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tfrohock · 3 years ago

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The Batman 2022 [movie review]

Last week, I promised to share my thoughts about The Batman with you. It’s been a while since I’ve reviewed a movie, so it’s probably wise to let you know that, as with all my movie reviews, there may be spoilers ahead. It quite frankly depends on what you consider a spoiler. If you haven’t seen The Batman and you hate spoilers, you’re welcome to come back later.

If you’re still here, come closer. It’s time for me to share my thoughts with you about The Batman.

There have been so many Batman movies, the titles are getting a bit thin, so just to be clear, I’m talking about The Batman [2022] with Robert Pattinson. Frankly I had to search it like that, too: “the batman” “robert pattinson” 2022, because holy batman the batman franchise is endless.

I grew up watching Adam West’s Batman, who was a very nice altruistic gentleman who seemed like a genuinely good person. He was a hero to me growing up, primarily because children don’t generally question the ambiguous nature of vigilantes. In my eyes, he was a really cool, rich guy with lots of money and cool toys and adopted Robin while championing people who needed help.

Fast forward to the 1980s and Michael Keaton, whose characterization of Bruce Wayne in Batman (1989) was very much like the Adam West of old and was directed by Tim Burton. The end result was a movie that took the character and his origin story seriously, which was exceptionally novel at that time for a superhero movie, but even so we see a Bruce Wayne who is very much comfortable in his own skin. Then we had Batman Returns, also with Keaton, and with an added bonus of Michelle Pfeiffer as Catwoman and Danny Devito as Penguin, likewise directed by Burton. Both Batman and Batman Returns had a Gothic feel to the stories, and though they were dark in tone, both had a certain amount of camp to them that made them fun.

Truth be told, I totally skipped the 1990s (Batman Forever and Batman and Robin). Based on most reviews, I think I’ll continue to pass on those two. So many Batmen, so little time.

In 2005, we have Christopher Nolan’s Batman Begins, because everyone loves a comeback story. I didn’t see that one either. I don’t know. After the debacle of the 1990s franchise, I decided to take a break.

But then … then came The Dark Knight (2008) with Heath Ledger’s magnificent take on the Joker. Honestly, I don’t have much to say about Christian Bale as Bruce Wayne, because Nolan’s films seemed to be less about Bruce Wayne and more about Batman. Bale didn’t detract from either the Bruce Wayne or Batman character, but then again, I don’t feel he added much to it, either.

West and Keaton played both Bruce Wayne and Batman with camp, but Bale didn’t make much of an impression on me, which is probably why I skipped The Dark Knight Rises (2012). Completely unimpressed with the meandering plot and horrible reviews, I likewise skipped Batman v Superman: Dawn of Justice (2016). After that, Batman moves into the Justice League franchise (Suicide Squad [2016] and Justice League [2017]), which I haven’t seen, because I was frankly getting a little burned out on Batman again—not Bruce Wayne.

All of which brings me to The Batman directed by Matt Reeves and staring Robert Pattinson as yes you guessed it The Batman. The title is something of a misnomer though, because this is one of the few movies in the Batman franchise that I’ve seen focus almost relentlessly on Bruce Wayne. Pattinson carries the role with all the angst and conflict that I’ve always wanted to see in the character but never knew it until The Batman opened the raw wound that is Bruce Wayne and his grief. It’s evident in scene after scene that Pattinson’s Bruce Wayne is using Batman’s mask to hide more than his face. He doesn’t want to deal with the grief of his parents’ deaths, so he channels his energy into being the Batman, who personates vengeance.

Pattinson is perfect in this role. He is the kind of actor who works to get into his character’s skin, and he pulled off the one thing I’ve never seen in a Batman movie: the adult-child behind the mask. The pain of his parents’ murder shadows his every action, and he is so obsessed with crime and bringing down the various gangsters, he is also completely neglecting his fortune. Alfred is the sole reason Bruce Wayne isn’t living on the street, and Andy Serkis doesn’t play the role of Alfred as a subservient butler but as one part surrogate parent/one part estate administrator.

Which leads me to another thing that I enjoyed about Reeves’ take on the franchise: he knows this movie is an action adventure, but he is not afraid to develop layers of characterization so he peel them off one at a time. Bruce Wayne isn’t the only one under the microscope here, and a stellar cast pulls off a deeply layered movie that still manages to pack the action into one neat sequence after another. The story is about the masks the various characters wear and how they often delude themselves of their true motives. Reeves pulls it all together brilliantly.

The pièce de résistance comes when the Riddler tells Batman that the Batman’s vigilante methods were what inspired him. It is a magnificent scene and Pattinson’s horror at the revelation that he and the Riddler are more alike than different digs deep at the truth behind Batman’s mask, burrowing straight into the soul of Bruce Wayne. If Batman is a good person for taking out gangsters, how is the Riddler an evil person for destroying governmental corruption? What separates them?

Wisely, Reeves leaves the answer with the audience, but he uses the entire film to draw stark black and white lines between class and privilege. Bruce Wayne is clearly someone who wants to be a good person, a helpful person, someone who can make a difference in other people’s lives, but in this movie, he only seems able to reach out while masked and in his persona as the Batman. Unmasked, Bruce Wayne is merely struggling to heal, unlike Paul Dano’s haunting performance as the Riddler, who wields his pain like a hammer to destroy those he hates.

This is, by far, the most brutal Batman movie in terms of violence, but that’s because Reeves holds up a mirror to our own world and reflects the darkest parts of our society back at us: the governmental corruption, the Trumpian followers cultivated by the Riddler, and the ineptitude of a police force corrupted by its own mythology. Watch The Batman carefully and you will know the enemy—it is us.

The Batman [2022] — Highly Recommended

#Batman #Robert Pattinson #Zoë Kravitz #Paul Dano #The Batman 2022

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undertheinfluencerd · 3 years ago

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https://ift.tt/2WZpvJm #

In stories about growing up for audiences who are growing up themselves, a strong main character is a necessity. Coming-of-age stories have been around for centuries and have always been popular in cinema, from the days of James Dean to the modern world of Netflix originals.

Related: 10 Of The Best Coming Of Age Movies Everyone Needs To See

While there are many elements of coming-of-age movies that work together to create one timeless tale, such as the soundtrack and shooting locations, the key is a lead protagonist with whom the viewer can wholly identify and empathize. Over the years, there have been some truly impressive young actors who nailed this brief and delivered performances that will forever stand out in their careers.

10 Nick Robinson – The Kings Of Summer (2013)

In a modern coming-of-age tale for fans of Stand By Me (1986), Nick Robinson stars as Joe, a teenager frustrated with his father’s micromanagement. To escape his smothering suburban life, he invites his best friend and an unusual new acquaintance to build a house in the woods and live off the land.

With humor as this movie’s crowning glory alongside breathtaking shots of the Midwest, Robinson demonstrates his acting range in an impressive feature film debut. He manages to effortlessly keep up with comedic veterans like Nick Offerman and Marc Evan Jackson but also demonstrates control and solemnity in the movie’s tenser moments.

9 Thomas Mann – Me And Earl And The Dying Girl (2015)

Greg is an unusual choice for a story’s main character, and Thomas Mann captures his socially awkward nature but chameleon-like behavior effortlessly. Although Greg has made it his mission to “remain on low-key good terms” with every student in school, he struggles to see outside of himself until he becomes friends with terminally ill Rachel (Olivia Cooke).

Related: 10 Best Coming Of Age Comedy Dramas Like Juno

Greg’s development is displayed with as much poise as such a gauche character can be afforded, from seeming emotionally blank to succumbing to grief in Rachel’s room. Opposite Nick Offerman and other great talents in Me And Earl And The Dying Girl, Mann’s comedic delivery, both verbal and physical, is truly something to behold and never wanes.

8 Elliot Page – Juno (2007)

Juno is the blueprint for American Independent cinema, primarily for its Oscar-winning script and unconventional story of teen pregnancy. With a host of celebrated actors surrounding them, Elliot Page shines in what is arguably their most memorable and beloved role.

The offbeat comedy and sarcastic quips of Juno is one for the textbooks, and Elliot carries it with ease from start to finish; the odd vocabulary tossed around rolls as effortlessly as standard English off their tongue. They may appear unimposing in stature, but they dominate every scene with wit and hilarious delivery to make not only an unforgettable movie but a memorable main character.

7 Patrick Fugit – Almost Famous (2000)

Aspiring writer William is something of a wallflower amongst the larger-than-life personalities of the band Stillwater and transfixing roadie Penny Lane (Kate Hudson), but he manages to hold his own and becomes somebody on whom they can all rely. Similarly, Patrick Fugit could have shrunk next to the more experienced actors beside him, but he triumphs.

The fresh-faced actor brings shining optimism and gentleness to a story of wild parties and volatile emotions. He captures William’s level-headed nature and wisdom beyond his years while still exuding the excitement of a newcomer to the rock and roll scene, perfectly balancing youth and innocence with shrewdness and morality.

6 Dustin Hoffman – The Graduate (1967)

A timeless tale of disillusionment in the face of change, The Graduate is fondly remembered for its incredible soundtrack from Simon and Garfunkel and the iconic affair with Mrs. Robinson (Anne Bancroft). Besides that, in a career-launching role, Dustin Hoffman proves his mettle as a force to be reckoned with onscreen.

Despite having an affair with a much older woman (and later falling for her daughter), Benjamin is a graceless and self-conscious leading man, and Nichols cast Hoffman with the belief that he had the perfect demeanor for the role. Between his personality and superb acting ability, Hoffman pulls off a memorable performance and is one of the main reasons why The Graduate has become a classic to stand the test of time.

5 Miles Teller – The Spectacular Now (2013)

To bring to life hard-partying Sutter from Tim Tharp’s novel of the same name, the correct actor was called upon. Miles Teller oozes charm in this role and makes it easy to understand how Sutter has made it through life without a thought for the future since everything comes easily to him at the moment.

Besides being the life of the party and effortlessly sweet, Sutter is a young alcoholic who, below the surface, realizes that he is sabotaging his future, and Teller does a marvelous job of exploring this side to the endearing protagonist. The serious self-deprecation that follows reuniting with his absent father, who is a vision of Sutter’s own future, is relayed masterfully and leaves the audience in awe of his performance.

4 Saoirse Ronan – Lady Bird (2017)

Star Saoirse Ronan had a number of stellar movies under her belt before Greta Gerwig’s Lady Bird, with her first Oscar nomination at the age of thirteen only the beginning of an illustrious career. Her range sets her apart from other young actresses in the game, spanning from sci-fi to period drama to raw, coming-of-age movies such as this.

The main character of this tale is anything but meek. Ronan is strong-willed and assured in the role and explores the everyday highs and lows of growing up while cultivating believable onscreen relationships in a way that can place any viewer right alongside her in Sacramento, which feels more like home the longer that you watch her senior year progressing.

3 Greta Gerwig – Frances Ha (2012)

A coming-of-age movie for people who are already of age, Frances Ha chronicles a woman’s journey into adulthood as, while she has technically grown up, it is clear that she’s “not a real person yet”. While most movies of the genre take place in high school, this one takes place in New York as Frances struggles to realize her dream as a dancer, maintain her relationships, and generally get by as a functioning adult.

Related: Greta Gerwig’s 10 Best Movies (According To IMDB)

In another collaboration between Noah Baumbach and Greta Gerwig, the leading lady fits this character like a glove and harnesses the youthful spirit of teenage coming-of-age movies to prove that growing up doesn’t stop when you leave high school. It is an honest depiction of young adult life in that, really, nobody knows what they are doing.

2 Timothée Chalamet – Call Me By Your Name (2017)

In one of his best movies Call Me By Your Name, Timothée Chalamet stars as young Elio in a story of young love in 1980s Italy. He is both charming and bashful, causing the viewer to fall in love with him even faster than Oliver does, and he manages to convey so much heart and recognizable pain that the extent of his acting ability is never in question.

While Chalamet brilliantly inspires empathy for Elio’s confusion and inner turmoil throughout his relationship with Oliver, his final performance during the credits is a masterclass in understated yet powerful acting, as we watch the cycle of Elio’s heartbreak and are left reeling from his final, heart-rending glance directly into the camera.

1 Logan Lerman – The Perks Of Being A Wallflower (2012)

At only 20 years old, Logan Lerman delivers one of the most honest and moving portrayals of adolescence in modern-day cinema. For an actor who has had widely varying roles, such as a heroic demigod and a plucky rancher’s son, an introverted character like Charlie could have been difficult to embody, but Lerman does so with an awe-inspiring grace.

Lerman’s presentations of depression and trauma are never extravagant; his performance is highly effective using mostly subtle speech and action. He beautifully showcases Charlie’s innocence and love for his friends and keeps a powerful persona waiting behind a meek exterior to offer one of the greatest portrayals of a coming-of-age character that cinema has seen.

Next: 10 Movies To Watch If You Loved The Perks Of Being A Wallflower

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The post 10 Perfectly-Cast Coming-Of-Age Main Characters | ScreenRant appeared first on undertheinfluencerd.net.

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zo2paintedlady · 4 years ago

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LGBTQ+ Novels/Memoirs

Here is the book list from my LIS 618 class. The links will bring you to their Goodreads pages.

The 57 Bus by Dashka Slater (2017) *based on a true story* "One teenager in a skirt. One teenager with a lighter. One moment that changes both of their lives forever. If it weren't for the 57 bus, Sasha and Richard never would have met. Both were high school students from Oakland, California, one of the most diverse cities in the country, but they inhabited different worlds. Sasha, a white teen, lived in the middle-class foothills and attended a small private school. Richard, a black teen, lived in the crime-plagued flatlands and attended a large public one. Each day, their paths overlapped for a mere eight minutes. But one afternoon on the bus ride home from school, a single reckless act left Sasha severely burned, and Richard charged with two hate crimes and facing life imprisonment. The case garnered international attention, thrusting both teenagers into the spotlight."

Aristotle and Dante Discover the Secrets of the Universe by Benjamin Saenz (2012) "Aristotle is an angry teen with a brother in prison. Dante is a know-it-all who has an unusual way of looking at the world. When the two meet at the swimming pool, they seem to have nothing in common. But as the loners start spending time together, they discover that they share a special friendship--the kind that changes lives and lasts a lifetime. And it is through this friendship that Ari and Dante will learn the most important truths about themselves and the kind of people they want to be."

The Art of Being Normal by Lisa Williamson (2016) "Two boys. Two secrets. David Piper has always been an outsider. His parents think he’s gay. The school bully thinks he’s a freak. Only his two best friends know the real truth – David wants to be a girl. On the first day at his new school Leo Denton has one goal – to be invisible. Attracting the attention of the most beautiful girl in year eleven is definitely not part of that plan. When Leo stands up for David in a fight, an unlikely friendship forms. But things are about to get messy. Because at Eden Park School secrets have a funny habit of not staying secret for long…"

Felix Ever After by Kacen Callender (2020) "Felix Love has never been in love—and, yes, he’s painfully aware of the irony. He desperately wants to know what it’s like and why it seems so easy for everyone but him to find someone. What’s worse is that, even though he is proud of his identity, Felix also secretly fears that he’s one marginalization too many—Black, queer, and transgender—to ever get his own happily-ever-after. When an anonymous student begins sending him transphobic messages—after publicly posting Felix’s deadname alongside images of him before he transitioned—Felix comes up with a plan for revenge. What he didn’t count on: his catfish scenario landing him in a quasi–love triangle...."

Gender Queer by Maia Kobabe (2019) "In 2014, Maia Kobabe, who uses e/em/eir pronouns, thought that a comic of reading statistics would be the last autobiographical comic e would ever write. At the time, it was the only thing e felt comfortable with strangers knowing about em. Now, Gender Queer is here. Maia's intensely cathartic autobiography charts eir journey of self-identity, which includes the mortification and confusion of adolescent crushes, grappling with how to come out to family and society, bonding with friends over erotic gay fanfiction, and facing the trauma of pap smears. Started as a way to explain to eir family what it means to be nonbinary and asexual, Gender Queer is more than a personal story: it is a useful and touching guide on gender identity--what it means and how to think about it--for advocates, friends, and humans everywhere."

I Wish You All the Best by Mason Deaver (2019) "When Ben De Backer comes out to their parents as nonbinary, they're thrown out of their house and forced to move in with their estranged older sister, Hannah, and her husband, Thomas, whom Ben has never even met. Struggling with an anxiety disorder compounded by their parents' rejection, they come out only to Hannah, Thomas, and their therapist and try to keep a low profile in a new school. But Ben's attempts to survive the last half of senior year unnoticed are thwarted when Nathan Allan, a funny and charismatic student, decides to take Ben under his wing. As Ben and Nathan's friendship grows, their feelings for each other begin to change, and what started as a disastrous turn of events looks like it might just be a chance to start a happier new life."

Little & Lion by Brandy Colbert (2017) "When Suzette comes home to Los Angeles from her boarding school in New England, she isn't sure if she'll ever want to go back. L.A. is where her friends and family are (along with her crush, Emil). And her stepbrother, Lionel, who has been diagnosed with bipolar disorder, needs her emotional support. But as she settles into her old life, Suzette finds herself falling for someone new...the same girl her brother is in love with. When Lionel's disorder spirals out of control, Suzette is forced to confront her past mistakes and find a way to help her brother before he hurts himself--or worse."

The Music of What Happens by Bill Konigsberg (2019) "IMax: Chill. Sports. Video games. Gay and not a big deal, not to him, not to his mom, not to his buddies. And a secret: An encounter with an older kid that makes it hard to breathe, one that he doesn't want to think about, ever. Jordan: The opposite of chill. Poetry. His "wives" and the Chandler Mall. Never been kissed and searching for Mr. Right, who probably won't like him anyway. And a secret: A spiraling out of control mother, and the knowledge that he's the only one who can keep the family from falling apart. Throw in a rickety, 1980s-era food truck called Coq Au Vinny. Add in prickly pears, cloud eggs, and a murky idea of what's considered locally sourced and organic. Place it all in Mesa, Arizona, in June, where the temp regularly hits 114. And top it off with a touch of undeniable chemistry between utter opposites."

Odd One Out by Nic Stone (2018) "Courtney "Coop" Cooper Dumped. Again. And normally I wouldn't mind. But right now, my best friend and source of solace, Jupiter Sanchez, is ignoring me to text some girl. Rae Evelyn Chin I assumed "new girl" would be synonymous with "pariah," but Jupiter and Courtney make me feel like I'm right where I belong. I also want to kiss him. And her. Which is . . . perplexing. Jupiter Charity-Sanchez The only thing worse than losing the girl you love to a boy is losing her to your boy. That means losing him, too. I have to make a move. . . . One story. Three sides. No easy answers."

Ramona Blue by Julie Murphy (2017) "'Ramona was only five years old when Hurricane Katrina changed her life forever. Since then, it’s been Ramona and her family against the world. Standing over six feet tall with unmistakable blue hair, Ramona is sure of three things: she likes girls, she’s fiercely devoted to her family, and she knows she’s destined for something bigger than the trailer she calls home in Eulogy, Mississippi. But juggling multiple jobs, her flaky mom, and her well-meaning but ineffectual dad forces her to be the adult of the family. Now, with her sister, Hattie, pregnant, responsibility weighs more heavily than ever."

Rethinking Normal by Katie Rain Hill (2014) "Have you ever worried that you'd never be able to live up to your parents' expectations? Have you ever imagined that life would be better if you were just invisible? Have you ever thought you would do anything--anything--to make the teasing stop? Katie Hill had and it nearly tore her apart. Katie never felt comfortable in her own skin. She realized very young that a serious mistake had been made; she was a girl who had been born in the body of a boy. Suffocating under her peers' bullying and the mounting pressure to be "normal," Katie tried to take her life at the age of eight years old. After several other failed attempts, she finally understood that "Katie"--the girl trapped within her--was determined to live."

They Both Die at the End by Adam Silvera (2017) "On September 5, a little after midnight, Death-Cast calls Mateo Torrez and Rufus Emeterio to give them some bad news: They’re going to die today. Mateo and Rufus are total strangers, but, for different reasons, they’re both looking to make a new friend on their End Day. The good news: There’s an app for that. It’s called the Last Friend, and through it, Rufus and Mateo are about to meet up for one last great adventure—to live a lifetime in a single day."

Two Boys Kissing by David Levithan (2013) "New York Times bestselling author David Levithan tells the based-on-true-events story of Harry and Craig, two 17-year-olds who are about to take part in a 32-hour marathon of kissing to set a new Guinness World Record—all of which is narrated by a Greek Chorus of the generation of gay men lost to AIDS. While the two increasingly dehydrated and sleep-deprived boys are locking lips, they become a focal point in the lives of other teen boys dealing with languishing long-term relationships, coming out, navigating gender identity, and falling deeper into the digital rabbit hole of gay hookup sites—all while the kissing former couple tries to figure out their own feelings for each other."

We are the Ants by Shaun David Hutchinson (2016) "Henry Denton has spent years being periodically abducted by aliens. Then the aliens give him an ultimatum: The world will end in 144 days, and all Henry has to do to stop it is push a big red button. Only he isn’t sure he wants to. After all, life hasn’t been great for Henry. His mom is a struggling waitress held together by a thin layer of cigarette smoke. His brother is a jobless dropout who just knocked someone up. His grandmother is slowly losing herself to Alzheimer’s. And Henry is still dealing with the grief of his boyfriend’s suicide last year. Wiping the slate clean sounds like a pretty good choice to him. But Henry is a scientist first, and facing the question thoroughly and logically, he begins to look for pros and cons: in the bully who is his perpetual one-night stand, in the best friend who betrayed him, in the brilliant and mysterious boy who walked into the wrong class. Weighing the pain and the joy that surrounds him, Henry is left with the ultimate choice: push the button and save the planet and everyone on it…or let the world—and his pain—be destroyed forever."

You Should See Me in a Crown by Leah Johnson (2020) "Liz Lighty has always believed she's too black, too poor, too awkward to shine in her small, rich, prom-obsessed midwestern town. But it's okay -- Liz has a plan that will get her out of Campbell, Indiana, forever: attend the uber-elite Pennington College, play in their world-famous orchestra, and become a doctor. But when the financial aid she was counting on unexpectedly falls through, Liz's plans come crashing down . . . until she's reminded of her school's scholarship for prom king and queen. There's nothing Liz wants to do less than endure a gauntlet of social media trolls, catty competitors, and humiliating public events, but despite her devastating fear of the spotlight she's willing to do whatever it takes to get to Pennington. The only thing that makes it halfway bearable is the new girl in school, Mack. She's smart, funny, and just as much of an outsider as Liz. But Mack is also in the running for queen. Will falling for the competition keep Liz from her dreams . . . or make them come true?"

#lgbtq+ literature #lgbtq+ books for adolescents #lgbtq+#book list #lgbtq+ book list #novels/memoirs #ya books #lgbtq

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in-flagrante · 4 years ago

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'I feel sexier as I get older': Back on TV in a compelling new drama, Michelle Dockery tells how her own confidence has soared after playing a succession of strong, sassy women

By GABRIELLE DONNELLY FOR WEEKEND MAGAZINE

22 May 2020

Since she burst onto our screens ten years ago as Downton Abbey’s Lady Mary, all cut-glass vowels and nerves of steel, Michelle Dockery’s kept us in a permanent state of emotional whiplash with the sheer variety of roles she’s taken on.

She was a drug-addicted con artist in the 2016 TV series Good Behavior, a gun-totin’ cowgirl in the acclaimed 2017 drama Godless, and a Cockney gangster’s moll in Guy Ritchie’s crime caper The Gentlemen.

One thing you will not see, she insists, is Michelle Dockery playing a piece of arm candy.

‘I like to play strong women,’ she says when we meet for coffee pre-lockdown in New England, where she’s been shooting her new TV mini-series Defending Jacob.

‘And even if they’re not strong, they have to be interesting. Multi-faceted, complex, complicated, three-dimensional... and flawed too, because people are. Anything but boring!’

That doesn’t mean they can’t be sexy though, and she says the added bonus to playing these characters is that, at 38, she’s finding herself feeling sexier than ever.

‘Sexy is not about having anyone else make you feel sexy, it’s about how you feel inside, and I have certainly felt sexier as I’ve got older.

But I think that’s a confidence thing too. I’ve been lucky enough to play such strong, confident women, and when you do that you definitely take something from them with you into your real life – you sort of get inspiration from them.’

Her latest character in the thriller Defending Jacob is a straightforwardly good woman – although one thrust into bewildering circumstances.

Laurie Barber is happily married to handsome local Assistant District Attorney Andy Barber (Captain America film star Chris Evans), and mother to her wise-cracking 14-year-old son Jacob (Jaeden Martell).

She’s the sort of woman who goes for a run before breakfast, then quizzes her son on vocabulary over coffee before heading to her high-profile job managing a home for abused children.

She’s just so together... until her son is accused of one of the most hideous crimes imaginable – the cold-blooded murder of a classmate – and her entire life and social circle begin to unravel as the police investigate.

‘It’s a really gripping story, because it’s so difficult for this couple to comprehend that their child might commit any sort of crime, let alone a murder,’ says Michelle of the story, based on the 2012 novel by William Landay.

‘They’re both defending their son, and like any parent would, Laurie’s asking at the same time, “Where did I go wrong?”

'There’s conflict between Laurie and Andy because at the start of the story she’s the emotional one and he’s the calm one, but then as the story goes on there’s a need for Andy to be emotional too.

'So they’re always seeing things from a slightly different perspective.

‘It’s a very human, raw story about what something like this can do to a family, and what’s so interesting about Laurie is that as her life is turned completely upside down, she also begins to question things about her family – “How well do you really know your partner? How well do you really know your child?”’

Michelle’s own family background is modest but as stable as anyone could wish for. The youngest of three girls born to Irish-born lorry driver turned surveyor Michael Dockery and his redoubtable wife Lorraine, a former shorthand typist turned social worker, she was brought up in Romford, Essex, working class and proud of it.

‘My mum is loving but she’s also strict,’ says Michelle. ‘When I was about seven I stole some penny sweets from a shop. Mum caught me and made me go back and apologise to the shopkeeper, and I’ve never stolen anything since!’

She was also raised – as were her sisters Louise and Joanne – to speak up for what was right.

‘I was brought up to stand up for myself. To speak up when I felt passionate about something, when I felt the need to make my voice heard about something that mattered.

'I think a lot of that comes from having sisters, because we’ve always supported each other all along.

'If I’ve ever felt bullied or pushed into a corner, I’ve always been able to stand up for myself. And if I see it happening to someone else, especially younger actresses, I’ll stand up for them too.

‘I hate bullying. I have huge admiration for women in Hollywood and elsewhere who have come forward to tell their stories about that, and have stood up against people like Harvey Weinstein.

'It’s horrendous what they experienced and I’m glad something has been done about it.’

It’s safe to say no one has succeeded in taking advantage of Michelle, and she says now that when she first broached the idea of going into acting to her parents they were not in the least bit concerned.

‘They weren’t alarmed by it at all!’ she laughs. ‘They made sure I had a good education so I had something to fall back on.

'Both my parents are wonderful. My mum is the most incredible woman, she inspires me.

'And my dad’s amazing too – even though he spent our growing-up years with a bathroom that was never free! They let me be who I want to be.

'So between them and my two elder sisters, who are still my best friends, I’m very lucky. We call ourselves the Essex Mafia!’

Her career choice can hardly have come as a surprise to the family, as she says she wanted to be an actor ever since she can remember.

When she and her sisters were small they attended a stage school in the evening, and they would put on plays at home to entertain the family.

Michelle apprenticed at the National Youth Theatre when she was a teenager, and as soon as she’d taken her A-levels she enrolled at the Guildhall School of Music and Drama.

‘I feel I learned more at drama school than I did anywhere else,’ she says. ‘Even when I was at regular school I was never out of the drama department, so I didn’t do very well in other subjects.

'I just didn’t want to be taught anything else. But there’s a huge amount you learn in drama school besides acting, like history and literature, and that was where I came into my own.’

It was, of course, Lady Mary who made Michelle famous. ‘It happened overnight,’ she says.

‘Well, I’d been working in the theatre for seven years, so it wasn’t really overnight, but I remember after the first episode of Downton Abbey aired, walking into my newsagent’s where I was living and seeing a picture of myself, Laura Carmichael and Jessica Brown-Findlay, the three Crawley sisters, on the cover of three papers and that was huge.

'Then the first time I was recognised on the street was in New York, and that was even bigger because that’s when it hit me how big the show had become if I was being recognised in America.’

With talk of another feature film in the works after last year’s hit Downton movie, she says playing Mary is as comfortable as slipping into a second skin.

‘I have huge fondness for her, she’s been a big part of my life. That was a very special show, and I hope it’s one that stays with people forever.’

It was through Downton that she met the man she thought she’d be married to now.

In 2013, her co-star Allen Leech, who played chauffeur Branson, introduced her to Irish-born public relations executive John Dineen.

She and John fell in love, became engaged and were in the process of planning their wedding when John was diagnosed with a rare form of cancer. He died in December 2015 with Michelle by his side.

At his funeral, the day after her 34th birthday and a day before what would have been his 35th, she told mourners, ‘He was my friend, my hero, my king, my everything.

'We celebrate him, we honour him, and we will miss him.’ She has not spoken out about her grief, but has admitted that it was her friends and family who helped her pull through, saying, ‘They are the ones who see you through the most difficult times.’

She has been dating Jasper Waller-Bridge, brother of Fleabag’s Phoebe, for a year now.

They met through friends and Jasper, who is six years Michelle’s junior and the creative director at a talent agency, accompanied her to red-carpet events before lockdown.

It was also reported that she bought a £1.7 million house in north-east London before Christmas.

Michelle hasn’t commented on the relationship but she does say that a sense of humour – surely a given with any member of the Waller-Bridge family – is vital in a relationship.

‘My parents always taught me to see the funny side of life and never to take myself too seriously.

'I find that more and more as I get older – I’m finding ways to laugh things off much more than I used to be able to.’

Right now, Michelle Dockery would seem to have plenty to smile about.

https://www.dailymail.co.uk/femail/article-8336165/I-feel-sexier-older-Downton-Abbeys-Michelle-Dockerty.html

#michelle dockery #her interviews

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hlupdate · 5 years ago

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Louis’ full interview for The Guardian - 25/09/19

After Louis Tomlinson’s recent show in Madrid, some fans got the chance to meet him. One girl wanted to talk to him about his song Two of Us , which he had written after the death of his mother. The girl had lost her dad, and wanted the singer to know how much his lyrics had meant to her. He’d never had that in his band One Direction, he says. “We wrote cool songs, but they were love songs. It only goes so far, and to have someone say that I could help them with my …” He pauses. “It blows my mind, that shit. I was proper proud.” It has been a hard few years. Tomlinson’s mother died in 2016, just as he was about to launch his first solo single. In March this year, his 18-year-old sister was found unconscious at her flat in London and couldn’t be revived. We will come to that, but, professionally, Tomlinson was struggling too. One Direction - that supernova of a boy band - broke up in 2015. Or announced they were taking a break. Or “‘hiatus’ or whatever word we use”, he says with a smile. At the time, Tomlinson, now 27, was finding his place as a songwriter. “I wasn’t singing a lot, I wasn’t the frontman. Without being a sorry little bastard, I thought: ‘How do I do better, how do I make something of myself, an identity?’” In the last 18 months of One Direction, he says, “I felt like I knew who I was in the band, and I felt a real worth for who I was.” The break up, he says, “rocked me. I wasn’t ready for it. I felt like I was getting to be a better songwriter, singer, a more confident performer, and all of a sudden, when I felt I was finally getting some momentum …” We meet at a bar in north London. Tomlinson greets me with a hug as if I am one of his fans (I am not, particularly, although I am by the end). He seems open but not vulnerable, and more self-aware and modest than you would expect from a man who was once part of the biggest boy band in the world. He is friendly and relaxed, dressed in a black tracksuit, with a beer in front of him. Tomlinson’s personal tragedies also meant his solo career has had a bit of a stop-start quality, but now it looks as if there is focus and momentum. He released his single Kill My Mind earlier this month; an album will follow next year. Kill My Mind is an indie-pop delight, not so huge a departure as to alienate his fanbase, but it sounds like the music he grew up listening to - Oasis and Arctic Monkeys - and his South Yorkshire accent brings more than a hint of Liam Gallagher-style northern vocals. He sounds confident on them, more so than on the previous singles he put out, a couple of fairly forgettable collaborations. “I think, in hindsight, that was me trying to find my place in the industry and making music I thought I had to make to get on radio. “I had this epiphany when I was thinking about the music I grew up with,” he continues. “I kind of had a bit of a word with myself and worked out what I want - to be happy and proud of what I’m doing. I love those early singles, but I never really felt proud of them, because it didn’t feel too true to me.” As a child, growing up in Doncaster with his mum Johannah, who raised him alone until she married Tomlinson’s stepfather, he loved performing. “I liked to be the class clown, I liked to make people laugh, to show off, all that.” When his younger twin sisters were cast on TV dramas, he would sometimes go along as their chaperone, earning £30. “Where I’m from, we don’t have anyone who’s been on TV or anything like that, so it was super-exciting,” he says. He ended up picking up work as an extra. “The pinnacle of my acting career was one line on an ITV drama. I don’t even know if they used my scene,” he says with a laugh. When he was 15, he joined a drama group in Barnsley, which his mum would take him to when she could afford it. “I think I was confused, thinking I wanted to act when actually what I wanted to do was perform.” At school he joined a band, where they sang Oasis and Green Day covers, and when The X Factor came up, he made it on to the show in 2010 on his third attempt. He queued from 3am to make sure the producers wouldn’t have audition fatigue before they saw him, and he got his goal - to get in front of Simon Cowell “and just have a professional opinion on how I am as a singer. I was so flustered. Going from school performances to performing in front of professionals, TV cameras, a 3,000-strong audience. I wasn’t present. I sang terribly. I remember coming away from it thinking: ‘I wonder if I’ve got through as one of those lads who looks all right but isn’t really a good singer.’”

One Direction in 2012 (from left): Niall Horan, Zayn Malik, Louis Tomlinson, Liam Payne and Harry Styles. Photograph: IBL/Rex Shutterstock Yet he ended up in One Direction, the band the show put together in its 2010 series. For six years they sold tens of millions of records, broke America and each made a rumoured £40m-plus fortune. Their fans, Directioners, are another level of devoted. I don’t know how he coped with the attention, or the pressure. There were really only a few times when it got too much, says Tomlinson. They were in Australia and a local news station had got a helicopter and a photographer was trying to get pictures of Tomlinson in his top-floor hotel room. “I think I was naked, or just in my boxers, and even in my hotel room there was no escape. I could feel the pressure.” He tweeted about it - “your standard bratty celebrity tweet” - and was attacked. “At times it did stress me out but never was I allowed to whinge, allowed to be a human and say: ‘Today has got too much for me.’ I found that difficult at first.” But he is keen not to sound as if he is complaining. “There was much more positive that outweighed that.” And he never blames the fans for their intensity. Theirs is a special relationship, he says. “So many people have bullshitted about what they feel about the fans, but they’re like family to me.” Even when Directioners have got a bit too ardent - there is a conspiracy theory, for example, that he and his bandmate Harry Styles have long been in a secret sexual relationship - he seems more bemused by it than annoyed. Although he is wary, he says, of adding “fuel to the fire” by talking about it. “I know, culturally, it’s interesting, but I’m just a bit tired of it,” he says. The HBO drama Euphoria recently showed an animated sequence of Tomlinson and Styles together, as imagined by a smutty fan-fiction writer. Was it annoying that a show had taken something fairly niche and given it new mainstream life? “Again, I get the cultural intention behind that. But I think …” He trails off, trying to work out what he wants to say. “It just felt a little bit … No, I’m not going to lie, I was pissed off. It annoyed me that a big company would get behind it.” Why does he think he never went off the rails during the band’s heady period? “My mates and my family, really. It’s from my upbringing and where I come from. If I went back to Doncaster and I was dripping in Gucci or whatever, I’d probably get whacked. I’m always very conscious of not acting too big for my boots. It’s the people around me who keep me sane and normal, because they give me insight into real life.” He lives with his girlfriend, Eleanor and his best friend, Oli. “Some celebrities, in pop in particular, only surround themselves with amazingness, and all they see is good, good, good, which is lovely, but you don’t understand the real world then. I have the luxury of my mates around me, just reminding me how fucking good I’ve got it, really.”

With his mother, Johannah, in 2015. Photograph: Dave J Hogan/Getty Images The day of One Direction’s final concert in November 2015, Tomlinson and his bandmate Niall Horan sat together “and had a little cry, because it was such a journey we had been on. That day in general was so poignant. As much as you try and prepare yourself, it’s a whole other thing when it comes.” Because they had worked so much with few days off, he assumed that a break would be exciting. “But it wasn’t like that. When you’re used to working however many days, it’s all that more evident when you’re not doing something. Especially in the first six months.” He spent time in Los Angeles with his son, who was born in 2016, after his relationship with a stylist, Briana Jungwirth. “My life became -and I don’t mean this to sound derogatory - very normal, from being a life of pure craziness.” At the same time that Tomlinson was trying to work out what to do with himself, his mother, to whom he was intensely close, had been diagnosed with leukaemia; she died in December 2016. He performed his first single on The X Factor just a few days after her death, then seemed to half-heartedly continue with his solo career, releasing another single in 2017. It would be another two years - during which he became a judge on The X Factor - before he released Two of Us, a raw and beautiful (and under-rated) song. “After I lost my mum, every song I wrote felt, not pathetic, but that it lacked true meaning to me,” he says. “I felt that, as a songwriter, I wasn’t going to move on until I’d written a song like that.” He knew he needed to get it out of him, but there was a lot of pressure - he felt he should be an experienced songwriter before he attempted it. Two songwriters he worked with played him the chorus. “It was like the song I always wished I’d written. I went in and put my personal touch to the verses. It was a real moment for me in my grief, and as part of the creative process, because it felt like it was hanging over me.” Earlier this month, an inquest found that his sister Félicité had died of an accidental overdose; she had been taking drugs, including anxiety medication, since the death of their mother. He has been through some terrible times, I say, which must put a perspective on a pop career. “Exactly,” he says, a little quieter than before. “That whole dark side I’ve gone through, it sounds stupid to say, but it gives me strength everywhere else in my life, because that’s the darkest shit that I’m going to have to deal with. So it makes everything else, not feel easier and not less important, but, in the grand scheme of things, you see things for what they are, I suppose.” His fans have been crucial, he says. “I’m sure every artist says this, but I do believe it. We’ve been through some dark times together and those things I’ve been through, they carry a weight, emotionally, on the fans as well. And I felt their love and support. I remember really clearly when I lost my mum, that support was mad.” What have the experiences of loss he has been through taught him about himself? He thinks for a second. “I keep going back to it, but I don’t know if it’s a combination of where I grew up and my mum’s influence, but I just have this luxury of being able to see the glass half-full no matter what.” He is the oldest of his mother’s seven children, which is grounding and means, he says, “there’s no time for me to be sat feeling sorry for myself. I’ve been to rock bottom and I feel like, whatever my career’s going to throw in front of me, it’s going to be nothing as big or as emotionally heavy as that. So, weirdly, I’ve turned something that’s really dark into something that empowers me, makes me stronger.” He gets up to go to the toilet, which I think is his polite way of asking me to move on, although when he gets back he says, by way of a final word on the matter, “I don’t want people to feel sorry for me. That’s not how I feel for myself. Somehow it fuels me.”

1D face the fans: the band’s last performance was in 2015. Photograph: Sportsphoto Ltd/Allstar One Direction will get back together one day, he believes. He still speaks to the others. “We’re not texting each other every day, but what we do have, which will never go away, is this real brothership. We’ve had these experiences that no one else can relate to.” Styles has become quite the superstar. The others seem to have steady solo careers. Tomlinson says he’s embarrassed to admit that, when he first went solo, he would have been devastated had his album “only” reached No 3, so used is he to everything he did with One Direction going to the top. Is it hard not to measure himself against his former bandmates? “Oh, naturally,” he says. “I’d be lying if I said I didn’t. I’ve never been competitive like that, but, naturally, you think: ‘If they’re getting this then I deserve that.’ I think, the longer time goes on, I can see it for what it is and just be proud of them.” And success means something else to him now. “It means I’m happy with what I’m doing.” Kill My Mind, by Louis Tomlinson, is out now on Arista. His debut album will be released in 2020

#tw death #tw drugs #stunt mention #louis tomlinson #250919

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aion-rsa · 4 years ago

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The 20 Best Horror Movies on Netflix UK – Scary Films to Watch Right Now

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Netflix is an ever-changing, constantly growing treasure trove of hidden gems and secret delights (here’s everything new on Netflix UK this month). Sometimes, a teeny bit too secret though.

Who hasn’t sat down to watch a horror movie and found themselves scrolling endlessly, either not being able to find something they’re in the mood for, or not really knowing what half the titles are, or if they’re any good?

We’ve scoured the full current catalogue available to watch in the UK now and picked out the best scary movies. It’s a mix of classic and new, and a range of slashers, horror-coms, mumblegore, monster movies and more to hopefully scratch that itch with ease.

We’ll keep this updated as and when titles drop in and out of the service.

Hereditary (2018)

If you haven’t seen this slice of trauma, the feature debut of Ari Aster, you probably should. If you have seen it, you probably won’t want to again. Toni Collette stars as a woman whose controlling mother has just passed away setting of a series of horrible events. Aster says the film was partly inspired by his own sense of his family being cursed – this a movie absolutely drenched in grief and pain with astonishing performances all round. It’s tough going, but it’s a masterpiece. Read our review.

The Platform (2019)

This existential Spanish horror made a splash at the start of lockdown with it’s tale of prisoner trapped in an enormous vertical prison with a platform at it’s centre which delivers food to the inmate floor by floor starting at the top, so that each floor only gets what the floor above has left over. It’s political, allegorical, it’s clever and it’s very violent.

The Endless (2017)

Justin Benson and Aaron Moorhead’s gorgeous sci-fi horror stars the two as brother who escaped from a cult ten years ago and are drawn back in in search of answers when a strange videotape arrives. This is their third movie after Resolution and Spring and the two are only growing in strength as directors – The Endless is rammed with indelible imagery and deeply unsettling moments within a plot that is a joy to unpick.

What Keeps You Alive (2018)

Couple Jackie and Jules head to a remote woodland cabin to celebrate their first wedding anniversary but things go bad… Ok this sounds like the most generic slasher in the world but trust us it’s not. Twists hit early on (that we’d hate to spoil) and the tension ramps up fast in a very effective cat and mouse chase with a female bent. This comes from Colin Minihan who made Grave Encounters – this isn’t similar but both have a disorientating sense of place. Read our review.

Orphan (2009)

Released during the heyday of Dark Castle’s mid-budget horror splurge, Orphan is one of those genre films with an absolutely ludicrous (and therefore thoroughly enjoyable) twist, which we will not spoil for you. Peter Sarsgaard and Vera Farmiga star as a couple mourning the loss of their baby, who decided to adopt a little Russian girl called Esther from the local orphanage. Things quickly start to go very, very wrong as the pair start to suspect that wee Esther – who insists on dressing like a spooky doll – isn’t all she appears to be. Check out our review.

Insidious (2010)

The many sequels may have yielded diminishing returns but the first of this franchise, about a couple (Patrick Wilson and Rose Byrne) whose comatose son appeared to be trapped in another realm by a evil spirit, is a very effective chiller. Horror genius James Wan directs, and the first half of this movie at least is pretty much guaranteed to make you jump out of your skin.

Annihilation (2018)

An all star cast including Natalie Portman, Jennifer Jason Leigh and Tessa Thompson, plus the quality direction of Alex Garland wasn’t enough to secure this horror sci-fi based on Jeff Vandermeer’s novel a theatrical release in the UK. Nevermind, that just means you can watch it for free on Netflix. Portman joins a crew of women exploring the mysterious Area X where he husband ventured some time before and came back changed. It’s a weird, unfamiliar landscape of beautiful flora and terrifying fauna defying explanation until the strange, indelible finale (not sure what it means? Have a read of this explainer). And you can check out our review, too if you like.

Daybreakers (2009)

You’ll get a little bit of everything with this Spierig Brothers curio. It was the film that really got the directing team noticed and it’s not hard to see why. Set in a dystopian world where basically everyone has been turned into a vampire, one corporation thinks it’d be a bloody (sorry) good idea to track down all the surviving humans and…well, basically milk them. Ethan Hawke stars as a vampire haematologist who starts to think there might be another way for this story to go after he’s collared by a former vampire (Willem Dafoe), who can cure everyone. (Living) dead good. Check out our review.

The Bar (2017)

Slightly bonkers Spanish horror thriller which sees a bunch of strangers stuck in a busy Madrid cafe when snipers begin shooting anyone who tries to leave. Confusion and personality clashes abound in this economical single location chiller with a dark sense of human as the inhabitants slowly discover what’s going on, who’s responsible and try to work out if and how they will survive.

Netflix UK: What’s New in April 2020?

By Kirsten Howard

21 underappreciated films to watch on Netflix UK

By Paul Bradshaw and 2 others

The Cabin in the Woods (2012)

Drew Goddard and Joss Whedon’s love/hate letter to the horror genre felt like something of a game changer when it finally arrived (it was shelved for several years because of financial issue with original distributor MGM). Chris Hemsworth and Haley Bennett star in a double layer story about ordinary kids vacationing in a woodland cabin, with Bradley Whitford and Richard Jenkins as very particular kinds of bureaucrats up to something in the background. No spoilers, just watch. Here’s our review.

Cargo (2017)

Martin Freeman stars in this Netflix original developed from a short directed by Ben Howling and Yolanda Ramke. Set in the Australian outback, Freeman is a father trying to find someone to protect his child in the middle of a zombie apocalypse. More wistful and emotional than that sounds on paper, there’s a fascinating subplot about an Aboriginal girl mourning her father and the final set piece is unforgettable. Check out our review.

Lifeforce (1985)

A Cannon Films classic directed by late Texas Chain Saw legend Tobe Hooper, people are still discovering the ’80s madness that is Lifeforce. Originally entitled Space Vampires, it’s exactly what you’d expect, and so much more. Nude, energy sucking bat creatures are brought back to Earth after an interstellar mission finds a gaggle of them lying dormant in Halley’s Comet, and it all goes very badly for the planet. You can expect a scenery-chewing Patrick Stewart to pop up in between the tits and gore. Not literally! Although, sometimes literally.

Creep (2014)

No, not the one set on the tube, this ‘mumblegore’ horror is far weirder than that. Director Patrice Brice plays Aaron, a videographer hired by Mark Duplass’s Josef to make a video for his kid to watch after he’s died of a terminal illness. Or does he? Playing on the power of politeness and the awkwardness of male relationships this is a highly original, itchily uncomfortable watch. Creep 2 is also on Netflix, and also good!

17 of the best TV series on Netflix UK

By Louisa Mellor

Underappreciated comedy movies on Netflix UK to watch now

By Mark Harrison and 1 other

Hush (2016)

Another smart sensory-based horror, this time from Oculus and Doctor Sleep man Mike Flanagan. This home invasioner sees deaf writer Maddie (Kate Siegel) attacked in her woodland retreat by a masked stranger. He uses her inability to hear to sneak around and terrorise her, but she has tricks of her own up her sleeve. Check out our review.

The Invitation (2015)

Karyn Kusama (Jennifer’s Body, Destroyer) just keeps knocking it out of the park (and she’s recently been attached to a Dracula movie from Blumhouse Productions), and with The Invitation she continued to secure her place as one of the best directors around. Here, Will (Logan Marshall-Green) and his girlfriend go to a party held by his formerly suicidal ex-wife, and discover that she seems to be happier than she ever was, but Will starts to suspect that rather than healthily coping with her mental illness, she may well have joined a doomsday cult instead, and be planning to kill them all. Paranoia and tension are at the max in this bad boy. Here’s our review.

Little Evil (2017)

Comedy horror from Eli Craig who made the wonderful Tucker and Dale Vs Evil. This time he’s playing on creepy kid tropes, particular those from The Omen movies. Adam Scott plays a man who discovers his new wife’s (Evangeline Lilly) son might actually be the anti-christ. And because it’s Eli Craig, of course it’s funny and very good natured as well as playing with the genre.

Gerald’s Game (2017)

Another Mike Flanagan offering here – what can we say? he’s damn good! – as Jessie (a spectacular Carla Guigino) and her husband Gerald drive to a remote house to try and spice up their marriage with a bit of gentle BDSM. One problem: Jessie is not into it. At all. Two problems: Gerald carks it, leaving her tied up with only her cunning to help her free herself from her prone, handcuffed predicament. Three problems: a mythical, supernatural killer may be in the house. Stephen King, you’ve done it again. Read our review.

Ravenous (2017)

Unusual Canadian zombie movie (in French) which sees remaining stragglers after an outbreak of the infected band together in disparate groups travelling to find other survivors. Ravenous sets up its infected as worshipping a sort of new religion of found items (chairs, TVs etc.) making comment on the zombification of society. It’s also funny and quite scary, so there’s that.

Veronica (2017)

Loosely based on a true story, Veronica is set in Madrid in 1991 and follows a young woman who messes with a Ouija board who thinks she’s accidentally summoned an evil spirit. Director by Paco Plaza, one of the two directors behind [REC], the movie gained minor notoriety when it first landed on Netflix because of a few viewers finding it overly scary. It’s true there are some seriously creepy bits (but you’ll be fine!).

The Perfection (2018)

Get Out‘s Allison Williams and Dear White People‘s Logan Browning star in this twisty, trashy but nonetheless enjoyable tale of two musical prodigies hothoused at a mysterious academy. It’s lurid and lavish (and it’s got some fairly dodgy sexual politics, we’d warn you) but great lead performances and a tricksy three act structure that keeps you guessing, make this an entertaining and unusual Friday night pick. Read our review.

Want more horror? Here’s our list of 81 genuinely creepy horror movies. Here are some horror movies it’s safe to watch with your kids. And here are some underappreciated Scream-inspired horror movies of the 90s.

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snowy-charm · 5 years ago

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A Treatise on Charm, Snowy

(TL;DR warning: This post is kinda long. The quick version is that I’m gonna make music now! Next post will be one of said musics. The rest of this post goes over the story of why I’m doing it. Also I use a meme twice and link some rad music three times.)

The year: 2017. October. I was given the name “Snowy Charm” as a fun pony name to facilitate a secret santa exchange online. Even though I’d been a fan of these little horses since ~2012 I’d never delved into the world of having one to call my own. I was more than satisfied bearing witness to the growing cast of canon characters - and of course my hot and heavy courting with the cast of Fallout: Equestria. (Side note to anyone who may be reading this: FoE is pretty dope, but it is also the essence of grimdark. Read at your own risk!)

Suddenly at odds with this new OC acquisition, I quickly came up with a fast and loose backstory! He was a crystal pony from the wintery crystal kingdom (”Snowy”) and was probably an artificer or craftsman of some kind (”Charm”). I joked that the reason behind my name is that I live in a snowy climate (read: the tropics) and I was quite charming (the jury is still out on that one).

The following year was my first ever convention: BronyCon 2018! An artist friend of mine graciously designed my OC with little to no input on my part and came up with a design that I instantly fell in love with.

(Pictured here subtly in front of a rack-mounted EQ I have never used, but is appropriate for an upcoming revelation.)

Isn’t he ADORABLE?! I will forever wear that badge because it is awesome. The cutie mark has been redone a little since then, and no other artist has remembered his beard yet, but I digress; this story isn’t actually about him.

Of course, BronyCon was a blast! This became my impetus to be more than simply an observer in the fandom, but to be present and belonging with others through our communal enjoyment of My Little Pony. My friends, in general, had a disinterest of the show - which, you know what? That’s fair. I don’t particularly care for Game of Thrones, Desperate Housewives, or the DCU, and it would be hard for me to feign a genuine interest in the developments thereof - but as of BronyCon I was able to play on an even field with others who shared my same passion for these candy colored equines!

Now, another thing to note of me, which will be important in a moment: I’m slightly musical. Not amazingly talented or anything, just.. slightly musical. I was REALLY into marching band (and won the John Philip Sousa award my senior year!!), but stopped refining my craft during college and onwards. Turns out playing a $5000 instrument puts a damper on your ability to own one. (Here’s a second video, and a third; I freakin love marimba.) I picked up the Ukulele for the the occasional “BUT YOU LIKE TO MAKE MUSIC” urges, but more or less ignored actually honing my abilities.

But now that I found myself surrounded by the magic of friendship combined with the magic of ponies, I wanted to CREATE. I suddenly realized that Snowy Charm was to be a MUSIC PONE. I would make FANDOM HITS that nopony had ever HEARD BEFORE (or after - I didn’t/don’t expect to be horse famous [or really even horse known (triple parenthetical asides are super cool, by the way)]).

Aaaaand promptly realized I had the better part of a decade’s worth of rust hanging onto my high-school-level skills. Not to mention that I still didn’t own the only thing I was good at playing.

“Okay, okay, it’s fine. Don’t hyperventilate, self. We’ll just make this into a project about growth in music instead.”

- Me to myself circa the realization I can only really play a single instrument, and not even well.

I decided to make the project about my journey in the music field instead of pumping out dope jams. The goal was to lay out where I was musically and pick a song each week. I’d then practice that song all week and post a recording of my warbly self performing it by week’s end. Pick up a new instrument here, learn a new software there. Maybe I’d do originals now and again, but likely I’d just scream into the void and wait for it to call me back.

Of course, the dope jams would (hopefully) come, but as Jake says:

Long story short on that one: I didn’t.

Be it procrastination or a busy schedule, I can’t really defend my past self’s choice at this point. I made all the social media accounts and sturdied myself to make the first bellow into the abyss --- but then silence rung out. (Of note, I got my twitter anniversary notice today, so it has been exactly a year from my first tentative steps.)

Flash forward a couple months - October once more. My little festive community starts up again! More fun names are given out and lore starts being woven together about these new OCs! The stories start coming quick: There’s a stallion who HATES CRANBERRIES and one who makes bomb smoothies! A diamond dog who wants to celebrate Hearth’s Warming but is the target of seemingly the entire diamond dog population’s scorn! There’s a whole school filled with students, teachers, and a will-they-won’t-they janitor/counselor combo! Snowy now owns a potion shop specializing in musical applications, not to mention somehow he’s now the ambassador to those diamond dogs! But then, unexpectedly, on the day she was supposed to return from the hospital, my mother passed away.

I had recently lost my job and moved into my folk’s home out of town. Unemployed, isolated from friends, and yeeted into the throes of grief; I did all I really could: I picked up my dumb noise stick and sang about life, love, death, and colorful talking horses.

I made my first honest-to-goodness song - Drink In - during that period. It’s about that on-again-off-again pair I introduced earlier, but it was also about my grief and healing. I’ll share some of the lyrics here that, after I wrote them, spoke to me as if I didn’t pen them my damn self:

Take a deep breath Exhale regret Drink in sunsets The best is what’s left

It may not hit you the same way as it did me, music is often subjective, but it was an imperative reminder to let go of the stress I was compounding inside of me. I needed to hear that message badly - and put a pin in that, I’ll loop back to it in a moment.

I started working to better my craft again. I helped mix/master the album that my little festive family put together. I borrowed a bass guitar from a friend and started learning a little. I even got employed to do live mixing at the church I attend! Little by little I was getting better.

But let’s fast forward again, shall we? This time to August of this year, BronyCon 2019! One of the best times I’ve ever had, but that’s not the point (maybe I’ll go into it in a later post?). I came home invigorated and ready to face the world again after being exhausted for almost five months straight. I felt free from burdens and there was something on my mind that hadn’t been there for a long time: I was ready to CREATE.

If you were at the con, or if you’ve been on twitter recently, this next refrain may strike you as familiar:

(Patch done by @sew-adorkable)

I knew I had to make a song about it, but I had to make it good enough to be heard by folk. It had to be perfect before I could release it and have guitars and electronic music stuff and all the bells and/or whistles. I have a launchpad, unused, from last year - so I plugged it in with Ableton Live so I could make them funky horse beatz (with a z of course, because that’s 20% cooler).

Aaaaand promptly realized I was way out of my depth.

I’ve recorded live performances (and myself) with Reaper and Audition before, and I feel like I know at least some of the basics with them. I can put a vocal into compression, mix the instruments okay together, do some EQing, etc. But I was now adrift trying to get the computer to make sounds that I wasn’t able to do myself.

I couldn’t figure out how to put anything other than the default synth into reaper and I opened Ableton because that’s better for electronic music I hear and I want to learn how to do that and they don’t even have a timeline and use clips and what are clips and how do you make them and what are samples and how do you get them and how do I even record a voice in this thing and there’s not a TIMELINE and when you stop the noise the session isn’t stopped and the launchpad won’t work and I went back to reaper and they have a drum sampler and how do you get a sample and how do you install things and is this my personal hell and I understand this is a run on sentence - I was frustrated and I quit.

Remember the pin I told you to put in earlier? Refresh that into memory, here’s where it’s relevant.

About two weeks after this whole debacle I was listening to shuffle all on my phone and Drink In happened to come on. I remembered how the completely unintentional message of my own song really struck me a year prior. This stupid song about a pair of pony OCs with terribly played ukulele and shitty bargain bin percussion recorded with a mic not suited to record anything except vocals... and despite all that, despite all of the technical barriers that were in the way, despite clipping during recording ukulele and hearing the distortion every time I listen to the track, it helped me restore tranquility when my inner world was naught but a maelstrom of grief and tumult.

...I guess it didn’t have to be perfect to reach folks. Who knew?

And that right there is the moral I’m learning today. I struggle with it a lot, but there’s a problem with perfection: allow yourself only to produce perfection and you’ll produce nothing. I mean it’s a well known quote, right? Nobody’s perfect.

So, I apologize in advance to all people with ears, but it is now my intention to bring (hopefully) pleasant noises to the grandiose cacophony that is the internet. They won’t be perfect, but I’ll work on it.

Anyway, come to TrotCon.

(Art by Witchtaunter, Flitterfel, and Mentita Kirby)

P.S. Holy bananas you actually read this monster of a post? Give yourself a pat on the back! Future posts likely won’t be as herculean of a read, but no promises. Next time I’ll actually upload “Drink In” so you can hear this song I’ve referenced so much - and then I’ll talk about where I’m at mechanically and the goals I have by doing this whole thing. Oh, and don’t expect all the neat art to happen every post! I went a little YCH/commission crazy after I got back from BronyCon, but I’m also not made out money so it won’t last forever. I don’t expect really anybody to read a huge post ostensibly about someone’s OC, and even the lifetime of this project I expect less or equal to about 10 people, but I hope you find a sense of belonging and participation here! Hello to all 10 of you!

See y’all next time!

#I don't know how to tag things #MLP #Probably MLP #Horse Music?#Snowy Charm #long read #I'msosorry #I met Wootmaster at BronyCon last year #I sang the Halo theme at him #It was pretty cool #notice me senpai

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spacedpanini · 6 years ago

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There was a rise with very hurtful things about suicide on my personal dash recently.

I thought instead of getting angry, I raise awareness my own way. I offer a look and recommendation of games to play that tackle Mental Health.

Here are 3 games that I played that tackled Mental Health really well, plus 3 honorable mentions:

The Cat Lady (2012; Harvester Games): -Mental Illness tackled: Depression, Anxiety -Trigger Warnings: Suicide, Horror, Gore, Abuse -Susan Ashworth commits suicide. Then she wakes up, is told by an entity called the Mother of Maggots that she is chosen to exact vengeance for what she calls “The Parasites of society” and is also immortal (the last thing Susan wants). An indie horror point and click from British developers, it is a harrowing look at how we as society treat the outcasts, the ones that fall into the cracks. You play as Ms. Ashworth, a former nurse and a surprisingly older protagonist, who suffers from anxiety and depression and you help her defeat her demons and help people. There is something empowering about being able to fight back against the system and the abusers that demonizes or choose to forget the ones they consider broken. The Cat Lady shows you also that abuse can comes also in microaggressions, and can come from people you trust, but ultimately things get better. It is a revenge fantasy but also it reminds you that listening to people and making connections is a powerful gesture. -Supplementary video: https://www.youtube.com/watch?v=epo7s0S32yU&t=1811s

Night in the Woods (2017, Alec Holowka/Infinite Fall/Secret Lab) -Mental Illness tackled: Disassociation, Bipolar Disorder, Depression -Trigger Warnings: Mentions of Sexual Abuse in one path, Horror in latter part of game -Mae Borowski, a college dropout goes back to her hometown, tries to reconnect with her friends, and generally bums around, aimlessly thinking about what to do next. Mae has trouble letting go of the past and her disassociation makes things complicated for her, her family, and her friends. She has a bit of trouble with empathizing with others, is childish, has destructive tendencies, and when her paranoia hits, she cannot recognize faces, seeing only shapes. But ultimately, she’s a good person. Night in the Woods is a very charming slice of life/horror point and click adventure game about growing up. The town also may or may not have a deadly secret. I really loved this game because of the atmosphere and the characters are easy to fall in love with. -Suplementary Video: https://www.youtube.com/watch?v=0ntxpOb5MGc&t=112s

Hellblade: Senua’s Sacrifice (2017, Ninja Theory) -Mental Illness tackled: Psychosis, Depression -Trigger Warning; suicide, multiple dynamic voices, gore, disturbing imagery, flashing life -From Wikipedia: Inspired by Norse mythology and Celtic culture, Hellblade follows Senua, a Pict warrior who must make her way to Helheim by defeating otherworldly entities and facing their challenges, in order to rescue the soul of her dead lover from the goddess Hela. In parallel, the game acts as a metaphor for the character's struggle with psychosis, as Senua, who suffers from the condition but believes it to be a curse, is haunted by an entity known as the "Darkness", voices in her head known as "Furies", and memories from her past. To properly represent psychosis, developers worked closely with neuroscientists, mental health specialists, and people suffering from the condition. Senua’s psychosis is portrayed in scary detail, you don’t know if you can trust the voices whispering to you constantly because they equally help and hinder you. The ending was beautiful. -Suplementary video: https://www.youtube.com/watch?v=52flQkqj5gs

Honorable Mentions;

That Dragon, Cancer (2016, Numinous Games): This game is developers Ryan and Amy Green’s personal ode to their third son, Joel, who passed away because of cancer. It is a look into Ryan and Amy’s harrowing journey watching and caring for their son. A look into how grief changes you. It is a painful, painful game to experience and seeing Ryan and Amy despair, you join them in it too. A lot of tears will be shed.

To the Moon (2011, Freebird Games): A game that tackles dementia and medical ethics. It also tells its story out of order. Charming and really really sad with its bittersweet ending.

Psychonauts (2005, Double Fine Productions): A very fun romp and adventure game, this cult classic is a must play. I included this game in the list because in the latter part of the game, you experience and help people with their mental problems and literal emotional baggage. The way it handles the adult’s problems is fun but it also reminds you that everyone has problems, and they are all valid. Listening and empathy go a long way.

#mentalhealthawareness

You are most welcome to share this post and pic and I'd love to see more posts about your favorite games, music, book, movies. I'd even encourage you to draw or make something for them

Hang in there. You matter.

#mental health awareness #night in the woods #the cat lady #Hellblade #that dragon cancer #To the moon #psychonauts #spacedpanini draws

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twimclabel · 7 years ago

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EVERYONE AFRAID TO BE FORGOTTEN

Swedish singer, songwriter, producer and filmmaker, Jonna Lee, brings the evolution of her ten-year creative career to a new peak with the release of her maiden ionnalee offering, EVERYONE AFRAID TO BE FORGOTTEN on 16 February 2018 on To whom it may concern. and Kobalt Music.

A studio album and, in due order, a stand-alone filmic counterpart (co-created with cinematographer, John Strandh, in alliance with fashion and art trail-blazers, COMME des GARÇONS), this is the most ambitious project which the Stockholm-based master of audiovisual artistry has embarked on.

Two years and two albums into a solo endeavour as a guitar- wielding folk’n’roller, 2009 saw Jonna Lee beginning a seminal metamorphosis which would lead her to join forces with best friend and long-term producer, Barbelle a.k.a Claes Bjorklund, in creating the organically viral, electronic pop phenomenon that is iamamiwhoami.

A mystery and a riddle, iamamiwhoami’s visuals-backed clue trail of short, sharp, gratifying musical shockwaves stumped fans and the media alike. It formed a gripping guessing game, which enticed audiences to explore its dark, elusory storyline. Moreover, as an entity still in its nappy days, iamamiwhoami’s real-time work process also meant that its cast of creatives’ initial decision to remain anonymous unintentionally caused a frenzy around the question of who was behind the surprise releases (Christina Aguilera and Karin Dreijer were but two of many suspects).

The group’s three ground-breaking audiovisual works [bounty (2010, digital); kin (2012); and BLUE (2014)] served as Jonna Lee’s vehicle for change, through which she has kept challenging limitations and untethering inhibitions in favour of development and innovation. The iamamiwhoami Youtube channel has, since its inception, garnered over 42,300,000 views and in 2011 - even before its first physical release - the group was awarded Innovator Of the Year Award at the prestigious Swedish Grammis.

In the three-act play of Jonna Lee’s creative voyage to date, whereby her late-noughties solo albums planted the inciting incident and iamamiwhoami provided a riveting plot twist, the artist’s debut as ionnalee ushers in the exhilarating climax, letting all that’s gone before culminate in an opus that honours the past, whilst simultaneously devising a recalibrated, fresh future.

EVERYONE AFRAID TO BE FORGOTTEN evokes thoughts about what drives an artist to create in a milieu brimful with people fighting to be seen and heard and to express themselves in ways that would single them out from others. With its eyes fixed firmly on the state of the world right now, this is a collection that concerns itself with what is the artist’s residual footprint, paralleled with people’s fear of oblivion.

As our generation pores over and pours into social media with a desire to leave as much of ourselves and our legacy out in the world – like a self-edited epitaph, to ensure that we are remembered and control how such remembrance is preserved - EVERYONE AFRAID TO BE FORGOTTEN explores the different fears and struggles we, as human beings, contend with. ionnalee has hers but, importantly, the songs are intelligently crafted so as to allow for the listener’s personal meaning to coexist.

Reflecting on her own perspective, ionnalee says: “I’ve been evaluating the role that’s cut out for me by society in general and the music business in particular, as to how I should look and behave, both as a woman and as an artist.” In shaping the record, ionnalee has been preoccupied with the experience of societal pressures on women, such as the inescapable normative push to become a mother, pitted against the professional pull of meeting the audience’s expectations of her as an artist.

A further premise underlining EVERYONE AFRAID TO BE FORGOTTEN is the theme of perception vs misconception when it comes to an artist’s work. “We live in a time where anyone can do anything”, ionnalee says, reflecting on the ever-growing prevalence of the audiovisual format. “It can be beautiful, when it’s done purely in pursuit of creative motifs, but in many situations it is only really done because of the current perception that just being a musician is no longer enough and the music has to be dressed to the nines in order to be heard. My visuals have always been part of my creation and, yet - frustratingly - they are still often being perceived strictly as a promotional tool.”

Fulfilling and transformative as it was, the hectic and exhausting, non-stop cycle of work since the inception of iamamiwhoami has, cumulatively, taken its toll on the musician, resulting in significant stress and periods of depression. “I’ve been burnt out”, she admits, ruminating on an invariably stringent schedule, exacerbated by the pressures of running her own independent record label. “The independence I have has enabled me to be bold and innovative as an artist but, by default, it also often makes the workload overwhelming.”

Never one to go for the easy option, however, ionnalee made a defiant choice: “I wanted to bring out my insecurities instead of my strengths.”

The most significant source of insecurity and fear has, ultimately, proved to hinge on ionnalee’s health, as a cancer scare, numerous medical screenings and a subsequent diagnosis of a thyroid disorder exposed a serious possibility of permanent damage to the singer’s vocal chords.

Facing that real risk of not being able to sing in the future and the fear of losing her most important way of self-expression, there arose in ionnalee an even greater drive to produce something special and perdurable with EVERYONE AFRAID TO BE FORGOTTEN. “The thought of not being able to sing had never occurred to me. That would be like losing my gut”, she says.

For ionnalee this record not only had to be made, but it had to be made now and it had to bring in elements of her history in order to open a door to a hopeful thereafter. “I wanted to see who am I in the present, as a solo artist. I want a lifespan career and, for that, I need to make sure I’m clear about who I am as an artist now.”

To do this, she decided that, along with the album’s brand new compositions, she would hark back to older sounds and song elements that, despite never previously being released, stand as pivotal stepping stones in her career. “I wanted to connect with the beginning of iamamiwhoami and the evolution I’ve gone through since”, she says.

An instance in point is brand new single, ‘GONE’, which keen-eared followers will recognise as a reconfiguration of the fourth, so-called (by fans) ‘PAPACHOO’, prelude, put out by iamamiwhoami in February 2010, as a minute-long taster for what eventually became their audiovisual album, bounty.

Epitomising the evolutionary process of ionnalee, ‘GONE’ adopts one of the foundation stones of her previous incarnation and transforms it into a bustling and infectious full song, whose lyrics tap directly into the core of EVERYONE AFRAID TO BE FORGOTTEN and its resounding themes: “the songs that you sung / and the words that you meant / will be here when you are gone”, she prophesies on the chorus, as the verses gesture at the initial media circus concerning her identity (“the wonder who I am”) and the turmoil surrounding her health (“this mouth on me /and this voice against time”; “this weakening noise /will fade softly to silence”).

The track begins by establishing the prelude’s signature bottle percussion as an underlying rhythmic device and the synth-led, dramatic Baroque nuance beautifully complements ionnalee’s vulnerable voice in creating dark Renaissance electronica. The majestic, sweeping chorus quickly lodges itself in the mind’s ear with an instant grab, whilst the middle 8 showcases a soaring vocal performance.

The video for ‘GONE’ was directed by ionnalee together with John Strandh and is a key chapter in the longer visual narrative arc supporting EVERYONE AFRAID TO BE FORGOTTEN.

The album’s first taster came in February 2017 with ‘SAMARITAN’, a blunt eschewing of other people’s demands and presumptions, over which the artist has no control. Boasting a big and immediate pop chorus, ’SAMARITAN’ feels tailor-made for a record that is often conscious of and rebels against what is expected.

“I don’t think people should feel secure in their expectations of me”, ionnalee says. This is, for example, why effervescent sophistidisco, ‘NOT HUMAN’ (which was co-written with Com Truise), comes to an abrupt, surprising end as though inadvertently paused and also why recent, contemplative single, ‘SIMMER DOWN’, doesn’t have a video (previously, every iamamiwhoami track had its own visual counterpart, collectively amounting to an all-encompassing series dating back to 2009, which follows one evolving storyline from beginning to end).

As a lover of beats, bass and drums, ionnalee’s favourite part of producing her own material has been making up the rhythm sections, thinking outside of her own comfort zone. “I’ve had to push myself to learn how to not only be a good creative mind, but also a good technical producer, to be able to make things sound like they sounded in my head”, she says.

In terms of the arrangements and the record’s sonic direction, ionnalee was fascinated and influenced by baroque composition, which fits in with the sense of it being something of a requiem: “I drew from my background in sacral choir singing and merged it with my other great loves, industrial and spectral synths and old school hip hop beats”, she says. “I wanted it to be an album to grieve to but there is a fairness and innocence to the sound, which makes it hopeful in midst of the darkness. Producing this work is a proud moment for me as a musician.”

Offering solace in grief, EVERYONE AFRAID TO BE FORGOTTEN is a labour of love emanating from introspection as well as self- awareness. As with every one of her endeavours, ionnalee again seeks to find and make something that is different. “The album format is regarded by many as a thing of the past”, she says, “with tracks being the primary way of consuming music.” Her vision, instead, is to make a sustainable and epic album that will endure, rather than something that is easily digested and spat out shortly afterwards. “An imprint that will stand with time”, as she describes it.

“I would like to view this as the beginning of the rest of my career. I want to grow my audience in my way, without compromising and without having to turn myself inside out. There’s a bigger, more personal weight for me with this record and much, much more at stake.”

words by Doron Davidson-Vidavski October 2017

PREORDER ALBUM

#ionnalee #iamamiwhoami #twimc #EABF #GONE #jonna lee

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camryndaytona · 4 years ago

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Books with Queer Happiness

Since today marks the last day of Pride Month, I thought it might be fitting to share a list of LGBT books that have happy endings.

Wonders of the Invisible World by Christopher Barzak Published by Knopf Books for Young Readers on September 8, 2015 Pages: 352

Seventeen-year-old Aidan Lockwood lives in the sleepy farming community of Temperance, Ohio—known for its cattle ranches and not much else. That is until Jarrod, a friend he hasn't seen in five years, moves back to town and opens Aidan's eyes in startling ways: to Aidan's ability to see the spirit world; to the red-bearded specter of Death; to a family curse that has claimed the lives of the Lockwood men one by one…and to the new feelings he has developed for Jarrod.