#so i go back to tell the theater attendant maybe they have footage but he completely dismisses it

[kyotakumrau]

2021.03.10 USEN STUDIO COAST 1st session with Toshiya and Kyo

They changed the tables for some reason, going from two bigger rectangle ones to four one person round high tables.

Fujieda and Takabayashi came on stage, F greeted fans as usual and asked for the applause for the band members.

After a moment of waiting with bated breath, Toshiya appeared and Kyo after him.

Kyo wore a big light grey coat, white shirt, black (most likely Madara)short shorts, white socks with red print and big sneakers.

Toshiya had white shirt, pearls?, and black slacks.

They sat in order Ta, T, K, F from right to left.

T: [As it's an official event] so, I'm Toshiya, the bassist from DIR EN GREY.

K: I'm Kyo.

F: It's 1st time for T to attend a talk event this year, how do you feel?

T: normal.

F: you've played here even as the venue has a new name. But it's been while. How do you feel K?

K: just usual.

F: you don't feel like it's been a while?

K: not really.

T: playing at Rock-May-Kan definitely made me feel it's been a while. The place is so small. We played with no audience, it was a first time in RMK which felt so strange.

F: rehearsal felt normal.

T: yeah.

F: anything from then?

T: it was nice to see all the staff.

F: how about you, K? We watched the live footage in February, anything feels different?

K: ... I don't remember it anymore.

F: the recording was done a long time ago.

K: Can't remember. At all.

F: I want to ask... (K just started staring at him and that was the end of it😂).

Next, F talked about the leaflet (he also mentioned how awesome it is that camera can move and zoom in this time, was it for K?😆), the photo being quite shocking/impactful. Was shooting hard? Finished really quickly, right?

T: Yeah.

K: it was refreshing. I said it was refreshing/cool, I didn't lie. It's like coolness in summer. It's auspicious/celebratory. Celebrating being born. When you're being born it's never pretty. So I didn't lie before, not even once, I said it's like a cool wind, I just didn't say anything about the celebration part to avoid spoiling it.

F: so far K said Oboro is refreshing, like Taiyou no Ao, Kaoru said it's refreshing, but more like Myaku remix. Shinya said it's like '肉付きに龍(flesh and dragon)' How about you, T?

T: you will know when you listen to it. It's not something that can be explained with words.

F: what about TDFF?

K: it's also refreshing. I listened to the file yesterday, it's like a cream soda, refreshing with a bit of a mellow hint.

F: Vanilla flavor?

K: maybe not just vanilla, mixing other stuff in until it almost spills.

F: what do you think T?

T: ...so, refreshing then.

F: ok, it's refreshing.

K: and auspicious.

And auspicious.

F read the info about the May show in Tokyo Garden Theater and fans clapped.

T: it's been over a year since our last show in Japan, I'm really looking forward to it. In this condition holding concerts is not entirely called for, but we as DIR EN GREY have decided to do it. If you're able to please come.

K: it's been a long time since the last concert. But. Isn't it a weekday? Utterly a weekday. It's almost like bullying [the fans]. Shouldn't we try to book a better date for such an important concert? This is really so much like us.

F: it's just after Golden Week (a week long holiday in Japan).

K: people will be so busy getting back to work. (after F encouragement to say something inviting) So, I'm looking forward to the show when people will have to work because it's weekday (sarcasm by Kyo 👌)

Next was merchandise corner. F again asked us and band members to look at the flyer.

F: T, are there any items you really like?

T: all of them.

F: Shinya uses the tote bag in private now.

K: Did you actually saw him use it?

F: he had it yesterday.

K: huh.

Ta: can we really say yesterday was using it in private though?

Next F showed us the hoodie and the towel, holding the towel up.

K: you should present it more properly.

F held it properly so we could see the whole towel, but K continued to give him dissatisfied look😆

Next F talked about the travel pouch saying it's useful when you travel on the tour you can hang it as it has a small hook.

K started to point out the problems with F explanation, where to hang it, isn't it better to just put on the table, the hook is then useless. A hook for a bag you will put on the table, what. You're terrible at explaining the merch.

😂

T: isn't that for shower room?

F: to put shampoo in and so on?

K just stares at F, that face oh my🤣

F: we talked about it being for shower stuff but we worried about it being waterproof.

K: You actually don't know, do you?🤦‍♂️ are you a scam? Why don't you know??? You should know more about the items!

F: I will properly check!

K: with who?

F: with the merchandiser!

K just looked at him😂

F: but you can probably use it safely in the shower💦

Kyo stared...🤣

F: T, do you have any favorites?

T (after giving him a look): I said all.

F: you, K?

K: the hoodie. The picture in the back was done by my tattoo artist, on my request. I really like it.

F passed them their keychains, K just kept staring at them.

T: why are there 2 types?

F: I wonder. It's for Ochita, so one normal outfit and one bloody. Details are really nice.

And then it was time for the questions from fans.

F: there are many questions about movies, anime etc you've watched recently. K?

K: Evangelion. Not gonna spoil it, but please watch it on a big screen.

T: I want to watch Eva!

F: Ta, are you also an Eva fan?

Ta: I watched the old series, haven't seen the new ones.

Ta: there are many Q to and about F. "Most band members are from Kansai, F do you feel alienated by that?"

F: I'm from Tokyo, but not even a bit.

Ta: where exactly? Do you go back a lot?

F: my old neighborhood doesn't change, it's actually around here. Definitely no alienation.

F: "what's your favourite icecream?" There are many Q asking about sweets. How about you, K?

K: Icecream, I like Cola flavoured Sacre. And the melonpan with icecream inside, when I see that in the shop I always buy like 3. Recently not many shops have it.

F: so when you see it you always get them.

K: Yes.

F: get like 3.

K: Yes.

F: how about you, T? Recently it's a bit cold.

T: hah! I don't recently eat icecream. But I like fruity ones. I like rum raisin.

F: any questions you like, T?

While T was deciding which Q to read K just popped his papers on F's desk😂

T: "what was your first impression of other members when you first met? And how have they changed?"

F: so T will tell us about K.

T: the impression when we first met?

K: was it at Farm? In Nagoya?

T: Farm? I went to see some taiban event at GIO and we met there.

F: where is GIO?

T: in Ichikawa. And we talked there. Has he changed? Of course he has, but I thought he is someone who can laugh very carefree.

F: it was a taiban event of different bands.

T: yeah.

F: How about T, K?

K: it's bit muddled, but I remember best T playing guitar. And the strongest memory I have is T going crazy playing guitar.

F: how about other members? Kaoru?

T: I remember we didn't talk much, just said hi.

F: you met them at GIO. what about Die?

T: he was very talkative, very easy to talk to.

F: Shinya?

T: just passed by.

F: you didn't talk?

T: Just hello.

F told them how D described meeting S. Then he asked Kyo about Kaoru.

K: we met at taiban event, he was playing guitar in a band called Charm. I was impressed with his photo on the flyer. I thought he was very cool, and calm.

F: what ablut Die?

K: I found him through a flyer looking for new band members I thought he was cool. and then there was a taiban.

F: what about S?

K chuckled first😂: I remember he had a bob hair and a very long earring, just one, like a chain. And that earring was moving when he was talking. I remember that.

Ta: has he changed?

K: His looks changed, but he didn't change inside.

Ta: oh.

K: Just gradually ...got weirder. I think he hates humans. But he has many friends he does riddles with. He knows so many people, too many, he uses social media so much, I have no idea who he's hanging out with, but he even has photos with Dewi Sukarno. He probably doesn't hate humans, just hates his band members. Hates people who know about the past.

😂

Ta: "S said he's using tour merch like tshirts, how about you?"

T: 使うやつが使うね・I use stuff that's ok to use. From this event I'd use the travel pouch and usb.

K: I use our items a lot, like towels or hoodies.

F: "what's your favourite meat cut?"

K: skirt steak.

T: skirt steak or offal.

F: I love skirt steak too! - he the continued to talk about meat how good are some parts until he noticed both T and K looks🤣

F: " do you prefer bath or shower? What time do you take bath?"

K: in the evening. But when I have a fresh tattoo I can't take a bath for about 2 weeks, then I take a shower.

F: do tattoos hurt in a bath?

K: They hurt or sting. It's like an injury so like a cut it stings in a bath. Did you think tattos are like a stamp?!

F: it seems it's tough.

Ta: you know tattoos are allowed in our company...

I loved Ta's jab, but what came after this from Kyo was just pure ❤️🤣

K: I will even buy a tattoo machine and do it so you F can get a tattoo.

F: what kind of desing?

K: a giraffe. On your back. Wouldn't it be more scary than oni or a dragon? I'm serious (he was trying so hard not to laugh😂), it's the scariest option, a giraffe.

F: you would design it?

K: Of course. A yellow one. Guys who have scribble/doodle like tattoos are the really scary ones! A yellow giraffe.

F: Let me think about it.

K: please do!

🤣🤣🤣

F: how about you T, a bath or shower?

T: sometimes a lomg bath, sometimes a ahort one, sometimes a shower.

T: "do you eat sweets?" I don't really. if anything, then chocolate.

F: what type?

T: My favorite was Kirinokibune (霧の浮舟, a bit like Aero. Has been discountinued).

F: I'll check it, you K?

K: isn't half of me sweets?😆

F: what do you like recently?

K: cookies, chocolate cookies.

F: from Morinaga? (big chocolate company in Japan, you can find it in every supermarket etc)

K: Morinaga? I don't like soft cookies, they have to be hard, chocolate cookie with chocolate. Recently,  near Harajuku station there's a shop with a red fluffy character that looks like MUCC, I love their cookies.

Then F suggested sth only older people would know it and if looks could kill F would be anihilated by K on the spot🤣

F: last Q, let's choose something easy to answer.

F: "what do you like to eat with rice? I like umeboshi (pickled plum)"

T: in Nagano we eat nametake.

F was a bit clueless how to eat it etc and made T explain more.

F: you K?

K: I don't care. Don't you just eat it with side dishes? No one eats only rice with pickled plum? It's not postwar period!

F: so what side dishes do you like?

K: Sushi.

🤣

F: ...sushi?? Isn't that a bit different??

K: you eat fish with rice, no?

F: so what sushi do you like?

K: fatty cut of flounder fin(あぶりのえんがわ)

And finally last comments:

Toshiya: thank you for today, DIR has decided to hold a concert with audience in May, please come if you can. But you have to decide that for yourself. We made our decision.

Kyo: I don't have anything, as usual. ...your t-shirts will increase, it's hard for people living far from Tokyo, nothing much to say.

F: you mean you will like to see everyone in May and so on?

K: I said I have nothing to say, didn't I?!💢

[ask-marcus-cally-and-ari]

Only Human

Chapter 15: Ride or Die

The trio had been allowed to wander while the Freaks discussed their next plan. Marcus, for his part, went looking for a cot or a bed. “I’m so f*cking tired.”

“We have a few spare beds in the medical ward,” a nearby intern piped up, looking up as Marcus passed her desk.

“Thanks.”

“My nephew talks about you a lot,” the intern added. “Jackie Ruez?”

“Our small forward. Nice guy,” Marcus smiled, sitting down. “I remember he didn’t know much English when he first started.”

“You and your friends tutored him, right?”

“That was all Cal. I just taught him basketball and Ari taught him how to paint.”

“He’s been painting a lot these days. “He went through 10 packs of watercolors in just three months.”

Marcus chuckled. “I remember swapping his acrylics with finger paint as a joke. He chased me all through school that day. I probably deserved it.”

“So that’s why he came home with paint all over his hands.”

“I had to wash my hair for an hour to get it all out.” Marcus smiled, and then sighed, a look of tiredness no teenager should have had on his face.. “...look, can you just... just tell him I’m okay?”

“Of course.”

“The last time I got in trouble, it was some kids from a nearby school who jumped me. My teammates tracked down each one, took some bats and metal pipes, and put them all in the hospital. In one night. I don’t want them doing anything like that now. They could get hurt, and on my mama, I bet those *ssholes would turn them just to f*ck with me.”

“You know, if you wanted you could ask Colonel Dyson to put them under HECU Protection. It’s like Witness Protection, just with a lot more security.”

“Yeah, I’d like that.”

The intern nodded and picked up the nearby phone. “Do you want to call him yourself or do you want me to put in the request?”

“I’d like you to do it. I want to call my team.”

“There’s a phone in the break room over there.” The intern gestured down the hall to Marcus’ right.

“Thanks.”

---

“Man, this sucks! Marcus is who-knows-where being hunted and we can’t do sh*t to help!”

A young teen, no more than 14, grumbled sourly to himself while kicking over a box of wood chips in an abandoned warehouse. Another kid, a few years older than him, looked up from their phone.

“I got a lead a few hours ago. From what I can gather, it looks like he was heading to HECU Headquarters. I don’t know if they’ve made it there yet, though.”

“What can we do? These are, like, supervillains! And we’re just teenagers!”

“We could track them. Cally has a bunch of brainiac friends. Get them together and have them start looking for those *ssholes,” a tall boy, likely 17, suggested.

“Maybe we should get some of Ari’s friends, too,” another kid added.

“Yeah. The more, the better.”

The kid with the phone sat up and started briskly typing away. “Guys, you’re not gonna believe this, but it looks like Marcus has some Freaks of his own. You guys know Spyper and Intelligent Heavy, right?”

“I think so. Didn’t Spyper get his head chopped off and put on someone else’s body?”

“Yeah, he got his body swapped around with Sny.”

“Hey, Wilson. Start finding more good Freaks. The more join up, the more chance Marcus has of getting through this. Have the brainiacs help.”

“I think Marcus is way ahead of us. I found some security footage of the road outside HECU Headquarters and just take a look at who’s with him.” Wilson showed the other kids the footage, where a handful of Freaks accompanied the Trio inside, including Count Jester.

“He got the clown with him?” a younger kid piped up.

“Apparently. Now all he needs is us-” 

Ring! Ring!

“Huh? My phone!”

“Who is it, Jackie?”

“Unknown Number. Should I answer it?”

“Answer it, but don’t say anything. If it’s spam, they’ll hang up if they don’t hear anything.”

Jackie did. “Hello?”

“Jackie? It’s Marcus. Are you okay?”

“Marcus!” Jackie gasped. “Are you in HECU? We’ve been looking all over for you!”

“Yeah, I’m at HECU. Your aunt says hi.”

“Aw. How long have you been at HECU?”

“Jester teleported us here about an hour ago. Apparently they were tricked into holding us for the guy who wants to kill us, but that’s been sorted out, and they gave me a pet, so we’re cool now.”

“...I’m sorry, what?” 

“Yeah, everyone trying to kill us is working for one dude.”

“Yeah that doesn’t sound bad at all,” Jackie winced.

“Tell me about it. Anyway. I’m calling to ask you not to do something stupid.”

“Whaaaat? Psh, nah, we’re not gonna do anything stupid. Right, guys?” Jackie said with a snide grin, winking at the rest of his team.

“You worry too much, Quinn. Chill.”

“Yeah. Rest easy, we’re not gonna pull some sh*t.”

“Alright. Stay safe out there. And don’t go near any emo Snipers you see.”

“Sure thing, man.”

Jackie hung up, still grinning. “So. Who’s ready to hunt an emo Sniper?’

“I’ll get the others. Viktor. Does your family still have all those weapons?”

“Yeah. Which ones do we need?”

“As many as you can get. Especially long-range. We did tell Marcus that we wouldn’t approach the f*cker, so sniping is the way to go.”

“There’s nothing quite like exploiting a loophole,” Viktor grinned, heading out of the warehouse.

The other boy nodded and dialed a number. “Hey, Olga? Gather the brainiacs. We know where Marcus, Cally, and Ari are.”

“Wait, really!?”

“Yeah. A buncha Freaks are trying to kill them.”

“WHAT!?”

“Yeah. Apparently”

“Holy sh*t... Alright, what do you need help with?”

“Hacking. We need you to track down as many Freaks as you can.”

“On it.”

“And get Ari’s friends. We need numbers.”

“Gotcha.”

Hanging up that call felt heavy, like the life-changing moment it would be for everyone involved.

“Should we have anyone over at HECU to keep an eye on Marcus?”

“No. Then they’d know what we’re doing and try to stop us. We gotta stay off the radar. Wear masks. Disguise our voices. Make sure nobody can identify us.”

“I had a feeling we’d need these!” another kid shouted from the bottom of the warehouse, pulling along a rack of all black disguises.

“Hey, you’re the theater kid, right? I knew you were useful for something.”

“Yep! I had these costumes ready for awhile but we never needed them. UNTIL NOW!”

“Awesome. Guys, get home. We’ll meet back here tonight.”

“Alright. Nobody die overnight!”

“Don’t jinx it.”

The theater kid knocked on the side of the warehouse on their way out.

---

“Thank you all for coming. As you know, a bunch of superpowered *ssholes have decided to kill our friends, and we, the students of Dade City High, cannot allow this to happen.”

As the student body president spoke, Viktor handed weapons to everyone in attendance. 

“You are being given weapons now. If you do not know how to use them, Viktor will teach you on the way.”

“What’s the current plan of attack?” A younger student piped up among the crowd.

“We go to HECU. Its location is confidential, but our hackers have found it. We also have a van we stole from a junkyard and fixed to be our ride. You know, to make it harder to track.”

“How are we all gonna fit in one van?” Another student called from the back of the crowd.

“Like sardines.” 

“Also, I have a trailer. We can use that for training and extra space,” added a rich kid.

“Couldn’t we just use an old school bus?” One of the engineering students pondered. “Wouldn’t take much to jumpstart it, and nobody would be suspicious of a school bus going through Evo City.”

“From Dade City? That’s two states away,” put in a chess club student.

“What about an activity bus? It’s not uncommon for students to go on field trips that take them across state lines,” another engineering student added.

“That works. You two go steal it. We can take both.”

The engineering students nodded and gathered up their bags before leaving for the school’s parking lot, their bags clinking with metal on the way out.

“Did everyone pack some clothes and supplies?”

“Yeah, but why not electronics?”

The rich kid spoke up again. “I got a cheap phone plan. Everyone gets a phone. This way our parents can’t track us.”

“And they can’t be tracked by anyone else, can they?” a skeptical student inqueried, looking their phone over.

“I was kinda hoping you tech whiz guys could take care of that,” the rich kid replied sheepishly.

The small group of tech students all glanced at each other before sharing a collective nod. “Give us 10 minutes.”

“Good.”

“What do we do once at HECU?”

“Find out where our friends are. By force if necessary.”

“And if any hostile Freaks show up while we’re doing that?”

“Why do you think I’m giving you weapons?” Viktor deadpanned, holding up his own gun.

“Ask a stupid question,” the class clown teased.

“I mean like, one of the really bad ones. Like Painis. I don’t even think our weapons would work against him.”

“Probably run. Or run him over.”

“Let’s pray that Freaks like Nightmare Medic or HOOVYDUNDY aren’t part of this whole thing.”

“Hmm... hey, I just remembered. I have an aunt that works at HECU.”

“Uh... who are you?” the student body president asked.

“Melissa James.”

“Oh no,” the student body gasped in unison.

“...is that bad?”

“Are... are you related to Anita James, by any chance?”

“Yeah! That’s my aunt! She taught me how to build bombs. And tasers.”

“Holy sh*t! You’re related to a mad scientist! THE mad scientist!”

“Yeah, she’s a bit... eccentric. But the point is, she could be our in. And get us better weapons when we get there.”

“Isn’t she under constant surveillance though? I heard she blew up HECU twice in the last three months. That’s not something you just leave unmonitored.”

“In the same three months, she built a weapon that can level cities, a teleportation device, an army of attack microbots, and a shield generator. We could use those against stronger Freaks.”

“Would she even let us use them?”

“She’s a mad scientist who needs her weapons tested, and I hear her boss won’t let her give them to HECU soldiers. I’m not worried.”

“Well…”

“What choice do we have, Todd? Do you want them to kill Ari? Or Marcus? Or Cally? We’re desperate, and beggars can’t be choosers.”

The student sighed. “Alright. Give her a call.”

---

RING! RING!

“Hello?”

“Hey, Aunt Anita.”

“Oh! Hi, Melissa! How are you?”

“Not good. My friends are in danger. I think you may have seen them. Marcus, Cally, and Ari?”

Anita paused, lifting her pen off her notepad. “...yes, they just came in earlier today.”

“Some friends and I are coming to help him out, and we were wondering about using your weapons to do it.”

“Hmm... Come around the back of HECU. I’ll keep the door unlocked for you.”

“Heh... thanks, Aunt Anita. Also, could you maybe not tell those three about this? We told Marcus we wouldn’t do anything crazy, and if he finds out we’re doing this, we’re gonna get our *sses kicked.”

“My lips are sealed.”

“Thanks.”

There was a nod, and Anita, the mad doctor who sent people running with a smile and a wave, hung up.

[gayenerd]

This is a 2017 interview done by a fan for the fansite, Green Day Authority. It’s super disjointed and fan interviews never ask tough questions, but eh. 

Recently, we asked Green Day's management if it would be possible to get an exclusive interview for GDA, our first ever. After some coordination, it was agreed that I could interview them in Omaha (a show I had already planned to attend). I found out on Wednesday afternoon that I would be interviewing them on Saturday, but fortunately, I had already been preparing a list of questions in case it worked out. Before I go any further, I'll tell you that I had a LOT more questions on my list than there was time for. So, if you're wondering why I didn't ask something in particular, it's probably because we ran out of time. That is the only thing I would change about my whole experience if I had the opportunity. The arrangement was that one of the tour managers would meet me at the back entrance of the arena before sound check. After going through two layers of security, that's exactly what happened. I was the only non-crew person in sound check (!) and it simply felt surreal to be in that position. I enjoyed it greatly but was, of course, also thinking about how the upcoming interview would go. I wanted to represent GDA and the fan community in a way that would not leave a bad impression while also getting some good discussion from the guys. After sound check, I was walked back to a room with a couch and a few chairs. I was able to get comfortable and had some help to set up my recording equipment — thanks again to Lauren Banjo and Daniel, my son, for helping me get exactly the right device for recording the interview. In just a few minutes, in walked Billie, Mike and Tre. I have to say that, in all the times I've seen them, they have never looked better. They seemed relaxed, happy, and bursting with good health. They all sat down, and we got started. Aside from running out of time (though, to be honest, it would have taken hours to work through all my questions), I'm reasonably pleased with the way it all turned out. The guys were so incredibly nice and seemed to be totally engaged in the moment we were all sharing together. They really thought about their answers and seemed to enjoy the discussion. Here's the first installment of the interview — we talked about music, touring, and special shows. I did you all a favor and removed a lot of my rambling when I was asking the questions. Enjoy! "J'net: Guys, you work so hard, and we see how hard you work. During shows, you give so much of your emotion, yourselves, and your life energy to what you do. What keeps you going and keeps you so passionate about what you're doing? Mike: You said it, 'passion.' We only know how to do this one way — give 100%. It's just driven into us, I guess. Tre: It's the way we're wired. Mike: The music moves us the same way with the energy from the crowd. Billie: I agree. We love what we do. I think there've even been times when I thought, 'Maybe I'll take it easy tonight,' and then as soon as you hit the stage, it's just 'All systems go!' It's just a natural response for me. Really no other way to explain it. Mike: I always think, 'I don't know if I'll always be able to give what 100% is today, but I'll always give 100% of what I have to offer.' I don't think these engines know how to run any differently. J'net: Well, it's awesome. Your fans appreciate it so much. I wish you guys could just sometimes sit out in line, y'know? We get in line as early as we can and we compare notes ... "Well, we're driving from Kansas City as soon as the show's over..." Mike: You guys should film some of that. We never get to see it, it's cool! Film some of that interaction and maybe post some of that stuff too, it's rad! Billie & Tre: Yeah! J'net: [thinks to self: challenge accepted!] I'd be glad to do that, yeah. I mean, everybody would, even the people who know how to do that [technical stuff] … like Billie, he's pretty good with all the Facebook Lives and Instagram. Billie: Yeah, I'm getting pretty awesome — Billie Joe Zuckerberg! J'net: Right … 'Now where's the off button?...' Billie: Thank God for two young sons, man! They can tell you everything. Mike: I have to call my wife [laughs]. My wife's still young, she knows how to do that shit! J'net: Music is an emotional experience, and some of your songs are so emotional. Do you ever feel overcome by the emotion when you're performing, or are you somehow in performance mode so you can rise above it? Billie: I definitely go there. Like that line 'I'm like a son that was raised without a father,' — that's a button-pusher for me. Also with Forever Now, and also lately with playing '21 Guns' acoustic … when I get emotional is when I hear people singing along — when I hear voices that loud. I think with Green Day, we create an atmosphere that's as close to a European crowd that you can get — with people singing along, almost like a soccer anthem. And I love seeing people who are normally self-conscious when they lose it. I try to push people to just lose it when they come to our shows. Some nights, people are so pent up with energy, they don't even know that they have inside them. And I try to get people to dance like no one's watching and sing like no one's listening — just go for it! J'net: Do you have favorite show moments that you like to think back on? Billie: Smashing my guitar against the Subaru just the other night was pretty fun. [laughs] That's a first. I've never done that before. Mike: There are favorite moments of each show. We go backstage after the show, and we talk about all the rad things that happened. Billie: There's so many different things that we see going on in the crowd. There was a guy that was like an ex-hippie that was in the house the other night, I think in Portland. He was in the back, and I could see him just dancing and singing all night long. He was probably about the same age as my brother — about 65, and it was fun to just watch him. That's the kind of stuff I like to remember. " Watch for the next installment of the interview! We’ll also be sharing more of the audio from our favorite moments.

The second part of our interview focuses on the band's latest movie project, 'Turn It Around: The Story of East Bay Punk.' They helped produce it with filmmaker and longtime friend, Corbett Redford. The day after the Omaha show, my son Daniel and I started the drive back home to Tulsa, but stopped in Kansas City to see the movie. We went to a great independent theater there, Screenland at Tapcade, and when it was time for the movie to start, we settled ourselves in for a fascinating evening. There's so much to absorb in this movie, but it's compelling all the way through. There is a great deal of history that is lovingly captured and discussed. We feel we need to see it again and again, so It's good to know that a deal is in the works to distribute for home viewing, and that, according to Corbett Redford, "the DVD, Blu-Ray is being worked on, designed, mastered and readied for manufacturing." So many people were interviewed for this movie that I couldn't possibly list them all. The interviews were often just as interesting, funny, or emotional as the vintage footage of events from the beginnings of East Bay punk. It was a touching movie with many emotional moments (at least for us). Two or three of the people who were interviewed in the movie came close to tears as they were talking about the past and their connection to the famed 924 Gilman Street. For Green Day fans, as well as fans of many of the other bands involved in those early days of East Bay punk, there is rare and wonderful vintage footage that really gives a feel for what those early days were like. The writing by Corbett Redford and Anthony Marchitiello is exceptionally fine — it tells a story that could have been overwhelmingly complex in an articulate, accessible, and moving way. The narration by Iggy Pop, the animations (credited to Tim Armstrong, J. Bonner, and Alex Koll), the cinematography and photographic direction by Greg Schneider, and the hand lettering (credited to Aaron Cometbus) are simply delightful and absolutely enrich the content of the movie. I loved the way some of the newer interview footage had a "distressed" look to be more compatible with the footage it was matched with in the film. As Corbett said when I mentioned this to him, "The distressed VHS happened as our crew filmed EVERY interview with an old VHS camera! So that wasn't an effect, it was real! We decided as a crew that VHS and black and white Xerox were going to be our two main go-to 'themes' - so Greg went and bought a VHS camera, and voila!" There were obviously a lot of eyes on this film making sure that every little detail was as perfect as could be. There's no question in my mind that it was made with hearts full of love. Here's part two of our interview: "J'net: 'Turn it Around' is getting such incredible response from most reviewers and many in the punk community. Do you feel more acceptance coming from the community than you may have felt previously? Is there a partial 'return from 86'? Mike: The spirit of the movie is that it was made by the people in the community, and if you took Green Day out of it, it's still an unbelievable documentary. We basically stepped aside and let the movie get made the way it should be made. We realized that should be the anchor — the beginning, that's the beginning. [We wanted] for people to understand the different ingredients it took to make where we are and … to make the beginning… Billie: For us, when I was talking to Corbett, it was — 'Let's do a documentary that could inspire the next generation to create their own scene and not just talk about how you had to be there.' Because almost every scene documentary I've ever seen has a 'glory days' thing about it, where, with this one, you see the people like Michelle Gonzalez, who's a teacher and an author, and Miranda July, who’s a filmmaker and artist, and there are people who are activists, still playing music and active in the community. We approached it like, 'Let's not turn this into a piss and vinegar fest.' Billie: And if it wasn't for Tim Yohannon, even though we had big differences in the past, we wouldn't have had a place to play because he, with other people, created and made Gilman Street happen - and that I'm super grateful for. So if there's a story that you watch out for, it's what Tim Yohannon has done for the bay area scene and globally also. J'net: And Corbett did a great job realizing the vision of the movie. Mike: Corbett kind of did the impossible. You talk about a bunch of people in the scene — you know everybody's in that scene because we're all latchkey kids and come from some fucked up background, right? So then you have to get all the bands to agree to put their music on it this many years later. We had no doubt that he's an incredibly intelligent person and an artful person, but he fuckin' did it. Tre: He's always been super resourceful, and it's kind of like now he's all grown up. Mike: All we had to do was talk him off the ledge a couple times. I mean, we'd go in his office, and it looked like 'A Beautiful Mind.' There's writing everywhere and he's like (Mike demonstrates hyperventilating). It started off he didn't have a beard, and then he turned into Father Time. J'net: Did the fact that he's so well-respected in the community and such a genuine person help him to get buy-in from the people who participated? Mike: And the other people he recruited, like Kamala Parks and Anthony (Marchitiello) and Eggplant and Tim Armstrong, are highly respected and helping to make this thing. And it's like, 'Wait a minute, this isn't like a Warner Brothers movie. This is people who were actually in the scene making it.' And when they would vouch for him, it became even more helpful." We're pretty sure we spotted a cameo of Mr. Redford himself, but I won't put a spoiler here by hinting where to watch for him! For the same reason, I'm not going to tell you details of my favorite parts of the movie. When the opportunity arises, you should pick out your own favorites, and next time we're sitting in line for a Green Day show, we can compare notes. Bottom line, whether you watch the movie because you're interested in the captivating history of East Bay punk or because you want to see how Green Day got their start or both, you aren't likely to be disappointed. The movie is great entertainment but also left me inspired to be the best I can be at whatever I choose to do. The passion that went into the scene way back then, and into the making of the movie itself, left its mark on me. I hope you'll find that it leaves you feeling the same way.

In part two, we talked to the band about the early days at Gilman Street and the new movie, 'Turn it Around: The Story of East Bay Punk.' "J’net: From there, Green Day has come so far. What were you dreaming about back then, have you achieved it, and do you have any dreams you haven’t realized yet — things you still want to do? Tre: Pizza! J’net: Really? You haven’t had pizza yet? [Everyone laughs — these guys are SO polite!] Mike: Back then it was like, 'Can we get a show? Can we get into Gilman?' That’s a goal. It’s always like a series of goals – like 'Let’s get a tour.' 'Oh my gosh, what would it be like to play that one club there?' Maybe it’s a different town — or Europe! 'Let’s go to Europe and tour Europe!' There’s always another thing to be done. We just like to keep it exciting. Even live — even live, if we feel it's not exciting and not eventful or we're just going through the motions, we'll do something to change that because we like to stay in the moment, too. Life should be exciting. J’net: [to Tre] When you gave the drumsticks to that little kid last night (in Kansas City) … Mike: I did that. But Tre does every night anyway. One of us will always do it." Backstory: In Kansas City, there was a little girl on her dad’s shoulders throughout much of the show, although security tried multiple times to get him to put her down. At one point, Mike’s bass tech came into the security pit and leaned through to hand her a set of drumsticks. "Mike: She was hitting right on the beat with them on her dad’s shoulders! A lot of people know this, but every night Tre hides a pair of drumsticks under a seat. J’net: Do you always know if somebody finds them? Tre: Well, I put a hashtag on them and sometimes they'll go and put a picture with #TreCoolsHiddenSticks if they found them. J'net: I would just want to know — if no one posted, did they get found? I would have to go back and see if they're still there. [laughs] Tre: Somebody will find them. I'll tape them under the seats. Mike: Eventually. Someone will find them — like at an Usher show. [laughs] J'net: Or a hockey game. [Laughter] J’net: I got to go to the Hall of Fame Induction and the House of Blues show. What a show! I was beating up on the people next to me, because every time something else exciting happened I was [grabbing people and shaking them], "Oh my God! Oh my God!" That was incredible. I want to ask how that felt, but I’m sure you all thought it felt incredible. But could you ever have dreamed that you would be there? And what gave you the idea to come out as Sweet Children, and have Tim [Armstrong of Rancid] come out and sing with y’all and … to celebrate it in that way? Billie: I think it was all about 'bringing it all back home,' to quote Bob Dylan. It was like, 'Let’s make this as fun as possible.' Just have a great time and do everything you can … there’s so much tension with a lot of bands that have gone in the Rock and Roll Hall of Fame that you literally can’t get them to be on the same stage at the same time. And someone will stay home. And for us, it was the opposite of that. I’d rather seize the moment to remember how we got there. You start off when you’re a kid in a band, and it’s the most exciting thing in the world. And it’s so important to inspire people to understand that it IS the most exciting thing in the world. J’net: Do y’all listen to any kind of music that you think would surprise people to know that you liked it? Mike: All kinds of music. I just like good songs. I don’t care if it’s country — or the other night Tre went out to a jazz club, and then Jason and I went out to the same jazz club after they’d left — the same jazz club, and we didn’t even know they went. And we saw an unbelievable band there in Kansas City. Tre: I like German AND Italian opera. J’net: Do you really? Seriously? Tre: [Laughs] J’net: Oh ... but THAT would have surprised people. Tre: No … just the German. [laughs] J’net: Well, I’m the Italian fan, myself. Tre: It’s all Greek to me! Greek music. Billie: I’m kind of an audiophile. I like to go deep with finding obscure power-pop bands... Tre: Billie makes the best playlists. And he’s the best DJ. Billie: I just read this book called Never a Dull Moment ['Never a Dull Moment: 1971 The Year That Rock Exploded,' by David Hepworth] and it’s all about the music that happened in 1971, so I put together a playlist of all [that music]. I like getting into to doing my own … which is funny, because everybody's doing playlists and putting them on Spotify and stuff like that, and I do playlists and share them with my friends. Mike: She's got to hook you up with about a million more friends to share it with. [Laughter] Mike: Yeah, when we hit the playlist side of things, he’s ready. Billie: Yeah, and it’s all kinds of different stuff, whether it's like Joni Mitchell and Linda Ronstadt, to like ... Foghat and T-Rex. It’s fun to listen to. Especially back then, there was a certain amount of — people were uninhibited. If you listen to Marvin Gaye singing 'What’s Going On?,' there’s nothing self-conscious about songs like that and what was going on back then. I think nowadays, music is so much more visual or something. Some of the stuff from the past is just inspiring. J’net: And you have lots of influences, I can hear them in your music. There are little bits that sound like country and little bits that sound like different genres. Did you get that from your family, or was it all around you, or what? Billie: Well, it was all around me with my family — and I think when I was a kid I just always wanted to be the one to listen to something different. So, when kids were listening to Kool and the Gang’s 'Celebration,' I was listening to AC/DC and Van Halen, or trying to be the first in my high school to discover punk rock, and alternative stuff, too. Nobody in Rodeo had a clue who the Replacements and Hüsker Dü was. I was like the only punk kid in my high school. And John Swett [High School] was ... 400 people, 350 at the most. Mike: Is that what it was? I thought it was a little more than that. That’s still a lot of people, though, when you think about it. Billie: Yeah, there's 80 people in that graduating class. Mike: And then there was this one kid in that high school [who was punk]. Billie: And half of them actually graduated. [Laughs]"

This is the fourth and final installment of our interview with Green Day. In part three, we talked to the band about their past goals, and the musical roots of each of the guys. I have also included some things that were not part of the interview itself, or our recording. At the beginning of the transcription below, I knew our time was running out — and during the recording, we were packing up. I was throwing on my “Still Breathing” shirt, as I call it, for my photo with the band. But I just kept talking and asking questions the whole time to make the most of every second. "J’net: So, I have one more quick question, and this is just my own personal thing that I’ve always wondered — when Mike sang the second half of 'American Eulogy,' did you [Billie] write it with that in mind, did it just happen, I mean … was it something personal to Mike, because the way [Mike] sang it and kind of spit those lyrics out, it sounds like it’s very … something [deciding to stop rambling on with this never ending question and let someone answer] … Billie: I mean, I just wrote it and asked him if he wanted to sing it. [laughs] Mike: I think you need to sing to what the lyrics are calling for. I tend to sing ... like a little girl sometimes. [laughs] J’net: Not in THAT song. Mike: Yeah, but I was conscious that, 'This song isn't for singing like a little girl.' Or if it is, it's a little girl with attitude. Billie: If you think about 'Outsider' by the Ramones, and how DeeDee sang the bridge to it, it just kind of makes more sense. It just kind of comes from the band. And what else? 'I Was There' – Mike sang the bridge on that. J'net: Yeah. Well, you [Mike] sing that 'American Eulogy' like it was written just for you. Just made me wonder … Mike: [Hamming it up] Why, thank you! A friend of mine wrote that just for me! … 'Hey Billie, I got an idea! We can go ahead and take five.' J'net: So, I'm getting a sense that it's time for you [Tre] to have your pizza that you've never had before. Any last things you guys want to say to the readers of Green Day Authority? Mike: Just that we appreciate them and that they should be good to each other and look out for one another online and offline. But, we appreciate the hell out of them, cause that's our community. They're fuckin' rad. We'll see [them] on tour. Billie: I think for me as a musician, it's always important to be a fan first. Because I'm obviously a big fan of the people I like to listen to and stuff like that. So with that said, [we're] like-minded and kindred-spirits. Tre: In the words of the wild stallions, 'Be excellent to each other!'" Thus ended the interview proper, though there was more conversation, as I asked the guys to take a quick photo with me (the first time I've ever asked for a photo with any of them ... the wait was so worth it given how the photo turned out). Then, touring sound engineer and photographer Chris Dugan reminded me that I had a t-shirt to show the band. It was from Jack Yates, Omaha-based editor extraordinaire for GDA, who has been taking all my scribblings and making them look beautiful on the site. His vintage shirt was from Green Day's first tour — the band had screen printed it by hand back in the day. He thought they might like to see it, and maybe even sign it for him (which they graciously did). Tre sarcastically joked that it was really only six months old. Mike laughed, and said he still has the original screen print stencil for that shirt. While the guys were signing Jack's shirt, I was throwing on my "Still Breathing" shirt, which you can see in the photo. The guys loved, it which prompted me to tell them that it's from the Woody Guthrie Museum in Tulsa, Oklahoma, where I'm from. Mike excitedly told me that his wife's family and Billie's whole family were also from Oklahoma. This prompted Billie to tell a story, which really delighted me. The backstory is that he began to tell this tale at the Tulsa Green Day show back in March, but didn't make it all the way to the brilliant ending. We'd talked about this during the car trip there, and Billie just spontaneously answered our question! "Billie: Yeah, my mom's from Sperry, Oklahoma. Oh, we went — this is a funny story. When we were there, I was trying to find where my mom's house was — it was like, I think, about 15 minutes outside of Tulsa. And we went into a high school, and all the people would talk about was like native burial grounds and stuff like that. So we're just looking for this one in particular. So we went into Sperry High School and talked to the administrators, and I come out and all of a sudden it was like, it clicked [snaps fingers], they were like, 'Oh my God, he's here!' and they run out and one goes, 'You're either … Bruno Mars … or the guy in Green Day!' [Laughter] Billie: 'Bruno! Bruno! Bruno Joe!' Tre: [Laughs] 'Bruno Joe.' Billie: And then they sent me all these hats, because they're the Pirates, so I got all these cool pirate hats." Now, as they were still signing Jack's shirt, and I was still "primping" for my first ever Green Day photo, we had this hilarious conversation: "J'net: Do y'all know about all the mis-heard lyrics in your songs? Billie: Mis-heard? Mike: Misinterpreted, you mean? J'net: No, like people hear them and they think you're saying something else! Tre: Oh, that's funny! J'net: Like, 'Gotta know the enemy … raw ham.' Billie: Raw ham? [Hilarity ensues] Tre: Raw ham. J'net: And, 'Somebody take my pants, I think they're falling off … into a state of regression.' Mike: [Singing] 'Somebody take my pants, I think they're falling off, into a state of regression.' [Laughing] Billie: That's amazing. That's a good one. J'net: And then, my son one day and said to me he hears, [singing ... YES, I sang in front of Green Day!] 'Dump truck! Color me stupid!' Billie: Oh, dump truck! [laughs] J'net: British people hear, 'I wore cologne, I wore cologne' [in 'Boulevard of Broken Dreams']. Billie: Oh, wow … J'net: And in 'Welcome to Paradise' — 'Pay attention to the cracked streets and the broken gnomes.' Tre: Scary. Scary. [Laughs] Billie: Nice. I've heard that one before. I think I've seen a meme. J'net: I just wondered if … because when a new song comes out, before the lyrics are published, we're all trying to figure out, "What are they saying? What are they saying?" Billie: Next time we're just going to write them out different. They'll be like just totally different lyrics. Tre: We'll do fucked up lyrics! J'net: Oh yeah, right. That would be great. Tre: We'll get like six-year-olds to say what they think the lyrics are, and then we'll have that be the lyrics. J'net: That would be great! Or me, because my hearing is shot from so many Green Day shows!" This was where our recording ended. At some point during the discussion that continued un-recorded, I told the guys that this (the Omaha show) might be my last show for a while. I said, "A dear friend of mine has a ticket for me to the Rose Bowl show, but I don't know if I'll be able to afford to get there, so this could be it for a while." After that, we prepared to take the photo, which Chris Dugan (the band's sound guy and photographer) kindly offered to take for us — so it wasn't a selfie, after all! Mike suggested that I sit in the chair, and they'd all stand around me. Of course, I can't even express how sweet this was. Then, because I'd been talking to superfan Fran Green in line that day, I said, "Do you know that girl Fran with long brown hair who's always right in the corner of the barricade?" (I motioned with my hands to show where Fran usually stands). And here's how I remember that conversation going: "Billie: Oh, I know her, she's great! She always wants to get up and sing or something, but I really like her energy right there in the corner. Mike: Which one is she? Billie: She has a lip piercing. Mike: Oh yeah! [smiling] J'net: Well, today is her 50th show! Billie: Her 50th really? J'net: Yes, and she's travelling from the 1st through the 27th and not staying in any hotels — just sleeping on the street or in the car. Billie and Mike: WOW. Tre: Sounds like somebody needs a shower!" Finally, my time with Green Day was coming to an end. I thanked them all, and they walked out. Then, as I was about to leave the room, Tre came back with his wife Sara and introduced me to her. She is just as gorgeous and sweet as her online personality seems. We chatted for a few minutes. I told her we love her because of how happy she makes 'this guy' — I point at Tre. To say both their faces were beaming would be a terrible understatement. Just looking at how happy they are together made my heart melt. As they were leaving, Tre stuck his head back in the room and said, "See you at the Rose Bowl." So now, I guess I'll have to find a way to make it to the Rose Bowl. Hope to see you all there! After all this, I was walked out on to the arena floor and asked to choose my spot. I was just dumfounded with the entire barrier to choose from … don't we all wish that could somehow happen at every show?!?! Later, after everyone came in, I couldn't see Fran in her usual spot, and I was just so disappointed, because I thought … knowing the band, they would probably do something special for her if she'd been there. Well, Billie managed to find her on the catwalk, wished her happy 50th and then started singing "Happy Birthday" to her! Hahaha! Tre also gave her an autographed drum head the next night in St. Louis, and I see that she got on stage before her tour was over. The guys are just the sweetest and love their fans so much!

[movienotesbyzawmer]

April 6: Rocky

I have learned that the six Rocky movies (so all of the Rocky ones but not the Creed movies) are available on HBO Max. I was looking for a new watch-and-take-notes-and-post-the-notes project, so yo. Check it.

I've seen all six of these movies. I saw most of this one in the theater, like, back then! I was terribly terribly young! Maybe 7. I remember my friend Greg really wanted to see it, but our parents wouldn't let us. So we had them drop us off to see Capricorn One, but Greg made us sneak in to watch Rocky instead. He was so excited about it he wanted to play-punch afterward, but it hurt and I didn't like play-punch. I also didn't care about the movie. You know what movie is decent, though? Capricorn One. Although the supporting performance from O.J. Simpson might throw ya.

Anyway, since its release the reputation of this movie has remained very strong. It won Best Picture in an extremely competitive year. It is very much the Rocky Balboa of that year's awards contenders! But I'm pretty sure I'm going to be watching this first movie and admiring its scrappiness, then watching the subsequent ones and rolling my eyes at their formulaic-ness.

The opening fanfare sets the atmosphere really awesomely actually.

Oh also I don't care at all for boxing. And yet it seems like the idea of it is good drama fodder, I mean the idea of a sport of just two people punching each other until one of them is the winner at that.

So the first scene is a boxing match in a little church somewhere. Some people are in attendance who apparently like to pass the time watching punching. Rocky is bloody and hangdog. After the fight, which Rocky won, both fighters convalesce next to each other in a back room, kind of indifferently. But we have learned that punch-sport is a part of Christian life.

Rocky walks home through the gritty streets, past his friends who sing rudimentary a capella music on a street corner. They should work on the complexity of their harmonies.

Rocky is home and his home is gritty also. Atmosphere. He has a tank with animals in it. I cannot tell what the animals are. He talks to them. Personality.

He has a mirror he looks at and the mirror is decorated with pictures of Young Sylvester Stallone. They are totally pictures of him as a boy and young man. But Sylvester Stallone was not in character as Rocky Balboa when he took those pictures. It is a little jarring.

At the pet store the next day we are introduced to Adrian. That is the spelling, I checked. She is very very very shy-acting. The director told her to act shy, and she was like OH I'M GOING TO MEET AND EXCEED THOSE EXPECTATIONS.

Rocky's next stop is The Docks. I am surprised that Philadelphia has a dock area with such large ships, but I guess that's real. But I'm also surprised that he's there on the business of being the muscle for a loan shark. I didn't remember about that side of Rocky's complex, complex personality.

That scene just ended with a very 80s-teen-movie moment; a fellow thug rolled down his window and bullyingly yelled, "so long, meatbag!" We feel so bad that Rocky doesn't have the respect of his coworkers in the loan shark gang.

After getting dressed down by his gangster colleagues, he then goes to his gym and there's this whole thing about how the coach guy is so sick of Rocky's boxing mediocrity that they gave someone else his locker. It seems like that wouldn't happen. On his way out, the other boxer taunts him by saying he's pumped to be in receipt of Rocky's locker which is a very fine locker. We saw it, though. It was just a locker.

Adrian again. Broad caricature of an introverted person. I don't buy it maybe. Then a scene in a bar and the conversation with the bartender is also dumb fakey acting.

He later came upon a bunch of jerks on a corner, but among them was an awkward teenage girl that he knows. He makes her leave with him and tries to give him avuncular advice, but that scene ends with her telling him, "screw you creepo!" The exposition of this movie has a very opaque strategy.

0:30:00 - A scene with Apollo Creed does some more very unnatural exposition, setting up the premise that some local underdog is going to get a chance to fight him. This doesn't seem like an acclaimed movie. This seems like a scene in a cheap romance movie where the Handsome Man confesses to his best friend that what he's really looking for in a woman is someone not so pretty.

AC is flipping through a straight-up book, looking for a good boxer to fight on January 1, 1976, to celebrate the bicentennial. I'm a little "wha?" about some of this. He chooses Rocky Balboa because of his catchy "Italian Stallion" nickname and remember because Columbus was Italian so

Rocky and Adrian go on a date. It's Thanksgiving but that happens anyway. It does not bristle with romantic energy. It reeks of social obligations. It seems like the beginning of the kind of loveless relationship your grandparents began in the 1940s in their dustbowl-decimated agrarian community.

They are back at his little shithole apartment and he is a persistent man and I do not root for this relationship.

Things escalated kind of quickly. Rocky got invited to an agent guy's fancy office and offered a chance to fight for the World Heavyweight Championship. The next scene, everyone knows about it and he's on TV. He seems like a dumb lug. How can he possibly succeed. Good job contrasting his character with the big celebrity, though.

Burges Meredith is oddly appealing as this surly, pirate-talking boxer-coach-manager guy. He comes to Rocky's apartment sucking up, and Rocky isn't receptive, I'm pretty much buying BM's different emotions, and Rocky's.

1:11:24 - Pretty sure my friend and I talked a lot about this scene when we saw it back then, he fills a glass with raw eggs and drinks it up. All one shot, baby.

This scene with Paulie, Adrian's brother who is Rocky's friend, I don't like. Paulie is a bad friend. That scene ends with Rocky beating up pig carcasses. They should have just had that part.

His hands are bloody when he punches the meat things. That's his blood, right? That's not like animal flesh?

We just had a very melodramatic scene with Rocky and Adrian and Pauly, and Pauly just went nuts. This time, at least, Rocky and Adrian react to him the way you'd think people normally would.

1:30:55 - Famous training montage. I think as this movie series progresses these montages get more stylish. As it is, it's going for just a rousing moment of "he seems confident as he trains", as the music pumps you up with the profound lyrics, "trying hard now" and "getting strong now".

They have actually explained almost nothing about the specifics of boxing. I realize that now as Rocky says "no one has ever gone the distance with Creed". Which I think means something about going all 15 rounds, right? But the point is that I haven't had to hear much about stuff like that, and I honestly don't mind that.

1:44:30 - Ew, some actually kind of bad stock footage of the crowd at the fight. Oh, but then a cameo by actual Joe Frazier, probably.

As the fight begins I gotta say I have been effectively made to root for this underdog hero. I've been indifferent to most of the movie so far, and I'm indifferent to boxing, but ferrealz I'm excited to watch this fight.

It's cinematic with lots of angles that you don't see when you're watching actual fights (I assume), but also the actual fight-acting by Stallone and Carl Weathers seems like they're getting it right. That can't be easy, right? I mean, it's punching! Faces!

1:54:11 - Oh shit I remember this ahhhhhh his eye his eye, his EYE is swollen shut and he tells them to cut it open! That, like, what? He's going to go back out and fight with his eyelid literally slashed open WHAT

They weren't even that careful doing that slice

I thought they would be relying more on the commentators as narrators to tell us what to feel, but it's really all the cinematic storytelling that is getting it done.

But the aftermath of the fight is like opera, everyone is passionate and yelling and it doesn't work on me as well as it must for most people. I don't even exactly get what the outcome of the fight is (partly because I don't understand boxing). But that's the point, at least a little bit; in the heat of passion he just wants to tell Adrian that he loves her. That works well for this movie. And the way it just ends in that swirl of excitement, no denouement, it's really effective.

So overall there are lots of things about this movie that I don't care for, but there are some things to appreciate. It's not a fancy movie, but it seems like they did a particularly good job with the final boxing match feeling like exciting movie drama while also seeming like authentic boxing. As if I know anything about authentic boxing.

I don't agree that it should have won Best Picture over Network, All the President's Men, and Taxi Driver.

One last observation: looking back, I'm pretty sure that scene with the teenage girl is a result of the observation that the movie greatly lacks females.

(next: Rocky II)

[in-tua-deep]

things i think the Hargreeves should do post apocalypse:

Luther:

Any adult shop classes because I genuinely love mechanic!Luther and have been slipping that into like, all my aus where I can.

Goes to slam poetry nights because he genuinely enjoys poetry (hello space poetry from episode one about the comet or whatever) and maybe one day is confident enough to share his with other people

Gets some gym bros who all enthusiastically support him in a bro sort of way who are constantly getting their minds blown by how much Luther can lift and constantly going “YOOOOOO” while Luther tries to downplay things bc he’s embarrassed 

I don’t know I just want Luther to have actual friends

Probably goes to every astronomy event where people have telescopes and is known in that scene so every time there’s some event at the observatory newcomers are like “what the FUCK” when this bigass bodybuilder comes in and starts gushing about which planet is visible I don’t know

Spearheads a lot of the family’s museum (that aren’t art museum) outings, especially if they have any exhibit that even vaguely relates to outer space or planets or the moon or anything. 

Probably gets up at godawful hours on the morning to go hiking and see the sunrise because he really liked doing that on the moon and even though it isn’t quite the same he still loves to do it. (If he’s not hiking he goes up to Grace’s roof garden to watch it)

Diego:

He already does his fighting at the gym which is kind of cool I’m going to gently assume that he already has gym bros and if he doesn’t then he becomes somewhat more approachable after everything

(having your mother comes down to the gym and kiss your cheek or your teenage brother hop in to drag you away or you other very flamboyant sibling dance his way into the gym to fetch you doesn’t exactly do wonders for keeping a reputation going)

I do want to think that Diego takes up like,, whittling but I think he’d have to do it away from Vanya bc,, you know,, Leonard/Harold whatever was a woodcarver or something but idk maybe Vanya is cool with it - but just the image of Diego hunching over and carving at something and Klaus leaning over and trying to enthusiastically guess what it is while getting it super super wrong because Diego is a beginner and his starting pieces are all lumpy monstrosities makes me smile

Diego taking cooking classes so that he can surprise Grace by taking over dinner sometimes and letting her relax and do what she wants

I’ve said this somewhere before but Diego spearheading picnic events and forcing the family out of the house because he thinks it’s a nice thing for Grace to see the world and on god if any of his siblings fight him about it he will stuff their asses into a picnic basket himself because they are GOING

Gets dragged by Klaus into dumb ideas to “give ourselves a CHILDHOOD diego” more than any other member of the family. Which basically means that Diego is the one Klaus grabs to surf a mattress down the staircase and other dumbass ideas

Allison:

Probably ends up redecorating the mansion and completely redoing it to make it more modern and also less the horrible hellscape with taxidermied animals on the walls that it is. Her and Grace squad up to plan everything and then Allison makes everyone help when it comes to things like painting and building all the nice ikea furniture she just bought

Takes parenting classes as sort of extra credit for her custody case for Claire. I feel like eventually she and Patrick genuinely talk to each other, maybe at some kind of joint therapy, and sort of clear the air between them. They might never get back together, but they at least become sort of friends again. Mainly because I like the Patrick I’ve built up for myself in my head tbh

Occasionally attends craft classes with Klaus when she has a spare moment, because he goes to like,, all the local craft classes. She likes to spend the time with him. Is probably the only sibling who willingly attends with Klaus, but others get dragged along as well.

Probably takes up scrapbooking? She wants to have something physical to give to Claire so decides to go through like,, all the camera footage of their childhoods and pick out good images (because goodness knows they didn’t have cute family pictures) and maybe Grace uploads some of her memories to a harddrive with cute shit and they scrapbook together let me have this

on a related note buys a camera and starts trying to catch her siblings doing cute things for her scrapbook with the sort of determined energy of someone who has realized that she’s having to do her scrapbooking from security camera footage because their childhoods were fucked up

(she has a bajillion pictures of herself - thank you paparazzi - but all she has on her siblings is like... what, one of diego’s fighting posters and the two pictures of Vanya from her book and from the newspaper on the fucked up apocalypse concert??)

Klaus:

Genuinely goes to any and all craft classes offered at the community center and random places around town. Usually sort of a disaster, always a disaster when he drags along his siblings, and always proudly brings home his third grader worthy creations that Grace proudly puts on the shelves. He gets better at things the more he goes to them though, so there’s a progression of skill level in his crafts. Allison goes with him when she has time.

Has a knitting circle that he attends that is primarily made of little old ladies who dote on him. Five occasionally goes with but it often conflicts with Five’s other extra curricular activities.

Bakes at home a lot, with Grace’s supervision after some certain incidents that should remain unnamed. Tends to get ‘creative’ with the recipes but now that Grace is present to make sure it won’t be a disaster everyone is more willing to taste whatever comes out. Has, on at least one occasion, insisted on decorating cookies or icing cupcakes or whatever as a ‘family bonding activity.’

Goes with Ben to the movie theater frequently even to the gross horror movies that Klaus hates and Ben absolutely loves. Klaus always insists Diego come to the horror movies so that Klaus has someone physically there for him to hold onto when he’s scared. Five comes sometimes as well, but tends to critique the special effects - especially blood and blood splatter - which makes other people turn around to hush them.

Five:

I genuinely want to say he does gymnastics lessons. Mainly because I feel like he needs to do SOMETHING physical and get rid of his excess energy, and also I think it would be hilarious for him to be tumbling and teleporting and shit at the same time what a wild ride. Absolutely refuses to allow his siblings to come to any competitions or whatever, but they all end up showing up anyway.

Starts learning instruments. Asks Vanya for lessons on the violin so they can play together, it’s very cute. I also wants to say starts learning the piano because someone sent me an ask once about it and it was super valid. And Five can learn both because I say so and he doesn’t go to school he has the free time

Is on first name basis with a bunch of scientists and mathematicians online where they all yell numbers at one another. Probably in a super technical group chat with a bunch of people with actual doctorates who don’t actually know that Five doesn’t have a doctorate. 

Actually you know what just let Five start actually going to college like let him go to the local community college or start taking college classes or something. He can get his GED or whatever. Let this boy get a DEGREE

Goes to art classes, first because drawing therapy was something Klaus suggested and he wanted to get his brother off his back. Later because he enjoys it. There’s a life drawing group he frequents - he’s the youngest there and new people always do a double take when he shows up but Five is very meticulous in his art and is actually pretty good. Grace goes with him as well because I say so and they deserve bonding time together

Ben:

I mean he’s kind of dead but let him do things with his siblings as well!!

Like I said earlier, a total movie buff and loves going to see things in theaters. And by movie buff I just mean he sees a lot of movies. Bizarrely into horror movies for how sensitive a kid he always was. He goes to the theater with Klaus for the most part but likes to watch movies with the family as well. Klaus makes him watch every animated movie with him in return for Ben dragging Klaus to watch horror movies.

Probably ends up with a youtube channel?? does movie reviews and game playthroughs whenever Klaus has enough energy to manifest him. Is pretty popular but half his followers are because of the bizarre shit that goes on in the backgrounds of his videos. People figure out Klaus (who is a frequent guest) is The Seance and then Five jumps in to tell them dinner is ready or something and they’re like “wait is that the Seances brother with the portal powers who vanished when he was a teen and still IS a teen” and the fact that ben probably has a username that’s some shit like “bentacles” that klaus set up for him everyone is theorizing that the channel is just. Ghost Ben and Five who are being manifested by the Seance to?? play games? 

well. they’re half right.

it certain doesn’t help the rumor mill when Ben makes sarcastic comments about dying or how he can’t get arrested because he’s legally dead and shit like that.

“Yeah sorry I didn’t post yesterday Klaus’s knitting group ended up getting arrested somehow - I was there and I’m still not sure went down - so that’s why I didn’t manifest”

Vanya:

I mean obviously she plays the violin that’s her job. She also teaches Five how to play the violin when he expresses an interest!! She is very touched by the gesture

Swims to keep fit and is a frequent at the pool. Klaus once bugged her to let him come, but it’s really her thing that she just does by herself when she wants to get out of her own brain. She does promise Klaus that they’ll take a family trip to a water park one day though, which he enthusiastically takes her up on.

Attends a book club that she also half-shares with Ben. Ben doesn’t come with to any of the meetings, but she always buys two copies/borrow two copies from the library so that Ben can read along with them and he and Vanya discuss the books before she even goes to any of the meetings. Probably thought there would be more discussion of the books than complaining about their general lives, but keeps going because she lowkey wants an excuse to keep frequenting the bookstore where this cute girl works.

Her and Five steadily are making their way through all the coffee shops in the city (as well as through their menus) in search of the best cup of coffee. It’s just a fun thing they do together that the other siblings occasionally go with as well whenever they have time. Both Five and Vanya have notebooks where they record their ratings based on a variety of factors. Diego calls them pretentious and Klaus always gets the ones which are barely classified as coffee when he goes with (Five steals sips and makes faces but continues to do so)

Grace:

Frequents art museums and galleries! Supports a lot of beginning and local artists by buying their art and has a lot of rotating paintings and prints in the house depending on her mood. She got rid of pretty much like,, all the old painting that Reggie had up except for a few of her favs which she relocates to her new room that Diego put his foot down on giving her

Goes with Five to his art classes at first because, as a minor, he needed an adult to go with him for nudity reasons (it’s a life drawing class man). Grace didn’t expect to actually draw herself but Five insisted because he felt awkward with her just standing there. She prefers abstract styles herself (so many people at this art class have a crush on Grace you have no idea)

(actually goes with Five to most things he’s beginning for himself for at least the first lesson to sign him up as an adult because Five loathes having to ask his siblings)

Commissions someone to come and paint a portrait of the family that’s for them, where none of them are stiff and they’re all happy. She tips the artist fabulously for it and hangs the new family portrait in the place of honor above the mantle where Five’s portrait used to hang (they all destroyed it as a family bonding activity)

Keeps bees on the roof after one of the kids showed her an article about saving the bees. She can’t get stung and genuinely enjoys hanging out up there where she ALSO started a big garden because I say so and Grace deserves to be surrounded by flowers and bumblebees and happiness don’t @ me

[supremeuppityone]

Written for Klaroline Valentine's Day Bingo 2020 @kcvalentinesbingo

Prompt: Casablanca

Author’s note: This was inspired by Ricky Gervais’ 2020 Golden Globes monologue, in which he thoroughly pissed me off.

Warning: Potential triggers; implied assault survivor

Please review here.

           Red. Everything was red. The rage sank into Caroline’s bones until nothing was left. From the uncomfortable murmurs of the rest of the audience, it was clear that she wasn’t the only one furious with Alaric Saltzman’s patronizing speech to open the Oscars ceremony.

           “If you do win an award tonight, don’t use it as a political platform to make a political speech. You're in no position to lecture the public about anything, you know nothing about the real world. So, if you win, come up, accept your little award, thank your agent and your God and fuck off.”

           There were so many things wrong with the washed-up comedian’s vile statement, that Caroline let out an audible gasp, not bothering to let her features settle back into a polite mask. Her agent was going to be pissed if the cameras happened to catch her now. But it was nothing compared to how pissed Katherine would be in a little while. As a nominated filmmaker, Caroline understood she was in a unique position to make a call for social change. And as one of the few female filmmaker nominees, it was her responsibility. She covertly took out her phone, typing a quick message to her staff, and then leaned back into her seat with a self-satisfied grin. Game on.  

           Her documentary focused on Congolese women who were taking back their communities torn apart by sexual violence. It was her honor to give voice to the warrior women who had created safe spaces for women — teaching them self-defense, providing legal representation, and fostering marketable skills.

           She toyed with the orange and red bracelet, hiding a bittersweet smile as she recalled the way some of the women at the community center had attempted to teach her how to make the rolled-up paper beads. It was the day she shared her story with them. Her pain had been her own for so long. She’d nearly punched Katherine for telling her the bracelet clashed with her designer gown and that she should instead go with the loan from Bulgari.

           The back of Caroline’s neck prickled as though she could feel the weight of someone’s stare. Casually glancing around the packed theater, her blue eyes widened when she realized Klaus Mikaelson was staring at her. Wildly famous, the dimpled British actor’s mantle must be overflowing with prestigious Oscars, BAFTAs and Golden Globes. Why was he staring at her? Again. Despite years in the industry, this was the first awards season her work had garnered enough attention to warrant nominations. And unwanted attention from A-listers.

            A few months ago, she’d attended the Directors Guild Awards, slightly starstruck and still in disbelief that her work was finally getting recognition. She nervously was sipping champagne when someone insistently tapped her shoulder. Familiar with many of the more heinous Hollywood Gropers, she whirled around, ready to shred some wrinkled, self-entitled balls. She stopped short when she realized it was a skinny teenager who somehow managed to look even more nervous than she.

           “Um. Hi! So, um I think you’re Caroline Forbes. Right?”

           Caroline softened, assuming his painfully earnest demeanor meant he was an intern or one of the stage assistants. Her smile was gentle as she said, “Yes, I’m Caroline. What’s your name?”

           Brown eyes went round with excitement as he took both of her hands in his, wildly shaking them up and down as he gushed, “I’m Henrik and I go to USC and we just studied you in my Defining the Feminine Narrative class!”

           Flustered, she could feel an enormous smile spread across her face. It was rare that she encountered someone who knew who she was. Now what? Offering to sign something or pose for a photo sounded unbelievably pretentious. “Oh, wow. Thank you,” she finally said, “I had no idea.”

           “I’m actually um, doing a research paper right now on your documentary about dowry-related violence in India,” he shyly confessed, hiding behind his long brown hair.

           “Seriously?! I just started cataloguing some additional footage; trying to decide if there’s another story to tell. If you want to give me your email, I’d be happy to share my research with you. Maybe it will inspire you to create something amazing.”

           Before Henrik could respond, an unexpected voice interrupted, “Impressive chat-up lines, little brother.”

           Klaus stood there with his sexy dimpled grin that always spelled box office gold. And he’d been poured into that tuxedo. Damn. “Klaus Mikaelson,” he said, as though she hadn’t watched every movie he ever made, “and I had no idea Henrik was such a fan.” He put a companionable arm around the timid boy, telling her, “Henrik’s the true talent in the family. Thank you, love, for noticing.”

           He eyed her with interest, and she immediately reddened, cursing her painfully white skin for making every emotion so obvious. “These ceremonies are so frightfully dull. Would you like to join us at our table, and then perhaps later, you and I could go for a drink?”

           Damn it. He was one of those guys. Now flushed with irritation rather than embarrassment, Caroline replied, “You should ask Tatia. It’s only polite — since she’s your date.” Lately, the gossip sites had exploded with headlines gushing about the whirlwind romance between Klaus and the stunning supermodel, Tatia Petrova. Even if there was the chance it was a clever ruse to garner media attention, there was no way Caroline wanted any part of that nonsense.

           Klaus flashed that dimpled smirk again, his accented voice amused as he said, “Tatia is more of an...inconvenience than a permanent fixture in my life. There’s only so much frivolous chatter I can tolerate. But I suspect that you would provide endlessly fascinating conversation, sweetheart. You’re starting to make a name for yourself with all those exotic travels and penchant for saving the world. There’s a light that shines in you; it sets you apart from the rest.”

           He was seriously giving her the ‘you’re not like other girls’ speech. Dick. “Pass,” she said flatly, already starting to walk away. “But thanks for adding bad pickup lines to my ever-growing list of atrocities I need to save the world from.”

            Thunderous applause interrupted her thoughts, bringing her back to the present. Where Klaus was still staring at her rather than paying attention to the clip they were showing from his nominated performance. His performance in the Casablanca remake had earned him the Best Actor nomination, with critics and media outlets proclaiming his work in the big budget production to be a crowning achievement in his stellar career. Despite her indifference to the original 1940s movie, she still eagerly went to see Klaus’ remake, and his performance as the expat Rick had left her breathless. His American accent had been impeccable, and she actually got a bit teary-eyed when he arranged for his onscreen love interest, Lisa, to board the plane to safety while he stayed behind.

           Caroline could feel the heat rising in her cheeks the longer Klaus stared at her, irritated at herself for paying far too much attention to the gossip sites that announced Klaus’ amicable split almost immediately following their disastrous first encounter. She did not have time for Hollywood fuckboys. Even the ones with dimples. She had a world to save. Lost in her thoughts of burying her stupid crush on Klaus, she completely missed that he’d apparently won and was being herded offstage.

           She leaned forward eagerly as her documentary category was called. Regardless of the winner, her documentary had garnered enough attention that a few months ago, she’d learned an anonymous donation singlehandedly funded the Congolese women’s charity for the next decade. It was rare that people surprised her. Maybe one day she’d learn the identity of the generous donor. While the vignettes played for each nominee, her heart giving a funny little tweak as she held her breath in anticipation.

           “And the winner for best documentary feature is...Conflicted Hearts: Congolese Women Fight Back, by Caroline Forbes!”

           The thunderous applause was deafening, and Caroline sat there in shock for several moments, unable to get her legs to move. When she finally managed to walk to the stage on shaky legs, she fervently hoped she hadn’t sweated through her Arcadius original. She cringed as Alaric grabbed her hand, pulling her toward him for a congratulatory kiss that she managed to avoid by jerking her head away. He should know better. Hazel eyes flashed as he angrily hissed, “Just smile for the camera and keep the whole ‘boohoo women bitching about a little flirting’ bullshit out of it. No one cares about your whiny politics.”

           She burned him with her gaze, the oranges and reds of her gown a perfect backdrop for her fiery rage. Not bothering to respond to his unspoken threat, she stepped to the podium, pleased to be bathed in the stage lights, drawing energy from their warmth. “I’ve now been told twice tonight not to get political. It’s stupid to think I’m going to start following orders now. We’re some of the most fortunate people in the world. We have an extraordinary platform that allows us to reach millions. And it’s our responsibility to use it. We live in this world too and we should be working just as hard as anyone to make it better.”

           The loud clapping sounded like vindication, and she hoped that the cameras were zooming in on Alaric’s face as it immediately purpled in anger. “My film is dedicated to the Congolese women who let me into their world, whose unparalleled strength gave me the courage to put into words my own trauma. They are warriors, and I hope that the anonymous donor who helped fund their women’s charity for the next decade understands the hope they’ve given to so many.”

           Her smile was a vicious blade as she announced, “Thriving in front of my bullies is sometimes the whole reason why I get out of bed. I just started a charity tonight because I know I can’t be the only woman who’s been told to keep ‘boohoo women bitching about a little flirting bullshit out of it’. My organization will help women speak out about sexual harassment and assault in the workplace, providing much-needed legal assistance and support to help them overcome the personal and professional consequences that make it difficult to speak out. It’s called ‘CARE’.”

           The standing ovation was immensely satisfying, but then she added, “And it stands for Condescending Asshats Refuse to Evolve’,” which had the theater shouting her name excitedly. Not a bad night.

           As Caroline was ushered backstage, she basked as so many warm smiles and enthusiastic handshakes congratulated her, pausing only once to catch Alaric’s furious expression. She held his gaze just as fiercely, pouring out every viscous word she wasn’t ready to speak. But one day she would be.

           Backstage, she nearly ran over Klaus. Flushed from his own win, he beamed at her while offering her a steadying hand. “Congratulations, love. Your win was well-deserved, and I don’t recall a more compelling speech. You’ve set a precedent tonight that undoubtedly will bring about much-needed change.”

           She blushed to the roots of her hair, wishing she hadn’t worn the intricately plaited hairstyle so she could give her hands something to do. “Uh, thanks, and you too. Your work in Casablanca was amazing.”

           “You saw my movie?”

           Caroline was taken aback by his hopeful, pleased tone. “I’ve seen all of your movies. Everyone has.”

           “I’ve seen yours too,” he confessed, ducking his head shyly. “Henrik is quite the fan and has all of your documentaries — even the one you created fresh out of film school where you exposed the hypocrisy of a ‘morality clause’ for beauty pageant contestants in your hometown.”  

           “Seriously?!” She gaped at him, unsure of what to say. She hadn’t thought about that in years. That documentary had gotten the attention of several groups, which eventually led to funding for bigger projects and more exposure to the causes that she was the most passionate about. “I had no idea that you’d...I mean, I’m flattered you took the time to watch my films.”  

           The tips of his ears reddened as Klaus replied, “Meeting you was a bit of a revelation for me. Your drive, your fearlessness at giving people a platform so their voices and stories can be told — it’s inspiring. It made me want to make some changes in my life, which I started doing several months ago.”

           “I had no idea. I’m, uh, glad to have helped. Can I ask about the changes?”

           “Maybe someday I’ll tell you,” he answered enigmatically. “In the meantime, I’d be honored if you would accept my donation to your CARE charity. I’m doing my best to be a reformed condescending asshat.”  

[winterisakillerwrites]

Get Better - Chapter Three

Title: Get Better

Chapter: 3/18

Character: Tom Hiddleston/Cath Richardson (OFC)

Genre: Romance

Rating: Teen and up

Summary: Love. Companionship. Family. These are all of the things Tom Hiddleston desperately wanted. But his life and his choices left that a distant and unlikely prospect. So he did his best to move on and live his life as is. When an opportunity to return to the theater arises, he jumps at the chance and along the way finds that maybe, just maybe, those distant and unlikely prospects are closer than he could have imagined. Sequel to Brave Face.

Authors Notes/Warnings: So as I was writing Brave Face I knew that Tom’s story wasn’t over, even if that particular part of it was. And while I knew, more or less, what the overall ending to the story would be, its taken me a while to figure out the time in between. Thanks to @redfoxwritesstuff for letting me continually throw ideas off and at you. I still can’t fathom why you put up with it, but I am eternally grateful you do.

Previous

CHAPTER THREE

A sharp wind whipped down the florescent lit tunnel, sending a sudden shiver down his spine. Tom pulled the blanket he’d been handed tighter around him, stifling a yawn. It had been an early morning and despite several cups of coffee, with more espresso shots than he’d care to admit to, he still felt the pull of sleep dragging on him. The excitement, however, was winning by leaps and bounds. He had been intrigued when the idea was pitched to him, of making a teaser for Betrayal and posting it as-is before formally announcing the show the following day. It was a creative and fun way of drawing attention to the production and getting buzz going around it.

The teaser’s premise was simple, Tom would come into focus walking down the aforementioned tunnel, something out of the camera’s range would catch his eye, and the viewer would watch his reaction unfold. Watch the shock, pain, anger, and finally defeat play across his features. No dialogue, no real explanation; just him and music. Beautiful in its simplicity.

He stood to the side, watching as the days’ crew reset the shot and fiddled with the lighting. It was their third, and hopefully last, take; the lighting have gone a touch fuzzy during the last set up. It was a bustle of controlled chaos and something he’d always found fascinating. The way in which the crew flittered around each other was almost an elaborate dance.

“Alright, places everyone!”  The director called once things had been set to rights. Tom nodded, took a deep breath and stepped onto his mark.  

The rest of the shoot passed with little issue. The fourth take had been the one Tom was certain he’d nailed. He’d watched the final footage with the director and found himself pleased with the initial result. The days’ footage, Tom was told, would be edited that evening and should be ready to go up the day after. With a warm smile, Tom bid farewell and headed out into the bustle of the now busy streets.

He’d taken the tube that morning, enjoying being able to sit and people watch. It helped keep him grounded, just doing the everyday tasks that so many seemed to take for granted. He could usually take the tube with little fuss or fanfare. That was one of the wonderful things about London, very few people seemed to care who or what he was. True, there would be the occasional fan who would approach him or the rare ‘sneaky’ photograph (which he never really understood the point of) but for the most part he was left to his own devices.

He’d fired off a quick text to Luke before he’d entered the station, letting him know all had gone well and that he was off home. Luke responded quickly, reminding him that his phone meeting with Marvel regarding updates for the Loki limited series had been pushed back until following afternoon. Which meant for the time being, Tom had the rest of the day to himself and he was greatly looking forward to the lack of demand. He made his way through the ticket barrier and followed commuters down the escalators and onto the platform. The train rumbled into the station a few minutes later and he joined the mass of people making their way into various carriages.

Tom quickly settled into the first available seat, letting his mind wander as he watched the eclectic mix of people filling the carriage. It was something he’d always enjoyed about the city; the mix of cultures and people that had always made it uniquely London. The carriage was busy but not packed, it was still early enough in the day that most commuters were still at work. Tom enjoyed the relative peace as the carriage jostled along, silently counting the stops until his own.

He made his way from the train onto the platform once the train had pulled into his station. A flash of dark hair and a familiar laugh caught his attention as he made his way through the busy station to the ticketing barrier. Tom turned his head in reflex and a jolt of recognition shot through him. Cath. The name materialized in his head without conscious thought. But she was gone before he could make a move, disappeared into the crowd heading towards the platforms.

Tom shook himself back into the present and carried on through the gate and then out onto the street. It was just as well she’d gone, he reasoned, pulling his coat tighter around himself as a swift breeze raced down the pavements. He didn’t actually know her, had no reason to approach her other than his own, admittedly overabundant, curiosity.  And that had often caused more trouble than it was worth.

Silently, he carried on down the pavements and back towards home. Bobby, none too pleased with being shut in the back room in his crate, barked repeatedly as Tom unlocked and pushed open the front door. “Alright, alright,” he called. “I’m coming.”

He shrugged out of his woolen coat, hanging it on the rack near the door, and jogged through the house towards the back room. Bobby, finally free of his confinement, let his displeasure be known with several more loud and growly barks. Tom rolled his eyes and let the spaniel out through the door into the back garden to do his business and terrorize the local wildlife.

The following day’s teaser release and subsequent play announcement were well received, which had been a major relief. The response on social media had been overwhelmingly positive and Tom was more than pleased. Zawe had begun talks to secure her involvement in the show and from what Tom had been able to gather, Charlie Cox was in talks to join as well. Nothing had been set in stone and probably wouldn’t until closer to the New Year, but Tom couldn’t have been happier. He’d known Charlie for years and was glad to at least have the chance of potentially working with him.

His phone had been ringing off and on throughout the day following the official announcement; friends and family sharing their well wishes and excitement. His mother had been particularly thrilled as she could talk more openly about the play now that had it been announced publically. His mother and her enthusiasm had become the stuff of legend in and around Suffolk.

“So someone actually took pity on you and hired your sorry face. I must send them flowers…and my condolences as well,” Benedict laughed. His call had come just after Tom had finished an impromptu afternoon run. He was in desperate need of a shower but hadn’t the heart to tell his friend to buzz off.

“Well,” Tom quipped back. “If they actually hire you on occasion, I figured I would be a shoe-in this time round. And,” he added as an afterthought, “there is a much better chance they can actually pronounce my name.” Ben snorted laughter at the comment which pulled Tom into a laughing fit of his own. “But in all seriousness,” Tom continued once he’d managed to calm himself, “I am ridiculously excited to be able to be doing this. It’s going to be a challenging role and I am looking forward to it.”

“So who are you playing? Robert or Jerry?”

“Robert.”

Ben laughed in delight. “Couldn’t have happened to a nicer guy. And they’ve cast Emma and Jerry?”

“Not officially no,” Tom answered, laughing as well.

“Unofficially?” Ben goaded.

“Zawe Ashton and Charlie Cox, pending availability.”

“Very nice indeed, Mr. Hiddleston. You’re moving up in the world.” He paused, taking a breath. “Hopefully Sophie and I will be able to make it during the run.”

“Don’t feel obligated,” Tom admonished. “I know things are going to be a bit mad with the little one coming.” He had been beyond thrilled, and quietly jealous, when Ben had told him that he and Sophie were expecting again. The baby was due in late January and Tom was well aware that their lives would be chaotic for a least the first few months while their family settled into its new routine. The play would be the absolute least of their priorities. “If you make it, that will be amazing but don’t feel like you must. Honestly.”

Ben laughed. “I have a feeling that by the time your show opens we’ll both be ready for a break and grown up company.”

Tom laughed as well. “I can only imagine.”

A loud scream echoed from Ben’s side of the line. “I’m terribly sorry to cut this short but I need to make sure my sons aren’t killing one another. Sophie will be awfully cross if any damage comes to them in my care.”

“Yes. Yes. Go on, take care of your offspring. Talk to you later.” Tom ended the call and stretched his back, it having started to get a bit stiff. He really needed to make sure he stretched pre and post run now. God, I’m getting old, he thought with a grimace. Tom toed out of his running shoes and took the stairs two at a time, more eager than ever for a hot shower.

—

The rest of November passed in a blur of various appointments and meetings cumulating in an appearance at Tokyo Comic Con. Tom always thoroughly enjoyed being able to attend Asian events, especially fan ones. The welcome he received was always warm and the fan base vocal and tremendously supportive. It made the long flight and horrendous jetlag worth it. And this time had been no exception. He’d thoroughly enjoyed talking with fans and participating in numerous panels. But he had to admit, he was grateful to be going home. He’d joked with Luke about the real possibility of him sleeping for at least a week on the way to the airport.

“Good,” Luke deadpanned back. “Please do. Less chance of you causing me headache.”

The flight home had been a long one, with just enough layover to make his usual jetlag feel a hundred times worse. He’d practically fallen into the car awaiting him at Heathrow and slept all the way home. It certainly wouldn’t do his re-acclimation to British Standard Time any good, but he’d been far too tired to care. How he’d made his way from the car and into the house, he still didn’t know. Nor how he’d fumbled his way from the entry way, up the stairs and into his bedroom. He’d woken late the following afternoon still in his clothes and momentarily unaware of just where he was.

Tom blinked around the room several times before the familiar shapes of his dresser and the door to the ensuite came into focus. Home. He pushed himself upright, a jaw cracking yawn escaping him. He was still tired, still a bit fuzzy-headed, but now that he was conscious he could sense the grime of several hours confined in a small space with far too many people all over him. With a fair amount of effort, he pulled himself to his feet and padded into the bathroom, stripping as he went.

Freshly showered and feeling much more like himself, Tom climbed downstairs nearly twenty minutes later and set about fixing both coffee and food. Plate of egg and toast in one hand and a steaming mug of coffee doctored to his liking in the other, Tom padded into the living room and settled himself on the couch. He let himself revel, selfishly, in the silence of the house.

Bobby was still at Emma’s; she and her husband had volunteered to watch the little devil while he’d been out of the country. Why they’d agreed, Tom still wasn’t entirely sure. And while he’d missed the little bugger, it was nice to be able to eat a meal without having to face those large, pleading eyes. He’d never been able to completely resist them, and he knew Bobby knew.

Tom took his time eating, he had nowhere in particular he needed to be and fully intended to laze about for as long as possible. He pondered actually taking on his ever-growing ‘to-be-read’ pile. It had been ages since he’d allowed himself the luxury of just sitting and reading a book. Yes, he still read as often as was possible, but it was usually during filming breaks when he wasn’t going over lines or blocking or a few moments before falling asleep. Actually sitting about and just reading, that was a true rarity. Possibilities.

Once he’d finished the last of his meal and drained the very last of his coffee, Tom pushed himself to his feet and padded to the kitchen. He contemplated simply leaving his used plate and mug in the sink for later, after all it wasn’t as if he won’t have the time later. But the impulse was quickly abated; his mother would box his ears, metaphorically speaking, for doing such a thing even now. He shook his head and laughed at himself, washing and drying them quickly before heading out of the kitchen and into the main hall.

As Tom made his way down the hall his suitcase and backpack, left carelessly by the door the night before, caught his eye and he groaned. He should take his clothing out and get a load of washing started, knowing if he put it off it wouldn’t get done. With a muffled curse, he lugged the case towards the laundry room, setting it on the floor and sorting through his clothing. He’d gotten a load in the wash and started the sorting of the next when the sharp ring of his mobile echoed from the front of the house.

Tom sighed and padded back into the hall, finding this mobile vibrating and ringing away on the table; Emma’s number flashing across the screen. He had to have pulled it from his pocket by reflex the night before as tended to keep in beside him the majority of the time unless he purposefully needed a break from the outside world.

“Yes, little sister?” he said as way of greeting after he’d grabbed the offending object and slid his finger across the screen to accept the call.

Emma snorted a laugh. “He lives! I was wondering if you’d be conscious and functional yet or not.”

“I do live, the conscious and functional part is debatable. Now what can I do for you?”

A loud, piercing cry echoed through the line and Emma sighed, wearily. “Take my child off my hands for the next…I don’t know…Eighteen or so years?”

“Somehow I think Jack might have a few objections to that idea.” Tom chuckled, padding back into the living room and dropping onto the couch.

“He’ll live,” Emma grumbled. “I’ve got to dash. Just give us a call when you’re ready to swing by for Bobby. And if you want to take Allie with you, feel free.”

“I think I’m good. One adorable yet demanding creature is more than enough for me at this juncture,” he reasoned adding, “And Bobby doesn’t scream” as an afterthought.

“Oh ha bloody ha. See if I agree to help you with anything in future….Allie no, put that down…Alice Marie…Sorry, Tom, I’ve got to go.” The line clicked and Tom let his phone drop beside him on the couch. He scrubbed his face with his hands before standing and heading back into the laundry room. He’d finish sorting his laundry and then call her back, letting her know he was on the way.

The drive across town wasn’t nearly as bad as he’d feared it would be; London traffic being what it was. He pulled his car to a stop in the drive leading to the house forty minutes later, almost reluctant to turn the engine off and lose the heating.  Emma had the door open, his niece on her hip, before he’d climbed out of the car.

“She’s calmed I see,” he called, reaching out to take the little girl from her mother’s arms. She smiled in delight and clung to her uncle, babbling excitedly. “Hello there, angel.” He kissed the top of her head before returning his attention to his sister. “And how has my boy been?”

Emma laughed and shook her head, ushering Tom inside. “He’s been his usual self. Luckily he hasn’t dug up the back garden…again. Only because it’s been so bloody cold.”

Tom threw back his head and laughed. “Well thank goodness for small miracles.”  The aforementioned spaniel, upon hearing his master’s voice, came sprinting out into the hallway, barking. Alice let out a squeal, clapping her hands together and reaching for the excited dog jumping at her uncle’s feet. Tom bent down and gave Bobby an affectionate scratch behind the ears. Alice reached out and grabbed at Bobby’s ears. “No, sweetie. We need to be gentle with the doggy.” He demonstrated by petting Bobby softly on the head. Alice mimicked his motions and Bobby tossed his head up, licking her face. She squealed in delight and wriggled out of Tom’s arms.

Behind him, Tom could hear Emma laughing. “You are a natural, you know?” He turned around, blinking at her in puzzlement. “With kids,” she continued, “have been for years.”

He shrugged, turning his attention back towards his niece and his dog to ensure neither was misbehaving. Alice was contentedly patting Bobby on the head and babbling at him. “So are lots of people.”

“I’m just saying…You are great as Uncle Tommy and I think you’d made quite a good father in your own right.”

“Em.”

“I know you want that, Tom. It’s plain as day to anyone who knows you,” she pressed, giving him a knowing look.

“Of course I want that, Em. I just…Sometimes we can’t get what we want.” He let out a resigned sigh. “Sometimes things just don’t work out the way we want and we’ve no one to blame but ourselves. I’ve come to terms with it.”

Emma folded her arms over chest, “You and I both know that’s a boldfaced lie.”

Tom pushed himself to his feet, turning to face his sister, frustration clear in his eyes. “Just let it go, Em. Seriously.” His tone brooked no argument. “Do you have the rest of his things gathered or do I need to go into the back and fetch them?”

“Tom…” It was clear though that Tom was no longer willing to entertain the conversation at hand. “All his stuff is gathered in the back room.” He gave her a nod and headed down the hallway towards the room in question. Alice who had until that point been contentedly patting Bobby on the head, raised her attention to her mother and inquired, in her own fashion, after her missing uncle. Her mother sighed, “Uncle Tommy’s gone to get Bobby’s things then they are going bye-byes. But we’ll see them again soon.”

Alice pouted at this, “No bye-byes!”

“It’s alright Allie,” Tom spoke, dropping the bundle of Bobby’s things carefully by the door and settling on his knees beside her. “Bobby and I will come back soon. But I think right now mummy and daddy want a little time with just you.” Alice sniffled and grabbed at Tom who pulled the toddler into his arms. “I know, I know.” He kissed her head, and standing, handed the girl to her mother. “You be good for your mummy and daddy okay?”

Emma looked at him over the head of her still sniffling daughter. “I’m sorry,” she mouthed.

Tom nodded and mouthed, “It’s alright.” Picking up the bundle once more, Tom leant down and hooked Bobby’s lead to his collar. “Come on, boy.” He pushed open the front door and led them out into the dark and cold December evening. Bobby had hopped into the backseat of the car willingly enough but throughout the drive home insisted on sticking his nose further and further between the two front seats, nudging at his master’s arm.

“You, my lad, are a menace,” Tom laughed as he pulled back onto the main road and into traffic. The drive home took twice as long as the initial trip. Tom hadn’t been surprised; London traffic was a nightmare, regardless of the time of day. As they sat, Tom’s mind wandered back to Emma’s earlier words. She’d meant well and he’d known it. And he’d hated being so short with her. But they’d had the conversation far too many times over the last few years and he was tired.

There were things he wanted; someone to come home to, a family of his own, the things he saw in the lives of his sisters and friends. And yet here he was inching ever closer to forty and still, more or less, alone. Most days it hadn’t bothered him. He had more than enough to fill his life. He had friends, nieces and honorary nephews aplenty. He had a rewarding and engaging career that he still loved, despite its pitfalls and stresses. But somedays…Somedays that nagging voice inside his head reminding him that he was alone grew loud and became difficult to ignore.

He took a deep breath and forced himself to concentrate on the road before him. Behind him, Tom could hear Bobby’s incessant whining. “Fine, come on up.” He patted the seat beside him and Bobby let out an excited bark and quickly leapt into the front seat where he sat, watching the traffic around him.

                                                           —

Christmas, as always, came far too quickly. Tom had spent the week before scrambling to make sure he found the bits and bobs he’d purchased throughout the year and hidden away ‘for safe keeping’. Why he never bothered to use the same spot twice, he’d never understand. Though, if pushed, he could admit it most likely came from a lifelong habit of trying to hide his things from nosey and inquisitive sisters and later from intrusive school mates.

But he’d found them all in the end, and the evening before he’d been set to drive to his mother’s, Tom sat in his living room surrounded by wrapping paper and sellotape, wondering just what he’d been thinking. Despite his ability to master almost anything thrown his way, Tom had always been rubbish at wrapping and practice, he’d found, made little difference.

Cursing and muttering under his breath, he fumbled his way through. The end results were far from perfect, but they were wrapped. Bobby had taken great pleasure in chasing the loose paper, gleefully tearing it to shreds. Watching this, Tom wisely made the decision to pack the gifts away where the spaniel could not reach. He didn’t think Bobby would actually go after them but experience had taught him that trusting the playful spaniel in that regard was not a risk worth taking.

With a jaw cracking yawn, Tom pushed himself up to his feet. A quick glance at the clock informed him that it had just gone one in the morning. Much later than he’d intended. “Bed,” he murmured to himself. Bobby fast on his heels, Tom climbed the stairs and, after a quick detour to the bathroom to wash his face and brush his teeth, fell into bed.

He set out for his mother’s at a little before noon the following day. Traffic wasn’t nearly as hectic as he’d thought it would be, especially for the day before Christmas. Bobby sat contentedly in the front seat, every so often barking at passing motorists. He had tried, and failed, to keep the spaniel in the backseat and as they left the city limits, he’d relented and allowed Bobby what the spaniel firmly believed was his spot. Christmas music rang out of the speakers, Tom had always had a soft spot for these songs, and found himself humming along quietly as he drove.

It hadn’t snowed yet, which was a blessing. But darkening skies loomed low and threateningly. Tom only hoped it would hold out until he was safely in Suffolk and inside with the hot beverage of his choosing before they broke. His luck, and the weather, held and he pulled into the drive only half an hour later than he’d planned. Bobby barked excitedly as Tom killed the engine, his tail a blur of motion. “Alright, alright. I know you’re dying for a walk.”

Once he was certain Bobby’s lead was tightly fastened, Tom climbed out of the car and darted to the passenger side. Bobby hopped out and took three laps around the front garden before Tom led him back to the car. Pulling his backpack and the bag of gifts from the trunk, Tom headed up the walk and to the front door, the spaniel following closely behind.

The door opened and a chorus of warm welcomes and a loud and enthusiastic “Uncle Tommy!” from his eldest niece, Cora, greeted him.

He was pulled into a tight hug by his mother as he crossed the threshold. “So glad you made it before the weather turned. The thought of you out in the snow in that car…” Diana had made her dislike of Tom’s Jaguar plain from the moment he’d received it as a perk for his appearance in one of their marketing campaigns years ago.

“Mum,” he groaned, unable to mask his annoyance, “It’s a perfectly safe car and you know fair well that I’m a good driver.”

Diana huffed and shut the door behind him. “I’m still not a fan.”

Settling in hadn’t taken long, he’d been placed in his old bedroom and had wasted no time in jogging up the stairs (Diana’s voice echoing after him with an admonishing “no running in the house!”) and dropping his bag on the recently made bed. The room hadn’t changed overmuch in the years since he’d lived in it; a new bedspread had been laid out but otherwise it was still very much the room of his teenaged years. Tom found an odd comfort in that. He returned downstairs and quickly found himself pulled into rolling around the floor with Alice and Cora while they laughed and screamed in delight. He could hear Emma and Sarah behind him, laughing hysterically at his antics.

Dinner was a causal affair that evening, eaten mostly in the living room while everyone chatted and the children played with Bobby, occasionally sneaking him bits of food much to the spaniel’s delight. At quarter of nine the children were tucked into bed with the promise of a visit from Santa if they settled to sleep. He’d been roped into reading several bedtime stories because, according to Cora, “you do all the best voices”. The girls’ parents were quick to agree and so Tom settled on the floor between the two beds and read from the collection of bedtime stories that had been in the house for as long as he could remember.

Once both girls were fast asleep, Tom rejoined the adults downstairs. He took the proffered glass of whiskey from his brother-in-law and settled on the couch. It was wonderful, getting to spend time with his family. He hadn’t seen Sarah nor her family since Emma’s wedding, something he promised himself to rectify in future. They sat up talking until well into the early hours of the morning, though Diana had turned in shorty before ten, and as they finally climbed the stairs to bed he heard Sarah grumble, “Cora will be up at first light and demand everyone join her.” And her husband grunt in response.

Cora was in fact up at just before six Christmas morning. After waking her parents, she’d darted into Tom’s room and woke him as well by jumping repeatedly on the bed yelling “it’s Christmas, Uncle Tommy! It’s Christmas!”

Startled into consciousness, Tom swallowed his heart and grumbled a “that’s lovely” while patting Cora on the back. He heard Sarah snort in amusement from the doorway and shot her an evil look, which only made her laugh harder.  He sat up in time to watch Cora dash from the room, grabbing her mother by the hand and dragging her towards the stairs. Tom chuckled to himself, stretched, and slowly climbed out of bed. God, it was far too early. He pulled on a jumper, as his mother tended to keep the house on the cooler side even in winter, and padded downstairs in search of coffee.

Diana stood in the kitchen when he stumbled in, a steaming mug outstretched towards him which he took gratefully. It was a strong roast, rich and bitter. He drank it slowly, feeling the comforting rush of caffeine through his bloodstream. Gods above, he loved coffee. Excited cries soon echoed in from the living room, beckoning his attention. He made his way into the living room behind his mother and settled into one of the open arm chairs, watching as Alice and Cora were settled before their respective pile of gifts.

The actual present opening portion of the morning lasted all of twenty minutes in Cora’s case. Alice took longer due to the fact she became easily distracted by the shiny paper. But all in all, they had their presents opened in well less than an hour. They saved the adult gift giving for later, once both girls were sufficiently distracted enough by toys to allow them a moment’s peace.

Breakfast and lunch, much like dinner the night before, were eaten in the living room surrounded by bin bags full of wrapping paper. Tom had been drafted into throwing out said bags, very much without his consent he’d pointed out. No one, however, took his protests seriously. After he’d finished lunch and could put off the inevitable no longer, Tom threw on his coat with a grumble and grabbed the bags. Bobby was quick on his heels, sensing walkies afoot. The spaniel was hooked into his lead and headed out into the cold alongside Tom. Once the bin bags were tossed in the bins at the side of the house, they took a quick lap around the front garden then up and down the drive before heading back inside.

He unhooked Bobby from his lead once he’d had the front door firmly shut and the spaniel had shot off back in the direction of the living room where moments later he heard the delighted cries of his nieces. Tom padded towards the kitchen in search of another mug of coffee, or if he was truly lucky, hot chocolate. He found his mother pacing around the kitchen, phone balanced between her ear and shoulder as she puttered around making hot chocolate. Bless her, he thought.

“Oh, dear heart that is fine…Honestly, I know it’s a long drive and a short stop is perfectly fine. I just want to meet that little man of yours…Yes…Alright…Speak soon.” She turned to hang the phone back into its base and jumped when she caught sight of Tom in the doorway. “Goodness, Thomas! You gave me quite a fright.”

“Sorry, Mum.”

“No matter. Now that you’re here you can help me finish these up…And I mean get them ready not sample the lot, young man.” She wagged a reproachful finger at him and he laughed and ducked his head sheepishly. How was it his fault that her hot chocolate was so amazing that he couldn’t help himself? Chocolate was a weakness of his, surely she knew that by now.

Diana shook her head and began passing him the mugs she had started and the various toppings they required. Tom worked dutifully at his task though temptation to sample was strong. “Mum…”

“No, Tom, you may not test them out.” She answered automatically.

Tom laughed. “That wasn’t what I was going to ask, but thanks for the vote of confidence.”

Diana chuckled. “Anytime, my boy. Anytime.” She nudged him gently with her shoulder. “So what was your question then?”

“Who was on the phone earlier?”

“Amy,” Diana answered simply, offering Tom a look of understanding. “They can’t stay for lunch tomorrow, but are going to stop by on their drive home.”

Tom smiled back. “I’m glad they can make it. I know you’ve been dying to meet Henry.” Her eyes narrowed just a fraction, and Tom let out a sigh. “Mum, honestly its fine. What happened between Amy and I is in the past. She’s moved on and so have I. Honestly.”

Diana’s eyes studied his face, an unreadable expression in her eyes. It felt like an age before she spoke, “Then why, my boy, do you look so sad?” Tom opened his mouth to protest but she cut him off with a quick wave of her hand. “Don’t, Thomas. You forget I’ve known you all of your life. I see you. You might have accepted what happened between you and Amy, that I do believe, but I don’t know if you have truly moved on.” She shot him a knowing look. “You haven’t had a steady nor serious relationship since…And what happened that summer doesn’t count.” Diana came to stand beside him, wrapping her arm around his shoulders. “You are my boy and I just want you to be happy.”

Tom blinked up at her, the smile on his face not quite reaching his eyes. “I am…I mean, yes, there are times I wish for things that I don’t have. But doesn’t everyone?” He let out a sigh. “I made some spectacularly bad choices and I’ve learned from them. Things aren’t…Perfect. But they are good. I’m good. You don’t have to worry about me.”

Diana shook her head, “Oh my boy, that’s one thing you still don’t quite understand. I am your mother, I am always going to worry about you.” She leaned down and kissed his head. “No let’s get this drinks out there before the rest of the family starts to riot.”

Both laughing, they worked together to place the mugs onto a tray and carried them back into the living room.

Next

[frankiefellinlove]

I almost cried because I couldn’t attend this event 😔

Report of Archives shown in Asbury Park today

By Stan Goldstein

What a shame this wasn't recorded or filmed or even photos exist yet. The Asbury Park Music and Film Festival photographer was allowed to take pictures of the talk and hopefully they will appear soon.

This was one for the ages. It was spectacular!! Bruce was there. He did a Q&A at the end. Ten videos shown.

Then they had the talk. Thom Zimny and Chris Phillips came out, there was a third chair. Before they started Thom waved to the side of the stage and said "Come out now" and Bruce walked out to a standing ovation.. What followed was an incredible Q & A. It's a shame this wasn't recorded, but I took a lot of notes.

Some breaking news from it.

Bruce said that a DVD/video will be coming out of the full New Orleans Jazzfest show from 2006.

Bruce said that show was "One of his Top-5 live performing experiences."

Bruce also said he would love to see a full Tunnel of Love show come out.

Bruce said a lot of this footage he had never seen before. He said he never saw the clip with Clarence from Buffalo in 2009 before.

Bruce says he's amazed what he can find on Youtube and suggest fans should go there to find some things.

He was very relaxed. Wore a black sweat shirt (sweater? ladies need your help here) with a "5" on it.

Some quotes from Bruce:

"I have lived many lives, many I haven't seen myself," after seeing this footage.

Bruce said they were "superstitious about being filmed in the early days. That's why we never did any TV. We felt that a magician should not look too close at his magic trick."

Bruce then gave a shout out to Barry Rebo who was in the audience. Barry is the one who shot much of the early footage.

Bruce said he was surprised to find out what they have (in the vaults). "I feel glad that Thom was able to dig up this stuff."

Bruce said when they did the filming for "Live in New York City" in 2000 that he felt "he was finally getting over the wall" of not liking to be filmed.

This was after Chris asked him about the Blood Brothers documentary from 1995 being one of the first things being filmed officially.

Bruce had a funny line about being recorded/filmed: "You always think you are more handsome than you actually are and you always think you sound better than you actually do."

Bruce said the 1975 Bottom Line shows "Really changed the life of the band. We were officially contenders. We no longer had to be good, we had to be GREAT! every night." to which many in the ground yelled out "You are!"

Chris asked about doing 10 Bottom Line shows in five days in 1975 (early and late show) and Bruce said they were only an hour-and-a-half each, so it wasn't too bad.

Chris Phillips tried to ask him about the new album but Bruce said he didn't really want to talk about it.

The 10 songs:

1. When You Walk In The Room - Bottom Line, August 16?,1975

One-camera color. Not great quality but who's going to complain seeing Bruce from this era

2. Apollo Medley - Apollo Theater, NYC, March 9, 2012

Chris Phillips asked Bruce about this. It's the clip where Bruce goes up in the balcony and sings from the front, really dangerous.

Bruce: "I don't know what I was thinking when I did that. It wasn't planned, no one was following me. I just said fuck it and I then fucked up the whole arrangement with the band. I was just glad to find some pipes to hold on to. We do perform some death-defying acts."

Bruce also said it was incredible to play there with all the history of the place and it was a great way to break the band in to start the Wrecking Ball tour. Said it was Jake's first show and "there was no pressure."

Bruce also said to Thom that they should put this out someday too. It was all professionally filmed with multiple cameras. This footage was awesome. The look on Patti's face when Bruce was in the balcony was priceless.

3. New York City Serenade, Dec. 15, 1973, Nassau Community College, black and white, two cameras: Rough footagae but incredible.

Chris Phillips asked about David Sancious playing on this. This was the original E Street Band: Bruce, Garry, David, Danny and Vini Lopez. This clip was shown at the Monmouth U. archives event in 2014. A magical clip. David on the piano is spectacular.

"David is one of the most musically talented people I have met and on the planet. His ability to cover everything, he's a master. I loved to have him in the band."

Chris then said "Well there's the elephant in the room. We have some new music and David plays on it and Bruce said "Yea, he plays on some of it. But we don't have to talk about that."

4. My City Of Ruins - Seeger Sessions, Jazzfest, 2006

Pro-shot, multiple camera footage. Great shots of the crowd singing along "Rise Up!" According to Bruce, this whole show will be out at some point.

Bruce: "The Sessions Band was a great band. I want to do that again. It was a great day. The day before we went driving down to the Ninth Ward. Rock and Roll is best when the stakes are on the table and go go against trouble and hard times. It was good to perform there and serve."

Bruce said to come back to Asbury Park now is so great to see how it is doing. He said he feels like the "Ghost of Christmas past" when he walks around

5. Quarter to Three, Bottom Line, August 16, 1975

Bruce asked Thom Zimny who shot this? And Thom told him Barry Rebo.

Great, color, one-camera footage. Bruce is all over the place. Dancing on the center table in front of the stage. Jumping on Danny's organ then going over to Roy's piano. At one point he drops his guitar pick and a fan hands it back to him. Young, classic Bruce at his best.

Bruce said the band was physically and literally half the size they are now back in those days compared to the Apollo footage now. .

6. Promised Land - Freehold, Nov. 8, 1996

A one-camera close up shot of Bruce in color. Not the greatest video but I'm not going to complain.

Bruce said "going back to St. Rose of Lima was tough enough. I did debut 'Freehold' that night.

7. Who Do You Love/She's the One - Tunnel of Love tour, Rotterdam, June 28,1988.

May have been the highlight clip of the afternoon. Hard rocking E Street Band with the spotlight on Clarence. He's at his peak physically and is all over. "The sight of the The Big Man and the maracas" Bruce said with a smile.

Some epic footage of Bruce and Clarence practically making love on stage. You have to see it to understand. The women in the audience particularly liked this clip.

This is when Bruce said "We should put out a Tunnel of Love show."

8. Patti Scialfa doing "Tell Him" from the Stone Pony 10th anniversary show, 1984 with Cats on a Smooth Surface. Nice color, one-camera shot.

"I almost had her here today," Bruce said. "That's the night I met my wife, 30 years ago at the Stone Pony. As I said in the Broadway show, it was the first time I heard her sing. She was playing with Bobby Bandiera, an Asbury Park hero."

Bruce asked where that footage came from and Thom Zimny said Kevin Buell knew someone who had it.

9. Sandy - Dec. 15, 1973, acoustic with Danny Federici, black and white. Nice version but a bit slow. But hey it's classic Danny and Bruce.

Bruce kidded that "I thought I was going to fall asleep at any moment. I went to the bathroom and came back I was still playing!"

Chris asked Bruce a little bit more about "Sandy" and the writing of it and Bruce said "Sandy was when things were just starting to happen for the band. It was a goodbye to Asbury Park. The last night Danny Federici played with us (Indianapolis, March 20, 2008) I asked him what he wanted to play and he said 'Sandy.' The song was appropriate because I wrote it It as the ending of something wonderful and the beginning of something new. We were leaving Asbury Park just as things were changing,"

10. Growing Up - Buffalo, Nov. 22, 2009. With the story of meeting Clarence.

Bruce said he had never seen this clip before. "The story is completely true, all those things. It actually happened. Looking at that, I really miss the Big Man" Bruce said as he and the crowd got a bit emotional.

Toward the end Bruce thanked Thom Zimny, saying "He has allowed us to use this great footage. He's like another member of the band."

Bruce said how he saw a Jean Claude van Damme movie and called Thom up and said "we should look like that for the Darkness taping right on this stage." Which was done in December of 2009, the filming of the band playing the entire album for the box set.

Bruce also commended Thom for his work on "Springsteen on Broadway" and said "Broadway was going well, let's not fuck this thing up!" Bruce kidded that the "magic begins with: 'Do I look great?'"

There was a little bit of talk about the "Night with the Jersey Devil" film and the short movie made from "Hunter of Invisible Game."

Chris Phillips also asked Bruce about the Upstage movie that is being shown tomorrow and what Bruce thought about the original version which he saw in 2017.

"Why am I not in this?" Bruce said. He then did do an interview for it which will be in the new version. He continued: "That last time I walked into the Upstage it looked exactly how it looked in 1968."

Some notes: Cameron Crowe was in the audience as were the Farrelly Brothers.

When I got to my seat, I was told I was being moved. I bought a single ticket the moment they were on sale and ended up in the first row. They told me my seat was going to be used by Bruce and his family. I got bumped up to a folding chair in the pit right in front of the stage. A little tough to watch the videos but right in front of Bruce for the Q&A so no complaints here. As it turned out, Bruce never sat in the seats anyway. He did watch from the side up against the wall of the lower right (facing the stage) orchestra for a bit

The locking up the cellphones thing worked well. In a way it was kind of nice not having a zillion phones up when Bruce was onstage but what a shame that it wasn't record for "the archives", then again, maybe it was. I don't know.

Great job by Chris Phillips. What I liked is he asked "fan-type"" questions, not like how a New York Times or Rolling Stone writer would try to talk about it.

And if you stayed this long, thank you for reading

[augustwash1]

Effective Guidelines to Love Life More Hiding your Cell Phone

Is incredibly regular for people to use somebody else's phone and be the first time. In doing so , were seeking to replicate that initial feeling of independence a mobile phone delivers. A relative in another point out was in the hospital. It was a Sunday evening, and I have been invited into a party. Instead of being away having fun I was sitting in my own apartment, awaiting the phone to call, troubled for reports. It was an associate who lend me his cellphone to make certain I will understand any news as quickly as possible, and in addition, be able to go to the party. There was no reason for me personally to be connected to my landline. We look back again at that occasion, and in addition for wondering at exactly how gracious my pal was in loaning me his phone intended for the night (who would volunteer their mobile phone away nowadays? ), My spouse and i couldn’t stop being amazed at the freedom this cellphone gave me. I had been able to venture out and be social - while still staying accessible simultaneously. This is the kind of freedom mobile phones give. But today our phones are about a lot more than audio calls, and they are no more an optionally available possession. They are really integrated into existence in ways not really their designers thought possible. However screen period is the new sitting in a desk chair all day at a time, which I happen to agree is a poor thing. I have a standing table and it is been a life changer. Industry when we are electronically connected more than ever, yet feeling alot more detached than ever, we are being taught, even cautioned, to minimize the dependence on cellular phones. To actually limit our time in front of screens, to put the phone down and also have a real discussion with someone, face to face. Prevention of gadgets and screen time has become becoming a extravagance item; being able to disconnect from your phones to get an extended time period bestows a status that a lot of us can’t afford or obtain. Do it, our company is told, for your sanity in the event that not humanity, and also for your neck: regularly looking straight down at your mobile phone strains your lower back, which leads to all sort of physical distress. I’ve also experienced repeating stress affliction with my hand from a lot of scrolling, and I could trust my forearm sometimes is painful in a odd place if I’ve applied my cellphone for very long. However can be using each of our cell phones a lot really so bad? Does being addicted to the phones genuinely disconnect all of us from others as much we think? Are not there positive factors for the activities that occupy all of us while our company is clutched to our mobile phones? Whenever we use our phones, can there be something we are missing that individuals would be carrying out otherwise? We get a great deal out of using my own cell phone, therefore no, Really dont want that will put it straight down. The answer is to not be socially shamed into using my own cell phone significantly less. The answer is to make certain cellphone use is hard to kick and beneficial and amusing, not a distraction coming from boredom or perhaps isolating you from sociable or professional settings. It is crucial to be intentional and conscious of how youre using your cellphone, not if you’re utilizing it at all or perhaps too much. The minds are constantly operating, processing our many thoughts, worries, problems, plans. We require a thoughts from all this, but sometimes, life is not so very clear cut. Take those movies. I go, nearly exclusively, into a movie theater which has a strict zero phones, no texting policy. They will put your rear end out if you utilize a phone in the theater. Nevertheless when I was having a friend, in which theater, who was being forever texted by his better half. As it happens her mother was in critical wellness trouble. He wound up leaving the movie to arrange to go to the international airport. As great as an uninterrupted movie encounter is, this doesn’t overcome emergencies if they arise. Couple of experiences with another individual will be as close and developing as a shared meal. (Hang on, I’ll get to love-making in a small. ) If there was ever before a moment once you’d wish to connect with somebody else, immediately, eye to eye, devoid of distraction, it might be over a meals. But, much like almost everything, there could be exclusions. What if, over the course of the chat, you start discussing going on a trip together, or about countrywide parks, or about endangered species? Looking up photos showing your associate can add towards the talk. Successfully Googling a well known fact or reference point can help within your debate. Writing a social media post you found provocative, interesting or perhaps important can be a launching level of a conversation. In those occasions, anyone is not distancing your self or placing something among you and someone else, you are sharing. ver post Believe me, sharing can be a magnificent point. What I’m not fighting is that the two of you should be taking a look at Facebook, independently, without interesting with one another. What I am declaring is that your mobile phone can be a conduit, a guideline, a personal guide for source materials, to bring and aid your chat. In case the focus continues to be on the both of you, the phone is really a prop. If the focus is definitely centered on the device, the gadget is the central magnet and you have shed attachment. The previous is very good, these is not. Each of our phones are a device. How we choose to use this instrument is what give them their particular benefit. You might think the very last place you’d want cellphone distraction could be the bedroom. On the surface, two people resting in bed next to each other, every single with cellular phones in their hands, all but disregarding each other, sounds like one of the most depressing, heart and soul-hurting displays one can easily think of modern life. But could it be naturally poor? If I’m reading the New York Times, what does this matter in the event that I’m browsing the actual conventional paper or the digital version in the device? In the event that I’m examining email, exactly what does it matter if I have a laptop or cellphone? If I am mastering games or otherwise distracted, how much does it subject if I am browsing a book of mastering some game? And in fact, rarely we sometimes glamorize reading in bed jointly? I love studying books, and locate it kind of hot my own partner truly does too. Carrying out that during sex together, then simply talking about what we’re browsing, is a great intellectual turn-on. So with every due value to several investigators, in this case, the carrier is usually not the response. What is important here is certainly not the device by itself, yet the activity you are involved in, either together or independently. There could be togetherness when two people are on their phones, just like there is once reading catalogs. Usually the problem arises when utilization of a gadget supercedes something, or perhaps causes a break up if a point of attachment could otherwise arise. Might associated with your telephones from bed mean more sex? Maybe. Should likewise lead to someone getting out of bed faster in the day time, or perhaps sleeping sooner at night. Although we’re while having sex, did you know that through your phone, you can view movies? Or look at photographs of…. whatever it truly is that arouses you? Or work with software meant to foster dialog or activity with a intimate spouse? The device is a tool. It exists without inherent judgment, qualities or worth. What we label of it is up to us. Should i really need to tell you this? Obviously there are times when you should absolutely never touch your smartphone, starting, surely, with driving a vehicle. (Guilty as recharged: I frequently use the Roadmaps applications in the phone to help me acquire where Im going. It’s not so straightforward, is it? ) I think faith based services must be device-free areas and specific zones, as should particular spaces, like gym bathroom rooms, exactly where privacy needs to be respected. I have a distaste for those who use their phone at the health club; I don’t need to hear your business calls although I’m strength training. Also, I see plenty of people using exercise and workout software on their telephones, showing the issue, that just as before, these types of mini-computers inside our pockets happen to be what we make of them. Should you be one of those people who attend a concert and require saving video footage and shooting photographs the full time, I actually ask how much of that is necessary. Taking joy in the moment for yourself, not merely through a device, is highly advised. But…. have I at any time watched concert footage online taken by somebody else? Yes, I use. A few years ago I was by a golf ball game with my Dad. I have been in the habit of checking Tweets during video games to follow along with the city of followers and media to help boost my connection with the game, and to know more about that which was going on. And that’s great for when watching at home. However I had been there. I didn’t will need that community - I had been with 20, 000 people, and my father. So I set my phone in my bank. I missed the comments. I skipped the details of issues I didn’t see since live, you miss much more than you think.

Yet I was in a position to soak in the surrounding. I had been able to talk to my Dad about what we thought would happen next. And later, at nighttime, when we brought up the game, we all reflected upon so many different occasions, details I might have overlooked had I looked at my own cellphone even more. So almost always there is a trade-off. You will come across moments when the mobile phone may distract you. That muddiness can be a awful thing (when you should be discussing with a loved one) or possibly a good thing (when you’re sad and alone and want something to cheer you up). It can disconnect you (when you avoid another person by diving into social media) or enable you to get together (if you look up a joke to see or employ your cellphone to turn on music to boogie to). Let us not hold our equipment responsible for your condition. A couple, lovers, let’s say, lying down in bed. In a single moment, they are both on their cell phones, lost within their own sides. In the next, their particular phones will be off, for the bedside table. What happens subsequent? Anything could happen. It’s up to the two people included. That’s true whether you may have your telephone in your hand or not. Of course, if you do, you also choose how to use your telephone: in a disconnecting way or possibly a sharing approach. If you’re sense bad or perhaps responsible about being with your mobile phone, guess what happens you should carry out. You really should trust your gut. Is essential to carry the person having the phone accountable, do not blame the product.

[demonjeans]

Hi - I'm Rachel. Nice to meet you. I like your fics. So about your murder mystery post: I'd spent the day prior bemoaning the fact that no such thing appears to exist on a03 and entertaining myself by spinning out some "And Then There Were None"-style drama in my head. What were you thinking?

Hi! Nice to meet ya! Sit down a spell this is gonna be long.

So I’ve been kicking around this idea in my head forever, the original idea growing into something bigger. I’ll probably never get a chance to properly write so here’s a rough probable outline.

Seth is this quiet introvert who goes to estate sale/garage sales and is essentially a collector of dead people’s things. But he treasures these items and they’re very special to him. Then one day he stumbles onto a set of cassette tapes recorded by one Dean Ambrose as a teenager in some diary fashion.

(I think one of the reason I didn’t start this the first time was the release of 13 reasons why and I didn't wanna seem like a copycat. Ask @xshieldsterx  she knows found cassette tapes/recorded footage is one of my damn fave tropes! Tho this story was a lot more comedic when we discussed it way back when.)

On the tapes Seth finds out is huge into horror movies, finds out his name, looks him up. Dean is now a projectionist at a local theater which happens to have weekly horror movie nights. So of course Seth attends and before the movie starts Dean comes out gives a little intro of the movie they’re about to see blah blah.

Seth is in love.

Seth is also fucking terrified of these movies.

Ok ok when does the murder start?!

At some point they start dating. Dean noticing Seth showing up every week. Also noticing he covers his eyes half the time. Seth DOES NOT tell him about the tapes.

I’ve been debating how the murder starts. I think Seth gets a stalker, someone he’s never noticed when going to these sales because he’s so focused on the items. But now he’s not going to as many because he has Dean and maybe this stalker starts leaving notes for Seth. Breaks into his place a finds the tapes.

Some note on his desk “What happens when Dean finds out how much of a creep you are?”

And that’s when the murders start. Copy kills based off the movies Dean plays. Bloody notes on Seth’s bathroom mirror. I’LL MAKE THEM THINK IT WAS YOU.

And that’s the story I will probably never get around to!

[moviemavengal]

If you haven’t seen Spyder, and want no spoilers before you see it, watch this spoiler free review of the film I recorded moments after seeing it.

I warned you ….. SOME SPOILERS AHEAD!!  (but not the whole plot)

The first thing you should know is that I am a Mahesh Babu fan.  I’ve seen several of his films, and my favorites are probably Athadu (killer disarmed by love!) and Pokiri.  Unfortunately, my first Mahesh Babu film in the theater was last year’s flop Brahmatsovam.   It’s been a long wait for the next Mahesh film, over a year.  I think he took the lessons from that flop, and hooked up with a quality director.  My friend Kartik even sent me a quote from Mahesh about that flop:

So anticipation has been sky high for this film Spyder.  Expectations, too.  I felt it was a decent film.  Not perfect, but it had some notable sequences that were unique and something fresh I had not seen before.

I walked out of the theater satisfied, and I was surprised that several young men who cared enough to come to the very first 2 p.m. show were disappointed.  Maybe the hype was so high nothing would have been enough.  They said the second half was not a “practical” plot.  I think they wanted a more grounded story, like Pokiri or Athadu.  From the trailer we could see there would be huge boulder rolling down a street crushing cars — and that sequence was certainly in the film.  The last half felt almost like a disaster movie or a superhero film with buildings collapsing and villains wanting to crush people with huge boulders!  So, not realistic, but it didn’t bother me one bit.

Are all those village Telugu dramas with machete fights with one hero fighting 20 men realistic either?

AR Murugadoss set up a tight cat and mouse thriller between Mahesh and our big villain.  Mahesh is some sort of spy analyst.  I got the sense he worked in the equivalent of the Indian FBI.  He’s monitoring phone conversations ostensibly looking for terrorists and the like, but almost like Minority Report he prides himself on preventing crimes before they happen based on something he’s overheard.  He saves a young girl from being robbed and dishonored by a goon who has convinced her he’s going to marry her out of town.

But then a girl he overhears being scared in an empty house is murdered savagely, along with the woman cop he dispatched to check on her.  And that sends Mahesh into a crisis, and then ultimately on a solo quest to find their killer.

Mahesh Babu, Rakul Preet Singh @ Spyder Shooting Spot Images

In the first half, we get a tiny little romance track with the adorable Rakul Preet Singh. He overhears her discussing wanting a “blind date” and I think wanting a friends with benefits situation (something that maybe didn’t translate fully in the subtitles).  He stalks her a bit, and she confronts him on it.  But she eventually agrees if he’s not in love with her it will be okay for them to go out.  There is a hilarious scene where she tries to explain this to Mahesh’s mother — who warns Rakul Mahesh is shy, just like his father.  “It took four years of marriage for my son to be born!”  LOL

There are a few flight of fantasy songs that show their feelings for each other, and a bit of their relationship.  The first song, Boom Boom, I liked much better in the film, than in the teaser snippets we saw.   That’s the first song, and for some reason has all white girl back up dancers!

When Mahesh goes on a hunt for the killer, he uses a viral video to try to find someone who’s seen him.  This film has a lot of cool use of technology, with scenes of Mahesh monitoring real time cell phone calls, searching through CCTV footage and the like.  It was all very clever, and kind of scary to think how much info these agencies can gather.  There’s a speech in the beginning that the analysts in Mahesh’s office are not to monitor calls for personal reasons, but obviously Mahesh breaks that by listening in and researching Rakul!

The back story of the villain was super creepy and really unique.  I’ve never seen anything like it, as an origin for a sociopath serial killer.  While other reviewers may quibble that this took time away from the main story and slowed down the film, I really liked this segment of the movie.  That kid was a good actor — good at being super creepy and evil!!

There are actually two villains.  Won’t spoiler why, but they were both good.  Bharat is one, but the big bad is played by S. J. Surya.  He was mostly excellent playing this sociopath killer.  There was on interrogation scene where he really gets crazy and it was over the top for me, but especially this scene above with the mask.  Whew!  So good at being evil.

At times in the second half, it felt like he was becoming an over sized super villain like in a comic book movie, though.  Maybe that’s what those young men at my screening were complaining about.  That and the rolling boulder of doom.

The first half of the film was really good, but there were some logical misses in the plot of the second half.  Rakul not telling Mahesh something crucial because she was in a snit with him was egregious.  Really?  You’re not going to help catch the murderer because you’re mad at your boyfriend?  And there were times Mahesh went alone into a situation when it would have been more realistic if he’d had back up.

There was one segment where he fooled a bunch of ladies who were watching a soap into helping him find a fugitive.  It went on for a long stretch and was pretty over the top, too.  But I do have to acknowledge to Mr. Murugadoss that I have never seen the like!

The CGI in a couple of crucial action scenes was not seamless, but I found the roller coaster fight scene incredible anyway.  Just the concept of it alone!  We get a snippet in the trailer but it was really something to see.  The ending has a building collapsing as Mahesh tries to save people.  That was another part that felt like this was a disaster movie rather than a grounded thriller.  But, still, the film didn’t end with the cliched fight sequence in an abandoned factory.

Mahesh has a preachy speech at the end about humanity and helping others without expecting rewards.  A bit long, and kind of a weird note to end the film on.

There’s also some plot holes as to how Mahesh is just going rogue in his job.  He doesn’t follow privacy rules AT ALL and gets all his buddies to just give him info for his solo investigation.  He’s working around the police and just ignoring their efforts.  He also kills one guy in front of a huge crowd, and seemingly has no repercussions at work or otherwise  It was definitely a take the law into your own hands kind of movie.  I was disturbed at that cold killing scene.  Mahesh’s character just has his own morality compass.  He’s the hero, so he’s always right.  Definitely not an examination of two sides like Vikram Vedha.

The background score by Harris Jayaraj was incredible.  It kept the tension taught throughout the film.  I have an issue with thrillers that don’t have good enough music to set the mood (Ahem, Malayalam thrillers….),  This score was a standout.

For the most part, AR Murugadoss has given us an exciting thriller with a great villain.  Mahesh just looks so cool in all the action scenes.  He has a couple of great fight segments.  Even the Boom Boom dance number sort of had fight choreography.  I liked Mahesh and Rakul’s chemistry in the songs and their sweet romance, although that isn’t the thrust of the film.  It’s mainly there as some nice comic relief from the darkness in the rest of the film.

Mahesh reacts emotionally to the death of the young girl and police officer in the first part of the film, but other than that does not show the range of emotion that he has in other films.  It wasn’t there in the script for him to do.  The film did have more of a story than a strictly action film like Vivegam, but didn’t pack the emotional punch I usually like in Telugu films.  Still, I left satisfied that I’d had a good rollercoaster ride of my own.

Another unique aspect to the film is that it was filmed in Telugu AND Tamil.  Mahesh is fluent in both languages, so they filmed each scene twice!  I attended the Telugu version (with subtitles, of course.)

  Movie Review #Spyder with some spoilers by @moviemavengal If you haven't seen Spyder, and want no spoilers before you see it, watch this spoiler free review…

[weekendwarriorblog]

WHAT TO WATCH THIS WEEKEND March 29, 2019  - GODZILLA vs. ROCKETMAN vs. MA

As I mentioned over at The Beat, this is gonna be a doozy of a weekend, one where we can see some interesting things at the box office as three fairly strong movies open against the second weekend of Disney’s Aladdin.

The big (and I do mean “BIG”) movie of the weekend, and one I quite enjoyed was Mike (Krampus) Dougherty’s GODZILLA: KING OF THE MONSTERS (Warner Bros.), which continues the story set in Legendary Pictures’ 2014 reboot and adds new characters, and more importantly, MORE MONSTERS!!! I think there are still fans of Godzilla out there who will want more monsters and hopefully an interesting way to build on the Shared Universe being created by Legendary with next year’s Godzilla vs. Kong. I hope this movie does well enough that they keep making these movies, which I’m sure aren’t inexpensive.

You can read my review of that here, and check out my interview with Mr. Doughtery over at The Beat.

A movie that I was surprised by how much I LOVED LOVED LOVED is Dexter Fletcher’s ROCKETMAN (Paramount), starring Taron Egerton as singer/songwriter Elton John.  It’s a straight-up jukebox musical of a biopic that uses John’s songs as the framework to share his memories with Egerton singing most of the songs himself. He’s absolutely amazing, and I wouldn’t even be remotely surprised if he is nominated and wins in the Lead Actor category, because he gives an unprecedented performance.  (I’m hoping I can finish up my glowing review of the movie soon, but as you can surmise from the above, I loved the movie and I recommend it highly to anyone not interested in Godzilla – but I question those who aren’t interested in Godzilla, too.)

MY REVIEW OF ROCKETMAN

I wasn’t quite a big fan of Tate Taylor and Octavia Spencer’s MA (Universal), a thriller with a fun premise that finally puts Spencer in the spotlight with a leading role. That said, I do feel like it gives way too much away in the trailers. It’s definitely a weird and pretty effed up movie, and Spencer is great, as is the young cast, but it just didn’t connect with me or wow me as much as I hoped. I wish I had more time to write a review, but I will have an interview with Tate Taylor soon. (Honestly, the interview didn’t go great, which didn’t help when I wasn’t that enamored with the film in the first place.)

LIMITED RELEASES

My favorite movie of the weekend, outside of Rocketman, and one of the few I’ve seen is the new film from Denys Arcand (The Barbarian Invasion). THE FALL OF THE AMERICAN EMPIRE (Sony Pictures Classics) seems like a different movie from him, starring Alexandre Landry as Pierre Paul Daoust, a courier who happens upon a botched robbery and ends up taking millions of dollars left behind by the robbers.  Of course, he uses his newfound riches to hire a high-priced escort (Maripier Morin), who he falls in love with, and hires an ex-con imprisoned for money laundering (Remy Girard) to be his financial adviser. Unfortunately, the gang whose money he stole and the police are all looking for the money, and they get very violent with anyone they think might know where it is.  It’s another fantastic ensemble piece from Arcand that has all of his humor but is a bit darker and more violent, and there are aspects of the film that reminds me of the films of David Mamet. Ultimately, it’s quite an amazing fable about how if you help out others (as Pierre Paul does), things will come back to you in return.

Filmmaker Brian de Palma is back with DOMINO (Saban Films), which stars Game of Thones’ Nikolaj Coster-Waldau as a Danish police officer named Christian who wants to get justice for his partner killed by an ISIS member. This puts him into a conflict with a CIA agent (Guy Pearce) who is using that ISIS member to trap others. Sadly, I haven’t had a chance to see this, but it also stars Carice van Houten (from Black Book) and it will be in theaters and On Demand this Friday.

Premiering at Film at Lincoln CenterFriday is Dominga Sotomayor’s Too Late to Die Young (KimStim), which takes place in 1990 as Chile transitions to democracy as seen through the eyes of a 16-year-old named Sofia. The movie premiered at last year’s 56thNew York Film Festival, and Sotomayor will be in town for screenings on Friday and Saturday.

Premiering at the Metrographto correspond with and tie into the theater’s Northern Ireland: Battle of Images series (see below in Repertory) is Donal Foreman’s THE IMAGE YOU MISSED, which goes through thirty years of footage left behind by his late father Arthur MacCaig (who has two movies in the series) and shows never-before-seen images from the war in Belfast, Northern Ireland. I’m deploy interested in the “Troubles” that plagued the area for decades, and I hope I can get over there to see this and some of the movies in the series.

Some interesting stuff at the IFC Center (and possibly other locations) this weekend, including  A.B. Shawky’s Egyptian film Yomeddine, as well Joshuea Riehl’s doc The Russian Five about how a quintet of Russian hockey players helped save the Detroit Red Wings in the late ‘80s. (This has actually played in other parts of the country, but I missed the listing. Sorry!) Richard Miron’s doc For the Birds (Dogwoof) also opens there, looking at a woman named Kathy who has 200 pet chickens, ducks, geese and turkeys. It will then move to the Laemlle Monica on June 14.

New York’s Film Forum gets Gerald Fox’s doc Leaving Home, Coming Home: A Portrait of Robert Frank (Greenwich) starting Wednesday about the famed photographer.

I wrote about Andrew Slater’s doc ECHO IN THE CANYON (Greenwich) when it opened in L.A. last week, but I finally got a chance to watch it before it opens this Friday at Angelika Film Center, and it’s much better than I expected. The film covers the California Sound out of the Laurel Canyon area in the mid-60s, which included the Beach Boys, the Mamas and Papas, as well as the Byrds and others. I was never really into that scene or music so much but hearing some of these songs again in this context gave me goosebumps, as Slater and exec. producer Jakob Dylan, who does many of the interviews, did a fantastic job telling the story of this music scene.

LOCAL FESTIVALS

There’s some great festivals taking place in New York and surrounding areas as well as a place quite a bit away.

Let me start by mentioning that the New York African Film Festival continues on Thursday up at Film at Lincoln Center, beginning with Frances-Anne Solomon’sHERO: Inspired by the Life and Times of Mr. Ulric Cross, about a West Indian lawyer who joined the Pan-African movements in the ‘60s. The Centerpiece of this leg of the festival is Joel Karekezi’s The Mercy of the Jungle on Saturday about the Second Congo War. It’s quite a rich line-up that you can read about at either of the links above.

Next, let’s go down to the IFC Center for the 3RD ANNUAL SPLIT SCREENS FESTIVAL which celebrates the “Art and Craft of Television” with a number of amazing events and screenings, beginning Weds. May 29 and running through Monday, June 3. People who attend can see an early screening of Ava DuVernay’s When They See Us and Deadwood: The Movie (see streaming below), as well as events/presentations for CBS’ Instinct with Alan Cumming in person, as well as Pamela Adlon’s Better Things (she’ll be there, too!) and a special presentation of (S)Heroes: Women of Action.  Check out the schedule, because if you’re into television, there is a LOT of great stuff here every year. (I attended theVanguard Award presentation last year for Sandra Oh, for instance.)

If you don’t mind hopping on a train trip out of the city, you should try to get out to the 5th GREENWICH INTERNATIONAL FILM FESTIVAL, which will present early screenings of lots of movies, as well as panels and presentations with Eva Longoria Baston and Bobby Walker Jr. receiving special honors. Some of the filmsbeing shown include Gurinder Chanda’s Blinded by the Light, Tom Shadyac’s Brian Banks as well as Mads Brügger’s doc Cold Case Hammarskjöld and the doc I Want My MTV. Local animation house Blue Sky Studios has a special panel on Sunday, and there’s also an anniversary party including a performance by Kesha, so this is a pretty big deal.

A bit off the beaten path is this year’s Overlook Film Festival, held in New Orleans, which is becoming one of the must-attend genre film festivals. (Of course, I’ve never attended.) It’s being billed as “a four day celebration of all things horror in America’s most haunted city,” opening with Jim Jarmuch’s The Dead Don’t Die and Tate Taylor’s Ma, but also including a bunch of films that have played festivals like Ant Timpson’s Come to Daddy, starring Elijah Wood, and Peter Strickland’s In Fabric, which both played the Tribeca Film Festival.

Basically, there’s a lot to do this weekend if you’re not busy with some of the movies mentioned above.

STREAMING AND CABLE

I’m really looking forward to the Netflix romantic comedy ALWAYS BE MY MAYBE, which stars stand-up Ali Wong and Randall Park (one of my favorite comic actors) as childhood friends who have an awkward tryst in college and suddenly run into each other 15 years later. The two actors co-wrote the script, it’s directed by Nahnatchka Khan, exec. producer of Park’s show Fresh Off the Boat, and it also stars Daniel Dae Kim (as Wong’s fiancé who breaks up with her) AND Keanu Reeves! Can’t wait to see this!

Also premiering on Netflix Thursday is the Ava Duvernay=directed series When They See Us (premiering a night early at the Split Screens Festival mentioned above) about the Central Park Five.

HBO will premiere David Milch’s Deadwood: The Movie, which I’ll have to watch but only after rewatching the three seasons which ran from 2004 to 2006, which I haven’t watched since then.

I don’t have DC Universe (yet!) but premiering this Friday is the new SWAMP THING series produced by James Wan, which might finally give me the excuse to subscribe to the network so I can see this as well as Doom Patroland other things I’ve been meaning to check out.

Also streaming on Hulustarting Saturday is Ryan White’s doc Ask Dr. Ruth about Dr. Ruth Westheimer, the Holocaust survivor turned sex therapist who celebrated her 90thbirthday last year.

REPERTORY

METROGRAPH (NYC):

This is a huge week at the Metrograph as they’re kicking off an extensive Jim Jarmuschseries with some of his best movies, ranging from his earliest film Permanent Vacation (1980) and Stranger than Paradise (1984) right through his 2016 films Paterson and the Stooges doc Gimme Danger. Jarmusch will be there for select screenings, although as of this writing, it hasn’t been announced which ones. This weekend sees Down by Law (1986), Dead Man (1995) and Stranger Than Paradise.

I’m also intrigued by another new series called Northern Ireland: Battle of Images, a series of docs and shorts about the “Troubles” in Northern Ireland. Sadly, I haven’t seen any of what they’re showing but I generally trust the Metrograph programmers and many of the films in the series only screen once, so don’t miss out.

Late Nites at Metrograph  presents Georges Franju’s 1960 thriller Eyes Without a Face which inspired both John Carpenter’s Halloween and Billy Idol’s hit song, while Playtime: Family Matinees is Jacques Tati’s Monsieur Hulot’s Holiday (1953), which is a great introduction to the French mime-turned-filmmaker. Also, on Wednesday, Metrograph is presenting a new restoration of Derek Jarman’s little-seen 1990 film The Garden (Zeitgeist/Kino Lorber), starring Tilda Swinton, which was never been released on DVD or Blu-ray.  (Tilda will introduce a screening of this Tuesday night as well as be there for a sold-out screening of Sally Potter’s Orlando.)

THE NEW BEVERLY (L.A.):

If I get this up on time, you may be able to see the Weds. matinee of Howard Hawks’Gentlemen Prefer Blondes (1953), starring Jane Russell and Marilyn Monroe. Weds. and Thurs. sees a double feature of Eve’s Bayou  (1997) and Daughters of the Dust  (1991), while Friday and Saturday is a Dorothy Arzner double feature of Dance, Girl, Dance(1940) and The Bride Wore Red  (1937). This weekend’s KIDDEE MATINEE is one of my favorite early Disney movies,The Computer Wore Tennis Shoes  (1969), starring a very young Kurt Russell. Friday night’s Midnight movie is Tarantino’s Death Proof, while Saturday’s midnight is the Canadian comedy Outrageous! (1977), starring Craig Russell – no relation to Jane or Kurt, I imagine. Monday afternoon offers a matinee of Neil Jordan’s Anne Rice adaptation of Interview with a Vampire (1994), starring Tom Cruise and Brad Pitt. Also, Sunday and Monday sees double features of Stanley Donen’s gay comedy Staircase (1969) and John Huston’s Reflection in a Golden Eye (1967), starring Elizabeth Taylor.

FILM FORUM (NYC):

The Jewish Soul: Classics of Yiddish Cinema continues its run with Edward Ulmer’s 1940 musical comedy American Matchmaker. Harold Lloyd is back at Film Forum Jr with his 1923 film Safety Last! with piano accompaniment. Also, the international retrospective The Hour of Liberation: Decolonizing Cinema 1966 – 1981continues over the weekend with the 1969 Brazilian film Macunaima, the Bolivian film Blood of the Condor (also from 1969), Nelson Pereira dos Santos’ How Tasty Was My Little Frenchman (1971), Med Hondos’ 1970 filmSoleil O (which is supposed to get a 4k restoration soon), Perfumed Nightmare  (1977) and more.

EGYPTIAN THEATRE (LA):

TheCassavetes/Scorsese: Love is Strange isn’t quite finished yet, but on Thursday, it continues with Love Streams  (1984) and Casino  (1995).Thom Anderson will be on hand to show his 2003 film Los Angeles Plays Itself on Friday, then on Saturday, there’s a Malcolm McDowell double feature of Cat People in 35mm(1989) and Time after Time (1979). There’s a special FREE event on Sunday for the TV show Good Girls with a panel of the creators/cast that’s followed by a screening of the 1980 movie 9 to 5.

AERO  (LA):

The late French filmmaker Agnes Varda gets a tribute double feature with screenings of One Sings, the Other Doesn’t  (1977) and the 2017 doc Faces Places on Thursday, and then Whit Stilman has a TRIPLE feature Friday for the 25thanniversary of 1994’s Barcelona, along with Metropolitan (1990) and The Last Days of Disco  (1998). Saturday sees a Terry Gilliam double feature of 1985’s Brazil – my all-time favorite #1 film by the way – and 1981’s Time Bandits, and there’s a family matinee of Brian Levant’s The Flintstones  (1994) with Levant in person, celebrating the film’s 25th anniversary. Not to be outdone by Metrograph, they’re showing a double feature of Jim Jarmusch’s Stranger than Paradise  (1984) and Down by Law  (1986) and next Wednesday, there’s a free screening of Jarmusch’s new movie The Dead Don’t Die.

IFC CENTER (NYC)

This weekend, Waverly Midnights: Parental Guidance shows Mary Lambert’s movie based on Stephen King’s Pet Sematary  (1989), Weekend Classics: Love Mom and Dad will screen the classic Kramer vs. Kramer (1979), and Late Night Favorites: Spring will show Dario Argento’s 1977 film Suspiria… again. (Has anyone not seen it at this point?)

ROXY CINEMA (NYC)

The Tribeca hotel-based theater is showing Luchino Visconti’s 1963 film The Leopard in 35mm on Wednesday, Thursday and Saturday, eand then the ‘80s classic The Lost Boys (also on 35mm) Friday.

FILM OF LINCOLN CENTER(NYC):

Ester Krumbachova: Unknown Master of the Czechoslovakia New Wav eends Wednesday, while the reshowing of Sergei Bondarchuk’s 7-hour 1969 adaptation of Tolstoy’s War and Peace (winner of the Foreign Language Oscar that year) will run this week through Thursday.

MOMA (NYC):

Abel Ferrara: Unrated wraps up this week with China Girl  (1987) on Weds., 2005’s Mary on Thursday and then Ferrara’s fairly recent Alive in France on Friday. TheJean-Claude Carrière series also continues.

MUSEUM OF THE MOVING IMAGE (NYC):

The Queens-based theater is also showing Thom Anderson’s 2003 film Los Angeles Plays Itself on Friday (as part of an “Essay L.A.” program), but obviously, if you read above, you know that Anderson will actually be in L.A. that night. Saturday afternoon, Jackie Chan’s Police Story  (1985) is playing as part of MOMI’s “See It Big! Action” series.

LANDMARK THEATRES NUART  (LA):

This Friday’s midnight movie is the Beatle’s A Hard Day’s Night  (1964).

Next week, it’s Universal’s animated sequel The Secret Life of Pets 2 vs. Fox/Disney’s Dark Phoenix! Plus Mindy Kaling and Emma Thompson’s Sundance hit Late Night is also released.

[ruffsficstuffplace]

The Keeper of the Grove (Part 36)

Avalon.

A realm of some of the most powerful wellsprings to be found anywhere in the Aether.

A realm of life and wonders rarely seen elsewhere.

A realm of boundless potential, where your wildest dreams and fantasies have the best damn chance of becoming reality.

You could say that it was pretty much inevitable that you'd have people trying to fuck it up, locals and foreigners alike, which is why all of them tend to have some sort of agreement and organization trying to keep things in check, make sure that no one person or group can grab all that power, and do whatever the hell they'd like with it.

The Humans over at the West and North ends have the Triumvirate Treaty, the Acropolis Accord, and the Armed Forces of Avalon. The Eldan Fae have the Three Truths, and the Orders of the Watchers and the Seekers. The rest over in Celestion and some parts of Sekhmet have their own ways of making sure their streets are nice and orderly, ensure that there's no one actively trying to make it so that there's not a (mostly) free, safe, and sane Avalon tomorrow.

But sometimes, something or someone grows so powerful, so cunning, and so insidious that even if these three get over their differences and in-fighting to join forces, they won't stand a hope in hell of winning.

Sometimes, you need a new force altogether, a band of misfits and outcasts so different they couldn't give a shit about what the other guys are so long as they can help, who are the right mix of bravery and stupidity to charge headlong into danger, and never realize or just not give a fuck about how bad the odds really are.

In those times you need…

The Rune Rangers.

“Wow,” Weiss said, “you have your Uncle Qrow narrating everything?”

“We used to!” Ruby replied, “but now we just have a golem of him doing it, in case he can't be around. I can't sound as cool as him.”

“It's fucking ADORABLE when you do, though!” Yang said.

“Do we really have to him?” Weiss asked.

Hey! I'll have you know that no story of adventure, action, and world-threatening danger isn't complete without a handsome, well-spoken narrator with a sexy, sexy voice.

“I like him!” Ruby said.

“Punching magical bad guys to death isn't the same without Golem Qrow telling me how awesome I was, yeah,” Yang hummed.

<I've learned to ignore him,> Blake said, subtitles of what she said in Nivian popping up before Weiss' face.

“And I think it pays great homage to the inherently ridiculous and over-the-top nature of Rune Rangers!” Penny chirped.

4-1, princess—looks like you lose by majority vote.

Weiss sighed. “Fine. When do we stop being disembodied voices talking over a montage of stock footage?”

Right about… now.

Rune Terra, Somewhere in the Viridian Valley

Our brave heroes hoof it through the grossly incandescent halls of Rune Rangers' HQ, giving their newest member the grand tour.

Weiss and Blake groaned.

Get used to it; Yang's way worse.

“That I am~!”

Ruby was pointing out the various facilities as they passed them by. “… And that's the Training Room, where we can make pretty much prepare for any sort of situation, and also relive awesome battles again; next door is the Theater, where we can just watch them all over again, and sometimes review footage from our helmets' chronicles in case we missed something; and finally we have the Core, where we meet with our Guardian and get told about whatever's going down now!”

FYI, the “Guardian” is whoever gives the Rangers their powers, and makes sure they don't accidentally blow up the realm with them.

“Thanks Golem Qrow!”

It's what I'm here for, Rubes.

“I think you'll really like her!” Ruby said as she put her rune to the door, those big-ass slabs of carved rock sliding open. “After all, you know her already, kinda.”

Weiss shielded her eyes as bright light poured out of the Core, blinding her. A deep, echoing voice rang out from within, the sound of a woman who's replaced her lungs with liquid chocolate—the really good kind.

“Welcome to Rune Terra, Weiss! I, Eluna, formally and heartily welcome you to the Viridian Vanguard.”

The 24/7 light show that is Eluna's hair turns down a few notches, enough for Weiss to actually see her as they enter the chamber.

She stops, stares at her new boss with a dumbfounded look.

Maybe it's the fact that who she thought was just a myth is actually real, and she's not a literal white wolf, but a wolf Fae that also happens to be wearing the fur of a giant Lunar Wolf. (There's a not terrible, awful story behind all that, don't worry!) Maybe it's the aura of radiance, of authority, of power she's giving out, the kind of presence that only comes when you've been training constantly and growing stronger for the past couple of millennia. Or maybe it's the fact that she's about 7 feet tall and 300 or so pounds of pure muscle, flawless skin like caramel, and all her body-fat seems to be concentrated in that kickass rack of hers.

“Golem Qrow!” Ruby yelled.

What? It's true, isn't it?

“Fret not, I'm quite aware that seeing me in person can be a very overwhelming experience,” Eluna said, smiling. Her face turned deadly serious. “But I suggest you recover soon, for we've got a situation on our hands.”

Penny offered Weiss a drool rag to clean herself up with. She can't do anything about your face being on fire, though, sorry.

“Relax, princess,” Yang said, “everyone's got the hots for Eluna! Even asexual golems like Penny.”

“I do indeed,” Penny said. “She's such a fascinating Fae specimen!”

“Why does she look exactly like Guadalupe Garron...?” Weiss asked.

“Because I am her,” Eluna said. “Or more precisely, it's one of my many assumed identities over the centuries.”

Turns out there's something in you humans' brains that makes it infinitely easier to just accept that someone's wearing fake ears and a tail, than them being an animal person, let alone immortal and the actual Eluna.

“Indeed!” Eluna said. “I used to make my disguises much more complex, before I decided to walk into into the Nexus on the Eve of the Ether on a lark, and everyone wanted to know who made my 'costume,' how much it cost, and if they made designs of different animals. And don't get me started on when I lost a look-a-like competition at a convention...

“Talk of my adventures in immortality will have to wait, however, for we've got a much more urgent, dark business to attend to:

“Dr. Nefarious is back.”

A holo popped out of the crystal, the face of your stereotypical mad scientist: nose that puts bird beaks to shame, one eye larger than the other, completely bald, and with a face that looks like he's lived through a couple of strokes.

“Hello again, Rune Rangers!” he said with his awful, terrible voice—seriously, that sound should be illegal.

Weiss groaned. “Stop, stop, stop!”

The whole world around them froze, faded and washed out.

“Something the matter, Weiss?” Ruby asked.

“Are you serious with this villain?”

“Well, uh, yeah! Dr. Nefarious is kind of what we've been using all this time...”

“He looks and sounds like something a 3-year old would make as the Evil Villain of their story!”

“Ruby was actually 2 at the time,” Penny said. “Fae generally mature faster than humans in a lot of ways.”

Yang stepped up to her, looking a little pissed. “You have a better big bad in mind, princess?”

“Yes I do, actually!” Weiss said as she held out her hand. “Temporary admin privileges, please!”

Yang rolled her eyes, and gave it to her.

The world unfroze, colour seeped back in like me at last call for Happy Hour.

“… Or, at least, he was, until the man funding all of his crazy experiments finally decided to show himself,” Eluna said.

“That's quite enough, Dr. Nefarious,” Jacques Schnee said as the camera drone turned to him. “The… Rune Rangers, were you? I've recently gotten word that you've kidnapped my daughter, as you believed the foiling of my expedition was not enough.”

Freeze.

“Wait, wait, WAIT—you're making your own dad the Big Bad?” Yang asked.

Weiss turned to her. “Yes, do you have a problem with that?”

“Only if I can't punch him in the face!” Yang said, grinning.

“You can, but I get first strike.”

“How about we punch him together?”

“Deal.”

“Sweet. I'm starting to really like you, princess!”

<… Me too…> Blake said.

Unfreeze.

“We sent those men and women back to Candela unharmed, Jacques!” Ruby snapped. “Well, mostly unharmed, and it's not like you can't just give them cool robot limbs!”

Jacques scowled. “Those are still billions in equipment, contracts, and medical expenses I'm never recouping! Make no mistake, Rune Rangers: I will not let anything stop me from claiming that Valley and all its riches for the Company and Avalon!

“Not even you, Weiss.”

Weiss winced.

Too real, too soon?

She nodded.

Sorry. Rewind!

“… I will not let anything stop me from claiming the Valley and all its riches for the Company and Avalon! And though I sincerely hope you will come to your senses before it reaches that point, I will do my best to get you away from these terrorists, and back where you belong:

“Here, in Candela, safely in your room, and under the watchful eye and guidance of your father, like every child should be.”

Weiss scowled. “I'm never going back to you!”

Words in Nivian with an Actaeon translation popped up in front of Blake's face. She spent a few moments reading them, before she said, “Yeah! You... better close up shop while you're still in the black, Zhock, because we're fur… far… forecasting big lossesses in your next quarter report!”

Freeze.

Blake sighed, her ears drooping. <I was terrible, wasn't I…?>

“Terrible is right!” Weiss cried. “Those puns were awful!”

“Hey!” Yang yelled. “I worked hard on those! Legitimately!”

Blake blinked. <You mean I didn't totally butcher what I just said...?>

“You kinda really did,” Ruby said.

<Oh.>

Weiss put her hand on her shoulder. “Look, how about the next time I'm learning Actaeon with Penny, you help me, and in exchange, we help you with your Nivian?”

Blake smiled. <Sure.>

“Great! And to start you off, you can try saying this instead...”

Unfreeze.

Weiss scowled. “I'm never going to back you!”

“She's not your propereey, you monster!” Blake cried. Her eyes darted to Weiss.

“Close enough,” she mouthed.

“True, but she is still my daughter, and until the day she turns 18, the Acropolis Accord states that is my legal and moral responsibility to keep her away from corrupting influences like you.”

Yang snorted. “Hah! Like you're the poster-boy of Good Behaviour...”

Jacques scowled. “I tire of this. My second expedition into the Valley is just about to arrive—I suggest you surrender my daughter, and step aside before they have to mow you down, too.”

The holo disappeared as alarms began to flash.

Eluna frowned as she pulled up a map of the Valley. “I'd suggest you all hurry, this group looks MUCH better armed than the first.”

“We'll take care of it, Ellie!” Ruby cried. “We're the Rune Rangers, we've got this!”

Eluna smiled. “I know you do.” She walked over to Weiss, a frown on that pretty face of hers. “Weiss, I am so sorry your first mission pits you against your own blood...”

“Don't be; I've always wanted to stick it to my father in a way he can't ignore.”

“Then do not let your rage cloud your judgment,” Eluna snapped. “It'd be DANGEROUSLY ironic if our Sapphire Ranger, the embodiment of Wisdom, does something incredibly stupid in the heat of the moment.”

She pressed a sapphire gem into her hand, funky symbols carved into its face.

“This Rune is but a key to the power that lies within you, Weiss—within all of you. Guard it well, for it has been far too long since it has had an owner.”

“Wait, what?” Yang said. “What happened to Lifi?”

Eluna's face contorted in confusion. “Who is this 'Lifi' you speak of?”

Yang slowly turned her eyes over to Ruby, who was totally, absolutely acting completely natural standing there stock still, beads of sweat slowly dripping down her face.

“Who is Lifi?” Weiss asked, looking at her, too.

“'Lifira' was what we named the golem we used in place of a fifth member, should Ren or Nora not be available,” Penny explained.

“Yeah, and we totally don't need to use her anymore since we've got Weiss now!” Ruby yelled. “How about we all teleport out of here, guys?” her rune appeared in her hand. “That new expedition could be trying to find some parking spots in shade like right now!”

Yang grabbed her wrist and stopped her she could raise her arm all the way into the sky. <Oh, Ruby... my dear, darling little sister Ruby, you are not getting out of this that easily~!>

<CAN WE PLEASE NOT?!>

<Nope!> Yang chirped. She turned to Weiss. “Weiss, get ready to meet your predecessor, the former Sapphire Ranger who is also totally not Ruby's golem girlfriend:

“Lifira!”

A flash of blue light appeared, spiraling downwards around a figure who was quickly forming back into existence…

“Hi!” a pale-skinned, white-haired, amethyst-eyed human girl about Ruby's age said. “My name's Lifira, but you can call me Lifi! Nice to meet you.”

[newyorktheater]

  Taylor Blackman as Emett Till, in the musical “Till”

The three shows reviewed below from this year’s New York Musical Festival are all, each in its own way, naïve…or one of the near synonyms for the word naïve, each of which offers a different spin — a different judgment — on the same quality: innocent, fresh, childlike, simple, unsophisticated, ignorant.

  Leaving Eden

‘Leaving Eden” tells the Adam and Eve story with a twist – two twists.

First,  the couple has been expanded to a threesome, adding in the character Lilith. Lilith is not in the Bible, but the Lilith legend was so popular that her image is included both in the Sistine Chapel and Notre Dame Cathedral. Lilith is said to have been Adam’s original wife, born of the same earth as he, but she refused to be subservient, so she was banished, and a far more pliant Eve was created out of Adam’s rib.

As this story unfolds, “Leaving Eden” pairs it with a parallel modern-day story of Adam and Lilith, who are a couple, and Eve, who is their lesbian friend. If I understood correctly, modern Lilith recently had a miscarriage, followed by a hysterectomy. Now, after a period of mourning and looking into adoption, Lily and Adam enlist Eve to be a surrogate mother.

The promise of the added Lilith was intriguing enough for me to see a show I normally would have avoided.  To be upfront about it: I could live a happy life free of regrets if I never again saw a new show inspired by the stories of Peter Pan, Frankenstein, or Adam and Eve. Each coincidentally – or maybe not coincidentally – focuses on naïve/innocent/ignorant characters.

I wish I could report that “Leaving Eden,” with a competent score by Ben Page and book and lyrics by Jenny Waxman, made me overcome my aversion. But the script has some awful writing — forced rhymes, unintentional howlers, awkward couplets like

  Why are man and woman in two different factions? Why are naughty bits more critical than the spirit of our actions?

And the presence of Lilith did nothing  to reduce the faux-naïve coyness that afflicts so many of these “In The Beginning” stories. Their Nautilus bods discreetly draped in Tarzan and Jane attire, Adam and Lilith sing as if they’re Dick and Jane:

And I saw some good, and I saw some bad and I met creatures that made me feel happy and sad

Together they discover rain, and fire  (“It is good… but sometimes… fire is bad. So is it good or bad?”/”It is…well, I guess it is both?”), and learn the meaning of death. For the first time, they experience dreams at night…and sex. Lillith realizes she doesn’t like being on the bottom all the time, and sings some double-entendres that are less clever than crude:

  I wanna try it on top

I’ll till your share of the crops

I’ll use your tool if you’ll drop it

You’ll beg me never to stop…

The modern-day scenes, which more or less alternate with the ancient ones, at first held my attention. I wanted to know what would happen next, and it struck me that “The Joys of Parenthood,” an ironic song in which the characters imagine their future bratty kids,  suggested what the musical could be like if the modern story were more developed. But the creative team seemed to tire of the story they were telling, and “Leading Eden” dissolves into the musical equivalent of speechifying by Ancient and Modern together, facing the audience and looking grimly triumphant.

Leaving Eden ended its run July 21.

  Till

I saw “Till” on the day that Emmett Till would have celebrated his 78thbirthday. Instead, he was murdered at the age of 14,  the victim of inarguably the most famous lynching in the history of the United States.

A six-member all-black cast sings the gospel-inflected score by Leo Schwartz, with a book by Schwartz and DC Cathro that tells the story of Emmett Till starting shortly before his visit to his relatives in Money, Mississippi.   We first see Emmett (impressively portrayed by Taylor A. Blackman) in Chicago as a church-going, fun-loving teen, something of a clotheshorse and a prankster, but devoted to his mother Mamie (Denielle Marie Gray.)

Meanwhile, Carolyn Bryant,  introduced in her husband’s General Store in Money, Mississippi, is shown talking about the Marilyn Monroe movie “The Seven Year Itch” with her sister-in-law. Later we meet her husband Roy, who’s gruff and adulterous  (All three wear odd half-masks and white gloves to indicate that their characters are Caucasian, a costume choice that feels like a mistake.)

It’s only in the last 20 minutes of the 90 minute musical that we see a version of the events (the details of which are still much disputed 64 years later) that led to his death. Emmett buys gum from Carolyn Bryant in her store, putting the money in her hand rather than on the counter, and then goes back outside to hang out with his cousins, who are playing a game of checkers. Unnerved, Carolyn goes out to her car to fetch her gun, at the same time that Emmett lets out a whistle. The other black teens panic.

“You whistled at a white woman, Emmett! “ his cousin Maurice says.

“I did not,” Emmett replies. “I whistled at the game. Besides, what does it

matter? What if I did whistle at her? She never been whistled at?”

“Not by a colored boy! It matters down here, Emmett. “

Roy eventually finds out, and, enraged, goes to Emmett’s uncle’s house, and drags Emmett away, hands bound.

Back in Chicago, Mamie gets a phone call, and collapses.

The musical ends with rousing back-to-back numbers, Mamie singing “I Want Him Back,” where she insists on an open casket to show his brutalized body, and then “Come and Follow Me,” accompanied by the ensemble in choir robes, in front of a series of projections – portraits of  Rosa Parks, Medger Evers, Martin Luther King Jr., and Barack Obama. Cast members briefly portraying each of these real-life figures recite quotes about Emmett Till. (MLK: “The

death of that child had a profound impact on my life…” )

Why is Emmett Till so important? Why does his lynching so stand out from the reportedly more than four thousand in the country over some 60 years before his?

The answer to that question strikes me as the heart of the Emmett Till story, and the reason why a stronger and more sophisticated musical could surely have been written that begins with his lynching rather than ends with it, replacing some of the mundane scenes and songs of the Tills’ everyday life (which can feel like filler) with the rich details of the aftermath.  We don’t learn in “Till,” for example, that his two killers actually went on trial – not usual for a lynching in the South — but were then acquitted by an all-white jury….and then a year later, they sold their story to Look Magazine, confessing to the killing.   We don’t see what is evident in old video footage of Mamie Till in Civil Rights documentaries — her strength, dignity and resolve as she attends the trial, and calmly, straightforwardly answers questions from unsympathetic Southern interviewers. The story of Emmett Till is really as much the story of Mamie Till as it is of her son.

Till will be performed one more time, today, Sunday, July 28 at 9 p.m. at Signature Theater Center

  Flying Lessons

Isabella, a bored, smart eighth grader, is assigned a final paper for the school year – write about an inspiring figure from history.

”Like, how am I supposed to choose someone who inspires me when I don’t even know who I want to be or what I want to do?”

Suddenly, two choices appear before her, as in a dream – Amelia Earhart and Frederick Douglass. Over the course of “Flying Lessons,” the two narrate and re-enact their respective stories, interspersed with scenes of Isabella’s fights with her mother  and her life at school with her classmates and teacher Ms. Young.

There is much that is wonderful in this show, including a soaring, eclectic score by Donald Rupe and Cesar De La Rosa delivered by a terrific nine-member cast.  I hope and expect that “Flying Lessons” will take flight in the future, in one form or another. But it needs to be rethought.

Book writer, lyricist and co-composer Donald Rupe began “Flying Lessons” in response to a grant to produce a show for the eighth grade students of Osceolo County, Florida. This is how I know that Isabella is supposed to be in eighth grade. Otherwise, it wouldn’t be clear.  The dynamics of Isabella’s tensions with her mother, as well as the hopes, fears and (G-rated) sexual awakenings of her three solidly etched classmates make the show seem geared for high school or older. But sometimes the characters are so naïve and the tone so childlike that it feels a better fit for elementary school.  At the performance I attended, I talked to the parents of a six-year-old, who loved the show so much she was there for a second time.

Similarly, the show is divided into three distinct storylines, maybe four, that are sometimes an uneasy fit. It seems just odd that the stories of Earhart and Douglass are shoehorned together. In a musical called “Flying Lessons,” wouldn’t it make more sense to pair Earhart with, for example, the real-life women from the movie “Hidden Figures” who worked for NASA, or other female aviation pioneers?   And the stories of the historical figures can feel like an interruption to the scenes in the classroom,  which are funny and touching and don’t focus on Isabella.

The best solution may be to split up “Flying Lessons” into separate musicals – one telling the story of Amelia Earhart (and possibly other aviation pioneers), another Frederick Douglass, both 30 minutes long and aimed at young children; a third about Isabella, her mother, her teacher and her classmates, aiming for a higher age group.

Flying Lessons will be performed one more time, today, Sunday July 28 at 5 p.m., at Signature Theater Center.

NYMF Reviews: Leaving Eden. Till. Flying Lessons. The three shows reviewed below from this year’s New York Musical Festival are all, each in its own way, naïve…or one of the near synonyms for the word naïve, each of which offers a different spin -- a different judgment -- on the same quality: innocent, fresh, childlike, simple, unsophisticated, ignorant.

[mrmichaelchadler]

Short Films in Focus: The 2019 Oscar-Nominated Short Films

Once again, Pixar, kids in peril and refugees populate the Oscar-nominated Short Film landscape. And once again, Shorts TV will be bringing you the opportunity to view all fifteen films before the big show on February 24 (either streaming or in theaters). 

This year’s batch feels mighty familiar with many of the usual kinds of selections, but there are some shorts within each category that nicely compliment one another. The documentary “Black Sheep” and the narrative “Skin” would work well together on the same thematic bill, as would the animated “Late Afternoon” and the live-action “Marguerite.” Nobody on the programming end plans that, of course. But many of the films here are worth being plucked from obscurity and discovered by a curious audience. 

"Detainment" / ShortsTV

Live-Action Shorts

“Detainment” - On one hand, under normal circumstances, I’d be surprised if this didn’t win the prize (simple, English-speaking films tend to), with its harrowing true story and irresistible thriller elements. On the other hand, why drudge up such an unpleasant event if there is nothing to say about it other than pointing out the age of the two boys who committed an unthinkable crime? "Detainment" has courted quite a bit of controversy from the real-life parents who were never consulted for the film, along with many other Britons who feel the film has no business existing in the first place. Nevertheless, “Detainment” is hard to shrug off, especially given the two strong performances by the young leads, Ely Solan and Leon Hughes, as two boys being questioned in the disappearance of a toddler. 

“Fauve” - Every year, it seems this category has to have at least one film with kids in peril. This year, we have four. The film follows two boys playing an innocent game in a salt mine until tragedy strikes. Unlike the watchable, but ham-fisted “Detainment,” “Fauve” has a subtler, more poetic approach to how tragedies occur between minors who have yet to grasp what nature can do and how unforgiving it can be. The performances here are equally strong and Jeremy Comte’s assured direction gives the viewer a true unsettling feeling at the end that might linger for some time. 

“Marguerite” - Another French-Canadian entry (like “Fauve”), this film tells a gentle tale of an aging woman’s relationship with her nurse and how it brings back pangs of regret. While it may not be a big attention-grabber from the start, Marianne Farley’s “Marguerite” unfolds beautifully while giving the viewer a true feeling of how time slowly passes for this woman and just how long she’ll have to live with the choices she made in life (or the choices made for her). The ending is undeniably moving, achieving an arc that works perfectly for the short film format. 

"Madre" / ShortsTV

“Madre” - This is technically another kids in peril film, but we never see the kid and the peril is left to our imaginations. A mother (Marta Mieto) receives a phone call from her six-year-old son who has been spending the weekend with his father in France--his father has disappeared and the boy is left with nothing but a cell phone with low battery life. This one-take wonder will keep viewers riveted and the believable interplay between Mieto and her mother (Blanca Apilánez), who is with her the whole time, adds to the tension. "Madre" is a mostly terrific little thriller that ends on a silly note with its unnecessarily flashy and distracting closing credits. 

“Skin” - The kids in peril in Guy Nattiv’s film are the sons whose parents have different ways of teaching their kids a lesson, after a scuffle between a gun-toting neo-Nazi (Jonathan Tucker) and an innocent black man (Ashley Thomas) brings about a revenge that most can only dream of. Nattiv does a magnificent job of playing up the fact that the future of gun-toting Nazis will carry on into the unforeseeable future as long as small-minded lessons keep getting passed down to their kids. Will the child take away the right lesson from this tragedy? Hope comes in the form of his more mild-tempered mother (Danielle Macdonald from “Patti Cake$”), but even then we can’t be sure. This is my favorite of the five nominees, with “Marguerite” being a close second.

"Animal Behaviour" / ShortsTV

Animated Shorts

“Animal Behaviour” - Alison Snowden and David Fine’s short about an animal-based group therapy session has cute moments, but is hardly worth being put in the Top 5 Best Animated Short Films of the Year list, as this category would indicate. Some films just get lucky, I guess. It’s harmless and the animation gets the job done, which is not much to say. The movie loses its potential for a young audience once the animals start talking about their sex lives, which could cost it a win, since the award always goes to the most kid-friendly film.

“Bao” - Pixar’s entry [pictured at the top top], which played before "Incredibles 2," has grown on me with repeat viewings. Domee Shi’s film no doubt left many viewers thinking, “Well, that was nice, but ... huh?” “Bao” is better left unexplained. Enjoy it for what it is, a journey through the ups and downs of parenthood, no matter what the child turns out to be, culminating in an emotional climax that bears the Pixar trademark, one that is rarely duplicated. 

“Late Afternoon” - Louise Bagnall’s lovely journey through a woman’s past snuck up on me. The seemingly unremarkable animation gives way to big, colorful, dreamlike sequences through childhood and adulthood memories experienced by Emily, now elderly and about to make another change in her life. This would have been nice to see on a big screen instead of the screener I had. 

"One Small Step" / ShortsTV

“One Small Step” - Now here’s a film that does belong on the list of nominees, and is my personal favorite. There is a recurring theme this year of animated shorts that sum up a life’s worth of experiences in 10 minutes or less, but this one follows a woman who dreams of being an astronaut and her father who is always there for her. Maybe it takes a few easy routes to get there, but the emotional climax landed in a big way for me. I loved it.

“Weekends” - With the exception of “Animal Behaviour,” this year’s animated crop is rich with visual storytelling, and Trevor Jimenez’s film is a prime example of the art form’s true capabilities. A boy goes back and forth from his mother’s simple, penny-pinching household to his father’s bachelor pad where he has all the latest video games and gadgets. The fun eventually gives way to emptiness, but not with Jimenez’s film, which gets richer as it progresses. Along with having a moving and confounding conclusion, the film makes the best use of Dire Straits' hit song, “Money For Nothing.” 

"Lifeboat" / ShortsTV

Documentary Shorts

“Lifeboat” - Much like last year’s short-doc winner “The White Helmets,” Sky Fitzgerald’s beautifully constructed documentary focuses on a non-profit organization that aids in providing a rescue for refugees. Here, the rescue takes place at sea as the German-based group Sea-Watch provides aid to Libyan citizens fleeing war, famine and torture in hopes of a better life. The central figure in the rescue, a good-hearted Englishman named Jon Castle, laments that not all will turn out well for these people once they reach the shore, but rescuing them is necessary for all humanity, for one day, they could be us and that all citizens “are our fellows.” Fitzgerald’s film is not so much about the urgency of the rescue, so much as it is a reminder of the different faces and expressions of the people being rescued and how each of these faces tell a different story. We have seen images of hundreds of refugees crammed onto a raft before. “Lifeboat” makes a point of humanizing each and every one of them. (Click here to watch "Lifeboat") 

“Black Sheep” - Some may scoff at just how much of this film is just reenactment, but they would be foolish to let such technicalities spoil the richness of the story being told here. Subject Cornelius Walker tells the viewer a tale of how he survived moving to an English town where racism ran rampant and how he became the victim of it, how he survived it and how he came to terms with the violent streak that ran in him as much as the people he feared. Director Ed Perkins shoots the reenactments with a shaky-cam aesthetic that feels like puzzle pieces of a memory that has a hard time coming together, which fits with a moment in which Perkins asks Walker if he has regrets, a question that causes Walker to go speechless for the first time during the story. This is a complex and beautiful film about how to see an enemy in a different light by having the survival instinct to step into their shoes and come to terms with your own demons. (Click here to watch "Black Sheep")

"A Night at the Garden" / ShortsTV

“A Night At the Garden” - Filmmaker Marshall Curry seems to have broken precedent by making an Oscar-nominated doc-short that only runs just under eight minutes. It consists of found footage of a pro-white America rally that took place at Madison Square Garden in 1939. There, a speaker got up and drew rounds of applause as he deemed to media and the Jewish people as the enemy. A protester was violently dealt with and ushered out of the place, to the delight of all who attended. Sound familiar? That is basically the conceit of this piece, though Curry is smart not to draw direct parallels by spelling anything out. Its release in 2018 says enough. (Click here to watch "A Night at the Garden")

“End Game” - It’s hard not to be deeply affected by Rob Epstein and Jeffrey Friedman’s documentary about cancer patients and their families facing hard choices about how and where to spend a loved-one’s final days. The medical practitioners’ sole focus is to help the patients deal with the human element of dying, how to cope with the inevitable and make peace with it. “Hospice” is a dirty word for many and the film depicts one family determined to have their matriarch die in their home and not in a hospital. The lifeforce (so to speak) is a woman who has ovarian cancer, but has a deeply optimistic outlook on the hand she has been dealt. Epstein and Friedman’s film proves that a great film about death can also be a great film about life and “End Game” is that film. (Available on Netflix)

“Period. End of Sentence.” - This documentary examines the lack of education men and women receive (especially women) in a small town in India where the mention of menstruation draws blank stares from many citizens who have no concept of what it means. One woman wants to become a police officer “to avoid marriage,” so she teams up with a machinist who manufactures a superior tampon and then enlists the help of many women in her village to go door-to-door to try and sell them. Rayka Zehtabchi’s film is energetic, sometimes funny and very necessary in its cause to bring more education and awareness to parts of the world that still look at women’s biology with a medieval eye. This will be a likely favorite with voters, and for good reason. (Available on Netflix)

from All Content http://bit.ly/2UMty50

[justinmoviereviews]

The Class of 2017

This one is starting early, inspired by my least favorite movie of the year. I’ve got a bunch more on my list I’ll get to at some point.

Strong Island - Yance Ford

I don’t watch documentaries, but of the three I saw from last year this portrait of a family’s grief was my favorite. Because it was visceral and simple, catching a family as it processes the death of its oldest son, and then learns the circumstances surrounding why his murderer was never charged.

Columbus - Kogonada

It’s not just the architecture, which is fantastic throughout--every shot is set up to look as striking and pretty as it can, like a movie that was filmed entirely inside the Met.

Last Men in Aleppo - Feras Fayyad and Steen Johannessen

I’m not gonna say anything bad about this movie. I’m not a lunatic. It’s not an easy thing to see real footage of dead babies, but one of several interesting things in this documentary is how these guys go from digging bodies out of rubble to attending a wedding. Life goes on, it turns out, even in a place like Syria. These are people who fantasize about going to Turkey, but recognize that they’d be greeted with resentment and bigotry there, and anyway feel a responsibility to stay in their homeland. Their happiness comes from being with their friends, and occasionally planting trees, or buying some pet fish. Their day job is rescuing people from random air strikes perpetrated by their own government. They’re legitimate heroes, and Bashar al-Assad is a legitimate monster. One funny thing, the user score for this movie on Metacritic is a bizarrely low 3.3, with a handful of reviews that accuse it of being Al-Qaeda propaganda. The reviews are written by people with user names like MetacriticSuccs, so credit to the Russian cyber agency for their thoroughness.

Detroit - Kathryn Bigelow

Kathryn Bigelow has become the master of telling macro stories about chaos. The first half hour about how riots turned Detroit into a war zone are perfect--maybe her best contained piece of filmmaking yet. When this movie settles into its plot--about how a bunch of racist cops tortured a group of black people in a cheap hotel--it’s such a natural extension of what she’s good at that it doesn’t feel like it all takes place in a single location, even though it does. As the night wears on you start to realize that in black cities like Detroit police were and maybe still are barely disguised domestic terrorists. When a character asks someone “will we be safe?” she’s referring to the cops, but she might as well be referring to the villain in a horror movie. This one shoulda got a lot more attention.

Personal Shopper - Olivier Assayas

I’ll start with a criticism: Kristen Stewart is really bad here. I actually think she’s a great actress, but here she’s a collection of her worst impulses: tics and stuttering, like an SNL parody of her. It’s actually not much of a liability though, because this is a movie that’s entirely about events and mood. I’m like six viewings away from understanding what the hell is going on in it, so here are just some thoughts: the movie does away with any ambiguity about whether ghosts are real. They’re all over the place, haunting houses and generally causing mischief. But the clarity on an afterlife does nothing to explain the plot of this movie. The bulk of it takes the form of an extended conversation over text between the main character and a mystery presence. It’s never explained whether this presence is haunting her or helping her, if it’s a ghost or a person or a figment of her own imagination. I half-heartedly entertained a theory that it was the boyfriend of the woman she worked for her screwing with her, which would make enough sense to be plausible, but not enough to provide the movie with any sense of resolution. Basically I have no idea what Assayas is trying to say, or what any of this means. I don’t know if I’m supposed to. It doesn’t matter. This movie is creepy as hell, and incredibly, superlatively good. 

Lady MacBeth - William Oldroyd

This movie is called Lady MacBeth because it’s essentially a retelling of MacBeth, if his wife had been more willing to get her hands dirty. It looks and feels like a period drama about a marriage arranged between families for financial reasons and a resulting affair of passion, but it never actually is that. From minute one it’s pitched at such a tense, bizarre level, that when Mrs. MacBeth switches from a sympathetic if inscrutable kept woman to a full out psycho, it’s not all that unexpected or surprising. It’s still heavy though, because MacBeth is a heavy play. And this movie absolutely lives up to that ambition.

The Florida Project - Sean Baker

Sean Baker’s last movie was about two black transgendered prostitutes in LA--a demographic that to my knowledge has never been the focus of a movie before--and rather than ask his audience to pity them he just told a story about them. It worked so well for me because it never felt like he was trying to please the cultural moment. He just realized this was an underreported American vibrancy. Here he takes a slightly different approach. Everyone and their mother has taken a stab at American poverty, but Baker manages to tell a story about adults living in harrowing conditions from the point of view of children who don’t realize their situation is difficult and so don’t feel any difficulty. Actually, now that I think about it, they are pretty similar. Both movies are about how daily life can keep the sadness about one’s condition at bay. For the prostitutes in Southern California, it’s whatever workaday stuff they have to deal with at any given moment. For the left behind margin-dwellers in this movie, it’s either children or childhood.

The Beguiled - Sofia Coppola

90 minutes on female horniness and the color white. Who says no?

Beatriz at Dinner - Miguel Arteta

You’ll forgive me for thinking this was going to be the cringe comedy it was billed as, with a Trumpian bent as a casually racist rich old guy makes increasingly inappropriate comments to an unexpected Mexican houseguest. But in retrospect, doing that would have put the onus on the Mexican to be uncomfortable, and that’s not what this movie wants to do at all. Instead she spends the whole night making everyone else deeply, cringingly uncomfortable. Which makes this movie much more interesting than the one it was billed as. 

Gerald’s Game - Mike Flanagan

I’m going to reiterate an earlier point, which is that for a basic bang for your buck, it’s hard to do better than well made low budget horror flicks. Get Out may win the best picture Oscar, but at it’s heart it’s really just a best case scenario for what these movies can be--fast, fun, small, structured around really good ideas. They’re the best playgrounds for smart filmmakers. Gerald’s Game includes a scene near the end in which a woman rips the skin off her entire hand--a scene that stressed me out more than my first first date--but ignoring that I could easily watch it 600 more times. The most watchable movie since, well, Get Out.

Roman J. Israel, Esq. - Dan Gilroy

Here’s a not terribly controversial opinion: Denzel Washington is the greatest movie star of all time. Who’s better? Jack Nicholson maybe? Cary Grant? His total comfort in front of the camera, his powerhouse intensity, his towering presence, the way words roll out of his mouth like a waterfall from the fountain of youth. He’s been doing this shit now for four decades, and none of his movies are less than good. He is the king. I mostly loved this movie. Completely ignored by a general audience, I thought the trailer looked great and was disappointed it was removed from theaters before I could see it. For the first hour it’s rather near perfect. Denzel Washington talks and talks, citing legal statutes, expressing disdain for the obviously fucked up legal system, stuttering through social situations he never bothered to learn how to navigate. He’s confident but not comfortable. The second half goes off the rails. It’s the kind of mess you want to blame a studio for, or an angry producer who was annoyed there weren’t more car chases. But maybe Gilroy--who’s Nightcrawler was a more coherent movie--just lost the plot somewhere along the way. No real matter. More legal dramas should be this sharp and this fun. And one must hail the king.

Mudbound - Dee Rees

For the first 45 minutes this movie has an As I Lay Dying quality, where multiple narrators lay out the state of their moral and historical situations in portentous southern language that always sounds profound when done well, like it is here. It never gets quite that deep again, but it becomes a sober and accurate look at what this country, particularly the south, would have been for blacks, women, and even white men in the 1940s. Halfway through I started to wonder if any movie had ever shown how plain old fashioned American racism strips away the dignity of blacks and the humanity of whites as well as this one does. 12 Years a Slave, maybe, but even that one cheated a little bit by being a horror show. Also, Rob Morgan, who plays the paterfamilias of the black tenant farming family, especially finds the Faulkner in his character’s position. For my money he’s the breakout star here. 

Icarus - Bryan Fogel

A problem I have found with certain documentaries that rely on their primary sources to tell their story is that the narrative can get blurry. This is a movie that would benefit from a narrator just to keep an eye on the spine of this fascinating true life event. The premise seems to be that a filmmaker stumbled completely by accident onto something so interesting that it obviously needed to take over his movie. Maybe a better filmmaker would have stepped back and asked some of the bigger questions presented by this narrative, like, why did this scientist seem compelled to run Putin’s national doping program? Maybe a master filmmaker would have dug into the heart of a man like Vladimir Putin who felt compelled to orchestrate a national doping program, a true story of global deception and malevolent corruption that deserves dozens of movies. But you’d have to be a walrus to not be intrigued by this guy, or eternally grateful that someone with a camera managed to catch him as his crime was discovered by the IOC and his government threw him under the bus and forced him into witness protection.

The Discovery - Charlie McDowell

I’ll get this out of the way first: the twist is not good. A squander of a pretty great concept that they could have anything with. But the rest of the movie is. The concept really is neat, and the whole thing looks great. This is a small, self-contained movie that chugs along at a heady pace. It’s a perfect Netflix movie, a genre I suspect we will all learn to recognize pretty soon.

Wonderstruck - Todd Haynes

I’m Not There is a profoundly silly movie, but Carol was made by a consummate pro, so I’m inclined to like Todd Haynes, and trust him when he experiments by, say, making a silent movie that intersplices stories from two generations and shoots them to look contemporaneous to movies of their respective eras. Like The Shape of Water, there must be a wavelength that really gets this movie. Maybe one day I’ll give it another shot, but fuck it’s slow.

Good Time - Ben and Josh Safdie

Woah. Let’s see here: This is a grim, ugly, unpretty neon movie about a side of New York that most people don’t like thinking about and will generally choose to ignore. It’s not just the poverty--there’s a darkness here, an ugliness and a savageness that’s usually examined sociologically if it’s examined at all. But this movie lives in it like it grew up in it, which for all I know it did. It’s about a white guy--and his skin color is very relevant--careening through Queens, ruining lives along the way in a single-minded quest to raise enough money to make his autistic brother’s bail. Mostly it’s so exciting and unpredictable that it flies by, telling a story about a guy with the survival skills of a cockroach getting through a night we might describe as eventful. And I need to give special mention to Jennifer Jason Leigh. She’s only in one scene, but she takes it to a dark, viscerally disturbing place. I don’t know that much about her as an actor, I don’t know what kind of work she usually does, but in a movie populated by characters I sincerely wish could have better lives, she will stand out in my mind for awhile. 

Song to Song - Terrence Malick

Part of me wants to like this movie, or at least respect it. Every shot is interesting--in fact that might be most of the point: every scene takes place in a visually arresting location, the actors do odd things with their bodies, the camera shoots them from weird angles. And I admire that Malick has mastered an impressionism that is uniquely his. But I also suspect that maybe this is just a bunch of bullshit from a guy who’s talented enough to make decently interesting work without trying very hard. I mean, he used to take 20 years to make his movies, now he’s pumping out one after another like he’s Woody Allen. And I think a movie can only have so much emotional resonance when the average scene lasts about 5 seconds. I don’t know, I can sort of see why a person might like this sort of thing, if a person was so inclined, but man did I think it was boring. If he’s just gonna make ponderous nonsense now, then at least The Tree of Life had the decency to be about the meaning of the universe. 

Hostiles - Scott Cooper

This is first and foremost a really solid western. Stoic and sharp and very well made. Christian Bale is amazing at this and should do one of these every couple of years. My only complaint is that it could have been better. It could have been a masterpiece. But it points to ideas about the inhospitality of the American frontier that it never really manages to show. People knocked the Revenant, but that movie really slaps you on the ass with how tough it was to hang in the old west. Hostiles wanted to do the same thing, but it settles instead on the simpler thesis that we stole this land from it’s rightful inhabitants. Which, I mean, fair enough I guess.  

Molly’s Game - Aaron Sorkin

If Aaron Sorkin wants to write a novel and release it as an audiobook narrated by Jessica Chastain, guess what, I’ll listen, but he is not a director. This is a movie where the voice-over will voice over dialogue because good lord does he love to write, and a movie where the main character at her lowest point will narrate her depression over a shot of her in bed, because good lord does he not know how to show. So this movie loses something his screenplays don’t when they’re filmed by top shelf talents like David Fincher or Danny Boyle. But Sorkin is one of my favorite guys to write about because he’s so talented and also so flawed. He’s in love with academia, and with knowing things. I can’t imagine what he’s like to shoot the shit with, but I assume that the person he wants to be is the person he keeps writing--the hyper-literate Renaissance man (and now woman) with a top 99 percentile intellect and some kind of pathological drive. Lots of movies are about everymen, but neither you nor I will ever be a Sorkin protagonist. His doormen are wittier and better educated than we are. Anyway, his biggest flaw in my opinion, besides a tendency to get high on his own supply, which we might as well call a feature in this case, is his tipsy uncle sentimentality. But other than a scene at the end between Molly and her father, which is a cinematic crime against humanity, this movie mostly avoids that. It’s too busy being his most fun movie yet. Even more than Steve Jobs, which is where I learned to tear down my cynical walls and lean into his brand of goofy pop intellectualism. Here’s my take on this one: it will not stand up to repeat viewings. At all. Like, at all. But it made me want to get a job in finance just so I can start going to high stakes poker tournaments.

Kong: Skull Island - Jordan Vogt-Roberts

2017 was such a good year for movies that even bullshit like this was great. This movie pulls ideas whole cloth from the last Godzilla movie--here there’s also a benevolent monster god, a showdown between giant creatures over the soul of man, and almost contemptuously fantastic cinematography (because if something this corporate can look this good, than how much should we even value high priced photography?)--but it takes itself a fraction as seriously as that one did, and is by legions less stupid.

Call Me By Your Name - Luca Guadagnino

More movies should have stakes this low. There’s a lazy confidence here that I like a lot. This is how a movie about a 17 year old boy’s summer should feel. Nothing really matters, and every day is pretty good. Over the course of two hours he will swim, smoke, read, and fuck a boy, a girl, and a peach. He’ll grow up to become a gay man with a pretty normal and hopefully happy life. He’ll remember this summer very fondly.

Win It All - Joe Swanberg

If every movie were like this, movies would be a lot more boring. But I suppose there is a space out there for simple stories told simply. The best scenes are the ones with Keegan-Michael Key, who is so charismatic that he risks derailing the utter unexceptionalness that is this movie’s point.

A Ghost Story - David Lowery

Does it seem gimmicky to make a movie about a dead husband as a guy in a white sheet with two eye holes cut out out like a child’s Halloween costume? I don’t know, the effect in practice to me was to make this celestial being look lonely and sad. He hangs his head in a silent longing and watches time hurdle through space from a fixed point he either can’t or won’t leave. This is a quiet, still movie; the kind that doesn’t cost much and is probably over-represented at film festivals. But it is, and forgive the sincerity here, devastatingly beautiful.

Phantom Thread - Paul Thomas Anderson

I wanted to give this a few more days to sink in before I wrote about it, but I’m nothing if not a content provider, so here we go. As the greatest artist of a generation ought to do, PTA upended my expectations about his style with this one, creating something new and challenging and not beholden to his previous work. His last couple movies have been about tension and release. This one really isn’t. Instead it’s a love story, or actually I mean it’s a relationship story, about the hunt for connection that all relationships become after the initial euphoria wears off. It’s still a Paul Thomas Anderson movie, so it’s haunting and strange and made up of tense dialogue that obfuscates it’s artistic intentions, spoken by strange people with unclear motivation. But it’s also funny, and mostly straightforward. It’s centered around a relationship, but this movie is as impossible to reduce as the last one, or the one before that. There are limits to my partisanship--there’s a dandyism to this movie that I don’t like at all, but this guy is consistently setting his sights up past the rafters, and throwing walk off touchdowns every single time.

I Love You, Daddy - Louis CK

Louis CK’s disgrace is the only one I’ve had trouble reckoning with, because he’s the only person so far to go down who really had more to say. Unfortunately, if this ends up being his last project, it’ll have been a disappointing note to end on. Louis’ artistic problem is that he’s too hard on himself. Very often he will set up a disagreement between himself and another character and have the other character essentially school him, even if he’s not wrong. He has a tendency to shortchange his own point of view. But it’s never been detrimental to his work until now. This movie is essentially a professionally successful version of the pathetically passive guy Louis always plays getting chastised by a series of articulate women. The writing is very often great--he’ll probably never get his due now, but he’s the best writer of dialogue since Woody Allen--and it’s a little sunnier than his usual point of view allows for, but it’s less focused and less interesting than either of his two TV shows. 

The Post - Steven Spielberg

Like Bridge of Spies, this is a minor work from the master. The only bad thing I can say about this movie is that he’s not doing anything new, and the subject matter invites comparisons to more interesting movies, like Spotlight, and All the President’s Men, which would make a hell of a second billing here as a diptych about the rise of the Washington Post. Unlike Clint Eastwood, I believe Spielberg still has extra gears. He still has a few more home runs in him. But like Eastwood even his most workmanlike products are made with a level of casual mastery that makes them perennial top tenners. I don’t know that this movie was made for any reason other than to express a distaste for the current occupant of the White House. It still earned Meryl Streep another Oscar nomination. 

It Comes at Night - Trey Edward Shults

Why are all these low budget horror indies so good? 

The House - Andrew Jay Cohen

Will Ferrell movies have reached this weird place now where the concepts are funny but their executions aren’t. They’re coming up with good ideas but filming them straight because at this point they’re businessmen with schedules to keep. There’s none of the peripheral lawlessness that made up his earlier work, or makes up really any good comedy, especially in the Apatow era. This movie is only worth watching for two reasons: 1. it will pump you up if your on the way to the casino, and 2. evil Amy Poehler is so much better than civic do-gooder Amy Poehler.

Snatched - Jonathan Levine

Is Amy Schumer the first comedian since Jerry Seinfeld who’s funnier in their scripted work than they are in their stand up? Anyway, until she starts phoning it in like elder statesman Will Ferrell, or is supplanted by someone newer, she’s my comedy protagonist of choice. Why did people take on a pass on this? Cuz the plotting is lazy? When isn’t it in a comedy?

Mark Felt: The Man Who Brought Down the White House - Peter Landesman

This movie is a huge mess but I refuse to not like it. It’s murky, paranoid, serious; in other words a great spy movie, about institutions of American government that dislike, distrust, and actively work to undermine one another. Nixon is barely even mentioned until the end, and the Washington Post is barely mentioned at all. But this should have been a miniseries or a novel. It’s a ten hour story condensed into two, and thus makes even less sense than a good spy movie ought to.

The Dark Tower - Nikolaj Arcel

As someone who has not read the books and wasn’t even aware there was a cult behind them, I can say this is a perfectly enjoyable plane watch.

Battle of the Sexes - Jonathan Dayton and Valerie Faris

I suppose this is the safe and logical choice for the recent Oscar winner, and it’s not a bad movie by any stretch. The actual battle scene at the end is quite excellent. But ignoring the current political environment, a movie where a tennis prodigy discovers her sexuality and takes on a boy’s club is much less interesting to me than a movie about a hustler who’s past his prime, gambling with his buddies and turning himself into a heel. Steve Carrell plays it as a good natured ode to a dopey strand of American hustle. He’s the best thing in this. But of course that’s not why this movie got made. I guess I’m ultimately just a member of the boy’s club. 

American Made - Doug Liman

Speaking of American Hustle, this Goodfellas in planes strikes me as more Hustle with drugs, inasmuch as the ostensible good guys, the feds, are really just a bunch of selfish ambitious cowboys playing with house money. Where Bradley Cooper’s FBI agent was too stupid to realize how bad he was at his job, American Made’s Domhnall Gleason, who I understand is now in every movie, is some kind of CIA stud with no accountability and no budgetary restraints, coming up with increasingly outlandish ideas for which there are no consequences at all. When Tom Cruise starts working with Colombian drug cartels, the implication seems to be that everybody knows and nobody really cares. I’m not sure this movie makes any sense at all, or if it’s supposed to. It’s buoyed by movie star Tom Cruise at his movie star best, bringing a slight, slight maturity to his Top Gun self.

Star Wars: The Last Jedi - Rian Johnson

In The Force Awakens Adam Driver was the only good part of a bad movie. Now he’s the best part of a great movie. 

The Lost City of Z - James Gray

The epic as a genre seems to me inherently flawed; who wants a movie that goes on too long and changes tone 7 times? This is an interesting one: it's first foray down the river comes with Apocalypse Now ambitions that it holds its own next to. The second trip is fun and captivating. The third trip, after extended scenes of World War One and, I don’t know, some family stuff, is too little too late. Basically, when this movie is in the jungle, it’s great. When it’s not, it’s not.

Lady Bird - Greta Gerwig

Let me stand apart from the glut of people my age who thought this movie was made specifically for them, and say that this movie was made specifically not for me. I can’t think of anything I want to see less than a coming of age tale called Lady Bird about a high school senior who decides to call herself “Lady Bird.” But the thing about good movies is that they transcend premise. Greta Gerwig isn’t dogmatically sticking to genre here--the dialogue is sharper than the average movie about an idiosyncratic high school senior, the parents and their financial situation occupy a more central role, and when the protagonist briefly tries to fit in with the cool kids, she kinda pulls it off--but really she’s just made a better coming of age movie than most people who try ever do. This is what we all would like to turn our childhood memories into. And for those concerned, like I was, by a trailer full of precious dialogue, the movie is so snappily edited that lines that would read as self-indulgent or treacly come out down and dirty in practice.

The Disaster Artist - James Franco

One of the impressive things about this movie is that it’s a comedy that doesn’t come at the expense of it’s subject: a man who in a slurred Slavic accent tells a room full of theater students “I’m not villain, you are villain!” A man who in other words could have an entire Office-style show built around him by a less charitable filmmaker. But James Franco is here to celebrate this bad movie, and honor the weirdo who made it. This isn’t the direction I would have gone in: I’d be too curious about the why and the who. But Franco does a really good job with his material. This is a really good and funny movie, with a murderer’s row of supporting actors who should all be doing stuff like this rather than whatever the fuck Seth Rogen is working on right now. Franco paints Tommy Wiseau as a pretty damaged guy with boundless ambition and absolutely no understanding of how human beings behave or how to interact with them--at one point he talks about wanting to run his own planet--but he keeps it light. Our man Tommy gets a standing ovation at the end, which I don’t believe really happened, but in this context I support.

I, Tonya - Craig Gillespie

One thing about Tonya Harding is that if she were coming up now, in the era of Lavar Ball and Jezebel, she’d be uncontroversially loved, and never would have had to club anyone in the kneecap. As far as I’m concerned she’s owed a revisit, which this movie gives her, and makes her look sympathetic and talented and fundamentally decent, if a little unwilling to take responsibility for anything at all. Anyway it’s a pretty damn good movie. Not quite as wild as it’s masterpiece of a trailer suggests, but pretty fun and breezy the whole way through.

Jumanji: Welcome to the Jungle - Jake Kasdan

Nowadays, most theaters will let you bring alcohol into the screening. So here’s a fun game: go see comedies you have no interest in, and drink steadily throughout them. Preferably with others. I’m not being a dick here, I found this experience highly enjoyable.

The Shape of Water - Guillermo del Toro

Pan’s Labyrinth has earned Guillermo a ton of goodwill. And I mean, I caught part of Hellboy 2 on HBO the other night and that is a flick. This may be his next one-for-me, but it’s not Pan’s Cold War. The genius of his earlier masterpiece was that the descent into nightmare of its real life surroundings was mirrored by the descent into nightmare of its fairy tale. This is a pretty simple love story between a mute woman and a fish man, set during the Cold War. It’s a ripe premise and a ripe backdrop that Guillermo weirdly squanders. Any movie that casts as its villain Michael Shannon, the strangest and most intense man alive, and then makes him just another square 1950s Keepin’ up with the Joneses asshole, isn’t going to stand up to Pan’s Labyrinth. This movie is a love story between a mute woman and a fish man. It should be a whole lot weirder, is my point.

Logan - James Mangold

What this movie gets so right is rather than make super hero movies that could conceivably take place in our world, directors should make super hero movies that would take place if they were the real world. Hence the cursing, the ultraviolence, and the theme of consequence which hangs over Logan like a lampshade. Watching Wolverine and Professor X say “fuck” and brutally murder government agents feels like removing the sanitizing goggles that the older movies were shot through and seeing them for the first time as they really are. These are two badly broken people keeping each other alive. It’s also by happy accident a movie for the era of Trump, where a shitty present has the bad guys in the driver’s seat and forces everyone in the margins back into hiding. Patrick Stewart brings warmth and realism to a new version of an old role. This is the best super hero movie ever made.

Darkest Hour - Joe Wright

So Gary Oldman’s definitely going to win the Oscar here, right? It’s fine, he deserves it. I could have used more about who Winston Churchill was, why he was such an eccentric alcoholic, but as a portrait of a great man working through his defining moment this is a great movie. Between this and Lincoln I hope every new biopic is about the defining moment of a great person’s life. So much more interesting than biopics about great people.

Three Billboards Outside of Ebbing, Missouri - Martin McDonagh

At first I thought he was just making fun of American hillbillies. But if this isn’t his best movie, it’s definitely his deepest. Like a darker redneck Batman it’s main character lets a justified anger turn her into kind of a monster, and maybe gets redeemed at the end. It’s funny and entirely surprising. Sam Rockwell should get nominated.

The Big Sick - Michael Showalter

A movie about two saintly parents dealing with not only their comatose daughter, but an overgrown forty-year old child who’s rude to them yet refuses to leave them alone, and never has to face his own pathetic shortcomings because sometimes people are racist to him. Fuck this piece of shit movie.

Thor: Ragnarock - Taikki Waititi

Chris Hemsworth seems cool. 

Last Flag Flying - Richard Linklater

Eh. I’m much less of a Linklater partisan than most, but this movie actually wasn’t that well received. It’s not bad, it just kinda meanders, and I actually don’t think Bryan Cranston or Steve Carrell are particularly good actors. It’s anger is righteous though, and Lawrence Fishburn is a titan.

Blade Runner 2049 - Denis Villeneuve

This one slows down a little once the plot kicks in, but holy god does it look good. A worthy heir to the original.

The Killing of a Sacred Deer - Yorgos Lanthimos

I think I figured it out--this guy likes to set up insane premises, force his characters to speak so flatly that it seems absurd, and then lift the gate and see how the ball rolls down the hill. Every character in this movie acts calm and rational and mostly human in the face of something so bizarre and terrifying as to defy logic. I like The Lobster more because I suspect it had more to say, but this one keeps you on a knife’s edge and forces you to prepare yourself for anything.

Wind River - Taylor Sheridan

This is the third screenplay and first directorial effort from the guy who wrote Sicario and Hell or High Water, two of the best movies of the past few years. This is his worst movie. I suspect the culprit is novice direction. Despite this having a 501(c)4 title card at the end, for the first time I’m not sure what the point is or what he was trying to say. But I hold this guy to a high standard, it’s still pretty damn good. It looks great and the story’s good. 

The Foreigner - Martin Campbell

This is a movie about Jackie Chan--still kicking ass in his 60s--avenging his dead daughter by boobytrapping a woods outside of a mansion, and another movie about a radical Irish politician and his cronies agitating for Irish independence, possibly through terrorism. Both of these movies should be awesome, although only one of them is. I don’t want to spoil by giving away the answer, but you can probably guess.

Marshall - Reginald Hudlin

A pretty simple courthouse movie about the future Supreme Court Justice when he was just a lawyer who apparently never spent a day in his life being intimidated by racism or the second smartest guy in the room. Sure, why not?

The Babysitter - McG

The second best horror/comedy of the year. My man McG is still killin’ it.

The Meyerowitz Stories (New and Selected) - Noah Baumbach

Noah Baumbach is a guy who likes a lot of stuff I don’t, but he’s enough of an adult here to write adults who don’t seem trapped in the imagination of a guy who hasn’t grown up yet. This is a really entertaining movie. Adam Sandler is very good.

It - Andres Muschietti

I’m a little surprised this didn’t take more flack for being the R-rated Stranger Things. This is also about a group of oddball friends dealing with something weird and scary in that sleepy town called 80′s Nostalgia. It even has one of the same damn actors. But maybe it didn’t take more heat for the simple reason that it’s really good. It might not hold up on repeated viewings the same way Stranger Things really doesn’t, but it’s the best horror/comedy of the year.

mother! - Darren Aronofsky

The more I think about it, the more I like it. I went back and watched some of his other movies, and concluded that Black Swan might be his masterpiece by default, but he’s never made something I really loved. He still hasn’t, but this might be his best movie yet. It’s about Adam and Eve, and it’s about mother earth, and it’s about a self-absorbed artist wrenching everything he can out of his muse. But it seems like Aronofsky is having fun screwing around with all these concepts rather than somehow trying to tie them all together or say something profound about any one of them. Which makes the movie a lot more fun than it’s reputation suggests. In any case, my immediate take walking out of the theater was that it more than anything was about some poor guy who gave up everything he had just to write a damn poem.

Logan Lucky - Steven Soderbergh

This one didn’t do nearly as well as I thought it would, which might have more to do with its distribution model than anything else. Ocean’s 11 for hillbillies couldn’t be more accurate, but it’s not criticism. At least not coming from me. First of all, Ocean’s 11 is like the perfect movie. Second of all, I mostly love redneck culture. Adam Driver has an amazing ability to land roles that shortchange him and make great work out of them anyway. And every real man knows Channing Tatum is a better star than George Clooney.

Dunkirk - Christopher Nolan

Chris Nolan isn’t any good at telling stories, and anyway doesn’t seem to like doing it, so it’s no mystery why his best movie bags the plot completely. Even with it’s time looping gimmick premise this movie takes place entirely in real time, in the present, which is, it turns out, by far the best way to shoot a war movie. It’s hard to imagine something better coming out this year.

Baby Driver - Edgar Wright

The best music video ever made. Pour one out for Kevin Spacey.

Wonder Woman - Patty Jenkins

I resist these pieces of shit like Roy Moore resists girls who can buy their own alcohol, but every year I end up seeing one or two. This is probably the best case scenario for a DC comic book movie in 2017. Gal Gadot is a very pretty lady. This coulda been a good WWI movie.

Norman: The Moderate Rise and Tragic Fall of a New York Fixer - Joseph Cedar

Richard Gere plays a possibly homeless and mostly benevolent conman who befriends an Israeli bureaucrat and sees his fortune briefly change when said bureaucrat stumbles into the Prime Minister position. I walked into this one completely blind because it was March and I wanted to see a movie. I might be the only person outside of Israel who’s ever seen it. Which is unfortunate, because it’s better than a movie dumped out in March has any right to be. Kinda funny and kinda sad. Kinda satirical and very warm.

Get Out - Jordan Peele

Of course it’s a little overrated at this point. How could it not be? But the first hour of Jordan Peele’s cultural explosion is perfect--a breakdown of every awkward moment between black people and--let’s be honest--all white people. The second half is less deep and a little less fun: it’s when the social commentary flick turns into a genre film. But it’s a damn good genre film. Deservedly on everyone’s top ten list.

A Cure For Wellness - Gore Verbinski

I caught this one of the strength of it’s trailer and thought it was excellent, a creepy kind of horror movie that not enough people saw, about a health clinic that either prolongs or sucks the life out of rich retirees. Kind of a Shutter Island for a crowd less inclined to have its mind fucked.