#roman is a fredo

[lenawin4]

¯\_(ツ)_/¯

[ohwellokcomputer]

[cuntleone]

[pedroam-bang]

The Godfather: Part II (1974)

[corpseflwr]

DOOMED SIBLINGS RRRAAAAHHHGGGG punches wall

[muadweeb]

uh huh yeah. uh huh

fredo corleone is sooooooo versatile with succession brothers <3

[mnetn]

fredo 🎀

bon avant j'étais absolument fan de micheal et puis hop le virage a 180°, j'suis désolé son background est DÉCHIRANT (bon tout les corleone ont la vie rude mais fredo c'est pas pareil)

j'veux dire TOUTE la fratrie lui fait comprendre qu'il est con et que c'est un incapable (sometimes il est pas très futé, je l'accorde) pourtant je le trouve siiiii attachant, il n'est pas mauvais, son destin est littéralement un roman empire.

et puis bon J O H N C A Z A L E, la dernière fois on a parlé de ce goat avec les potes (évidemment j'ai pas pu rester passive) (elles ont dit qu'il ressemblait à megamind 😔), now all my girls know my roman empire à propos de cet homme soooo, anyway i love him, quel talent, on my knees, chapeau bas.

[flock-of-cassowaries]

Watching the first episode of Poker Face, and… no shade to Adrian Brody doing his best Fredo Corleone, but I can’t help picturing Roman Roy in the role of the failson promoted beyond his level of competence and screwing it up worse pursuing his own personal extra credit project.

[dalekofchaos]

"It was your idea to leave the Bloodline"

You sure about that Jimmy? Didn't you say afterwords "I'm doing what you should've done"

This is why Jimmy's turn made no goddamned sense and they did it the wrong way. Jey should've been the one to kick him. Jimmy doesn't speak and momentarily leaves The Bloodline. Jimmy costs Jey the match with Roman and Jimmy's reasoning is what he's spouting "I'M THE BIG BROTHER, and lil bro let the fame get to his head and left The Bloodline. I was stepped over, it should've been main event Jimmy, not you" you get the picture. Basically Fredo's Corleone "I was stepped over" schtick. Point is, they handled Jimmy's initial turn wrong.

[themetaisawesome]

There’s this common interpretation of the Godfather that Vito Corleone’s three biological sons each inherited a different side of his character. Sonny got his strength, Fredo got his heart, and Michael got his brains. The movies show that, without all three, the results are disastrous. Sonny’s wild temper ends up getting him killed, Fredo gets tricked and manipulated, and Michael turns into a monster who ends up dying alone.

In some ways, the same could be said of Logan Roy and his three primary children. Logan was cunning, ruthless, ambitious, and exuded a toxic charisma that made people both fear him and follow him into battle. All of his younger children have these qualities but to lesser and varying extents, and that makes them all unbalanced.

Kendall is smart but awkward. He consistently struggled with being a killer until those instincts, inherited from his father, manifested in full at the end of season 2, causing Logan to look upon him with pride for the first time in his life. Even after that, the Roy killer instincts still struggled with Ken’s innate discomfort with them as season 3 progressed. That killer may be back for good now, but season 4 isn’t finished yet.

Roman has it in him to be a real fucking bully who makes foolish decisions, but he has his father’s tongue. Rome is the bard who makes up for the party’s uncharismatic wizard. Where Roman comes up short is that, while he can be a dick, he’s no killer. He can’t crush someone who doesn’t deserve it to get what he wants. He can’t even stay mad at his dad enough to resist sending him a text on his birthday. And, in a way, that lack of mercilessness sometimes puts him in a very Fredo-like position: there are many times where he loses confidence, and that leads to him being used, conned, and manipulated.

And last but not least is Shiv. Shiv has the charm, an ability to read people, and a decent brain for business. We’ve only seen glimpses of it throughout the show, but she can be a bigger killer than both of her brothers put together. However, Logan never really prepared his only daughter for any kind of power, so she often doesn’t know what to do with it. Mattson wasn’t wrong when he said that she was the most like Logan, but he also knew damn well what effect those words would have on her. It’s such a blatant appeal to her ego and yet Shiv falls for it. Now she’s doing what he tells her to do (sending him photos without even a ‘thank you’ on his part). She chose Tom because she saw him as weaker than her and look where that ended up.

Michael Corleone created an empire bigger than his father’s, but he lost his soul in the process. He was feared, but was never loved like Vito was. Each Corleone son came up short compared to the Don, and the world around them suffered for it. None of his sons had it in them to become Vito II. The game might have pulled Michael back in, but that’s really because he was the one who changed it so much.

None of the younger Roys, no matter how much they might wish to the contrary, will ever be a second coming of Logan Roy.

[otsukare-katsukare]

i’ve been continuing cannibal!roys fic throughout s4, mostly in response to @myplasticadversary‘s probably joking request for the roy kids eating their dad’s body (which im really too late for at this point lmao but whatever) but as the season has progressed it’s gotten more horrible in my mind where this thing goes.

like kendall thinks through their dad’s death, and by eating him, they - but especially him - can be cured of the bloodlust, break the cycle, close the portal etc. but unfortunately that’s not happened. if anything, he’s hungrier than ever, and that shameful inner voice that’s kept it in check all these years, only slipping that one time and getting Dodds killed, is suddenly much quieter. he starts to worry that whatever made logan what he was has now grown in him, like that gaping maw needs to be a certain size no matter who’s there to embody it, and that’s him now. can he live with it, he wonders, can he modify his moral code to accommodate these new needs?

and as he’s wondering, maybe after he’s already stepped over a couple of boundaries with colin’s help, there’s roman, adrift without their dad. if not incompetent as ceo, he’s definitely uncomfortable in the role, and being their dad doesn’t suit him so naturally the way it seems to suit ken - and there’s always a top dog anyway, right? and all roman wants is his dad back to love him the way he always did, never mind the pain. he and kendall have been prey their whole lives, conditioned to see themselves no other way as far as their dad was concerned, but kendall’s always tried to shoot for predator in a way roman never did. and now kendall’s made it, and he’s hungry, and roman’s right there, wondering to himself whose blood dad liked the taste of more.

maybe roman lets kendall feed on him willingly enough that it’s practically an offer, maybe he just lets him do it because he can’t bring himself to say no and agency/personhood weren’t working out for him anyway. and maybe kendall hates every second of what he’s doing but he just cannot stop and he convinces himself that this is a natural life cycle development for both of them, that roman’ll be fine and this is better than some poor guy getting shanked and butchered for his benefit. and maybe it doesn’t just happen one time like they both say it will.

hopefully next episode will make me abort all of this because it feels weirdly like a horrific line to cross, even in dead dove fic! mostly cause im worried it’ll narratively parallel whatever michael/fredo shit they have up their sleeve. but i had to let it out. im still writing the thing where they eat their dad though, that one’s heartwarming

[penworthy]

s4e2 episode was one for the fredos (connor and roman)

[peregrinvs]

Broke: shiv is ewan, kendall is logan, roman is rose

Joke: succession = the godfather. kendall is michael, shiv is connie, roman is fredo

Woke: succession = the damned. the roys are the von essenbecks. fascism ultimately steamrolls everything and everyone in its way.

Bespoke: they are all unique characters with their own trajectory. yes you can make certain parallels but ultimately each of the roys has unique character arc of their own

Masterstroke: logan is mario and ewan is luigi

[newjaxxcity]

Roman saying, "I love you" and Jey just staring him down and Roman looking all tired with his cheekbones and his pretty ass beard and Jey clearly fucking lying amd Roman knowing that he was lying and then Auntie Paul descending from the abyss when his ass wasn't even supposed to be in there and Roman thinking about pulling a Fredo on Jey and-

[stillswearing]

oh, i see it now. they're going full corleone on this final season.

ken = michael

roman = sonny

shiv = fredo

[steelbluehome]

The Guardian

The Apprentice review – cartoon version of chump-in-chief Donald Trump’s early years (click for article)

2 out of 5 stars

Cannes film festival

Ali Abbasi’s film presents young Donald as an amoral narcissist, wastes the talent of Jeremy Strong and includes a grisly rape scene that is quickly glossed over

Peter Bradshaw

Mon 20 May 2024 13.22 EDT

Donald Trump will not be the smallest bit worried by this genially ironic, lenient TV movie-style treatment of his early adventures in 70s landlordism, property and tabloid celebrity – and his own apprentice relationship with dark legal sorcerer and Nixon intimate Roy Cohn, the bully whose connections added to Donald’s wealth and who taught him to lie to others and himself and never admit defeat. There had been many rumours here in Cannes before this film screened about its rape scene, of which, more in a moment.

Director Ali Abbasi has given us fascinating monsters in the past with Holy Spider and Border but the monstrosity here is almost sentimental, a cartoon Xeroxed from many other satirical Trump takes and knowing prophetic echoes of his political future. It’s basically a far less original picture, its ambience borrowed from Scorsese and Coppola – with Donald’s deadbeat elder brother Fred even getting a “Fredo” scene where he gets embarrassingly, tearfully drunk at a big event, like the loser he is. And like so many film-makers these days, Abbasi will keep swooning over the picturesque sleaze of 70s New York.

There’s a moderate hair-and-makeup performance by Sebastian Stan as the young Donald himself, preening himself on his supposed resemblance to Robert Redford (the surgical liposuction and scalp-reduction scenes are gruesome). Jeremy Strong is much more interesting and effectively threatening as Cohn, with his strange physical stillness and lizardly stare, catching the young Trump’s flinching glance in an elite members club and staring at him in the men’s room. The voltage goes up when Strong is onscreen – which is not enough – especially when he admits Donald to his hideous townhouse party for all the other disreputable movers and shakers: “If you’re indicted, you’re invited!”

The Cohn angle and rather wasted asset of Strong’s casting are what makes this story original – but so much of the time he’s absent and we just get the story of Donald’s rise to the top with first wife Ivana (Maria Bakalova) at his side, doing the mega-marble interior decor in Trump Tower. The other great influence in Donald’s life, his glowering and finally envious dad Fred (Martin Donovan) is shrewdly represented.

There is something very pathetic about Roy’s final illness and his humiliation at the hands of the ungrateful Donald, but again the film comes close to a mood of glum yet knowing resignation in the face of this ugly and banal callousness, which has had to be rather obviously pointed up with a dialogue scene between Roy and Ivana.

The rumour of a rape scene in the film, along with the disclaimer at the beginning about fictionalisation and the theme of Donald submitting to Roy’s ethos of power worship, had many here beforehand expecting a moment like the one in Howard Brenton’s The Romans in Britain, a secret chapter of violence and shame and power. But it’s not like that, or not exactly. In the film, Donald rapes Ivana, who had been taunting him about his hair and weight – and this moment is every bit as hateful and misogynistic and shocking as you would expect. (In reality, Ivana later retracted her allegation of rape; Trump always denied it and said his former wife’s interpretation of events was false.) But then the film returns to its usual breezy pastiche-montage of amoral narcissism and conceit. So often, Donald comes across as nothing much more than a rascally and tiresome chump.

In sketching out his pre-White-House career, The Apprentice worryingly moves us back to the old Donald, the joke Donald who had a cameo in Home Alone 2 and of course his own hit TV show, the joke that is now beyond unfunny. It feels obtuse and irrelevant.