#quentin is the most important fictional character to me ever

[nazali]

The Magicians

my favourite female character: margo hanson, i looove her friendship with eliot (and their trio dynamic with quentin), she's so badass and witty and gorgeous my favourite male character: eliot waugh, he's exactly the kind of character i always predictably lean towards (curly dark-haired mlm with a sad backstory who covers up his pain with humour and substance abuse) three other favourite characters: quentin coldwater (will get into that one more further down), penny adiyodi (he's so funny even if he became a little more serious in later seasons), i'm actually not sure who my #3 spot would go to - i'm fond of a lot of dean fogg's lines, i Deeply want to rescue young martin chatwin, and i've actually warmed up to julia a ton in the time since i first watched my least favourite character: i don't know how controversial this is i do Not have my finger on the pulse of the magicians' fandom but not only do i dislike josh i actively resent the importance he was given later in the show. i hate his relationship with margo, i hate his sudden main character status, i hate his forced comedy, i hate his self-insert nerd-gets-the-hot-girl ass my otp: quentin/eliot, i will never Not be angry about what they did with them my notp: as expected, josh/margo, though i also don't think quentin/alice were ever good for each other and the show still trying to make it a thing made me sigh loudly the character i'm most like: quentin, which is possibly not an answer that will appeal to the people because i always see posts calling him annoying </3 i relate to him very deeply as an autistic, Unheterosexual man who always dealt with my mental health struggles via escapism, and who learned over time to be content with playing a supporting role and to be a side character for those more capable while still learning that that doesn't make me less important. his enthusiasm for fiction and his social awkwardness and his search for a home and an identity resonated so much and i feel very protective of him bc of it (also i too would fall in love with eliot) favourite episode/season: i'm gonna say series 3 because it gave us a life in the day & was very peak queliot, but with the sidenote that it's been a couple of years since i rewatched it properly and so that could be wildly off-base to what my actual answer will be once i do saddest character death: i want to say quentin bc i can't think of anything else that makes me sad but honestly no his death didn't make me sad it made me pissed off and tired most attractive character: eliot from the men. all the girls are beautiful man, kady has the fashion sense & vibe i like the most, margo is probably the most outright attractive, but julia has Somethin About Her that i really like

send me a fandom !

[learn-and-accept]

Okay but actually fuck that ending

[charliedesigns]

Brief// Penguin Book Cover Design

Children’s Book Covers & Illustration

Although I have chosen a non-fiction book for this brief, I absolutely love children’s books and wanted to cover this as part of my research.  

What I love about children’s books is not only the stories but the power of the illustrations included.  I know as a child picture books definitely enhanced my sense of wonder, delight and unlimited possibility.  

For young children, illustrated books open the door to understanding the story. Illustrations provide young readers with an immediate vision of the characters, setting, and mood of the story. Children instantly respond to characters from their visual appeal. We all know and love many picture book characters from their image alone.

The unique style of illustrations on even just the cover of a book have become increasingly associated with their story, making these iconic covers stand out on all bookshelves.

I think particularly for me, books from my childhood and now the stories I read my own children have become a treasured piece of nostalgia and fond memories that will live with me forever - I'm not sure fiction or non-fiction books would ever hold the same importance for me.

Here are some of my favourite children’s book not only for the stories but also the illustrations:

Quentin Blake's collaborations with Roald Dahl have charmed generations of children with his imaginative depictions of characters such as The BFG, Matilda and The Twits.  The childlike expressiveness in his illustrations seem to become somewhat sinister when they sit alongside Dahl’s text. It’s a strange kind of magic that brings out the best qualities in both the writer and the illustrator.

The first Harry Potter book was published in 1997 when I was 15 years old and is probably the most recognised book series in the world.  I came to the books much later when I was in my early 20′s and I'm not ashamed to admit I have read each of them countless times.  I have been to the theme park in the USA, watched the movies over and over and bought the merchandise!

Over the years there have been many versions of these covers and interestingly the UK versions in the images above were designed by 4 different illustrators.  

I think what’s obvious in all the covers I have selected and children's books in general is that visual imagery holds more importance than typography.  I'm sure the reason for this is because children are very visual and as mentioned previously they instantly respond to characters from their visual appeal. 

References

“36 Children’s Book Covers That Will Bring out the Kid in Anyone.” 99designs, 17 July 2017, 99designs.co.uk/blog/creative-inspiration/36-childrens-book-covers-that-will-bring-out-the-kid-in-anyone/. Accessed 20 Feb. 2021.

Kennedy, Philip, and Philip Kennedy. “Quentin Blake, Roald Dahl and the Enormous Success of a Crocodile - Illustration Chronicles.” Illustrationchronicles.com, 2016, illustrationchronicles.com/Quentin-Blake-Roald-Dahl-and-the-Enormous-Success-of-a-Crocodile.

“Quentin Blake: ‘Spend Time with Children? Good God, No.’” The Guardian, 29 Feb. 2020, www.theguardian.com/books/2020/feb/29/inside-the-magical-world-of-quentin-blake. Accessed 20 Feb. 2021.

“See How the ‘Harry Potter’ Book Covers Have Changed through the Years.” EW.com, ew.com/books/harry-potter-book-covers/?slide=5906408#5906408. Accessed 20 Feb. 2021.

[leguin]

on the magicians, mental illness, and media criticism

CW for extended discussion of suicide, suicidal ideation, hospitalization, and syfy’s the magicians.

(crossposted to dreamwidth for readability)

recently i’ve had a lot of time on my hands, and so obviously i’ve been thinking about a comment i saw a few months ago on a magicians instagram post. the comment, which was left in response to an ongoing debate about the season 4 finale of the magicians (and liked by executive producer of the show chris fisher), argued that mentally ill people shouldn’t watch shows in which bad things happen to mentally ill characters because they might confuse it with real life and be triggered by it. the implication of this comment was that criticism of the show by mentally ill people is not worth listening and responding to because it’s unreasonable - because we have, in some way, confused the show with real life, and taken to heart the events that happened in it too deeply. furthermore, it implies that the solution to this is for mentally ill people to avoid being a part of the audience of the magicians.

this is an interesting argument to make given that quentin, one of the main characters in the show, is canonically depressed - very seriously so, at points. if we assume that the comment’s argument is correct, the question has to be asked: who is quentin for, and who is meant to relate to him, if not mentally ill viewers? of course, we also have to ask if this argument is correct in the first place. the answer is that it clearly isn’t, but it seemed to me to be worth some consideration - after all, i spent two or three days after watching the season 4 finale deeply depressed and barely functional, and that’s a reaction i’m eager to avoid having ever again.

so, some thoughts on the magicians, portrayals of mental illness and suicide in media, and criticism of those portrayals:

while thinking about this, i’ve realized that an awful lot of the media most important to me (e.g. flowers, the fall, please like me, wolf in white van, the goldfinch) involves bad things happening to mentally ill characters - including said characters trying or even succeeding in killing themselves. one of the assumptions that the comment’s argument makes is that all approaches to depicting mental illness are equal. but i’d be remiss if i didn’t note that none of these books, shows, or movies sent me spiraling into a depressive episode when i first encountered them, and that they all remain dear to me. i have rewatched/read and enjoyed all them several times, and often felt gratified to see my experiences with mental illness and suicidal ideation reflected in them. to me, this proves that there are responsible, non-triggering ways to portray these difficult, horrible, isolating experiences. (which is not to say that my experience with any of this is universal, but the fallout from the magicians‘ handling of suicide has been much more widespread and longlasting than i’ve seen with any other media concerning similar topics).

up until the season 4 finale, i counted the magicians as one of those shows i could watch to feel less alone. i was especially grateful to see a depressed character who has a difficult history with hospitalization and medication, something i strongly relate to. quentin is a character who makes it through almost four seasons of television by the skin of his teeth, without ever Solving The Problem of his depression, because on some levels it’s unsolvable, but learning and growing and loving all the same. i watched all of this, and thought it was good, and right, and important.

and then the season finale happened, and the magicians amply and unexpectedly demonstrated that there are also terrible, irresponsible ways to write about mental illness and suicide. the morning after the s4 finale i wrote:

i think i’m so upset because every part of quentin’s struggle with depression has been deeply resonant with my own experiences, up to and including his death, and that is not how i want to feel about someone who kills himself! i would like to see differences. i would like to see noticeable and appreciable differences!

and i keep thinking about that comment. wondering if along the way i did confuse something fictional with real life, if i made the same mistake quentin makes in relying too heavily on stories that let him down and make him try to be things he’s not.

but then i think, yknow, quentin is meant to be a character you see yourself in. the magicians was a show that purposefully appealed to people like q - people like me. he’s the audience surrogate, the depressed everyman, the person whose relationship with fiction is meant to reflect our own. he’s the guy who starts the show in a mental hospital. who in the world was meant to relate to quentin if not the people who have also sat on the other side of a desk from a doctor and told lies to try and get out of a hospital ward?

and the writers must’ve been aware of that. i say that not out of optimism, which i absolutely don’t have when it comes to this show, but because as late as the episode prior to the finale, they acknowledged that quentin was a character who was representative of a kind of relationship with fiction that is somewhat maladaptive, but also sometimes absolutely vital to survival. quentin says, in episode 4x12,

the idea of fillory is what saved my life. this promise that people like me, people like me, can somehow find an escape.

it should go without saying that you don’t make that kind of character kill himself  - or, if you prefer, ‘sacrifice himself in a premeditated act that guaranteed his death, after ensuring he wouldn’t be rescued, and after spending a season with serious ongoing trauma he was unable to process.’ you don’t spin his death into something heroic. and you don’t spend a season afterwards having everyone he cared about talk about how trying to save him would be disrespecting how much his death meant for them, as though his life meant less. as though his life didn’t mean anything to him. it feels really obvious, as i type this, that you shouldn’t do that. and i don’t mean that in a moralizing way - we have studies that suggest portraying suicides like this can lead to a spike in copycat suicides. writers discussing these topics have a very real duty to doing so responsibly, carefully, and preferably in consultation with organizations or people who can provide feedback. to the best of my knowledge, the writers of the magicians did not do this.

i’ve become very aware in the last year that there are right ways and wrong ways to write about these topics. and so i find it hard to buy the argument that i’m still so deeply unhappy about the magicians because i’m someone who can’t be trusted to decide something as simple as what media to engage with. i’m capable of being discerning, and i go out of my way to avoid things i think i can’t handle. the magicians didn’t slip through because i thought it’d be fun to add ‘suicidally depressed’ back onto my resume. it slipped through because it started out telling a story in a way that felt right, and then it took an abrupt, awful turn.

likewise, i find it hard to believe that i should be barred from criticizing the magicians because i was hurt too deeply by it - or that my criticism, my unreasonable, illegitimate criticism, is the reason why the show was canceled. there are people who can reasonably be blamed for how and why the magicians ended, and people who can’t be. something else that should go without saying: the actors and the audience are not in that first category. my recognition that the show’s treatment of quentin’s death is a seriously cautionary tale on a number of levels is not a problem. writing that story in the first place, and continuing to defend it in the face of any and all criticism is.

[akisazame]

not strictly in the spirit of trivia tuesday but here's a fun thing i've wanted to talk about for a while: fic inspiration playlists.

when it becomes clear that i'm going to have to live with a writing project for an extended period of time (ie it's shaping up to be novella-length or longer), the first two orders of business are:

1) title the thing so i'm not stuck calling it by a temp name in my head

2) make a playlist

these are actually two related actions because the first song in the playlist will always be the song from which i pulled the fic title. lyrics are obviously the most important part but it's also the broadest way to set the mood of the whole playlist and therefore the fic. that first song, plus the next four songs, basically make up a sort of mission statement.

here's the mission statement for your emotions have an echo, aka camp canyon grove au:

i chose the gnarls barkley song for a few reasons, but primarily because it was the first song that turned up in my google searches for "most popular songs 2006" that didn't make me want to scream. plus, you know, ha ha the song is called crazy and it's a crazy ex-girlfriend fic. the p!atd song came next because "let's get these teen hearts beating faster" was the runner-up title. from there i went slightly anachronistic with misery business, which has the rebecca vs valencia flavor that i needed. young enough is completely anachronistic but 1) i fucking love charly bliss, and 2) it perfectly captures the feeling of intense teenage summer love. how to be a heartbreaker represents rebecca's outlook as the pov character.

and here's throw a living past away, my queliot wip:

somebody that i used to know was a transplant from the camp canyon grove playlist, because once i started actually drafting the queliot fic i knew it fit much better there and also i really wanted to use that title. i originally said on twitter that your emotions have an echo is 2000s indie pop aesthetic and throw a living past away is 2000s alternative aesthetic but how it's actually shaken out is more of a 2000s sadboy aesthetic. we looked like giants is the second song because dcfc was the music i personally was listening to when i was sad in the 2000s (and within the first 3000 words i wrote, i managed to work in a reference to a grey subcompact). next is charly bliss because see above note about charly bliss and also it just straight up has eliot's name in it so what else am i supposed to do with that? king of carrot flowers is the song that immediately comes to mind when i think about boys being sad in the 2000s. i was meant for the stage is a song about eliot, who is not the pov character but who is basically the only thing quentin cares about for the majority of the fic.

from there, the playlist is primarily populated by feel. these fics are both "period pieces" as much as i hate the idea that 10-15 years ago counts as a period piece, so i do try to keep to songs that actually existed at the time. this is easy for throw a living past away since it spans a fairly long period of time (2007-2015), and harder for your emotions have an echo since it takes place almost entirely during a couple of weeks in summer 2006 (with two exceptions). but ultimately i'm writing fiction so if i want to pretend that 17-year-old rebecca bunch was blasting we are never ever ever getting back together then that's my prerogative, thanks very much. this is also why i won’t ever use the word “soundtrack” to describe these playlists (although, in the case of your emotions have an echo, at least one song does actually appear in the text).

in an ideal world, a person could listen to these playlists and intuit, if not the plot, then at least the type of story i'm setting out to tell. the process of making the playlist isn’t any sort of substitute for outlining, but it does help me feel out the story’s shape and sometimes informs certain plot beats (see: the five song section of throw a living past away that i added specifically for “teen witchcraft vibes”). 

if you're so inclined, you can listen to both your emotions have an echo and throw a living past away on spotify. (fair warning that the playlist for your emotions have an echo contains a couple elements that i consider to be spoilery, but that's entirely my perception.)

[letsbreakhearts]

Rules and Muses

Before interacting, there are a few things you have to consider before approaching me:  

First things first: Mun =/= muse! The most important rule of mine, because I do write about all kind of dark and disturbing topics, since I have no trigger whatsoever and like to explore the depth of mankind's cruelty in fiction. Obviously said content is tagged as tw:(name of the trigger) and therefore easily manageable with the right tools. If this still rubs you the wrong way, because you either are a prude puretist, really easily triggered to past trauma, or simply not able of separating fiction from reality, I ask you politely to stop reading here and leave this blog instantly. Consider yourself warned. Any further consumption of this blog’s content is on you, mate. 

All heavy topics in threads need some upfront plotting, to keep it all consensual. I don’t want to accidentally throw someone off. Plotting in general is always preferred.

This blog is nsfw by default. Minors and Personals get blocked most of the time.

All ships are welcome, but I obviously have my favourites and some I never wrote before definitely need more plotting than those I write on a regular basis. 

Reasons for me to unfollow/soft block you: Your rules say: If you write “xy” I will not follow/block you; You are literally spamming my dash with personal/ooc posts; You post/share a lot of negativity and whining; You share anon hate, instead of just turning the anon function off, aka get involved in drama that is easily avoided; You participate in call out culture; OOC political commentary/activism and other non-rp related stuff that I don’t want on my rp dash; Ship bashing and kinkshaming; You turn out to be an Anti of some sort; You share any hate for the character or actors I write as/use as FC. Disclaimer: You are of course free to do whatever you want with your blog, as I am free to avoid your blog without any reason given.

If you ever feel the need to unfollow or block me, just do it. No explanation needed.

If I lose interest in interacting with you, I will unfollow and most likely softblock, or even hardblock you without any reason given. Please don’t take this too personal.

What does private mean: I have my fav mutuals who occasionally get more replies than others. Plus I am very hesitant about following new people unless you offer me something I hadn’t found a partner for before. On this note, If you approach me first, I want you to have a vague idea what you want to write with whom of my muses and some time and creativity to plot a little bit beforehand. 

I have the right to not interact with you without any reason given. 

Don’t reblog any of my self written ooc posts and psas. Same goes for rps you aren’t taking a part in. 

Asks and memes are no longer my main focus. Do not spam my ask box but rather plot with me via IM please. 

I do all lengths of threads. I also tend to edit my posts and use icons but my writing partner don’t have to. Edit your post after your own liking, or not at all.

Muses with the same FC, as well as duplicates are welcome obviously.

I don’t do passwords!

My IM is open for plotting.

For those who are interested in such things: Hello, I’m Fuchs, a lazy German hobby artist and writer. English isn’t my first language and I procrastinate A LOT. On top of that I sometimes just need ages to be happy with the stuff I write. Short: Please be patient with me, if you see me online but don’t reply right away. I also tend to have a lot of threads. So please don’t ask me to reply faster. Not gonna happen.

Muses

BOLD = Mains || Italic = only as request || Others: Available but not always muse for

Detroit: Become Human

Gavin Reed (D:BH)

RK900 (D:BH)

Leo Manfred (D:BH)

Markus (D:BH)

Daniel (D:BH)

Cole Anderson (D:BH)

Hank Anderson (D:BH)

Connor (D:BH)

60 (D:BH)

Captain Allen (D:BH)

Marvel

Tony Stark (MCU)

Quentin Beck (MCU)

Steve Rogers  (MCU)

Peter Parker (Tom) (MCU)

Peter Parker (Andrew) (Sony)

Peter Quill  (MCU)

Frank Castle  (MCU)

Scott Lang (MCU)

Eddie Brock (“MCU”)

Benjamin PointDEXter  (MCU)

Flash Thompson (MCU)

Bucky Barnes (MCU)

Erik Lehnsherr  (MCU)

Harley Keener (MCU)

Peter Parker (Tobey) (Sony)

Peter B. Parker (MCU)

Brock Rumlow (MCU)

Sherlock BBC

Sebastian Moran (Sherlock BBC)

John Watson (Sherlock BBC)

Witcher 

Jaskier

Geralt of Rivia 

The Boys

Homelander (The Boys)

William Billy Butcher(The Boys)

The Walking Dead

Marlon (TWD Tell Tale)

Negan (TWD)

Rick Grimes (TWD)

Shane Walsh  (TWD)

Daryl Dixon  (TWD)

Carl Grimes(TWD)

Star Trek

James T. Kirk (Star Trek)

Leonard H. McCoy (Star Trek)

Star Wars

Poe Dameron (Star Wars)

Kylo Ren  (Star Wars)

General Hux  (Star Wars)

Finn (Star Wars)

Stranger Things

Billy Hargrove (Stranger Things)

Steve Harrington (Stranger Things)

Jim Hopper (Stranger Things)

Uncharted

Rafe Adler (Uncharted)

Sam Drake  (Uncharted)

Nathan Drake  (Uncharted)

Red Dead Redemption

Arthur Morgan (RDR2)

John Marston  (RDR2)

Far Cry

John Seed (FC5)

Joseph Seed  (FC5)

Jacob Seed  (FC5)

Staci Pratt  (FC5)

Men in Black

Agent H (MIB International)

Life is Strange

Nathan Prescott (LIS)

Sean Eduardo Diaz  (LIS)

Daniel Diaz (LIS)

Until Dawn

Joshua Washington (Until Dawn) 

Christopher Hartley(Until Dawn) 

Michael Munroe(Until Dawn) 

The Dragon Prince

High Mage Viren (The Dragon Prince) 

Crownguard Soren (The Dragon Prince) 

King Harrow (The Dragon Prince) 

James Bond

James Bond / 007 (FC: Daniel Craig) 

Kingsman

Gary “Eggsy” Unwin (Kingsman) 

The Nice Guys

Holland March (The Nice Guys) 

Blade Runner

K /Joe (Blade Runner 2049)

Man of Medan

Conrad (Man of Medan)

Blair Witch

Ellis (Blair Witch) 

Baby Driver

Buddy 

Breaking Bad

Saul Goodman

Jesse Pinkman

Walter White

Michael “Mike” Ehrmantraut

Todd Alquist

[yourfanvivitran]

It should come as no surprise that John Carpenter and Dan O’Bannon were students in the same film class, that they created Dark Star together, and that they both had a great affinity for 1951’s The Thing From Another World. If you put Ridley Scott’s Alien, which O’Bannon wrote, next to Carpenter’s The Thing, the parallels cannot be contended. A group of people, bound together almost exclusively by their careers, are isolated and trapped in their own environment with a murderous monster. One by one, they are picked off by this alien beast and are forced to pull out all the stops just to survive. The tension in both movies is suffocating. The suspense stays well after the credits roll.

So, why did Alien excel and why did The Thing fail?

Alien was heralded as a science fiction-horror masterpiece, raking in over $200 million at the box office. The Thing, although now recognized as one of Carpenter’s best films to rival even the likes of Halloween, barely exceeded its $15 million budget by $4 million. What’s more is that critics panned The Thing almost unanimously after its 1982 release. And to what point?

When you compare the 2 movies, it objectively doesn’t make much sense. When you sit down and watch The Thing, without even thinking of its much more popular predecessor, it still doesn’t quite add up. There is not much I can say about The Thing that hasn’t already been said before. It’s well-known, now - the writing, the acting, the practical effects, the cinematography? Masterfully done. No arguments. So what went wrong?

The most popularly accepted explanation was that it just wasn’t the right year for it. In 1982, The Thing had to contend with the Summer of Spielberg, being critiqued alongside horror giant Poltergeist and science fiction treasure E.T. How could a stark and grim story of distrust and gore stand alongside such beloved classics?

But in tandem with these films and also calling back to the success of Alien, Carpenter cites reception from various focus groups: they hated the ending.

It should be assumed at this point that if you have not yet seen The Thing, you are sorely missing out. All the same, however, be wary of spoilers.

The end of The Thing is bitter, to put it lightly. Childs (Keith David) trudges through Antarctic snow, lit by the burning wreckage of Outpost 31, towards R.J. MacReady (Kurt Russel) who sits alone, already half buried. They observe their inevitable deaths, and drink to the supposed demise of their shapeshifting predator.

A lot is left out to die in the snow.

According to Carpenter, this ending was seen by test audiences as too dismal. And rightfully so, when you take into consideration the other popular releases of 1982. Carol Anne is ultimately saved, along with the rest of her family, at the end of Poltergeist. Elliot embraces E.T. before he finally returns home. And going further back, even Ripley is able to escape the xenomorph by the skin of her teeth and secure herself the title as one of the greatest “Final Girls” ever put to the silver screen.

And what of MacReady and Childs?

Well, that’s up to your imagination, Carpenter told a test audience member who asked who the final host was at the end of the movie.

“Oh, god. I hate that,” they responded.

As a writer, this loose ends style of concluding a story is almost expected from a lot of modern works. It’s written this way in order to haunt the reader, to linger and adhere itself to the real world in the most sardonic of ways. Think Joyce Carol Oates’s “Where Are You Going, Where Have You Been?” or Flannery O’Connor’s “A Good Man Is Hard to Find.” This almost anticlimactic close of the curtain arrived in the literary world long before it found its place in film, but it’s a big point of contention in mainstream criticism.

Dark or incomplete conclusions have been met with the most scathing of responses. Beware the black cutaway of Sopranos fame. Or the near-universal outcry against the third Mass Effect game that grew so much, the developers created a morsel of DLC content that maybe kind of confirmed a more optimistic fate for our dear Shepard.

But even for the horror genre, The Thing seemed unprecedented. The only fate darker to fall upon a mainstream protagonist was Ben’s untimely death in Night of the Living Dead. The tragedy of both movies is palpable - all this trouble to survive against inhuman killers, all this trouble to outlive something gruesome and maybe even make the world a better place, and what was left to show for it?

In short, Carpenter’s science fiction terror was too much of a bummer.

I personally did not take much of a liking to horror until much later in life. My parents didn’t filter the media I consumed as much as they probably should have, and I was scarred early on by movies as cheesy and entertaining as The Lost Boys and Blade. It wasn’t until late adolescence and into college that I set out to catch up.

My roommate at the time of this resolution had been a fan of horror her whole life, her favorites being Halloween, Candyman, and The Thing. Having already known a good deal about the former two, I decided to strap in for The Thing for the first time ever.

These days, I always have several soap boxes on retainer, just waiting for the next unwitting recipient of my usually-beer-induced rants. Brian Jones was killed, Jaws single handedly endangered sharks, banning books is a stupid practice, representation in media is important, etc. Predictably, one of these soap boxes is the general lack of appreciation of The Thing, both at the time of its release and today (it does not even make the top 100 on Rotten Tomatoes’s highest rated horror movies).

And yet, at the same time, if The Thing had achieved the credit it deserved upon release, I may not like it as much as I do today.

I make a point to not read too much about movies I am feverishly anticipating, and revel in the feeling of going into a well-known movie knowing as little as possible. Most of the time, it makes for the best viewing experience, but I’m sure I don’t even have to point this out.

This was my experience seeing The Thing for the first time. I was on winter break, staying at my parents’ house for the holidays. Everyone else had gone to bed, and I stayed up late in the living room, curled up under layers of blankets, content in perfect darkness save for the television.

I had no idea what to expect, as I had not been spoiled by any TV show making any blatant references and had not done any prior reading into the film itself. And I was absolutely delighted from beginning to end.

What stays with me the most is the special effects. It’s true what they say - that practical effects hold up better than CGI alone. And the production team didn’t cut any corners in this department. Stan Winston and his team, who were later responsible for the dinosaurs in Jurassic Park, helped construct one of the best animatronics in the movie. Rob Bottin, who brought this constantly-morphing creature to life from conception to every last slimy detail, went on to be hailed as a genius in his special effects career. And there is definitely something to be said for the work of cinematographer Dean Cundey whose masterful control of lighting and framing is best seen in Who Framed Roger Rabbit?

The extent of my knowledge of the titular creature was that it was an alien. That it was an alien who could consume multiple life forms and take on their shapes was both exciting and terrifying. There’s creative genius in this premise that thrills the science fiction lover in me, and also fascinates the bookworm in me. I had been a fan of Agatha Christie novels as a teenager, and to see a new and outrageous take on the And Then There Were None structure was incredibly novel to me.

The appeal wasn’t just that there was something out there, lying in wait to torturously pick off it’s victims one-by-one. It was that it could have been anyone.

At its core, horror as we know it has deep roots in whodunnit style murder mystery. With the rise of the giallo and the sensation of the slasher, horror movies of this nature are far from uncommon and can be seen as late as 1996 with the Scream franchise. Carpenter himself spurned a new kind of fear with his breakout success with Halloween by refusing to give a bodily face to its main antagonist. Here, with The Thing, he takes the eponymous killer character to the next level by giving it the genetically inherent function of deceiving its prey. Not knowing the true face of your murderer has proven to be inherently bone-chilling.

Even now, hundreds of horror movies under my belt later and still constantly learning, I keep coming back to The Thing. I really cannot think of another movie in my wide array of favorites that I love more than The Thing, and I truly believe it has everything to do with me not knowing anything about it upon my first viewing. Every other movie I can name on my (similar to the subject) constantly changing top 10 list of most beloved horror flicks was, at some point, spoiled for me in some capacity.

Think of how often the twins in The Shining are referenced in cartoons, of all the head spinning jokes made in reference to The Exorcist. Anthony Hopkins’s portrayal of Hannibal Lector in Silence of the Lambs has become so infamous, that I knew his dialogue (and Buffalo Bill’s) long before I ever saw the movie in full.

I don’t blame these references for ruining these movies. As a super fan, I understand that compulsion to pay tribute. It’s no one’s fault and to their credit that these films take lives of their own. But the repercussions don’t age well in terms of initial viewing experiences.

All that being said, I truly cherish how much I was not exposed to this movie. The unpredictability of the creature and the quiet, looming despair that comes with it create a horror unlike any other.

Although it was a box office flop, The Thing is now a welcome and praised name in both science fiction and horror. Even Quentin Tarantino made it known that The Hateful Eight was primarily inspired on several fronts by Carpenter’s underrated work. However, it has not pervaded pop culture like so many other horror classics have left their indelible mark on film vernacular. And to that end, I hope it remains in that slight shadow of anonymity for all future enthusiasts.

[immortalcockroach]

21 + 15 + 8!

asdfghjkl rose thank you for asking ♥️ this ended up coming out incredibly long, so i apologize in advance!

8) where do you take your inspiration from?

surprising! mostly from visual media, actually. graphics, art, moodboards, films, tv series, that kind of stuff. occasionally, music, and even more rarely, written media (fics, books, poems, similar). that’s for when i’m starting to get ideas. when i already have something written or ideas developed a bit more, then i have a moodboard on pinterest and a playlist on spotify, or i watch something that has the same mood/theme as the thing i’m writing.

15) if you write oc’s, how do you decide on their names?

i don’t usually write oc’s for fics, but i do them for my original stuff. the names depend on the characters’ background and location, but they all have a name that either sounds specific to their character or who they’re supposed to be, or the meaning is very connected. 

in other cases, most of the time, i just go ‘woah this sounds cool’ or sometimes i build a whole character because of their name and subsequently the whole story.

21  tell me about another writer(s) who you admire? what is it about them that you admire?

i love this question!! let me give my favourite fic writers a shoutout, even though i’m probably missing some too!! it’s really long but honestly these people worked hard and they really deserve it

@grumpybell‘s ideas are absolutely brilliant. i’m a huge fan. the stories themselves, the plots would be enough for me to have a whole paragraph about, but for me, the characters are where it’s at. well-developed, very true to the canon but also to the universe the fic is set in, but also very well-rounded and overall realistic. the fics just flow really nice, honestly, and i could read them for eternity. 

fic shoutout: oh darling, here’s hoping god i remember reading this red riding hood au and just... falling in love. i did. i fell in love with bellamy as the wolf and clarke’s desperation to save him, and the new take on the fairy tale, it was just absolute perfection. i keep coming to it every once in a while, honestly. it’s just magic.

@asroarke is one of those people who are just integrated into a fandom’s fanfiction. imagining t100 fanfiction with asroarke is like... imagining the sky without the stars. i think those fics were the first ones i read when i joined the fandom, and i remember one of the things i thought was how easy it was to read. everything flowed as if there was no effort needed, as if the words have always been there, just plucked and placed on a blank document. and the consistency, honestly, damn. these fics are better than probably more than half of published stuff i’ve read. 

fic shoutout: drag me down. look there’s a pattern here and it’s the mythical/legends/fairy tale aus. i present you with a retelling of little mermaid in the most beautiful, soul-wrenching way. i waited every single chapter for when i came out. i read it as soon as i saw it came out, even if i was in the middle of grabbing coffee with a friend. honestly everything by asroarke is absolutely fantastic. 

@blvke-bellamy okay look. when i saw may is just 15 i nearly fell off my chair. i’d kill to have that talent at 15. i would. look, i keep saying look, because i’m shook. but honestly, may’s characterization is brilliant. she took my faves from the 100 and managed to insert them into a different universe, and they feel so much like the original characters and not at all. the dynamics between them are so raw and so pure and so believable i cried at one particular scene in her fic. or it might be two scenes. and look, this is impressive on its own, and then knowing she’s just 15...god.

fic shoutout: step into the sun is a bellarke tangled au and honestly. i’m a slut for tangled. it’s so damn good. and this fic?? inspired by tangled?? absolutely brilliant. marvelous. 11/10. brought my fish to life. and honestly murphy is my favourite in the fic, literally one of my favourite portrayals of him in every fic i’ve ever read. i binged this. i lost sleep over this. no ragrets.

@pawprinterfanfic (i’m biased but. in top 3 fic writers ever. and i’ve been in a lot of popular fandoms.) paw manages to take a universe and make it hers. paw manages to create a universe out of nothing and make it feel more realistic than my own life. and honestly, i am reading her hunger games au right now and it’s amazing, but the best part is that i’m also reading the harry potter au which is even better and although both are masterpieces, i can see the improvement. the development of the characters, the amount of effort in planning and mapping things out, it’s marvellous. her fics just speak to me on a different level, it feels as if i’m experiencing them myself rather than reading them, and what i’m mostly in awe of is how immersed i am in those fics, especially the newer ones. i feel like it’s a rare skill to have.

fic shoutout: starry eyes and galaxy minds (we’ll be dancing on the clouds at night) which is a spider-man au, and honestly, i cried. it’s beautiful. it’s a masterpiece. but so is literally every single one of paw’s stories, so it was a really difficult choice. the harry potter one? j k rowling wishes she wrote it.

skai_heda (i don’t know their tumblr please someone help me find it). where do i begin. honestly. when i started reading the fic i put below, i was mesmerised by the writing style. it was partly in second pov which i’d usually refuse to read, but this writing style is something that belongs to gods. the characterization is amazing, it manages to fix some of the stuff in canon without actually changing it. everything just comes together naturally, and i always feel so satisfied when reading their fics. plus, the writing style again, especially in the fic below, is flawless. some people can create magic with their words, and i’m convinced i’ve just found one.

fic shoutout: everything that comes after deserves so much!! more!! attention!!! i remember reading the first two chapters and just being like...wooow. i was starstruck. i left a long ass comment. it’s so unique and so beautiful. it’s the only fic on this list written in the canon universe, and it’s one of my favourites i’ve ever read about the canon universe. it hurts. it makes you cry, and ache, and understand, and smack your head because you just want people to be happy. if i could pocket the way this fic made me feel, i would always keep it with me. (a little frustration, but a whole lotta love.)

give me a number and i’ll answer questions about writing fanfiction

just in case you’d like to see the same questions answered for non-fanfiction/non-fanfiction influence, see below!

15) if you write oc’s, how do you decide on their names?

specific example of mentioned above - a wip about teenagers who come from a rich side of town and a poor side. there’s posh names, like cedric, declan, byron and gregory, for people who are supposed to represent the posh, stuck-up class; hadley, tessa, abigail, kate for privileged people who are the ‘good guys’; and luca, oliver, han, freddie, who are from the poor side. it’s very classist so it was very important that the names represent the characters. usually, i go for the “vibe” of the name over the meaning, to be honest. 

21  tell me about another writer(s) who you admire? what is it about them that you admire?

i love this question!!

fiction: maggie stiefvater, because her raven cycle series genuinely feels like magic when i read it. the characters are brilliant. erin morgenstern, who wrote the night circus, because that novel also feels like magic. donna tart’s the secret history feels as if you’re reading a secret and the storytelling sort of reminds me of f. scott fitzgerald’s the great gatsby in a way i can’t really describe. she creates a beautiful, magnificent atmosphere and you know what the characters are doing is wrong, but you completely understand them and it makes me, as a reader, question my own moral standards. madeline miller’s the song of achilles is a beautifully written masterpiece that made me fall in love with mythology, legends and history all over again. the way she develops the characters and retells the story i’ve heard a million times is so poetic and beautiful it just resonates with me on a different level. and finally, leigh bardugo with her six of crows series that again, makes me question my morals, but shows the friendship and loyalty between people in a beautiful way. it also shows a romance that i think is one of best written i’ve read, up there for me romances from the novels/series i’ve already mentioned.

there’s a pattern - storytelling and character-building that feels almost otherworldly, very focused on emotions and character development. basically, stories that you feel like as if they were made into films without proper, detailed development, wouldn’t translate well enough to bring the world to the screen. and romances incredibly well-developed over time, that go beyond just being romances and actually show a beautiful connection.

special mention of these directors, as they have a huge influence on my writing: christopher nolan, john krasinski, quentin tarantino, m night shyamalan, steven knight, guillermo del toro, alfred hitchcock, for their storytelling and character building. also, some of these are for the suspense that seems to come naturally. i know most of these are very popular directors, but they’re popular for a reason. i could literally write an essay on each of these people, honestly. my writing is very inspired by motion pictures, i most often look up to how these directors approached some things that i have in my writing, especially themes. (this could literally be a whole essay on its own)

[mendokayalways]

10 for 10 game. answer 10 questions, come up with 10 more for the people you want to tag. tagged by @kickassfu​ THANKS <3

1) Do you like collecting things, or would like to do so? if so what? (like mugs, watches, rocks, funko pops, etc) 

YUP, this is gonna sound weird but every kind of card I get, I keep. Greeting cards, well wishes, condolences, wedding invitations, etc. 

2) what’s your favorite “holiday celebration” (halloween, xmas, etc)?

I fuckin LOVE Diwali. Dress up in traditional clothes, eat good food, chill with family and friends, sparklers and fireworks that don’t make noise cuz those are scary for people with ptsd and dogs. FUCK YEAH! 

3) are/were you the type to doodle in your notebook in class?

yep. still am. 

4) do you like to play board games with friends/family?

I recently started playing dnd with friends (it’s so much fun 10/10 would recommend) but not much with family. We’re more of a singing games during road-trips only kind of a family. 

5) do you prefer taking pictures or having your pictures taken?

I love taking people’s pictures but I can’t have my pictures taken unless I’m feeling particularly good about myself. I look awful in pictures 95% of the time. 

6) has a book/show/movie ever hurt you so much that it physically hurt you, and still hurts you when you think of it? if so which one and why?

yes...I think the first time I can remember actually sobbing over something that people were like ‘jfc that isn’t real’ was when Sirus Black died in Order of the Phoenix. But recently, it was The Magicians. I’m a bisexual person who’s dealt with suicide ideation for a long time and I coped with having these thoughts by immersing myself in fiction and fantasy. So, when I saw Quentin Coldwater, a depressed bisexual person who coped with it via fantasy, killed by altruistic suicide...the effect it had on me is something that I hope to never feel again. 

7) do you know you are loved? that you’re kind and amazing and you deserve nothing but happiness? i hope so <3

I do sometimes doubt the love people have for me but I am aware of it. Thanks Mafalda, you’re awesome and amazing and you deserve loads and loads of happiness and positive vibes <3

8) do you have a show/movie/book etc that you re-watch/re-read a lot of times? what is it?

YES. For books, I re-read Harry Potter way too often, I’ve kept a count for Philosopher’s Stone actually. I’ve read it 91 times in the past 10 years. For movies, I LOVE the Narnia and LOTR movies a whole bunch. For tv shows, anyone who follows me knows I refer to Leverage as the perfect show a LOT because despite its relatively short run, it was a MAGNIFICENT show and the found family is just *chef’s kiss*.

9) top 3 cartoon characters?

Gwen Tennysen from Ben 10: Alien Force 

Danny Fenton from Danny Phantom 

Phineas and Ferb from Phineas and Ferb (I can’t choose between my boys SORRY)

10) if you eat cereals, do you put the milk first or the cereal? (this is the most important question)

Cereal first OBVIOUSLY. I do mildly judge people who put milk first but it’s not as bad as Hasan Minhaj’s answer to this question. His answer is my worst nightmare and after hearing it....let’s just say I judge anyone who don’t put their cereal first less harshly. Also I’ve heard of people who put water or orange juice in their cereal too so like. Anyway here’s where he answers that question: 

My questions:

Do you know the origin of your name? If so, what is it?

Your house is burning down. You have time to save one book after your family/friends/pets are all safe. What book do you save?

Top Pizza toppings. Anyone who says pineapple gets blocked and reported.

Favorite John Mulaney special. If you’re not into John Mulaney, a) what are you doing? and b) FINE! Favorite comedy special in general.

Are interested in True Crime stories? If yes, then give me some good recommendations. 

DC or Marvel? I like both for different reasons but if you prefer one over the other lemme know. I never really understood the divide. 

Favorite flower. And what does it mean in flower language? Mine are blue hyacinths and they mean sincerity (I legit just looked it up). 

Favorite show that you recently discovered. Mine are Kollok 1991 and Zoey’s Extraordinary Playlist.

Everybody has bad days and if you want to feel a little better, what do you tend to do? I take a hot shower and watch John Mulaney specials. 

How do you hydrate yourself? (ex: glass, plastic cup, hydroflask, water bottle, mason jar) STAY HYDRATED. 

I tag: @lillathelegend @heartacheexplosion @mickeysjones and anyone who wants to do it !!!

[cinemasnob412]

Them There Songs Used In Movies Creating That There Perfect Moment

Music and film have had a symbiotic relationship for as long as celluloid carried sound. Often times lesser films are elevated simply by the use of the perfect song (Kenny Loggin’s “Meet Me Halfway” made the almost run of the mill OVER THE TOP memorable for more than Sylvester Stallone adjusting his hat backwards) or a somewhat forgotten tune is resurrected thanks to it’s inclusion in a hit film (think “Bohemian Rhapsody” in WAYNE’S WORLD). There are those songs that have been with us for what seems like forever, but the moment they appeared in a classic scene, their association with their moving picture counterpart shines a light on them in a completely different way then we’ve ever thought of them (”Stuck In The Middle With You” in RESERVOIR DOGS). This is the beauty of the pairing of cinema and sound. 

There’s an old tale about when John Carpenter first screened his 1978 film HALLOWEEN for some executives. Without a score present one of the female audience members attending claimed it was the least scary film she ever witnessed. That same audience, complete with that same woman was shown the same exact film a short time later, this time with Carpenter’s now iconic score attached and that same woman was astounded by how frightening the film was. She was certain changes were made in the editing process, but the truth of the matter was it was only the music that was added. Proof that music can make or break a film.

Everyone now seems to know how important a film’s score can be. Try thinking of an INDIANA JONES film without whistling or humming John Williams’ “Raiders March” theme. Nearly impossible. The same holds true for pop music when used properly in a movie. Ever heard Peter Gabriel’s “In Your Eyes” on the radio and not immediately thought of John Cusack holding that boombox above his head? Bet you at least once thought of rockin’ the Ray Bans, white socks and a button down shirt and little else when you heard Bob Seger’s “Old Time Rock N Roll”. Those of us familiar with those scenes seem to forever associate those tunes with those images.

Whether a film or scene needs a boost of adrenaline (Kenny Loggin’s “Danger Zone” in TOP GUN), a rousing anthem (Survivor’s “Eye Of The Tiger” in ROCKY III), a somber dramatic gut punch (Celine Dion’s “My Heart Will Go On” from TITANIC) or a crowd pleasing showstopper (Bill Medley and Jennifer Warnes’ “The Time Of My Life” in DIRTY DANCING), music, pop music specifically in film is as important a piece to a movie’s success as the actors the director or the script itself are.

What are the greatest uses of pop music in film? Here’s my definitive top 10 list of the greatest songs to appear in a film and the scene they’ll forever be linked to. Note: I’ve excluded songs that were written specifically for a particular film, so although memorable and great, tunes like Kenny Loggin’s “Footloose” or Ray Parker Jr.’s “Ghostbusters” are not addressed.

10 - Harry Belafonte - “Banana Boat Song (Day O)” - BEETLEJUICE (1988)

Director Tim Burton’s use of Belafonte’s “Banana Boat Song (Day O)” covers two attributes I spoke of earlier. It’s a song that is almost completely juxtaposed against the occurrences on screen as well as a nearly forgotten song that found new life once it appeared in the film.

9 - Dire Straits - “Romeo And Juliet - CAN’T HARDLY WAIT (1998)

Right about the time gross out comedy was about to hit big with the likes of AMERICAN PIE (1999), a throwback to the teen angst filled rom-coms of the decade prior found itself a little audience. That film, CAN’T HARDLY WAIT had an onscreen couple you couldn’t help but root for in Ethan Embry and Jennifer Love Hewitt. Throughout the film, like many in a long line before it, our love struck protagonist Preston (Embry) tries to drum up the nerve and courage to ask his longtime highschool crush (Hewitt) out, in this case before their final graduation senior party comes to an end. One of the film’s more tender moments is when Preston, contemplating his next move before time runs out, does so while the Dire Straits ‘’Romeo And Juliet” sets the scene. It’s heartwarming and perfectly timed.

8 - George Thorogood And The Destroyers - “Bad To The Bone” - CHRISTINE (1983)

Used in films quite often, George Thorogood And The Destroyers’ “Bad To The Bone” is often played for laughs (TERMINATOR 2: JUDGEMENT DAY (1991)), but for my money it’s appearance in the opening scene of John Carpenter’s CHRISTINE is it’s best use. If ever a demonic, possessed inanimate object could ever speak of it’s evils and the perils to come, this would be the song that voices those warnings of the threats ahead.

7 - Chuck Berry - “You Never Can Tell” - PULP FICTION (1994)

It’s a tricky endeavor to place an almost three minute dance scene in the middle of a hard nosed crime film. Do it wrong and you’ll almost certainly lose your audience. Do it right and you create one of the most iconic scenes in motion picture history. Quentin Tarantino’s gangster picture is full of memorable dialog and occurrences, but arguably none that encompass exactly the absurdity and attention to detail Tarantino has become known for like the Jack Rabbit Slims dance scene. For the film buffs you have John Travolta cutting a rug once again onscreen, long after his SATURDAY NIGHT FEVER (1977) days and better yet doing so to such an iconic Chuck Berry song. Classic.

6 - Whitney Houston - “I Will Always Love You” - THE BODYGUARD (1992)

It’s a common misconception that Whitney Houston’s “I Will Always Love You” was written specifically for THE BODYGUARD. The truth of the matter is it was written by Dolly Parton way back in 1972, and released in 1974 as the second single from her album “Jolene”. It’s not even the first time the song appeared on film as Parton’s version was featured in 1974′s ALICE DOESN’T LIVE HERE ANYMORE, in 1982′s BEST LITTLE WHOREHOUSE IN TEXAS and in 1996′s IT’S MY PARTY. It’s the inclusion of the song in the 1992 Houston, Kevin Costner film that launched the song into cinematic history. Houston’s powerful vocals carry the tune farther than Parton herself was ever able to. Placed perfectly within the film itself, “I Will Always Love You” sparked the right emotions the film was striving for and became one of the most popular singles of all time.

5 - Righteous Brothers - Unchained Melody” - GHOST (1990)

Who would have thought that one of the men responsible for films such as AIRPLANE! (1980) and THE NAKED GUN: FROM THE FILES OF POLICE SQUAD! (1988) would also give the world one of the most romantic films of the 1990′s? Jerry Zucker’s GHOST captured the hearts of nearly everyone when it hit theater screens in the summer of 1990. It’s “potter scene” featuring the Righteous Brothers’ “Unchained Melody” not only launched a litany of copycat humorous (some not so funny) spoofs, but it also catapulted the duo’s song to number 13 on the Billboard charts, almost three decades after it was first released and charted for the first time back in 1965. 

4 - Sam Cooke - “Twistin’ The Night Away” - INNERSPACE (1987)

***SPOILER*** There’s something sweet when two movie characters share “their song” in a film. Often times it’s done in such a manner that it purposefully tugs at the heartstrings. Joe Dante’s INNERSPACE takes a different route. With his lead protagonist Tuck Pendleton (Dennis Quaid) trapped inside unassuming store clerk Jack Putter’s (Martin Short) body, Pendleton, with the use of the music he often shares with his lost love interest (Meg Ryan) simultaneously loosens up the hypochondriac, nervous wreck Putter and wins back his girl, all thanks to Sam Cooke and a few remade tunes by Rod Stewart. The songs still play and offer realization to the characters, but it’s Dante’s approach that sets this film apart. The “Twistin’ The Night Away” dance scene is the cherry on top. Martin doing his best, vintage Martin to a fabulous Cooke tune. You can’t help but feel good after such a scene.

3 - Eric Clapton - “Layla” - GOODFELLAS (1990)

***SPOILER*** Now the meat and potatoes of this list. These final three embody everything I love about film. Talk about juxtaposition. Martin Scorsese’s usage of the outro from Eric Clapton’s “Layla” is the perfect example of this exercise in film and music marriage. As the deadly finale to the Lufthansa Heist rears it’s ugly head, the opening piano notes play over the camera rising above the hood of a parked pink Cadillac. Inside the bodies of two of the “expendable” participants in the heist. The montage then goes on to show the discovery of the other principal cast members who met the same fate. It’s a chilling scene that reminds the viewer that all the glitz and glam of the gangster life that came before usually ends in this manner. Chilling and perfectly orchestrated filmmaking.

2 - Night Ranger - “Sister Christian” / Rick Springfield - “Jessie’s Girl” - BOOGIE NIGHTS (1997)

***SPOILER*** 1997′s BOOGIE NIGHTS already boasts one of the greatest scenes in cinematic history, the opening three minute tracking shot that rivals the one found in 1990′s GOODFELLAS, but it also features one of the most tense scenes ever to grace film stock. With life unraveling at lightning speed, Dirk Diggler (Mark Wahlberg), coerced by his rag tag crew, agrees to try and sell baking soda in place of cocaine to local eccentric and unsuspecting dealer Rahad Jackson (Alfred Molina). As the scene unfolds, the tension and anxiety build for not only the characters, but the audience as well as Jackson, high as a kite on his product, along side a firecracker throwing Asian boy toy, insists Diggler’s gang listens to his mix tape of assorted 80′s gems. Remember, this film takes place in the Regan era, so the character’s excitement over being able to experience and share his vision on a single audio cassette makes perfect sense. As Night Ranger’s “Sister Christian” builds to a crescendo, Diggler’s discomfort with the entire ordeal becomes evident. As the song gives way to the more subtle “Jessie’s Girl” by Rick Springfield, Dirk’s right hand man Todd (Thomas Jane) grows impatient and turns the once shady deal into a full on armed robbery. Needless to say things don’t end well for nearly all involved, with Diggler barely escaping with his life intact. It’s a masterful achievement in filmmaking and one of the greatest scenes in 1990′s cinema.

1 - Grateful Dead - “Ripple” - MASK (1985)

***SPOILER*** I’ve championed this film and it’s ending on multiple occasions. For me, it’s the most emotional scene in any film I’ve ever seen. As Rusty Dennis (Cher) starts her day, California sun in full effect, she becomes unnervingly aware that her physically handicapped son Rocky (Eric Stoltz) has not gotten up and made it off to school. She cautiously enters his bedroom, knowing exactly what she’ll face, but does so with a brashness and sense of denial that sort of makes the day seem as any other. Her son is dead. We know it. She knows it. As her denial gives way to sorrow, then to frustration we overhear The Grateful Dead’s “Ripple” softly playing on the radio. Rusty completely breaks down, smashing things with reckless abandon. The song still plays. As the scene concludes her anger and denial rests into a soft acceptance. The song still plays. She reapplies her son’s pins from his dream travel map that he removed the night before, knowing it was to be his last night on earth. The song still plays. It’s gut wrenching. If you’re human with even the slightest bit of compassion for your fellow man this scene will wreck you.

HONORABLE MENTION - Stealers Wheel - “Stuck In The Middle With You” - RESERVOIR DOGS (1992)

***SPOILER*** Quentin Tarantino films could populate a list like this all on their own. Being as I went and chose his usage of Chuck Berry’s “You Never Can Tell” from 1994′s PULP FICTION for the list, I decided it would only be fair to go to the Tarantino well once. Leaving off his “Mr. Blonde torture scene” would make a list like this invalid, therefore I’ve included it as the honorable mention. No need to dig into the gruesome details of the scene, if you haven’t ever seen it for yourself you should. If you have, you know what I’m talking about. An upbeat song played over torture and murder. It doesn’t get more diverse in content than that!

[notesbynoah]

8/1: John Carpenter’s The Thing

throughout the month of august, i’ll be watching at least one movie every single day. i’ll detail my thoughts and criticisms of the film here. some descriptions may be in detail, some may be more succinct. regardless, i’m undergoing this project in order to give myself something to write. expect these posts and updates on a daily basis.

today’s film was john carpenter’s the thing.

upon its initial release in 1982, the thing was nearly universally panned. it’s hard to look back on critiques from the film’s release and find a positive review, with even roger ebert himself calling the film “disappointing.” however, it’s similarly easy to find multiple works of fiction which reference the film to some degree, with filmmakers like quentin tarantino outright praising the film and calling it a huge influence to some of his own works such as reservoir dogs and especially the hateful eight. the thing seems to be a movie that creates a rather dividing stance, and upon watching it i quickly began to understand why that is the case. the film’s got gore. like, it’s got a LOT of gore. at the same time, it serves as a fascinating look into humanity in a setting where humanity is scarce- the very first scene in the thing involves two guys chasing down a wild dog in a helicopter trying to shoot it with intent to kill. an introduction such as this should immediately raise some questions; why was a single dog alone in the arctic? why were these men chasing it down? furthermore, why were these men trying to KILL the dog? the viewer is immediately thrown into a situation where they have to discern the truth and suspicion is cast. suspicion becomes a central theme in the film, as it’s developed through distrust and quarrels among the characters. “nobody trusts anybody now, and we’re all very tired.” this brings me to what i personally love about the thing: its ability to develop its central ideas barely half an hour into its story, creating an atmosphere where the viewer can use the remainder of the film to reflect upon the ideas presented in its beginning and, in a more meta sense, form their own ideas about who to trust, much like the characters in the film.

the use of lighting is largely a factor in the development of the film’s themes of suspicion, effectively utilizing lights and darkness in order to create a sense of isolation from within the antarctic base. it’s also important to note the film’s use of color, particularly red and white. white is a recurring color throughout the movie, and it’s pretty much unavoidable seeing as though the film takes place in antarctica. what makes this setting stand out is its use of red in order to make this white stand out even more. white largely represents purity, so when slathered by the more violent and powerful red, an image is immediately painted for us: violence over purity. however, it’s just as easy for the white to cover the red and leave it behind as if nothing ever happened. indeed, the use of red and white in the movie largely represents the plot of the movie itself- all was well, violence and gore happens, and in the end “white” does overcome “red,” but it’s all ended as if it never happened. within the universe of the thing, nobody will remember the actions of mcready and childs, much less the other characters, because there’s no way they’ll be able to survive the harsh winter with as little resources as they have. lives were lost, but life continues onwards, because that’s just kinda what happens. “we’re a thousand miles from nowhere, man! and it’s gonna get a hell of a lot worse before it gets any better.” this line from the character “windows” seems to foreshadow the actions of the film, while at the same time cementing the idea that the characters are in total isolation, and things will eventually get better. that is to say, whatever the “thing” is will be defeated, but there won’t be any trace of its existence. 

the thing creates a horror atmosphere that many other works seem to take inspiration from, and though its characterization may not be the most potent, there are some unforgettably terrifying scenes that serve to underline the film’s theme of distrust and isolation to a greater degree. the recurring theme composed by ennio morricone seems to haunt the character’s every step, and with some of the most impressive looking special effects and gore from the film’s time, the characters seem to be stuck in a situation from which they may never return. also, it has some really good acting! john carpenter regular kurt russell leads the pack as macready, a character posed as the “hero,” but as the film develops we start to see greater shades of distrust from him than any other character. this film made me feel anxious, and i think that’s awesome. you should watch this. it’s pretty great.

[rpbetter]

Hi Vespertine. Can you offer some advice on how to RP a character that a lot of people think I shouldn't be RPing? I've wanted to RP Hans Landa for years, I like how cunning he is and how he could react to other ideals, how he could grow, especially in modern settings where he would stick out a lot. But I'm afraid because of how people react to muses like him. How do I build up confidence? How do I keep RPing if people bother or threaten to report me? Would people even RP with me? Thank you.

Alright, first thing, I've apologized on the blog already, apologized to people before you, but like I keep saying: it's really important to specifically apologize to individuals when we do something lame like I have. I did not intend to leave the blog unattended for months, but I did. This is an important question, it's right up the alley of why I created this blog, and I left you hanging. I'm deeply sorry, and I hope that my serious delay did not cause you any further worries or to give up on your character/RP!

Okay, we can proceed now!

I'll confess, I seriously spaced on who Hans Landa was for a moment there, but quickly remembered upon Googling! He was an interesting character, and I love that movie! However, I definitely see why you're worried, Anon.

Up until the last decade, taking up a character who was villainous, yes, even a Nazi, was a mark of creative gumption. Almost everyone had a verse for their muse that today would get them anon hate, callouts, reported, and so on. You know what? We had far less drama then. So, I'm not at all in the camp of demonizing your choices, or anyone else's. I saw what worked for a more peaceful RPC for decades and I've seen what is a total nightmare on tumblr.

Unfortunately, it is a total nightmare. So, let's see what you might be looking at, what your options are.

Firstly, you have the right idea; this is a character that appeals to you creatively, and that's really all that should matter. You've got ideas, you want to see your muse grow and change through interactions, and that's very much what the whole RPC needs to be a little more interested in.

I think, based on that alone, you would find people who wanted to write with you. There are quite a few muns out there dying for more interesting interactions with muses who have been taken up because the other mun really wants to write and develop them. Especially in the multi-para and novella communities. It's a bit of bane over there, the way the majority of muses are picked purely to satisfy a fleeting interest in a fandom. They don't come across as the characters they are in canon, are never given the opportunity to develop uniquely, they just exist to fulfill the mun's intense interest that will be gone soon. That works wonderfully and happily for some, but there really are a lot of muns out there who are interested in different approaches.

I will also say that most longer multi-para and novella RPers are less supportive of callout culture and content policing. When the very way that you enjoy RP is easily considered problematic on the grounds that you take it too seriously because you're invested in it, you tend to be against labeling others and giving them a hard time. That portion of the RPC, additionally, tends to be made up of older adults. The RPC kind of despises anyone over 25 who is still RPing, and I think a decent part of that is...this. We don't usually go in on equating fiction to reality, thinking that muse=mun, or that "problematic" material needs to be driven into the darkest void for communal safety. A great deal of that is because we lived through multiple fandom experiences being obliterated by these sorts of ideas, we know this is all detrimental to the community, and are more interested in a live and let live mentality even if we are disturbed by someone's muse or writing topics.

You may wish to specifically seek out RPers who are serious veterans (around for 10+ years), multi-para to novella writers, and/or have things in their rules that imply toleration and support for dark topics, villain muses, etc. (I know I have it in my rules that minors shouldn't interact with this blog due both its content and my age, but I can't exactly verify that with an anonymous message! So, Anon, please be aware I am giving this advice as though you are legally an adult.) Seek out muns who have muses that could also be considered "problematic" or who interact with muses who could be.

Remain away from anyone participating in or supportive of callout culture and purity policing. I know that can be difficult and limiting, and it is also not a 100% safe bet that you will be avoiding problems, but at least you'll know right off that these are not your people. That includes the ever-present callouts that claim the poster "never does this," that the mun being called out is just that much of a danger, and/or those dealing in the major callout-laden muns in your corner of the community. You might agree that one or two of those muns is a legitimate problem, but it's too likely that these people are going to feel like you are too.

Know that you will, inevitably, be called worse than just a "villain apologist." I write a muse that I wanted to write for years as well, and refrained from writing for so long because of the fandom's ideas about them. However, I have never been so happy with any muse choice, it's worth it to me to have some random hatefulness sometimes. I know I'm not a horrible person, the people who matter to me on and offline know that I am not, it doesn't actually matter what someone on tumblr thinks. It doesn't matter what they think about you either, they don't know you and won't give you the opportunity to be known, so pfft to them!

It can still be a little disheartening to hear some of the especially hateful things. While my muse isn't like Hans, the comparison to that is often made. There are a lot of assumptions about my personal character, race, gender, political affiliation, and so on. I'm just going to say it: if you don't think you can handle someone randomly attacking you and labeling you as "actually a Nazi," a genocide supporter, school shooter, "white cishet republican," and so on, do not subject yourself to this. Just write with friends you know are on your side or write some fic where there is some distance and control.

I do not believe, after reviewing them again, that you would be violating tumblr's TOS by writing this muse. You would not be promoting racism, harm to others, or misleading information. Nor would you be harassing anyone. Does that mean no one will try to report you? No, unfortunately. I've gotten reported for politely disagreeing on a post and asking a question! The important thing is that nothing will happen.

I would still make it very clear that this character might be offensive to some. Seriously, I would say, "In the interest of sensitivity, please note that this muse might be offensive to some - do not interact if imagery or topics associated with historical Nazis will be triggering for you. Hans Landa is from the film 2009 Quentin Tarantino film Inglourious Basterds." Pop that into the top of a pinned post, your rules, and your blog's header statement.

Because even if tumblr wasn't a mess, it's still the most responsible thing to do to treat this sensitively. It is a sensitive matter! People should have every opportunity to be aware and make the best choice for them to interact or not.

People almost certainly will threaten to report and block. Particularly when you are still looking for writing partners and having to expose yourself to more of the community in order to do so. It'll get so much better when you start finding them, though, I promise! Once you find a good mun or two, you've kind of unlocked a pocket of potential. Those people who are more accepting, reasonable, and interested in writing and characters are naturally going to be interacting with other like-minded muns.

Finding a good base of partners might take you some time, but the good news is, the whole process will help you build up the confidence to keep writing. It helps you get in touch with both writing and the muse, what is really important to you as an RPer, and is what isn't. It feels shitty at the time, but in the end, it builds a lot of confidence in yourself, and when you pull confidence from within you, you're never totally without it again!

When you're looking for those people (I'd additionally suggest historical RPers, if there is any existent community for the movie still, and branching out to fandoms that have "problematic" characters in them that you could do crossovers with in modern settings etc.), you can still be writing and developing your muse. Write up headcanons, fleshout the character's backstory, make multiple verses so that you have many options ready to go, do some one-shots.

A great way to do that is to find memes or traditional writing questions specifically for character development, but don't wait for someone to ask you! Go down the meme/list, pick some questions that spark your interest, and base your HC posts on them. Answer questions you immediately have answers to, answer the really hard ones you have no clue about. You don't know until you develop it, after all!

It helps with confidence so much to feel confident about your writing and comfortable with the character. It'll also help non-judgemental RPers who come across your blog or want to follow you back to see your writing and interest in the muse. I know that there are muses I was not interested in from their canon, but seeing the mun's love for them and how they had uniquely developed them, I had to interact!

When you do receive the almost inevitable anon hate, I'm going to suggest something a bit radical here; the idea of not feeding the trolls doesn't always work. That's predicated upon people not already receiving a reward for sending that hate to you. You can't starve what has already eaten lunch! I've found that demonstrating that they're not getting to you is more effective, in all, incredibly controversial honesty.

Put in your rules that anon hate will be addressed only with something like...a gif of a rabbit, a random fact, or a link to a song you recommend. Then, you do exactly that. You get a message calling you derogatory things, but instead of deleting it or going off about it in a way they can just use, you respond with a picture of a bunny cleaning its ears. Block the anon after.

This, again, in all honesty, is a confidence booster. Sometimes, building confidence is about projecting it first. You are projecting an aura of non-hostile confidence that you're not any of those negative things in reality, nor is your life ruined by people who haven't anything better to do with their own lives than bother you as performative "activism" online. It's alright if it really does bother you at first! Eventually, it won't. Eventually, you'll be left in peace with the reasonable muns you've found.

You will find them! There are still muns out there who feel like the most important factors in RP are engaging muses and writing, and how the mun is truly conducting themselves. If that mun is a genuinely decent person who isn't starting problems, harassing people, forcing anything on anyone, that's what matters! Just put your muse out there in a thoughtful way around people who are interested in writing. Be respectful of the sensitive nature of the subject, tag liberally and correctly.

No matter what tumblr's RPC says, you do have the right to write any muse or topic you so desire. People also have the right to not interact, of course, but since you're concerned about it (and truly, the person who is most likely to be made uncomfortable on here), I highly doubt you'll be trying to force interactions or anything.

Unfortunately, when you write any, even vaguely, problematic muse here, you are held to higher standards. You are obliged to be ten times nicer in the face of hatefulness, to be more aware of tagging and other warnings, and so on. It's kind of a practice in acceptance, and it can be frustrating. Again, if the muse is worth it to you, it'll be fine. Just know that you'll need to not be reactive to nastiness, very responsible in how you present yourself in all ways, and that it still won't be enough for some people. And know that's alright as well! They're making a choice to be hostile without knowing you or employing the adult maturity to just not interact with you, not you.

I know it's very easy to say "don't let people get to you." Perhaps especially from someone who will openly say in the tumblr RPC in 2021 that it's 100% fine to write a Nazi muse lol but please know that my confidence was not naturally occurring. It was developed across years of nonsense, and much of it offline, in person. So, I'm not flippantly advising you to have a level of fortitude out of nowhere! I'm honestly telling you that it is a process, but I think that if you want something bad enough to stick to it through the hardest part of it, you kind of expedite that process. It makes it a bit easier if you're still enjoying yourself!

So, on that note, my additional advice is to have another muse or other hobby you can enjoy during the difficult patches, or even slow times before you establish a good group of writing partners. Do things that will keep you feeling positive and motivated to write. That looks different for everyone, but I'm certain you have something. If that does happen to be another muse, or muses, I would strongly suggest you keep it to yourself that you are the mun of this one until you get rolling. While you have exactly nothing to be ashamed of, don't tempt ruining your fun on the other blog(s) until you are established on the new one and confident about it.

If you ever need to vent or further advice, I'm not going to vanish or anything again! Drop by any time you need to, Anon. Sometimes it goes a long way knowing that even a single person out there supports you!

I hope this helped a little, and I do support you! I think you've got this!

[taishaunas]

Magicians Fan Questionnaire

tagged by: the lovely @alice-quinn

tagging: @twyllodrus, @emmadvval, @whatsbrakebills, really any of my followers who watch the show

1) What’s your name/nickname? Em 2) When did you start watching The Magicians? Around early 2016 3) Who’s your favorite character? I’m going to cheat and say Julia and Margo 4) What’s your favorite season? S3 5) What’s your favorite episode? S1E11 - Remedial Battle Magic / S3E11 - Twenty-Three (also special shoutouts to S2E07 - Plan B and S2E10 - The Girl Who Told Time) 6) Any ships? Right now I’m shipping Julia/Penny and Quentin/Margo/Eliot pretty hard... but I’m really a multishipper at heart and ship most combinations of Julia/Penny/Quentin/Eliot/Margo/Alice. 7) Favorite plotline? Julia ascending to a Goddess, also Julia’s off-arc in S2 8) Have you read the books? I’ve started the first book and I’m determined to finish it! lol 9) If yes, did you read the books or watch the show first? Show first, books second 10) What made you start watching the show? I’ll consume just about any kind of media that involves magic 11) What would you like to see in season 4 and what are your predictions? I don’t want them to be without their memories for too long or Eliot to be possessed by the monster all season. I want all of them to come together at the very least by mid-season and be a stronger unit than ever before. Found families are so important to me! No predictions because the show is so unpredictable. 12) How old are you? (if you feel comfortable sharing) 19 13) Do you have any pets? Nope 14) What’s the weirdest thing you own? I am the most boring person you will ever meet, so, N/A. lol 15) How long have you been on Tumblr? I had my first blog on here in 2014, but I ended up abandoning it in 2015, until I joined again this season 16) What are you studying in college? (alternatively: what did you study or what are you planning on studying?) I want to do something related to helping humans or animals 17) Favorite band/artist? Bastille, Night Riots, Seafret, Sleeping At Last 18) Are you more of a fantasy, horror, or science fiction person? Fantasy 19) What’s your favorite thing to do in your free time? Nothing beats reading a good book 20) Do you prefer cooking, baking, or eating? Eating, but sometimes baking when I need to wind down 21) What other TV shows do you love? currently into TGP, SCD, iZombie, New Girl, TIU 22) What else would you like the fandom to know about you? This is probably the kindest fandom I’ve been in a long time. I love all the stuff you guys create or when you guys send me stuff. Never stop being amazing.

[mdwatchestv]

The Magicians 3x05/6: A Day in the Teeth

Hello friends!

I know I missed last week, and for that I am sorry. But it is also important to know your own limits and exhaustion levels, and I just could not deliver any worthwhile piece of writing (much less a flashy gif) with the state of my brain. But hey that was last week and this is this week. I have since  had many restorative little naps as well as watched quite a bit of sexy ice dancing. I am restored.

Luckily for me, The Magicians decided to help me out and deliver two episodes that conveniently illustrated the most and least successful aspects Magicians storytelling, so I can highlight, discuss, and analyze in one fell depression dragon swoop.

The Magicians is unquestionably a fun show, it revels in its own snark and and cheeky awareness. This successful, flagrant breaking of the fourth wall, is part of what sets the show apart. Many sci-fi shows riff on their genre, but not many riff on their own writing. Case in point, as Margo and Eliot reflected in 306, "We used to be glamorous mega-bitches, what happened to us?", Eliot pointedly notes they gained depth... and character. Not only have these two one-time one-dimensional comic reliefs become fully rounded characters, but this very transformation remains the root of their conflicts and relationships. Eliot and Margo have experienced too much to go back to their carefree partying past selves, but they also can never stop yearning for the simplicity of those former lives. It makes the moments where our favorite royal pair do fit back into their classic patter (see: pop culture code-off) all the more satisfying, and those where they are faced with the full weight of their new responsibilities (field of fairy-fetuses) even heavier.

Therein lies the real strength of the Magicians: the ability to take tongue-in-cheek self-awareness, and turn it into surprisingly emotional moments. I had begun the blog-post-that-wasn't-to-be (about episode 305) with an introductory paragraph about how the show's self-referential nature often made it challenging to write about. I mean, at this point The Magicians is practically penning it's own fan-fiction.

Title: A Day in the Life Author: ~*~*~KiNgELiOT~*~*~ Pairing: Quentin/Eliot Rating: PG-13 "When Quentin and Eliot get trapped together in another dimension in order to find the 'beauty of life', will they ever get out? Or will they find a true beauty in each other...."

I mean, come on. And yet for all the shipper-service set up, this premise delivered a deeply thoughtful conclusion. Namely that the beauty of life is a life well-lived, and lived with love.  Any show (or TV blogger) can be snarky, but it is a rare thing to be able to nestle that snark alongside true heartfelt sincerity. This is the bizarrely beautiful tonal tightrope that the Magicians is able to walk week after, and these two episodes especially were able to highlight that particular well...magic trick.

As for the newest episode, Quentin sets sail in search of another key. Not only does he find one, but he also comes across Felicia Day in the wild! Felicia Day aka Poppy is an also a Brakebills ex-pat who has been stranded in Fillory (much like Josh Hoberman - ps where has he been? Isn't he a series reg? Did I make that up?) It turns out Poppy is a dragon expert who stole the newest key from a dragon's hoard. Unlike the previous more helpful keys, this one causes the owner to see a manifested version of their worst selves, or darkest sides. For Quentin this results in a personification of his depression and anxiety, a mirror version of himself that spouts his worst fears. For me the most impactful moment of this episode was Quentin gazing into the black waters, contemplating suicide, and being met with the golden eyes of the (in this case literal) dragon waiting to swallow him whole. For anyone who has struggled with depression, this moment was especially poignant and was another example of how the show deftly grapples with difficult or intangible topics. Sometimes the best way to express the inexpressible is to make it into a giant dragon.

These episodes definitely spoke to what is best of The Magicians, but they also helped to highlight what doesn’t always quite work. It is hard to keep half a dozen storylines firing on all cylinders, and it is easy for other character's journeys to fall by the wayside in the process. It was hard to generate a lot of interest in Julia, Alice and Penny's story this week, when there was vastly more interesting action (and emotional depth) going down over in Fillory. Although admittedly the callback to Alice's magical horse was a nice touch. It's a hard balance to strike, but I would rather the Magicians dance on the tightrope of tone than of storyline distribution. Between Penny's threats to leave, and Dean Fogg's alcoholism (what is that storyline even?) the disparity was especially striking.

But all that aside there is a lot to look forward to next week. Poppy is an especially curious character, she is smart, flirty, and also survived months on a raft with her darkest self. All in all the perfect companion to take on an epic journey to the Underworld.

Also: Alice is back to the peter pan collars. Can Hyman Cooper stay forever? Benedict died :( There was a mini Red Wedding.

But most importantly:

Do you like teeth :D

XO MD

[remainseatedatalltimes]

And the decade ends with a...

So concludes another year, and with it, another decade as well.  Now, I wish I could sit here and reflect on what a game-changing, exhilarating and revolutionary year 2019 was in the world of cinema.  But I can’t.  In fact, in my 8 years of writing this one time annual blog, there has never been a year that was as insipid as this past year was.  So much so, that unlike in previous years where I have always started this blog highlighting some of the greats of the year that was, this year I’ve decided to start with the bottom of the barrel. But don’t fret, there are a few glasses of the good stuff left.  Not many, but a few.  

To set the scene, my least favourite film of 2019 is a movie (and no, it’s not the one you’re thinking of), that will likely go on to be nominated for several Academy Awards in just a few short weeks’ time.  And it should be nominated. There is plenty to praise about this film.  But incredible performances, stylish directing and a story centered around one of the most fascinating events in modern history does not always a good film make.  Not when it’s told in such an obnoxious, pretentious and self-indulgent way.  So, to kick things off, I present to you, my least favourite film of 2019 – Once Upon A Time In Hollywood.

I should say straight off the bat that I am only a moderate fan of Quentin Tarantino’s work.  I love his film knowledge and his passion for making unique, and also highly nostalgic films.  But I’m also a firm believer that storytelling is at the heart of great cinema, and I often feel Tarantino sacrifices storytelling for brilliant, but often bloated camerawork and cinematography.

I had high hopes for Once Upon A Time In Hollywood however.  This was Tarantino working with an incredible cast, telling an original story set within one of Hollywood’s most infamous eras – and when the wonderfully retro and charming trailer dropped, I couldn’t have been more excited. This should have been the perfect canvas for Tarantino to shine.  

But instead, Once Upon A Time In Hollywood is a frustratingly tedious, hedonistic film that almost feels like it’s mocking its audience with its in-jokes and smarmy blurring of lines between real events and fiction.  In just shy of 3 hours, Tarantino essentially conveys 3 things: actors are self-doubting creatures that need constant re-assurance (no surprise); Hollywood is a game of relationships where not rocking the boat is paramount (again, no surprise – most industries are the same); and that shocking audiences is apparently very easy when you take a non-fiction story and completely change the ending (1 plus 1 equals 7).  I know what you’re thinking.  How can that possibly make for a near 3 hour film?  Well, I refer you back to Paragraph 2 of the Remain Seated At All Times Tumblr blog post titled “And the decade ends with a....”, where I stated that this film is “obnoxious, pretentious and self-indulgent”.  Just like that entire last sentence is superfluous…well…you get the point.

So to prove that moving on once you’ve made a point IS achievable, let me then proceed to the other atrocity of 2019:  Roadkill.  Sorry. I mean, Cats.

Now before anybody jumps up and down and complains that a movie that is – in fact – so much worse than Once Upon A Time In Hollywood isn’t my worst film of 2019, I offer you this one short piece of commentary.  Cats is the kind of epic, unequivocal, indescribable disaster that actually transcends awful into a place of almost fascination and reverence.  You know what I mean.  Like watching a YouTube video of someone mixing paint. You know it’s ridiculous to sit there and watch it – but you can’t look away.  You’re transfixed.  And I will take that over boring arrogance any day.

Cats is NOT boring.  It’s far from it.  Much like the musical that inspired it – which so happens to also be one of the worst musicals ever created – Cats is a bold, daring attempt to deliver something no one ever wanted to see.  Humans behaving like cats singing boring ballads.  Add to it an insipid score that needs serious remastering, awful special effects, and an enhanced story-line that makes zero sense (yes, I know, they’re dancing humans dressed as cats – why am I surprised by a ridiculous story-line?), and you have 90 minutes of sheer bewilderment.  The only saving grace:  Hopefully the movie has sufficiently taken the last of nine lives from this atrocious musical so that we never have to endure another performance – either in film, OR on stage.

So now that we’ve taken out the kitty litter, let’s look at some of the brighter sparks of 2019. Because, whilst there were actually NO films last year that I reviewed higher than 4-stars, there were still a few gems that warrant some attention.  These include last year’s Best Picture winner, Green Book; the dark and twisted take on one of DC’s greatest villains, Joker; the hilarious and earnest original whodunit, Knives Out; and the epic end to the greatest movie franchise in history, Avenger’s Endgame.

But taking the spot of my 3rd best film of the year was the latest film in the franchise that constantly delivers the impossible – a better film with each and every sequel.  In its simplest form, Toy Story 4 is a beautiful romantic comedy featuring two stand-out lead characters.  But whilst the lovely romance of Woody and Bo Peep take centre stage, it’s the gobsmackingly clever new characters including the show boater with no self-confidence – Duke Caboom– and my absolute favourite new character of 2019 (and spirit utensil) – Forky – that ultimately steal the show.  Pixar never ceases to amaze, and Toy Story 4 is no exception. The idea of creating a kids movie positioned around a romantic comedy, where a core character is made of trash, thinks of himself as nothing more, and needs to learn self-worth from scratch, is something truly extraordinary.  So thank you Pixar for giving me Forky.  A character that taught me so much, even at my age!

Speaking of education, slipping into 2nd place is Olivia Wildes glorious directorial debut – Booksmart.  This joyous, hilarious and utterly original coming of age story is spearheaded by stellar performances by its two leads.  But it’s the way the film manages to use its often absurd humour to elevate its very sincere reflection of growing up in today’s day and age that really set this film apart.  Booksmart continues the trend of unique, smart coming of age stories where young love is not the focus.  Instead, it simply heroes its two smart and strong female leads and showcases that there’s no one more important than your best friend.

And so we come to my favourite film of the year – although, favourite is probably not the best word to use given how uncomfortable I found this film to watch.   But it’s precisely that discomfort that elevates this harrowing and heartbreaking film to my number one spot.  That film:  Hotel Mumbai.

I understand that putting a dramatized version of a horrifying real-life event at the top of my list may seem odd – and for many reviewers, this movie felt exploitative. But I couldn’t disagree more.  For me, Hotel Mumbai deftly balances the fears and bravery of its protagonists with a dismaying reflection of the motivations (or often lack there of) of the terrorists.  Add to that some social commentary on the political failures that made the tragedy far worse, and you have an uncomfortable to watch, but ultimately poignant reflection of just one of recent history’s most horrifying incidents, and my number 1 film of 2019.

Now, to avoid ending this recap of 2019 on such a dire note, I should point out that there are a large number of additional films I feel should be included in this list including Roma and The Irishman.  However – given I don’t review movies I see outside of cinemas (how can I honestly review a film I watch on a plane the same way I do on a giant immersive screen), I’ve intentionally left these off the list.  Likewise, there’s a number of films I missed this year – including the well-reviewed Parasite, and the latest from the genius that is Taikia Waititi – Jojo Rabbit – that I feel would likely have been quite high up in my rankings had I seen them in cinemas earlier in the year.   Although, given Once Upon A Time In Hollywood was my least favourite film – and yet it just walked away with a Best Picture award at the Golden Globes – then perhaps not.  Which is probably why I shouldn’t give up my day job.  Call me old fashioned, but I like my movies to have a plot.  And a point.

But for now, that’s a wrap on 2019.  Lets home this new decade brings with it more reasons to return to a cinema near you.  See you next year!

[justinmoviereviews]

The Class of 2019

As always, just trying to catalog what I saw this year. Let’s do this shit.

1917 - Sam Mendes

I’ve never seen a war movie like this. I’ve never seen something that was so empty, so decayed and lifeless. Usually these things are about honor or brotherhood or whatever. This one was a horror movie. Gothic. Disturbing. And credit Dunkirk for helping everyone else realize that war movies should be told in the present tense.

Uncut Gems - Bennie and Josh Safdie

Good Time was better because it’s rawness was more painful. Because it’s kineticism was more sociological. Because it physically hurt to watch it. And because Robert Pattinson is a better actor than Adam Sandler (my sincere apologies). But these guys have figured out to a science how to film desperation and visceral consumption and need; they chronicle the ugliest parts of the mind and shoot them in the ugliest parts of New York. 

Little Women - Greta Gerwig

Oh no, I’ve lost interest in writing these. Greta Gerwig is sharper than the average writer, and is going to get a lot of mileage writing interesting female characters, which will keep me occupied way longer than, for instance, JJ Abrams writing Strong Female characters so he gets to keep his third house. But look for this refrain whenever I see good movies that aren’t really made for me, my favorite character here was Timothee Chalamet, popping up sporadically to mack (suavely!) on all three sisters.

Bombshell - Jay Roach

Structurally it’s a little bit of a mess, but Megyn Kelly playing detective to an internal corporate scandal works surprisingly well.

The Two Popes - Fernando Meirelles

Some nitpicks: this movie engages with the child abuse a little bit, but it doesn’t offer any resolution--how could it? The scandal is ongoing, and has mired the legacy of Francis, the good Pope, just like it mired his predecessor’s, the bad one. And some of the dialogue is a little trite; was Benedict this much of a close-minded conservative? Was he really this bad at selling his own vision of the church? I also wonder if movies seem smaller now that we’re watching them all on our TVs. But mostly I thought this was fantastic. I love movies about ideas centered around conversation, and this one does it with so much humanism. The Pope as a role is one of the most complex, elite and fascinating people on the planet. This movie comes so much closer to showing that than I thought it would.

Marriage Story - Noah Baumbach

A cursory search of images from this movie for this post makes me realize how well it’s shot--maybe this really was meant to be his Scenes From a Marriage. It isn’t--he’s not a good enough director to ever be Bergman, he’s too burdened by the things he likes and thinks about, like hipster references and witty repartee--but this is the best movie of his I’ve ever seen. Funny, sharp, and if it isn’t a universal depiction of the disillusion of love, it’s empathetic and compassionate about two characters he likes and cares about. Adam Driver is the best actor working right now. Scarlett Johansson can’t quite keep up, but who could?

Ford v Ferrari - James Mangold

Fast cars and the manly men who build them. This could have been better--the writing is a little too beholden to a generic structure that’s beneath the A+ power of Matt Damon and Christian Bale, who are, straight up, two of our finest actors. Ideally this flick just lets these two dudes dick around for 150 minutes. But fuck man, this shit rocks.

The irishman - Martin Scorsese

This is the calm gangster movie made by a bunch of men who haven’t had to hustle in 30 years. Scorsese is a smart guy, so he probably knows that a de-aged Robert De Niro isn’t going to be as resonant as some young hotshot trying like hell to make a name for himself. It makes the movie weirdly low-stakes, and it only truly comes alive at the end, when De Niro is looking back on his life and facing his regrets, like a man in his 80s ought to be. But look, Scorsese is one of the best to ever do it, and gangster movies are where he lives. If this is mostly a retrospective on four of the best careers to ever track through Hollywood, and I sort of think it is, it’s still got ten scenes that will stand up against any of our man’s best.

The Laundromat - Steven Soderbergh

Steven Soderbergh does The Big Short. Turns out he’s also pretty good at it.

The Lighthouse - Robert Eggers

Robert Eggers is a formalist who understands that movies can be about whatever they want as long as they look good and sound good. This is a movie about, I think, madness. Just madness, just the idea of being isolated and going mad. If you’re wondering, like I was, if that’s enough of a theme to hang a whole movie on (I mean, these things are expensive), well, I think the point of this one is that it’s weird as fuck, it looks real good and it sounds real good. 

Parasite - Bong Joon Ho

This movie is at it’s best when it’s at it’s weirdest. I like Bong most when he’s using a heightened absurdity to point out the ways in which our political systems are unforgivable. 

Motherless Brooklyn - Edward Norton

I know it was in the book, but the Tourette’s syndrome of the main character seems to me like a postmodern tic, like making a straight noir in 2019 wasn’t enough for a studio that assumed audiences would need some kind of a 21st Century bent. I don’t think it adds much to the story, so I want it out there that this is just such a good fucking straight noir. I would personally finance it if they made like three of these a year. 

High Flying Bird - Steven Soderbergh

Soderbergh is gonna need to get over his love affair with the iPhone camera--someone needs to remind him that movies can look a lot better than this--but this is the kind of movie that could have been and maybe started as a play. Things happen off camera and all you see is characters talking about them after the fact. But the writing is phenomenal. Snappy and smart. Maybe my favorite script of the year.

Joker - Todd Phillips

Upon further review, I think this movie never should have been made, but I do like it. I’m not a purist, frankly I think comic book movies are for nerds, but what makes the Joker powerful is that he doesn’t have a backstory. This movie isn’t good enough to justify giving him one, but it’s so ambiguous and strange that it doesn’t ruin anything either. I spent a lot of time wondering if the events of the movie actually happened, or if they were all in the protagonist’s head. I guess the answer is that it doesn’t really matter: if it all did happen it would destroy the throughline of the Nolan movies, and if it all didn’t it would make the movie kind of lame. Ultimately it’s a story about a discarded man who learns that evil gives him a control he never had before. That’s a heavy topic to make a movie about, and a better movie would have been heavier. But  it’s still an interesting watch, and Joaquin Phoenix goes to the places the movie itself won’t.

Ad Astra - James Gray

I have nothing against pretentious movies. Some of my best friends are pretentious movies! But if you’re going to be as solemn and portentous as this one is, I think your thesis needs to be a little more insightful than that love is important. This movie looks fantastic. It’s got killer monkeys in it, and an Apocalypse Now meets 2001 pedigree. It should have been a lot better.

It Chapter Two - Andy Muschietti

Ugh, this one was not good. The writing is pretty bad, storylines open up and fizzle out without going anywhere, the structure is simple to the point of being lazy. The first one was so good, and this is just a crappy cash-in. Oh well. 

Once Upon a Time...in Hollywood - Quentin Tarantino

Look, Tarantino is probably my favorite director. Pulp Fiction is the movie that first taught me to love movies, and he’s never in his life made an artistic choice that I didn’t intuitively understand. I don’t think anyone else has justified their otherworldly self-confidence more than he has. If other directors are more artistically or technically accomplished, I’d struggle to find anyone who better put the thoughts and images in their brain onto celluloid better than him. If this had been made by some new hotshot named Chris Anderson or something, I’m buying a poster of it and telling everyone who will listen about the breakout auteur of the decade. But for the first time in my entire life, I wondered what Tarantino’s point was. Why did he make this movie? The highlight, for me, is Leonardo DiCaprio, who since Django Unchained has apparently realized that he’s at his best when he’s hamming it up and having a blast.

Midsommar - Ari Aster

Two movies in, Ari Aster has mastered tone. My man is in control of his movie from frame one, and the result is that his stuff feels smart. This one wasn’t as wild or unexpected as Hereditary--in fact the most surprising thing about it is that it really isn’t surprising at all; it’s about a sinister cult in northern Sweden, and it hits all the beats that tagline would suggest. But that’s not the same as saying it’s predictable--he still has a gift for ultraviolence, and he hovers in a space that forces you to prepare yourself for anything. My only complaint is that I wish it had been more of a mindfuck. It’s ultimately a simpler movie than you might hope for. But this guy isn’t going anywhere. He’ll be on the prestige list for as long as he wants.

The Perfection - Richard Shepard

If Allison Williams is going to make a career out of deconstructing overachieving white girls, I don’t want it to get lost that she is also insanely hot. Like, just so hot. Anyway, this is one hell of a grindhouse flick, all the way down to being a little less pleasant than you’d expect or even really want. Watch it on a Saturday afternoon and feel a little queasy afterwards.

Avengers: Endgame - Anthony and Joe Russo 

Look, I don’t know what to say to you if you take these movies seriously. You probably wouldn’t like my blog anyway. I thought this was a really good ride. If you have problems with the plot holes or the character inconsistencies, I might recommend catching something other than the final installments of global franchises that are obligated to gross two billion dollars.

Us - Jordan Peele

If Jordan Peele were a quarterback he’d be Deshaun Watson--a top level talent who’s going to be relevant for at least the next ten years. Get Out was a statement, a cheap little movie from one half of a decent sketch comedy show that blew the doors off the tavern and walked in so much smarter and better than anyone was prepared for. But right now, sitting on my couch, Us is the movie I want to watch. It was never going to be as surprising as Get Out because this time out our expectations were so much higher. But this is the kind of movie I ultimately want him to make his fortune with--funny, scary, worth talking about afterwards. A horror movie from a guy with interesting ideas who’s been given the keys to do whatever he wants.

Glass - M. Night Shyamalan

I caught this bad boy in January. At the time I figured there was no way I’d remember anything about it by the end of the year. I don’t.