I do. I also really like Tim Burton.

Honorable Mentions:

Jojo Rabbit

Crazy Stupid Love

Spider-Man: Homecoming

The Shawshank Redemption

Coraline

Again, if you made it this far, thanks for reading. And, again, 11/10 would recommend all of these, including the honorable mentions.

[the-nightmare-before-bucky]

everything i love about hunchback of notre dame

*the g-slur will be replaced with roma, romani, or something else and will have brackets ([ ]) surrounding it to indicate a word change*

Olim -  i love the build up at the end into bells of notre dame 

bells of notre dame -  ”and some say the soul of the city’s the toll of the bells, the bells of notre dame” the fact that it’s esmeralda singing it. we’re already off to a great start.  jehan’s voice is so nice it’s beautiful the foreboding saints after jehan dies and right into the “ahhhhs’ “and the saints regarded frollo from their stone facade and he felt their gaze as if it were the eyes of God” - the difference between the stone saints for frollo and quasi is so interesting. One sees them as terrifying, boring into his soul because of his darkness within, while the other sees them as his friends and aid on his journey.  the way frollo says quasimodo “now here is a riddle to guess if you can, sing the bells of notre dame” “what makes a monster and what makes a man?” - song by Quasi. It just makes me tingle, I love it.  the way this song sets up so many motifs is just so good

Out There -  the beginning is manipulation 101 (it is I alone, your only friend, how can i protect you, etc)  michael arden is an icon i swear. he is phenomenal. his e m o t i o n “but part of theeeeeem and Ooooooout there” “out there among the millers and the weavers and their wives”  “heedless of the gift it is to be them. if I were in their skin I’d treasure every instant” “i swear i’ll be content with my share. won’t resent won’t despair old and bent I won’t care. I’ll have spent oooone daaay out theeeeeeeeeere” Amazing, showstopping, what a way to open a show and introduce a character, I cry almost every single time

Topsy Turvy pt. 1 -  “somehow i can wander through this helter skelter without fear now. no one sees i’m here now out here in the woooorld!” ugh i love him  “on the sixth of januervy” too catchy

Rest and Recreation -  I used to hate this song but now i’ve matured and learned that it is amazing I just love the tune, idk, it’s so fun and catchy until you get to the bridge and that’s what i love “rest and recreaaaaaa- four years at the front...” that’s on ptsd “the air filled with a stench of bodies in a trench. whoever pays the most i call my liege.” just the bitterness when he says that line. Amazing.  “and whatever i do i’ll make sure this is true i will never go back again.” i literally adore this part so much. it gives him so much motivation. and then we go right back into him being flirty because he’s covering up his ptsd with fun “But for a few night fun is my mission” oh me oh my that’s very attractive he sounds so awkward talking to frollo im going to cry  “there is no time for rest and recreation,” poor guy

Rhythm of the Tambourine -  “flash of an ankle flip of a skirt...come see me dance, hey what can it hurt?” I just love how she sings this part its so well done the dance break music is amazing. it’s just so nice and a great vibe.  “this girl who is she” the layers!!!! all three of them doing it in rounds!!! I love it!!! “she dances like the devil//she dances like an angel//an angel” AHHHHH beautiful, great way to show the differences in characters “but with such fire// such fire” I am in love with this line oh my gosh. like frollo is thinking about hellfire and pheobus is just like heart eyes i am also in love with esmeralda thank you

Topsy Turvy pt. 2 -  “aren’t you going to join in on the competition?” she’s so cute and pretty and i love her “we asked for the ugliest face in paris and we found him, aye?” love  “eeev...ry..bod...y”  “Hail to the king....oh what a king...girls give a kiss...we’ve never had a king like this!” just so much fun to sing 

Into Notre Dame -  “how could you do this to me?” more manipulation  “like a begger recieving an alm.” i love a good simile “the light of notre dame” I love the way she sings this, it’s just so good 

God Help the Outcasts -  “were you once an outcast too?” i love this because the answer is yes. Jesus was treated as other because of His teachings. He was most definitely an outcast, literally cast out of so many different towns. And He does listen to her prayer and it just makes me so emotional.  i literally...there is nothing wrong with this song. everything about it is beautiful.  “God help the outcasts or nobody will” chills every single time “I ask for love I can possess. I ask for God and hos angels to bless me” right into “I ask for nothing, I can get by” I LOVE IT SO MUCH it’s so beautiful.  the chorus of this show deserves a raise “but I know so many less lucky than I” really helps to show Esmeralda’s character a lot I think. 

Top of the World -  such a beautiful song like I could write the entirety of this song here because I love it so much I love the saints part so much the part when the saints are singing and esmeralda are singing is just beautiful especially the part “here at the top of the world(E)//look at you sitting at the top of the world(S)” “the two of us sitting/the two of us sitting/the two of you sitting” right into “On top of the world!” one of my favorite parts of the entire show oh my goodness. The way Quasi, Esmeralda, and the Saints all blend together so well is just askjhfklafkj

Tavern Song -  I can’t not dance to this song oh my it’s so so so fun.  just like the melody especially during “in the dark of the night, in the dead of the winter...come keep me warm until morning” I LOVE  It gives me very much Jack and Rose vibes from that part in Titanic “with the taste of the wine, hold me close while we’re dancing, but I hear you sighing, winter is dying, you’ll keep me warm until morning” HER VOICE IS SO GOOD the cross between the tavern folk singing and frollo singing in the Hellfire tune is just so good. just so good. i’m going to cry this show is beautiful.  the fading “come keep me warm until morning”s is UGH so good

Heaven’s Light -  When I tell you how much I adore this song.... his voice is just so soothing. the little flute thing in the background is just so sweet the way he sounds so happy the first time he says “Heaven’s light” i love him so much “but” AHHHHHHHHHHHHHHHHHH i cannot  “I swear it must be heaven’s liiiiiiiiiiiiiiight” one of my favorite notes in the entire show i swear it’s so beautiful also the bells of notre dame going right into Hellfire....ICONIC

Hellfire -  One of my favorite villain songs ever. Especially in this version, you can really hear his inner turmoil over Esmeralda. and i just love it.  from the get go, frollo is trying to put him above everyone (”you know i am a righteous man”, “so much purer than...”) and yet he is still struggling with lust like everyone else...he’s still a sinner “i feel her, i see her, the sun caught in her raven hair, is blazing in me out of all control” SO GOOD  “Like fire, hellfire” go look back at what he says in rhythm of the tambourine because it’s the same thing and i just “is turning me to sin” blaming esmeralda for his own sinful thoughts. it is not her that is turning him to sin. he is sinning of his own accord. but also the desperate way he says sin is always so interesting  “it’s not my fault, i’m not to blame, it is the [roma] girl, the witch who set this flame! It’s not my fault, if in God’s plan, he made the devil so much stronger than a man!” I really really love this series of lines so much. I can’t really explain it, but especially that last part. it just breathes a supposed “holy man” who can’t accept that his sins are his own and caused by himself so he’ll blame every single other thing other than himself. i’ve known too many people like this. “protect me maria, don’t let this siren cast her spell, don’t let the fire sear my flesh and bone” just so good. I love the voices in the background.  “destroy esmeralda and let her face the fire of hell, or else let her be mine and mine alone” he would rather condemn an innocent woman than confront his own sin. again, so many people are like this today. it’s just so thrilling to see that mindset condemned in media. also, patrick page is amazing  “hellfire, dark fire” the tone switch from him being scared of the hellfire the first time he said it to now he’s using it as power (how many of us have had hell weaponized against us? raise of hands?) is just so frightening and amazing all at the same time “God have mercy on her, God have mercy on me” I cannot tell you how much I love this line. it is phenomenal, especially the way Page sings it. I think that it is one of the central lines to his character (along with the “wicked shall not go unpunished” which i’ll probably talk about later) just the emotion he has in his voice when he says this line....chef’s kiss. especially with the next line (”but she will be mine or she will burn”), it seems like he knows what he’s doing is wrong (hence why he needs mercy), but he’s going to do it anyway

Esmeralda -  easily one of my favorite songs in this entire show. what an amazing end of act song oh my  the trumpets!! at the beginning!!! I love it!! “being under suspicion of sorcery, witchcraft, and the arts of hell” that is not actually why he’s arresting her which doubly means he knows that what he’s doing is wrong the tune of this song is SO GOOD I LOVE IT “these are the flames of Esmeralda...” this dude is obsessed with fire feels very much like the mob song from beauty and the beast “with the might of Notre Dame” using God in such a vulgar manner is blasphemous and frollo knows it. he’s using God’s might and strength to hunt down an innocent woman because he can’t control his own desires. I’m losing my mind “but the madam, that whore, denied it and swore by the saints, the saints of notre dame” i have no idea why but I adore this line and i love the way that it was song. I used to think that the madam was actually just esmeralda in disguise which made the next part of the song seem all the funnier the little lute strumming after frollo says “very well, we’ll set fire to it” because pheobus is having a change or heart “and he held the torch that crackled like the [woman’s] voice....and he knew this was the moment he must make a choice” this is why i like the play phoebus and not really the movie phoebus very much. i just love it  the chorus singing God help the outcasts in the background...amazing...chills “you’d throw away a promising career” Frollo’s desperate attempt to get him to comply  “God help the outcasts, or nobody will!” I LOVE THIS PART WITH MY WHOLE SOUL IT IS SO GOOD sometimes i’ll listen to this song on repeat just to hear him say this “you’re relieved of your patrol” “consider it my highest honor.” Iconic. just...so good. gives me very much “thank you for your consideration” vibes  the way frollo says kyrie eleison here is just so good frollo’s little speech is very cool with the chorus in the background I love Quasi’s little frantic verse there. you can hear his desperation in “fire, fire, smoke and flame” and then “is that all that I can do?” he wants to help his friend but he can’t and I know how horrible that feels phoebus part!!!!! I love it!!!! his voice is so nice!!! “with my career and body left for dead” nice, good, amazing.  “out there...” AHHHHHHH YES MOTIFS “somewhere she is lost//somewhere she is lost//Esmeralda!” love this bit so much  “the flames grow tall and sharp as fluer de lis” what a good metaphor, so good, so nice, I love the chorus they’re all amazing “all paris burns for esmeralda” now we’ve got burning again. are we talking about how paris is literally on fire because frollo is insane or is it the mob mentaility that is “burning” inside of them? good question.  “and still it all comes down to her and me” says three people. I love the melodies here. chills. so many of them. I love.  “the devil dwells in esmeralda//oh esmeralda//oh esmerlada//oh esmeralda” AHHHH again AHHHHHHH i love this bit (yes I know I say that a lot but its the truth) “wake up the city and sound the alarm!” good yes they’re all singing different bits and it’s growing and your heart is pounding until.... “these are the flames of esmeralda”  and then it all falls apart again oh my gosh it’s beautiful  until “the bells of notre dam!” and the “ah, ah, ah”s that I adore so much I love this song so much 

Entr’acte I can’t imagine how fun this would be to sing. it’s just a vibe Flight Into Egypt - I used to skip this song but I have since learned the error of my ways because i love it “then Quasimodo you can too” love that, just like he says it “and she gave it to you because she knows you’re smart” the fact that these are just part of his imagination so it’s really him telling himself he’s smart and i’m going to cry I love him so much “and this jewel must show where we’re supposed to meet” love his voice so much “it’s a map. it’s a map!” he’s so excited. he deserves the entire world.  “I’ll save esmeralda, her angel will be me,” brb crying  “for her I will be strong” still crying I love the entire end bit how their voices meld and the music swells all up until Quasi sings the last bit. it’s just so amazing

The Court of Miracles -  I’ve always loved this song. it’s so fun, but also sad.  “brother you’re there” YES  “but the dead don’t talk so you won’t be reveal what you found!” dead man tell no tales vibes “Not terribly different from bees in a hive” I love how erik says this line. claupin would be so fun to play oh my.  “where it’s a miracle...if you get out alive”  “any last words....i thought not *laughter*” obsessed with this  “but we must protect at all cost our secret, it’s our lives or yours!” and that’s the sad reality. that’s what makes this song sad to me.  “So you’re going to hang!” a lighter note as an end. very nice. 

In a Place of Miracles -  a few notes in and i’m already crying this song is so beautiful and i adore it. it makes me sad in a million ways but it also makes me so happy. the play did such a great job of making me love pheobus and esmeralda but also feel so, so bad for Quasi “but somehow you have made me someone new” yup i’m definitely crying “now i’m asking if you’ll let me come with you” you can’t see me but the tears are real “though our lives are tattered and torn, all i’m feeling now is reborn. i must be...” AHHHHHHHHHHHHHHHHHHHHHHHHHHHH Pheobus and esmeralda’s voices just meld together so well im gonna cry it’s so nice and as soon as the first chorus is over, the tears of happiness turn into tears of anguish because Quasi pulls up with his heaven’s light reprise and it tears my heart to shreds my heart breaks for him esmeralda and quasi singing at the same time gives me very much eponine and marius vibes from a heart full of love (we love victor hugo so much /sar) like the parallels in what the both of them are saying is just phenomenal “no more need for a heart of stone//better to have a heart of stone!” AHHHH STOP I LOVE IT AND IT HATE IT AT THE SAME TIME “that holds no hope in heaven’s light” stop i’m so sad and then the chorus come in and it’s just so beautiful “will we reach a friendlier shore, will we find a haven once more, where we’ll be in a place of miracles...” it’s so gorgeous “where’s my place of miracles//in a place of miracles” that sound? yeah that’s me sobbing in the corner and it builds again and i love it so much it’s just so beautiful 

Justice in Paris -  this is the least played song on spotify (by like hundreds of thousands) and I think that’s so funny but i think the chorus does such a great job here, as usual, because they just have that menacing sound to them

Someday -  another of my favorite songs. this one is hauntingly beautiful and I have so many opinions. get ready.  esmeralda is just so sad and you can hear it in every single word she says. god my heart is already breaking.  “that i’d live to see a day of justice dawn” i haven’t actually seen the stage version so i’m not sure if they have the part where she cries out “justice!” when quasi is getting attacked, but this part just hurts me to the soul because of that specifically. she cried out for justice and now she gets none. “and though I will die long before that morning comes, i’ll die while believing still it will come when I am gone” this line just hits so, so hard. i can’t even talk about it. just imagining her singing this and pheobus listening to her with tears in his eyes...nope i cannot...i will cease to exist and then he joins in and i can just imagine her feeling no longer alone because she’s hoping that it comes “someday” and he’s echoing it, assuring her that it will. I can just picture her trying to stay strong as she says “Godspeed this bright millennium on its way” but she can’t and so her words fall out as she’s saying “let it come” and she can’t finish but pheobus finishes it for her. “someday” and I can just see her breaking down. she’s going to die and she never gets to see it, but he assures her that it’s coming. and he starts it up again. he starts singing again, and I think that it gives her the strength she then needs to finish.  “someday, these dreams will all be real. Til then we’ll wish upon the moon!” of all the lines in the entire play, this is my absolute favorite. the way the sing it, the power they hold, their voices blending together so smoothly and perfectly. i cannot handle how amazing it is.  “one day...some day...soon” and just like that, i am sobbing. beautiful beautiful beautiful beautiful. 

While the City Slumbered - i love this little song. it’s so pretty and fast and it just gives us exactly what we need to know. love. 

Made of Stone -  Now to the last of my favorite songs. (Finale doesn’t count because although I love it, it hate it). You wanna know which song has the top score of making me cry the most? That’s right. This one right here. Let’s get into it. the talking at the beginning is a yes from me. “I only make things worse!” felt that also, the sound of him sobbing ruins me. “how do you know what I believe, what do you know of me? what do you know of all the things I feel? you’re only made of stone” finally him acknowledging that they’re not actually real and all apart of his imagination. “who is it that you see, instead of seeing what I am for real?” imposter syndrome? I understand that. “this twisted flesh and bone” the EMOTION  “you’re a liar” bro i cannot physically handle this. i can’t. I will cry. I am cry “would that I were made of stone like you,” back to that place of miracles song. i just he’s just so desperate. the only thing he could ever trust has fallen. He has nothing left. he can’t even trust himself (because that’s really all the stone saints by) “shut my brain down, if I were senseless, I’d prefer it” i totally understand the feeling of this. so often when thing go wrong in my life, i would like to shut down completely and stop existing and I think that’s what makes this song hit so damn hard “another gargoyle on this turret, spitting rain down to the stones below!” there is so much passion in his voice I love it so much. michael arden deserves the entire world for this performance “i’ve waste my faith believing in saints of plaster,” OUCH “the only one worth believing in was my master,” OUCH AGAIN “he’s the one who never lied. he told me it was cruel outside. he told me that i had to hide. his words were cold as stone, but they were true.” i can’t describe how emotional these lines make me. because he’s right but also it is such a painful, hard truth. ugh, i  “not like you”  “take all the dreams you’ve stone, take all your lies and leave me alone”  “alright Quasimodo, we’ll leave you alone,” that one hurt because as someone who pushes people away when they’re self destructing, the most painful part is seeing them actually leave you. even though you asked them too. “you’re right Quasimodo, we’re only made of stone, we just thought that you were made of something stronger.” now that’s a mic drop That would cut so, so deep.  “never again to wonder what’s out there” m o t i f s  “let it remain unknown. and my one human eye forever more be dry until the day i die, as if I were made of stone”  such a beautiful, heartbreaking, real song that I think so many people can relate to. I know I can. I have cried to this song so many times. I love it.  also, he holds that note for so long i’m impressed.

Finale - this song is long so get ready for it.  the crimes that Esmeralda is guilty for are not the ones that she was originally hunted for. he switched up his story. “the sentence is death!” immediate kyrie eleison (which i think is for frollo and not esmeralda) she spits in his face like a freaking queen “esmeralda!” Quasi’s cry is just so heart shattering and emotional I am so sad “he could remain stone no longer” I love that “sanctuary! sanctuary!” with the victorious sounds in the background are just so amazing “hear me, people of Paris, how much oppression will you allow?” with the chorus singing Someday in latin in the background?? I am not crying again “someday, your patience will finally break. why not make someday come right now?”  that part is just chef’s kiss. I love it so much. also, that’s the last we hear of pheobus. I’ve always wondered if he died so someone whose been in/seen the play, could you tell me? quasi’s prayer to the saints is just so good. i just love it so much. so beautiful. and it being similar in tune to Heart of Stone and having the part “raining fire on the stone below!” is just so good and then the moment between quasi and esmeralda is just... “you are home.” “home.”  and then we go to the top of the world reprise. haha. haha. ha.  “in my eyes you are beautiful too,” comparing him to the beautiful morning “i don’t think...forever...” “you’re such a good friend quasimodo” “yes your friend” and then she freaking dies and i’m so sad and then the music changes so quickly and it makes my heart drop every time “because of you” cut deep “at last we’re free of esmeralda. now that she’s gone, a poison dies with her.” to the tune of esmeralda. bitch i would have thrown frollo off that roof too “here in our sanctuary...sanctuary” “sanctuary? no sanctuary without her”  “even...loved her.” “love? what do you know of love?” I adore this part because Quasimodo finally realizes that Frollo’s treatment of him wasn’t love. It never was.  “no. you are the weak one. you the wicked one. And the wicked shall not go unpunished!” I cannot explain the fire that this lights in my bones. it’s amazing. just so good. and then all the voices, like the saints, come in “the wicked shall not go unpunished. the heart of the wicked is of little worth. the wicked shall not go unpunished” and they’re no longer on frollo’s side (they never were) the rising voices as quasi picks up frollo and is going to kill him *chef’s kiss* “You don’t want to hurt me” “yes you do” so, so, so, so, so good. i can’t even explain. it’s just good.  in to the abyss below! damnation! “the world is cruel, the world is ugly” yes  “but there are times and there are people when the world is not” i’m not 100% positive, but i’m pretty sure that’s jehan again and that’s just so beautiful. “and at it’s cruelest it’s still the only world we’ve got” the bitter truth “out there” yup yup yup crying you can’t stop me The bit with the chorus singnig someday in latin and english...i literally cant handle it. it is so freaking beautiful. and the violin? the woman singing is an icon. the voices blend together so beautifully. I am overcome with emotion. i- Quasi singing the last “someday” and then the blending into the beginning song and ugh “but here is a riddle to guess if you can, what makes a monster and what makes a man?” with the entire ensemble? yeah, that one feels good.  and being left off with the “ah”s

yeah, brb, i’m going to go listen to it again.

[aion-rsa]

Venom: Let There Be Carnage – What Happened to the Cop Mulligan

https://ift.tt/eA8V8J

This article contains big Venom: Let There Be Carnage spoilers.

If you’ve scrolled around the internet in the last day or two, you might’ve seen folks talking about a little movie called Venom: Let There Be Carnage. With the superhero sequel breaking box office records over the weekend, and ending on a cliffhanger that seems to tease we’ll finally get some proper Spider-Man on symbiote action in the MCU, there’s a lot out there for genre fans to unpack. Yet one of the most curious mysteries about Eddie Brock’s cinematic battle with Cletus Kasady is the literal carnage it left in its wake.

For example, what exactly happened to Stephen Graham’s Patrick Mulligan?! You remember, the police detective who seemed vital to the events of Venom 2 but then disappeared in the midst of all that symbiote chaos during the climax. Well, it’s funny you should ask…

The last time we get a good look at Graham in Venom: Let There Be Carnage, the detective had just revealed to Eddie Brock (Tom Hardy) that he was the then-much younger officer who shot Naomie Harris’ Frances Barrison, the mutant who becomes Shriek. Unfortunately for Mulligan, she lived. It’s why Carnage (Woody Harrelson) takes the copper hostage at the end. Funnily enough, more than one person has told me it seemed like the character was killed off by Shriek after she gets him up on the bell tower and proceeds to take “an eye for an eye.”

So in case you missed it, it turns out Shriek didn’t get her moment of pure, bloody revenge. These things are hard to catch when you have so much sound and fury going off around symbiotes. In fact, we (briefly) see Mulligan one more time with both eyes as a new symbiote seems to consume him.

“Monsters, monsters everywhere,” is the last we hear from our good lawman. So wait, was that Carnage coming for him? And why didn’t we see what happened next? The answer is because they have to save a big reveal for the sequel. They have got to hide that…

Mulligan Becomes Toxin

That’s right we’re about to get a third major symbioted character. Or fourth when you count Riz Ahmed’s Riot from Venom (2018). While the how’s and why’s of this occurring in Venom: Let There Be Carnage remain frustratingly opaque, Toxin is actually Carnage’s son, just as Carnage is Venom’s.

In the comics, Toxin was the third major symbiote character introduced on the page after Venom and Carnage, first appearing in Venom/Carnage #2 in 2004. This red and blobbier looking symbiote is created reluctantly when Carnage (both the symbiote and its host Cletus Kassady) realize they’ve become pregnant. Far more vain and narcissistic than even Venom, and with the memories of Kasady’s broken home, Carnage has no desire to give birth to a spawn which could become more powerful than himself, just as Carnage became more powerful than Venom. So he resigns himself to killing it as soon as it’s born.

Kasady even goes so far as to bond the symbiote to a hero cop who happens to be stumbling by, Det. Patrick Mulligan, so he can easily kill both while they’re disoriented. Luckily, Venom sought this event out, hoping to raise his grandchild symbiote. It is Venom who even names the new creature Toxin—after himself. The two characters, however, have a falling out because Brock in the comics is still kind of unhinged while Mulligan wants to be a real good guy. 

So instead of becoming Venom’s partner, Toxin turns out to be the first symbiote to be a true ally to Spider-Man and a real superhero, as opposed to a partner of convenience, as is often the case with Venom.

Presumably, Venom: Let There Be Carnage is setting Graham’s Mulligan up to be a possible partner (or rival) to Venom in a new movie down the road. And similar to how Venom inexplicably gave birth to the Carnage symbiote without even realizing it in Venom 2, we’re left to deduce that Carnage’s symbiote likewise “infected” Mulligan with its his spawn when that tendril was wrapped around the lawman’s face earlier in the church. 

It makes sense though to hire an actor of Graham’s caliber—he truly is phenomenal in Boardwalk Empire and The Irishman—to be more than just “the copper” in your superhero movie. With that said, how this will all shake out now that Eddie Brock has transported himself to the Marvel Cinematic Universe—which according to director Andy Serkis was a last minute decision—remains to be seen.

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[mylifeincinema]

My Week in Reviews: January 15, 2022

I was going to skip this week because I’m wrapping up prep on My Best of 2021 lists, but decided to get these out of the way since the next list isn’t dropping until Monday. I’m gonna keep these short. Let’s go...

The Tragedy of Macbeth (Joel Coen, 2021)

Every single decision made on this project works. From the sparse production design to the rich, shadow and fog filled cinematography; from the editing choices down to the approach to the performances. Everything just works. The cinematography is jaw-dropping and the editing flows better than almost every other adaptation of this play we’ve seen. Joel Coen, working without his brother Ethan, attacks each and every scene with the madness that lives within this story’s bones. And the cast is across-the-board perfection, with standing ovation worthy turns by Denzel Washington, Kathryn Hunter, Frances McDormand and Stephen Root. Having seen how he handled this, I’d love to see Coen take on another Shakespeare play, preferably one of the less popular, but still magnificent comedies. - 9/10

Being the Ricardos (Aaron Sorkin, 2021)

Chock-full of great performances and an unsurprisingly sharp screenplay, but kept back from all-around greatness due to some questionable directorial decisions throughout. - 7.5/10

The Matrix Resurrections (Lana Wachowski, 2021)

Forget the ridiculously lame story, what kills this one is the sluggish pacing and nap-inducing action sequences (seriously, I fell asleep three times during this one). - 2.5/10

The Tender Bar (George Clooney, 2021)

Based on a memoir that definitely worked better on the page, this one is riddled with cliches and character moments that don’t quite translate. Thankfully, there’s Ben Affleck to save the day and make this one worth it in the end. He’s phenomenal, here. - 5.5/10

Monster (Patty Jenkins, 2003)

Sure, Charlize Theron’s amazing. The rest of it? Not so much. - 3/10

Enjoy!

-Timothy Patrick Boyer.

[melis-writes]

Hello, I'm so excited for chapter 35, it looks like you're interacting with American Psycho, it's a really great movie, you must watch, Bale's performance is absolutely amazing along with his role as the Dark Knight, talking about Patrick Bateman, a businessman from the 80s, one of the best psychological horror movies on Absolutely.. 😳❤

Christian Bale is definitely a phenomenal actor, I love so many of his movies, especially the ones you mentioned!! 🙏🏻❤ I loved his role as Bruce Wayne/Batman in Dark Knight 😭 like he just filled the role so perfectly that it's honestly how I pictured Bruce/Batman to look like. 👀

And believe me, I'm very, very excited for chapter 35 too!! 👀🤞 Ah I just had to go and say it was going to be a short chapter and now it's about 45 pages thus far. 😅❤

[centaurianthropology]

A List of Older Fandoms for Quarantine Viewing

I thought it might be fun to put out a list of older fandoms or smaller fandoms that might be of interest to folks here.  As we’re all still stuck with quarantine, perhaps you’re looking for some new/old media?  Perhaps this list could help?

This is halfway between a rec list and a charting of my own fandom history.  For anyone looking for some new fandoms to check out that are various flavors of interesting and a little older, check ‘em out! 

Feel free to add your own!

In no specific order (other than maybe my DVD shelf??)

Patrick O’Brien books/Master and Commander - this was a fairly good-sized fandom back when the movie ‘Master and Commander’ came out.  A must-watch for anyone who likes historical fiction, age of sail, and powerful homoeroticism.

David Drake’s Royal Cinnabar Navy series - did you ever want Master and Commander in space, but Stephen Maturin is a librarian named Adele Mundy who is a sharpshooter and utterly terrifying and wonderful and beloved ace representation?  Fair warning: this series contains grapic descriptions of violence from an author who’s still working through his Vietnam PTSD.  Here be dragons.

Adam Adamant Lives! -  an Edwardian adventurer got frozen in a block of ice by his arch-nemesis The Face, thawed out in 1969, and now fights crime with a young woman sidekick and an actor-turned-butler who spouts limericks.  It is a completely insane show and joyously dumb.  Everyone involved is having a whale of a time.  It’s hard to come by, but so worth watching it for the pure silliness.

Buffy the Vampire Slayer - I can’t believe this has become a fandom some people haven’t heard of, but here we are, far enough out from the massive cultural impact of Buffy that I need to remind folks.  1990s series about a cheerleader-turned-vampire slayer, struggling with both the supernatural and with high school (which is much worse).  

Angel - spinoff of Buffy, and in some ways my preferred series?  It has so many problems, and the writing of seasons 3 and 4 is quite weak, but the characters are strong, the stories are solid, and Alexis Denisof’s Wesley Wyndam-Pryce remains one of my favorite character arcs in television.

Marble Hornets - here’s another fandom that doesn’t feel like it should be old, but it’s now over a decade since its premiere.  One of the early webseries, Marble Hornets is still one of the best.  Well done horror with occasionally iffy amateur acting, easily overcome with a surprising touch for cinematography.  I’m a sucker for amateur film, especially when it’s well done and ambitious.

Babylon 5 - This was the first fandom I posted about on here, and still one of my great loves.  Arcs before arcs on television were a thing.  Huge overarching stories playing out over seasons.  Great political intrigue on a space station.  The grandest, most tragic Shakespearean romance that ever played out between two middle-aged alien diplomats.  

Carnivale - HBO prestige show before they had prestige shows.  Bought the DVDs on the cover art alone, and they were so worth it: “1934.  The Dustbowl.  The last great age of magic.”  Like most HBO shows, every possible content warning does probably apply to this show, though it’s not nearly as extreme as Game of Thrones, so if you could watch that, you can probably watch Carnivale.

Firefly - space western courtesy of Joss Whedon.  Only one series long, but really well done.  Probably Whedon’s best work.

Homicide: Life on the Streets - early 1990s police procedural with a twist: it wanted to be a very accurate, realistic portrayal of a homicide unit, based on a documentary novel.  The characters all feel real, you’re certain they all smell like cigarettes, coffee, and sweat.  Also, can we applaud a show that has a female homicide detective who doesn’t wear makeup, has frizzy red hair, and never wears heels?  Kay Howard is such a fantastic character.  Frank Pembleton and Tim Bayliss and John Munch and Gee are all such wonderful, real characters.  Another great show for prestige-television-before-it-existed.

The Last Detective - British detective series about a detective who gets small, mournful cases ignored by everyone else and solves them mostly through dogged work rather than brilliance.  This show is the most melancholy show I have ever seen, shockingly good in the quietest way possible, and remains one of my favorite detective series ever.

M*A*S*H - have you ever wanted a proper tragicomedy billed as a sitcom?  There’s a reason this show is still considered the greatest sitcom ever made.  Fair warning: the early seasons really haven’t aged well, and a lot of the comedy doesn’t land.  But if you’re willing to stick with it to the later seasons, you’ll find a show that shifts toward one of the greatest tragicomedies ever.  

Sapphire and Steel - 1970s/1980s British horror/sci-fi show about two mysterious beings that appear to resolve science fiction reinterpretations of horror concepts.  Despite a shoestring budget, the writing is phenomenal, and the acting is perfect, particularly the icy intimacy between the two leads, David McCallum and Joanna Lumley.

Sherlock Holmes - before the modern interpretations, there was the 1980s series starring Jeremy Brett.  If you want the single most accurate interpretation of Conan Doyle’s work, with characters who feel and look like they’ve stepped off the page (and the series that singlehandedly rehabilitated the character of Inspector Lestrade), this series is a must-watch.  This has been my go-to comfort viewing for years.

    Also, if you’re a Sherlock Holmes nut, and you’re desperate for more content, and willing to navigate a Cyrillic DVD menu for subtitles, might I suggest the late 70s Russian Sherlock Holmes series?  Vasiliy Livanov’s Holmes is such a different interpretation of the character, and he’s a delight.  And Vitaliy Solomin’s Watson is possibly my favorite Watson ever.  He’s so done with everything.

Star Trek: Deep Space Nine - sort of the forgotten middle child of the Star Trek series, but in many ways it’s one of the most ambitious.  It was a rival/developed at the same time and somewhat by the same team as Babylon 5, so there are some striking similarities (space station, overarching stories, etc), but while B5 manages the political intrigue better, DS9 does a war better.  It’s the darkest of the Star Trek series, investigating the more tarnished edges of the utopia.  The characters are more deeply developed and flawed, and I love them all.  Andrew Robinson’s portrayal of tailor-with-a-mysterious-past Garak is probably the best character Star Trek ever created in any series.

Hope those of you looking for new things to watch and dig into might find something in this list!