#source: bohemian rhapsody movie

[that-one-enby-ranger]

Halt: What do you think of Crowley? *pause* Pritchard: *sighs* Nice pal. Halt: I think he’s gay.

[humbledragon669]

S1E1 – In The Beginning Write Up P2

– Eleven Years Ago

Once the credits have finished rolling, the audience are catapulted in to a close-to-present-day time space.  Eleven years prior to “present day” to be exact – the helpful on-screen signpost tells us we are seeing events “eleven years ago”. I rather like it when TV shows and movies are so reluctant to set a specific time period as a backdrop – it helps future audiences feel like the content is still relevant if and when they discover it. This neutrality is maintained in a number of ways throughout both series of GO and despite the fact that we will see scenes that have incredibly specific dates that they take place in, all the “present day” material has a subtle avoidance of date specification. Whether considering Crowley’s timeless outfit against Aziraphale’s decidedly dated ensemble, Crowley’s use of a vintage car, the setting of an antiquarian book shop contrasted with a modern-day coffee shop complete with almond milk lattes, or the repeated used of the couple’s favourite place to eat (opened in 1906 and largely unchanged since then), an audience would be hard-pressed to say exactly when the show is set, other than it feels modern-day. The closest we come to being able to specify a year is in knowing how long Crowley has owned the Bentley (ninety years, from new) and the year it was made (1927, according to the book), but even those two pieces of information feel rather hazy.

If snippets of writing are a constant source of Easter eggs in this series, the music is the parallel supplier of subtextual plot enforcement. I do not believe it is a coincidence that the Bentley’s choice of music on the approach to the graveyard gives us an early indication that Crowley is about to get more than he bargained for out of the meeting – Queen’s Bohemian Rhapsody, a rock ballad about a condemned man awaiting his fate - and which line more appropriate than what is playing exactly as he pulls up and turns off the engine:

Beelzebub has a devil put aside for me, for me, for me

Side note: this is a graveyard attached to a church, which means the land would likely be consecrated, meaning the three demons should not be able to walk on its grounds, let alone emerge from it as Hastur and Ligur do. I think this is likely an oversight; after all, where is creepier for three dark figures to lurk than a graveyard at night?

What we see of Crowley in this first scene is that he has a thinly veiled nonchalance towards his employer that only seems to go amiss by his colleagues because none of them appear to be able to appreciate the subtle nuances of human characteristics that he delivers so well, even if they do think he’s “gone native”. He shrugs off the “Hail Satan” greeting expected of him and is clearly bored by such minor trivial “deeds” as tempting a priest, appearing to revel more in the pure mischief and ingenuity of his achievements rather than the actual results that Hell would be interested in (almost like he’d done something clever and needed to tell someone about it before he popped…) – just look at his smug little face:

Oh, and he clearly wants no part in the delivery of the Antichrist.

Like it or not (most definitely NOT), Crowley has no choice but to take the Antichrist. He receives his instructions from a delightfully camp sounding but unnamed character through his stereo which, according to the script, belongs to none other than Satan himself (and, according to the book, should sound exactly like Freddie Mercury). If this is indeed meant to be Satan, I feel it’s a shame we aren’t explicitly told this – the knowledge that Satan himself has issued the instructions for the delivery of his only son would really hammer home the message of how much shit is hitting the fan at this point in time.

The scenes that follow are mostly narrative in nature, but there are still nuggets of information to be had from them.  This is where we are introduced to Aziraphale’s love of food, and the notion that this is most certainly not expected behaviour for an angel.

We learn of Gabriel’s appreciation for the clothes available on Earth (which is not viewed with the same disdain as Aziraphale’s eating fixation). Most importantly we discover that Heaven appears to be completely unaware of the fact that Crowley and Aziraphale are not only aware of each other, but have been meeting on pretty friendly terms for quite some time.

The fast pacing of the baby switching scene at the nunnery is expertly put together – it conveys just enough of a sense of chaos whilst making sure that the audience are keeping up with the plot twists. It is interesting that the playing card used to represent the Antichrist (before it is magically converted into an image of the Beast) is the King of Hearts, which is perhaps a nod to what will become his true nature (all the more noticeable in the book). We can assume that Crowley is known to the nuns (they refer to him as “Master Crowley”) prior to his arrival, but we are not given any information about how this has come to be. Considering that Crowley’s involvement in the delivery of the Antichrist came as something as a surprise to Crowley himself, I find this interesting, though this may simply be a case of his reputation preceding him, as we see in later episodes. Baby B’s unfortunately undecided fate feels terribly dark, even for a series that has, in the first half of its first episode, introduced Satanic nuns and the Antichrist. Interestingly, the book offers a more optimistic outlook for this innocent babe, even if it is for him to grow up to become the village bully nicknamed “Greasy”. I suspect this may have been omitted from the finished script due to time and budget constraints (one less child actor and chaperone to pay…).

Back in the Bentley, we’re treated to what I believe is another subtextual Clue about Crowley’s true feelings – Queen’s “It’s a Hard Life” croons out of the stereo as he tries to call Aziraphale. Great song as this is, I cannot believe that these particular lyrics have not been chosen for a very specific purpose for this exact point in the story:

You win, you lose It's a chance you have to take with love Oh yeah, I fell in love

The song itself is actually the same as the one playing on Crowley’s earlier arrival at the hospital, but the lyrics are, interestingly, from a point in the song after all the instances of the lyrics we hear during the attempted call to Aziraphale, meaning the song must be on repeat during this period of time. Examining the lyrics of the song as a whole, it actually feels like a particularly appropriate song to use against the backdrop for establishing the present-day nature of Aziraphale and Crowley’s relationship – it really strikes a chord with me. Is it dusty in here or is my hay fever playing up? (I don’t even get hay fever…)

An undescribed period of time passes (we’re suddenly in broad daylight, so it’s at least one night). The next conversation between the pair reveals quite a bit about the level of familiarity that Crowley has for Aziraphale. He clearly finds his optimism delightful – just look at this smitten kitten face:

And Crowley knows exactly what buttons to press to try to get Aziraphale on side, pointing out that he’s about to lose all his favourite things – classical music, food, and finally (just for full impact) his own book shop. Even when Aziraphale won’t bend to the demon’s temptations, it’s clear that (despite the fact that Armageddon has just been set on its slow and wandering way) Crowley just wants to spend more time with Aziraphale, offering to pay for lunch, which is clearly the best way to get the angel to engage fully. Interestingly, Crowley knows that he owes a lunch but can’t remember when for, whereas Aziraphale knows exactly when, where, and what they had – I would hazard a guess that he would probably be able to recite those facts for every instance of a meal they have ever eaten together.

Side note: I am not remiss of the fact that the year given by Aziraphale here ties up with the scene from episode 3, or that those events also coincide with an “I Was Wrong” dance performance. I have some ideas about those apology dances, which I will be covering in a (much) later post, with (I hope) a couple of fanfic chapters.

And so we are introduced to the Ritz, a place I’m sure everyone knows will come to be important to this pair, with this tableau:

I know there has been a LOT said about this tiny snippet of a scene. I am one of the people who find it pretty interesting that we never see Crowley eat (yes, I know we see him with food in front of him, but we never actually see him put anything in his mouth or chewing). I’m not saying that he doesn’t – the book and several script references make it clear that he does – but I do think he derives much more pleasure from watching Aziraphale eat than from eating himself (see the Lockdown episode for a good indicator of this). And let’s be really honest for a minute – that shot of him watching Aziraphale finish off whatever he’s eating in the Ritz is almost pornographic. Do we really think that the sound at the start of the scene of a champagne cork popping in the background as Crowley is staring at him is a coincidence? I certainly don’t. In my honest opinion, this is as close to the demon being actually aroused as we ever see him.

I also find Aziraphale’s choice of words to conclude their meal at the Ritz interesting:

So, what are you in the mood for now?

There’s something… knowing about this. Like Aziraphale knows exactly what Crowley has been thinking whilst he’s watched him eat. It’s almost flirty but I can’t quite put my finger on it. It does not escape my attention that, if Aziraphale is aware of Crowley’s thought process, he hasn’t exactly been demure whilst he’s eating – his expression as he finishes that final bite is positively post-coital. Not to mention the little teasing smirk and the once over he gives the demon after he’s offered Crowley carte blanche of activity choice. One wonders whether “alcohol” was really what he had in mind here…

Side note: we have no idea of what has happened during this meal. We could assume that the talk has been about the Antichrist and Armageddon but given that’s the topic of conversation when they get back to the book shop, and that Aziraphale put a very clear stop to that discussion when they left St James Park, I find that unlikely. I have my own idea of what took place, which you might already know if you’ve read Dangerous Liaisons. I’m not going to go into it much further here but am hoping to explore it further in another fanfic. Let’s just say I think there might have been some discussion around true feelings and potential plans to act on them at this point.

As we see the couple strolling down the Soho street up to Aziraphale’s shop, we are witness to, I think, two physical touches between them. They’re small – Aziraphale’s hand on Crowley’s leg and then an arm brush – and they could be accidental owing to the momentum of bodies and limbs caused by walking but I’m not so sure, especially not after the subtextual display we’re treated to at the Ritz. If I’m right about the topic of conversation at the Ritz, this would make a lot of sense too. It would also explain why Aziraphale offers the very nice wine he’s been saving for “special occasions” – who considers the dawning of Armageddon a special occasion?!

Let’s talk about the entry into the book shop for a moment. More specifically, Aziraphale’s comments preceding their entry into the book shop and Crowley’s reaction to them.

First off, we have the (futile) reminder that they’re supposed to be “hereditary enemies”. I feel like Aziraphale says this to attempt to remind Crowley of what they’re relationship is supposed to be, and I find Crowley’s reaction to it pretty delightful – we only get a glimpse of his expression before the camera switches back to Aziraphale’s face, but we can see the demon mocking him on the side of the screen. He’s clearly not interested in playing along with their cover story here – he reminds me of a child being told off for something minor and unimportant.

This charming little interaction is concluded with Aziraphale’s assertions that Crowley get behind him, only to invite him to lead the way. I’m sure there are some that would attribute this to comedic writing combined with the further establishment of Aziraphale having impeccable manners. However, I have a filthy mind and adore this couple, so I cannot help but see this as a hint towards the establishment of sexual positions. There we go, it’s out, I said it. I will not unsay it. Sue me. Besides, adding that bit of subtext to the scene makes it smuttier funnier. Not to mention that Crowley seems a bit taken aback by Aziraphale’s first suggestion (“get thee behind me”), but nods his agreement after the second (“after you”) – I interpret this as him being on the same page, at least at this point in time anyway.

As we enter into the book shop, we are shown one of the compass points marked on the mezzanine level. It won’t come to make much sense at this point, not until we’ve seen at least one more of them but it’s my understanding that this is deliberate, and that Aziraphale’s desk sits to the east, which is a nod towards his position of Angel of the Eastern Gate. The music played here is another stroke of genius – it’s highly uncomfortable but purveys perfectly just how wasted this pair are.

NEWS FLASH! Crowley takes his glasses off now that he’s suitably hammered and inside the book shop. We will come to see that when he removes those glasses, it’s a sign that he’s comfortable, feels that he’s in a safe space, and that he can speak freely. This is a really important aspect of Crowley for us to understand and we’ll see it used as a device throughout both series. What’s similarly important to observe is that Aziraphale doesn’t react to it at all – he’s clearly very accustomed to seeing Crowley without his glasses and takes the underlying meaning for granted. For some less subtle display of intimacy between them in this scene, let’s examine that slightly odd and awkward pouting that both of them engage in when discussing fish/marine mammals:

There is a look here, from Crowley, that I cannot decipher. Look? Stare, perhaps. Most certainly not a gaze. It’s paired with a little repositioning of his body. To me it looks like he’s steeling himself to do or say something that he might consider brave.

This is immediately followed by Aziraphale’s announcement that he’s about to sober up, which Crowley follows suit on. I can’t help but wonder what exactly was going through their minds here that makes them believe that being drunk is such a bad thing? We’re led to believe that the heavy nature of the Armageddon conversation is the trigger. I like to think there might be something more sexual at play here…

Side note: I particularly love the idea of being able to be suddenly not drunk at will, and that the alcohol goes nice and neatly back into its bottles when you do so. Imagine how much fun you could have without spending a fortune if you could do that!!

When considering the fate of the Satanic nuns, I find it rather interesting that Hastur has such fun burning the nunnery down to the ground. When we were introduced to his character in the cemetery it had appeared that his motivations were driven by Hell’s goal of acquiring souls for Satan, and that he was interested in little outside of that scope. Here we see him laughing maniacally at the destruction of an institution that has only served his master. It indicates that mischief is something he enjoys, which is something he shares with Crowley despite his disdain at our demon’s personality.

I’m finishing up this part of the write up with a brief look at the interaction between Crowley and Aziraphale around being godfathers to the Antichrist.

There’s no denying that the pair of them are really delighted with this idea – being able to work together to a common goal. Not to mention it’s likely to mean that they will be seeing more of each other, albeit in disguise. Again, if my suspicions about the conversation at the Ritz are correct, their joy here is easy to explain. We finish this scene with a cheeky little exchange between them about being damned and it not being so bad “once you get used to it”. It’s pretty easy to interpret this as a bit of friendly mischief on Crowley’s part. I choose to believe there’s more to it than that – if the two of them really had finally confronted their feelings and decided to act on them over lunch, it’s not unreasonable to suppose that Heaven would indeed consider Aziraphale damned. Crowley’s closing wink says that’s something he’s aware of, that he knows he would be the cause, that he doesn’t care, and that he wants the angel to know he’ll help him work through whatever that means. Even if my suppositions are incorrect, that wink still says all of those things, and ensures that we as an audience have been well established into the comfortable nature of the relationship between them both.

[marimayscarlett]

Can someone please translate into English? 🙏

Hello dear anon, here's a translation of the interview. I used deepl as usual and made some changes to fit the messages Richard wanted to convey better. The interview was published on the 2nd of December, 2018.

Here's the german link again as the interview source and comparison for the german-speaking folks:

Richard Z. Kruspe presents his third album as part of the band project - Till Lindemann contributes vocal part

On November 30, Rammstein guitarist Richard Z. Kruspe released his third solo album "A Million Degrees" (Universal) as part of the band project Emigrate. Among others, Till Lindemann, Ben Kowalewicz (Billy Talent) and Cardinal Copia (Ghost) are represented with vocal contributions on it. Christiane Wohlhaupter spoke with the 51-year-old about the collaboration with the singers, his daughter and the interaction with Rammstein. They say all good things come in threes. Do you have this thought in mind for your third album as well?

I used to say that I would make three albums with Emigrate. But in the meantime I can also imagine a fourth one. Maybe in a different constellation, maybe in a completely different musical environment. I've been thinking about how it would be if I were to write a purely electronic album. Or an album with a completely different singer. As long as the world of Rammstein exists, there will probably also be the world of Emigrate. Emigrate puts me in a good balance to let off steam musically. From the age of 50, you also generally think about: Where does life still want to take me? Is there something else that could inspire me? Or just music? I think to myself, maybe there is also a completely different challenge. Creation can also be found elsewhere - perhaps in film. I'm a cineaste who watches two or three films a day. What was the last film that really excited you? So about a year ago, "Fences" with Denzel Washington. I went to the movies last week and saw "Bohemian Rhapsody" and was a little disappointed because I thought it was a Queen movie.

But then it was more like a Freddy Mercury movie ... Yes, the others came a bit too short. If I had known that from the beginning, I might have gone in with a different expectation. What's the story behind "A Million Degrees"? The basic idea comes from 2015, from the time when I was completely burned out for the first time in my life. Hence this text "A Million Degrees." This state then changed when I rewrote the album. I thought about how "A Million Degrees" could be represented visually and came up with the idea that you can also understand it geometrically with the degrees. This versatility, these "Million Degrees" - exaggerated - is what Emigrate is all about.

One of your guest vocalists on the album is Cardinal Copia from Ghost. How did this collaboration come about in the first place? The meeting came about for a completely different reason. We were looking for a producer at Rammstein. I actually wanted to ask Cardinal Copia about a producer. He then said, "I'll be in Berlin next week, let's meet." I asked him if he was interested in a collaboration, and he said he didn't do that on principle. I asked him anyway if he wanted to hear the song I was thinking for his voice. And then when he heard it, he was like, "I'm in, I'm in." He was completely influenced by the music. That's what makes it fun for me, to work with so many artists. I don't have that in my Rammstein world.

Someone who was also influenced by the music was Serj Tankian. He said about "War", the song you thought of for him, that your voice would fit much better. Will you write another song that fits his voice better?

No, I don't work that way. I write first, and then the song tells me where it wants to go. The song takes on a life of its own. It's like cooking. You have to taste it. And with the song, you have to listen very carefully. So you didn't think of Till Lindemann when you wrote "Let's Go"?

That's another story. This song was already created at the time when Till and I wanted to do something together - ages ago. The original idea of Emigrate was, Till and Richard want to do this together. The other bandmates didn't like that, so we put it on hold. But there was the idea of this song - with a different lyrical statement. I then rewrote it again, because this very, very intense time after the fall of the Wall came in mind, when we commuted between Berlin and Schwerin. That was such a wild time.

You dedicated the song "You Are So Beautiful" to your daughter Maxime. What does she think about it? She doesn't take it so seriously at seven years old - maybe that will come later. We shot a video for the song together in Los Angeles. That was a risk, of course, and there was some thought about shooting it with another child. But she did a great job. With Emigrate, I also live out the personal-emotional part. Something I don't do at all with Rammstein. How well can you reconcile rock star life and father duties?

I think the majority of artists generally struggle with themselves. And the majority of artists realize at some point that they can write better under the influence of pain. Of course, there are moments when you enter that zone as an artist. I don't think you can cut that out completely, and a child always feels that, too. My daughter is with me one week and then with her mother the next week. So I live that out in the week that she's not with me. I'm a very moody person, my mood changes sometimes by the hour. But she has such a fun character - it just melts you. I became a father for the first time at 23, and I'm a father now at 50. That's when I gained a certain maturity and experience. Taking the family on tour - we don't do that with Rammstein as a matter of principle. That would be another experience. To what extent does your musical work with Emigrate affect Rammstein? In the past, it was completely separate. Now things are merging - and I think "War" would have fit Rammstein as well. A lot of ideas that come out on Rammstein now were Emigrate ideas - although I actually make sure that Emigrate sounds different. But, of course, you can't split yourself completely. But because there are also five other strong individuals in Rammstein, it's not that noticeable.

[fipindustries]

i will say maestro is interesting because of the way it treats bernstein attraction to men. it is a source of drama but weirdly enough not from the angle of societal scorn or him facing prejudice or him dealing with homophobia. instead its drama because, you know, he is cheating on his wife and his children dont seem to be too happy about this. is strange, watching this movie you would almost believe that homophobia is just not a thing. there was no mention of all the activism he did against the AIDS epidemic, for example.

in fact the wife doesnt seem to be THAT terribly bothered by the fact that he likes men either, again, she seems to be more upset at the fact that he is indiscreete about it. when they have a big blow up argument she is angry because of his arrogance and narcissism as a genius that everyone else has to admire at all times.

it just doesnt seem to be a huge secret either, everyone seems to sort of know about it and at most they just sort of shake their heads and comment something like "well, you know how lenny is, he is always so complicated"

i mean, it does sort of make sense, he lived in new york and he was a music composer who worked for broadway. it was just known that there were a lot of queer men there. and he was famous and rich and respected enough that as long as he kept it on the down low people would act as if nothing happened.

is just interesting how the movie both seemed to want to talk about it but also at the same time not go like super deep into the more seedy details or whatever. im not saying it's bad mind you. i know a lot of people complained in the past about how bohemian rhapsody was not "gay enough", but in this instance for the style and tone this movie it goes for, it makes sense they made it this way and it is interesting to explore that side of the queer experience. that of the guy who can sort of get away with it because of the fame and money they command and so it turns the conflict almost entirely internal rather than external.

it was funny though, to have a scene near the end of the movie, where we see this respected dignified high culture old man, born in 1918, composer and orchestra director of classical music, who spends most of his time in concert halls, in dignified tuxedos, composing beautiful conchertos and operas in front of a piano, go balls to the wall, sweaty, with his tits out at a gay club dancing to dance music in the 80's

you really get an appreciation of how much the times changed in the second half of the 20th century

[jonathantaylorthomas]

EXCLUSIVE: We promise that you’ll never find another one like this: AMC’s Taylor Swift: Eras Tour concert movie hit tracking this AM with a $100M-$125M opening weekend outlook when it opens on Oct. 13 in cinemas.

These are industry estimates and do not come from AMC.

The Sam Wrench directed concert film is really hot with women under 25, just a few points under Barbie ($162M opening) in the mid 20 range and is north of The Little Mermaid ($118.8M four-day opening) and Frozen 2 ($130.3M). Tracking has added other titles such as Elvis, Bohemian Rhapsody, A Star Is Born and Ocean’s 8 as comps against Taylor Swift: Eras Tour pulling its opening weekend average down to $85M. However, sources believe those comps are outliers.

DEADLINE

Taylor Swift: The Eras Tour concert film officially came on tracking Thursday, three weeks ahead of its launch in theaters on Oct. 13.

The National Research Group shows the film opening to $75 million domestically with plenty of upside, according to sources with access to data. Many believe the movie will approach or cross $100 million in its launch — one source even suggests $125 million — and note that tracking an offering like this is difficult since concert films aren’t the norm. (When Barbie first came on tracking, NRG likewise suggested $75 million on the low end. It ultimately landed at a historic $162 million).

THR

[just-your-average-tangerine]

One thing that bothers me about the whole "educate yourself" thing is the implication (and sometimes outright accusations) that the person lacking knowledge on whatever subject is just willfully ignorant, and don't get me wrong those people are out there, but the average person asking "stupid questions" probably isn't refusing to educate themselves, they probably just don't know where to start. In order to educate yourself on a subject you have to know it's there to be educated about. Ya know?

My seventh grade choir teacher chose a Queen song as part of our performance one semester. That song got me interested in Queens music, so when the Bohemian Rhapsody movie came out I went and saw it, I already liked the music so why not. That got me interested in Queens history, which led me to learning about other artists they worked with, David Bowie, Mott the Hoople, and others. Which led me to glam rock and the shift from glam rock to punk rock and the early days of the queercore punk movement. All of that because my teacher wanted a bunch of 11 year olds to try and sing Somebody to Love. Had she chosen a different song that didn't catch my attention I never would have known to learn about all of those things.

(Wheres that comic about mentos in coke for the first time?)

Secondly, and perhaps more importantly, is the availability of good information.

I'm autistic, if someone wanted to learn about autism, I would never direct them to "educate themselves" on it, not without guidance or giving a starting point. Because the average person is going to google "autism" and you know what's going to come up? Autism Speaks. And ABA. And autism warrior moms, and fight for a cure, and all that bullshit. There's plenty of things that I would love to learn more about but I don't know enough to know how to identify good sources from bad sources. Especially when it comes to information about marginalized people, where so often "the victors write the history books" as the saying goes. (After all, autism speaks has all the hallmarks of being a good, reliable source if you don't know any better.)

Obviously it's not any one person's responsibility to educate another but I can't help but think about how much nicer a place the internet would be if people took the time to say "here's a good starting point if you want to learn more" instead of dismissing people as ignorant.

[hicnwes]

Kevin Mazur/Lionsgate Probably no pop star in our memory can compete with Michael Jackson in terms of popularity, influence or contradictions - and the directors behind the upcoming Michael Music Music Film are learning the harshest lesson you can imagine this last. Under the leadership of the director of action, best known for "training day" and the Equalizer trilogy, Antoine Fukua, and written by the writer Veteran John Logan ("Gladiator", "Aviator", "Skyfol") Star power in an attempt to capture the same lightning that turned Bohemian Rhapsody into an incredible hit in 2018. In addition to Miles Teller, the cast includes the newly taken nominee for the Best Acting for Oscar Kolman Domingo, Laura Harrier and even Jackson's nephew Jafar Jackson in his feature film debut as the King of Pop. The biopic about Jackson has been in the process of at least 2019 and after the photos were completed, the creative team was in the midst of post -production when, when it comes to Bohemian Rhapsody, they hit a stone. And when I say "obstacle", I mean the worst possible obstacle that could ever affect a blockbuster of this scale. Matthew Belono, the former editor of The Hollywood Reporter, who created his own newsletter called Puck, has released a bomb new report revealing the turmoil that has swallowed the creation of Michael. Obviously Fukua and his team had to return to the drawing board as a result of a legal mess, for which no one in the Jackson mansion (which approved the script and the use of actual Jackson music) did not know until the last. This includes the decision to pay attention to the well -known allegations of sexual abuse and pedophilia around Jackson, which ultimately led to his criminal prose To dramatize the alleged victim Jordan Chandler or his family first. Amazing but that meant that the whole final act had to undergo extensive reconciliation, delaying the release of the movie by at least six months and almost certainly cost someone (or several) their jobs. Keep reading for all the details about what is almost certain that it will be the wildest story of 2025. Jackson's mansion made a huge (and dear) mistake Lionsgate For all reasons to make a biopic about Michael Jackson, the ability to tell the story of the famous celebrity, using all his favorite songs would be on the top of this list. This, of course, requires the approval of Jackson's family mansion, which carefully kept the rights to such productions and almost certainly required full approval of the script before signing Michael. As doubtful as it may be for those who worry that the movie can potentially whiten what was actually a terribly complicated heritage, the urgent question that derailed production is related to the fact that someone failed to cross all their "I" and put the point on T while looking at the script. As described in detail in the report of, this "someone" will be John Branka, the executioner of the Jackson mansion (and who actually appears in the biographical film played by actor Miles Teller). According to Beloni, Michael's producer Graham King is a deeply unhappy soul who had to pick up the phone as the movie approached the final line and get the news from the brank that the movie could not be released in its present form. (The filmmakers are described as "blinded" by news.) To quote directly from the article Source: "Years before signing the movie Michael with Chandler included in the script, Jackson's team agreed that he would never include the family in such a movie. Yes, according to two sources, there is a signed agreement with Chandler, which prohibits any dramatization of them or their stories. This deal, which was overlooked by the inheritance during the script inspection, has now depicted the planned storyline. Several key scenes that were filmed unusable. " Keep in mind that came after Lionsgate has already unfolded the red carpet for Michael through early views of Cinemacon in 2024 and talks about the Wow factor related to Jackson's nephew, Jaafar Jackson, who perfectly embodies the appearance and physics of his late uncle. Initially, the movie was supposed to be released in April this year, but Deadline Last November, the biopic was postponed until October 2025. We now know exactly why this happened. Can Michael still premiere in October 2025? HBO Above all this unforeseen drama, of course, it exceeds when - or whether - "Michael" will be able to be released into his new and updated form. Repeated photos are a very widespread practice in the industry, but rarely on this scale. "Rogue One: A Star Wars History" has been shamefully produced, as Tony Gilroy intervened instead of director Gareth Edwards to process large parts of the final act and, as mentioned earlier, Bohemian Rhapsody survived after its original director Brian Singer fired from the production during the shooting on the way to turn into a hit with almost billions of dollars in the box office. At the very least, there is a recent precedent for what the actors and the Michael's crew are experiencing now ... But it is an open question whether it will ever really reach the final line. While all the titles will shed light on the latest act adjustments, Belonia reports actually show that this is an even bigger problem. As he explained: Thehe ['Michael'] The script begins and ends during the 1993 investigation of Jackson's anatomy made by Jordan Chandler, the then 13-year-old boy whose allegation of harassment led to world titles and a possible agreement of $ 20 million. The script describes Jackson as the naive victim of the Chandlers robbery of money, whose unfounded claims force Jackson to tolerate mockery and persecution, while in the end he reconciled, his determination and reputation are forever shattered. No matter how disturbing (and problematic) it is to frame the narrative, it also means that the creators of the film will have to process a large part of the first (and possibly average) action. There is a certain saying in the screenwriters that issues with a third act are actually first-acting problems, and this may never seem more appropriate than here. Fuqua and Logan are currently rewriting and processing the script before handing it over to Lionsgate this week, according to Puck. As the Jackson mansion pays the recruitment bill, it is said that the creative team is optimistic that it can save this mess. Whether or not this really happens, no one can guess. Michael is currently planned to be released on October 3, 2025. Source link

[cafenostalgique]

My ultimate film watchlist (2010s)

1930s-1940s | 1950s | 1960s-1970s | 1980s | 1990s | 2000s

Welcome to the final part of my ultimate film watchlist! If you haven't familiarized yourself with the intro of the first part, please see it under the 1930s-1940s link above. Otherwise, we'll jump into the next list, of which I've seen many movies, and intend to watch even more. Enjoy, and as always, let me know if anything should be added to this list.

watched | loved | wouldn’t watch again | holiday

2010

Alice in Wonderland

A Nightmare on Elm Street

Black Swan

Clash of the Titans

Date Nights

Dear John

Despicable Me

Diary of a Wimpy Kid

Easy A

Eat Pray Love

Grown Ups

How to Train Your Dragon

Inception

Insidious

Little Fockers

Megamind

Salt

Scott Pilgrim vs. the World

Secretariat

Shrek Forever After

Shutter Island

Tangled

The Book of Eli

The Expendables

The Karate Kid

The Last Song

The Other Guys

The Runaways (I have a special love in my heart for Joan Jett)

The Social Network

The Twilight Saga: Eclipse

Toy Story 3

TRON: Legacy

True Grit

2011

A Dangerous Method

Bad Teacher

Bridesmaids

Cars 2

Contagion

Crazy, Stupid, Love.

Footloose

Friends with Benefits

Hugo

In Time

Kill the Irishman

Kiss Me

Megan is Missing

Melancholia

Midnight in Paris

No Strings Attached

Paul

Rango

Scream 4

Shame

Sleeping Beauty

Soul Surfer

Source Code

Super 8

Take Shelter

The Adjustment Bureau

The Artist

The Cabin in the Woods

The Descendants

The Help

The Muppets

The Skin I Live In

The Thing

The Tree of Life

The Twilight Saga: Breaking Dawn - Part 1

Tinker Tailor Soldier Spy

We Bought a Zoo

We Need to Talk About Kevin

Winnie the Pooh

2012

Chernobyl Diaries

Excision

Frankenweenie

Hotel Transylvania

Iron Sky

Lincoln

Magic Mike

ParaNorman

Pitch Perfect

Prometheus

Rock of Ages

Ruby Sparks

Sinister

Ted

The Campaign

The Looper

The Lorax

The Master

The Perks of Being a Wallflower

The Raven

The Twilight Saga: Breaking Dawn - Part 2

The Woman in Black

Wreck-It Ralph

2013

12 Years a Slave

About Time

Carrie

Don Jon

Frozen

Her

Inside Llewyn Davis

Insidious: Chapter 2

Lovelace

Monsters University

Nymphomaniac: Vol. I

Nymphomaniac: Vol. II

Parkland

Safe Haven

The Bling Ring

The Book Thief

The Conjuring

The Great Gatsby

The Invisible Woman

The Last Days on Mars

The Purge

The Railway Man

Warm Bodies

We're the Millers

What Maisie Knew

2014

A Brilliant Young Mind

American Sniper

Big Eyes

Big Hero 6

Boyhood

Gone Girl

Interstellar

I Origins

Labor Day

Maleficient

Oculus

Serena

The Captive

The Fault in Our Stars

The Giver

The Lego Movie

The Signal

The Theory of Everything

Unbroken

2015

50 Shades of Grey

Amateur Teens

Blush

Chappie

Green Room

Into the Forest

Kept Woman

Krampus

Maggie

Pitch Perfect 2

Poltergeist

Room

Spy

Summertime

Ted 2

The Diary of a Teenage Girl

The Lure

The Martian

2016

10 Cloverfield Lane

A Wish for Christmas

Before I Wake

Blair Witch

Brain on Fire

Devil's Bride

Finding Dory

Friend Request

Grease Live!

Hounds of Love

Loving

Moana

Ouija: Origin of Evil

Passengers

The Birth of a Nation

The Boy

The Conjuring 2

The Receptionist

Train to Busan

Zootopia

2017

1945

50 Shades Darker

A Quiet Passion

Bombshell: The Hedy Lamarr Story

Dolores

Get Out

Frantz

It

Kedi

Lady Bird

Lady Macbeth

Land of Mine

Lucky

Mudbound

Prevenge

Raw

Step

The Florida Project

Their Finest

Thelma

The Lost City of Z

The Shape of Water

2018

50 Shades Freed

Annihilation

A Quiet Place

A Star Is Born

Bohemian Rhapsody

Book Club

Crazy Rich Asians

Halloween

Hereditary

Insidious: the Last Key

Mamma Mia! Here We Go Again

The Grinch

The Kissing Booth

The Meg

The Nun

The Post

To All the Boys I've Loved Before

2019

Ad Astra

Amazing Grace

Apollo 11

Booksmart

Child's Play

Doctor Sleep

Hail Satan?

High Life

It Chapter Two

Judy

Little Women

Midsommar

Nightmare Cinema

Parasite

Ready or Not

Rocketman

The Highwaymen

The Sisters Brother

Toy Story 4

Us

[tms-blog-site]

Movie Financials Uncovered - Spacenet TV's Box Office Analysis

Film studios aren't often able to disclose the budgets of their films. But there are ways to determine the cost of a film. Movies have to make money through a variety of sources beyond ticket sales. These include: ancillary revenue, sequels, merchandise, TV rights, and streaming. What's the word on box office profits? 1. Theatrical Revenue Tickets for movie theaters are the primary source of income for films. Whether a standard experience or an extravagant one the number of seats used during the filming process of a movie is directly linked to its overall potential for revenue. The big box office numbers you read about in the media are based on gross domestic and international revenues. Before the money is transferred to the studios they must deduct the costs. Then there's the sales tax and the shares of cinemas - which typically range from 40 to 45 percent. That's before the actors' share and the other distribution costs. A movie isn't considered profitable when the box office revenue exceeds twice the amount that was invested in its production. This is why some movies that have huge profits such as "Harry Potter" and "Bohemian Rhapsody" have to declare losses on their financial statements. Don't be too quick to judge. These losses are due to international sales and marketing. 2. Television Rights In the last few years, the rights for television market has experienced an abrupt shift. Pay-per-view and dedicated sports channels platforms have been fighting against broadcasters who are traditional, and tech giants have also gotten into the fray. Broadcast Rights (excluding Te Mangai Paho Funding) refers to the right to broadcast the Programme(s) as part of a linear television broadcast service using satellite, terrestrial, cable or fibre transmission network to allow public display and streaming, which includes delay or simultaneous retransmission or distribution, as well as making it available to the Internet or mobile broadcasting technology. Free TV Rights (excluding Te Mangai Paho), refers to the right to broadcast the Programme(s) in a regular linear manner on any independent or public network for public viewing as well as on-demand viewing. This includes the right to communicate the Programme(s) to the general public via any internet, cable, IPTV or wireless transmission networks where subscribers of the public are required to pay a fee or subscribe. 3. Merchandising The right to sell merchandise can be significant sources of income for both distributors and studios. Disney for instance, built a huge empire by selling Mickey Mouse ears as well as other items related to movies such E.T. The sale of movie products is a great way to promote a film, as well as generating new revenue. In the movie The Goonies a scene shows an infant giving Reese's Pieces to the main character. This led to an impressive increase in sales for company making Reese's Pieces. The application of this type of placement of products in major films is essential. Also, music from well-known films such as Saturday Night Fever and Flashdance can generate substantial revenues from soundtracks and also be utilized to increase awareness of the film. 4. Streaming

Streamers will prioritize shows on television that they produce (or show on channels owned or operated by their parent company such like NBC Universal TV Productions or 21st Century Fox Television). It lets them recoup the licensing fees they have paid for the show after having paid off their production costs. In turn, it's not uncommon to see some of the same names pop up on the lists of streaming originals and acquired shows. (Source: Nielsen Streaming Content Ratings, U.S., based on minutes viewed by persons 2and over.) NBC Universal TV productions rank among the streaming shows that are watched by the most people, followed by Disney+, Amazon Prime Video, Hulu, Paramount+ and Peacock. Credits to YouTube

[spammreviews]

All the 2023 films I’ve seen so far, ranked:

16. You Are So Not Invited To My Bar Mitzvah

Pretty much every scene in this film goes like this:

*modern pop-song blares ridiculously loud, making all dialogue practically unintelligeble*

Main Girl: OMG, Alex is totes hot AF, no cap, for real, for real.

Other Teen Character; I love Tiktok. And pronouns. 

Adam Sandler Character: Wow, teens today sure are craaaaaazy.

*the music spontaneously cuts out as something funny happens. We get ten different cuts of ten different character reactions*

Random Side Character: Wow, this sure is craaaaazy,

*another pop song comes on, this one is also way too loud*

15. Air

This is a Nike commercial. Characters with dimensions or personalities? Who needs those? Themes? Hah! This film wants to have themes, but those themes are “Michael Jordan is successful, and that’s cool. Buy Nike”. 

This film is devoid of energy, pathos, or creativity. It tells a story in the most bland, watered down, and commercial way possible.

It mentions the fact that Nike shoes are made by enslaved children in other countries once and then never again.

14. Maestro

This is a biopic about a queer jewish communist conductor most active in New York during the mid 1900s.

Unfortunately, this film treats Leonard Bernstein’s Judaism as merely a detail to be ticked off in a checklist. Anti-semitism is also briefly paid lip service, only to never be brought up again. 

It’s unclear how Judaism even affected Leonard Bernstein. 

Leonard’s sexuality is mentioned more, but the film seems similarly uninterested in exploring this feature of Mr. Bernstein. We barely see how it affected him.

Leonard’s communism is basically just removed entirely.

Despite a majority of the film taking place in New York in the mid 1900s, the film is uninterested in capturing the experience of living in that time or place or creating any sense of atmosphere.

Most damningly, the film is completely uninterested in Leonard Bernstein as a composer. Say what you will about Bohemian Rhapsody, but you could tell that the creators of that film cared about Fredey Mercury’s music. I don’t know if the creators of this film cared for Leonard Bernstein’s music. 

We don’t see how Leonard’s experiences affected his music, or how his music affected his life. 

There lies the rub, this film is completely uninterested in Leonard Bernstein as a human being. Instead, it’s interested in giving us a series of meaningless vignettes which do nothing except show off Bradley Cooper’s directing.

The film does look nice, I’ll give it that, but it doesn’t use its directing and cinematography to say anything.

As a result of the film’s disinterest in Leonard Bernstein as a person, our main character is devoid of any depth. Unfortunately, so are the 20 other characters in this movie. The portrayal of Leonard’s relationship with his wife is laughably awful, with the two of them re-uniting and getting over years of disagreements for no real reason. The relationship between Leonard and his daughter, as well as the other characters in this film, fair just as poorly.

Finally, while Bradley Cooper is an amazing actor, his performance here is hindered by two major problems. Number one, the fake nose. It looks really stupid. Number two, his voice. As young Leonard Bernstein, his voice is fine, when he’s old Leonard Bernstein, he’s putting on an old man voice that sounds like Tom Waits impersonating a train engine.

13. Dungeons and Dragons

Ok, there’s a huge jump in quality with this one. Dungeons and Dragons is a fun film with a great cast who all seem to be having fun. It’s filled with humor without losing any of its sincerity, the action scenes are energetic and creative, and there’s a clear love and respect for the game. 

12. Nimona

You know what, here’s a link to my Letterboxd review of this film:

https://letterboxd.com/thejam24/film/nimona-2023/

11. Guardians of the Galaxy 3

Similarly to Dungeons and Dragons, this film actually likes its source material, and it doesn’t let its humor get in the way of its sincerity. It’s not afraid to be silly nor is it afraid to be sentimental.

Almost all of the members of the ensemble cast are given an arc: Rocket deals with trauma, Starlord deals with trauma, Gamora  does her arc in the first film again, Drax matures a bit, Nebula learns that she doesn’t need to prove herself and that she can be a good guy, Mantis learns to stand up for herself, and that dude played by James Gunn’s brother learns the power of self-confidence.

Groot is the only character not afforded this, even though he does get some badass moments.

Overall, this film just drips witch charm and genuine enthusiasm.

 

10. Godzilla Minus One

What this film succeeds at is portraying Godzilla not just as a villain, but as a dark, unknowable eldritch force. 

I won’t say all that much more, because I’ll do a Godzilla ranking some day, and I’ll go more in depth about this film.

9. Blackberry

You know The Social Network? This is very similar, but instead of Mark Zuckerberg, we get a much nicer who is slowly fucked up.

Unlike Air, this film actual criticizes the industry it’s in, and how it’s impossible to actually be ethical in it. We are shown that actually trying to make a good product in the tech industry simply isn’t a good business model. Capitalism incentivizes cruelty and punishes empathy.

This very sad idea is wrapped up in a rather fun package, with a large cast of distinct characters who all bounce off each other well.

8. Barbie

I don’t need to review this. You’ve seen Barbie. We all know it’s a delightful film with a fun theatrical nature, and that it works as a simple but effective investigation of the patriarchy which kids can understand. Also, “I’m Just Ken” slaps, and I’ve been listening to it unironically for months.

7. Talk To Me

Why does no one talk about Talk To Me anymore? It was the biggest thing ever for a month period, and then everyone forgot about it. That’s a pity, as this film slaps. It’s not a deep film. The hand is like drugs, and the main character uses it to deal with her grief, but she ends up hurting those close to her.

There’s also questions raised about trying to help those who don’t want it, how it can hurt both you and the person you’re trying to help. However, sometimes people do need and actually want help but are just unable to ask for it.

This question is very important to the end of the film. 

This film is ceaselessly cruel, especially to that one kid. God, I feel so bad for him. 

There is one scene in particular which is so visceral and unflinching, and it comes right after a very light scene of comedy.

This film also has this deep sense of loneliness, as it’s marked by a sense of being unable to communicate with others. Maybe that’s why it’s called “Talk to Me”. 

6. Asteroid City

I vibe with this film so much. It is delightfully silly, extraordinarily colorful, and ceaselessly creative. Basically, you like Wes Anderson, then you’ll enjoy this film.  

One thing Wes Anderson is great at is portraying bad family dynamics. While this movie is surreal in so many ways, the families in this film feel real.

This film uses the story-within a-story framework in a genius way, poking fun at the artistic process by portraying it in a simulated environment, and then doing the same with the nature of human relationships.

I feel like I need to see this film two or more times if I want to really understand.

5. Beau is Afraid

This is my favorite kind of film: horrifying, psychological, and extraordinary confusing. 

The reason why this film isn’t higher is because it is simply put, to much. 

While their are three hour long films from this year that definitely earn their runtime, Beau is Afraid most certainly does not, with the film often feeling repetitive, as we often get multiple scenes which serve to say the same things within the story. It’s like Ari Aster wrote the same scene two or three different ways and didn’t know which version to cut, so he put all three in them.

I’m being very vague for three reasons:

One, I watched this film, like, seven or so months ago and my memory is fuzzy.

Two, I don’t want to spoil anything.

Three, I’m kind of scared of talking about this film. I want this to be short, but if I start talking about details like the penis monster or that fairy tale section or the purpose of hair within the film, then this will devolve into a nonsensical rant. 

This film kind of invents its language through the use of eighteen or so different motifs. It also uses its locations in just the bizarrest way, where we get to know these locations very well, and then we’re given pieces of information which completely change the way we see those locations. 

This whole film is just a nightmare. However, the film, especially Joaquin Phoenix, goes to great lengths to sell you the bizarreness. 

4. Oppenheimer

I think Oppenheimer does what the best biopics do, in that they are an attempt to understand the main character. This film doesn’t claim to know exactly who Oppenheimer is, rather, it’s trying to figure that out.

Oppenheimer, the person, is a riddle we have to decipher.

Oppenheimer’s change in morals, were his opinion of the bomb shifted only after he made it, is something that is…interesting, and the film puts a large emphasis on it, connecting it to other times that Oppenheimer’s opinion appeared to change drastically, like with communism. 

This film also doesn’t tell you what to think about Oppenheimer, or about any of this. 

This film also has one of the best explosions in any movie ever, and the explosion scene is one of the many examples of how the film uses sound. There’s a scene featuring the sound of stamping feet which sounds absolutely traumatic. 

Both the sound and visual editing of this film are extremely violent. 

Oppenheimer is a guy who has repeatedly done something bad and not faced any consequences. And, when punishment finally comes, it’s for something extremely minor. 

Unlike the other biopic about a jewish communist with an interesting profession and a complicated sex life, this film is actually interested in all four of these aspects, spending time on all four and how they affected Oppenheimer. 

This film is actually enthusiastic about physics, and that’s nice.

Overall, this film is definitely worth the hype.

3. Spiderman: Across the Spider Verse

I love how much love the two Spiderverse films have for comic books and superheroes. The first film was basically one giant love letter to superheroes, the medium of comics, and to Spiderman in particular. It explained how we need heroes to look up to, and how they can inspire us to be better. All the while, it paid sincere tribute to comic books and their unique form of storytelling.

This film then asks the question of what a superhero even is. However, it is still a love letter to superheroes. It understands something fundamental about Spiderman’s appeal: he is just an ordinary person. This is important because it shows that we all have the capacity to have the heroism of Spiderman. After all, Peter Parker’s actions are just him trying to emulate the ordinary powered adults in his life- but that’s a topic for another time.

Spiderman: Across the Spiderverse uses the whole “canon event” thing to discuss how anyone can be a hero, but it also dives into an important idea: the way we romanticize suffering, and how that connects to superheroes. Spiderman is a character who goes through hell regularly, and we admire him for that, but our admiration of perseverance can often turn to a puritanical idea that suffering leads to purity. 

In this film, both Miles and Gwen are kind of putting themselves through hell because they think that it’s the only way, and that’s how to be a good person.

That’s why Miles doesn’t tell anyone that he’s Spiderman, he doesn’t want anyone’s help. It’s been pointed out that there’s a scene where Miles tries to carry two cakes at once but ends up ruining them. This can be seen as symbolic of him trying to balance his social and spider life. However, the idea isn’t that Miles should cut everyone else out of his life, instead the idea is that he needs other’s help. After all, carrying two cakes is easier with two people.

Miles does learn this lesson, as he does attempt to reveal to his parents that he’s Spiderman at the end.

In the story, Miguel represents this romanticization of suffering, believing that is what makes a good Spiderman. Miguel is this stoic hero who cuts himself off from all human connection. 

In that way, Miguel serves to make a meta point. Comic writers often make Spiderman go through hell, and this misery often comes from Peter being cut off from his connections to others, most infamously when Peter Parker’s marriage was erased from existence. The reason for this is that Peter’s suffering makes him more “relatable”.

Miles learns his lesson by seeing how Miguel acts. In the beginning, Miles belief that he has to carry all of his problems himself is similar to Miguel’s belief in canon events. Miles believe this is his fate, and Spiderman have to suffer, as does Miguel.

However, Miguel is miserable, and so is Gwen, another character cutting herself off from those around her.

Oh god, I didn’t intend to write this much. Basically, what I’m saying is, Across the Spiderverse’s themes of the romanticization of suffering work on a meta level and on a psychological level.

Oh, also, the film is fucking gorgeous. Every scene is just a blast of color and energy and beauty and life. This film makes full use of the medium of animation, incorporating a dozen different styles. One of the first scenes of this film has a three dimensional character fight a two dimensional person.

The stylized yet detailed animation allows every fight scene to be filled with this jaw dropping kinetic energy.

And the soundtrack? Oh god, the soundtrack is intense and ferocious and just plane fun at points, mixing jazz and rap and pop and electronic and punk and the usual tropes of film soundtracks. 

I think I need to move on, or I’ll be talking about this film forever. I want to turn this film into a powder and snort it.

2. The Holdovers

This is a perfectly cozy movie. It has a wonderful atmosphere, some delightful acting, and a great sense of humor. Paul Giamatti's character is the perfect example of how to write a character with dimensions, and his performance just oozes charm. I would not be surprised if there are people who will have a tradition of watching this film every December in the years to come.

This is not a unique film, but that’s its charm. It’s as familiar as a warm hug.

I like when films use Christmas as a sort of oppressive force. Christmas feels lonely in this film, as being alone in a time centered around family feels lonely.

Killers of the Flower Moon

This is an extremely precise film. Every movement of the camera and every framing of a scene is purposeful.

I love Scorcese’s sense of humor. This whole situation is weird. It’s awkward. It causes people to act silly, like when Leonardo Dicaprio tries to flirt. 

Scorcese is really good at giving these films the comedy they deserve.

The two main characters of this film, Ernest and Molly, are top tier characters.

What makes Ernest a great character is that he is a truly despicable person who’s also an idiot in a rather charming way. 

Something interesting I noticed about Ernest is that he keeps mentioning how much he loves money and how every other character called him greedy at least once. 

The thing, is Ernest actually doing this because he loves money, or is he doing this out of pride? 

We get one scene , the gambling scene, where Ernest indulges with his money and actually seems happy about gaining it. Other than that, Ernest seems rather uninterested in money beyond it being necessary for his survival. In contrast, we see Robert De Niro’s character actively getting annoyed when he’s refused money. 

Then again, the acclimation of wealth to Ernest may be something he takes pride in.

Moving on to Molly, I feel so bad for her. She’s an ordinary person who never asked for this and did nothing to cause this to happen. She also simply does not have the skills to deal with this. This is a situation she is not able to deal with. She’s not a hero, her goals are the survival of her and her family, and that’s it.

It’s also interesting the way this acts as a microcosm of colonialism in America. Some native Americans have a bunch of stuff, and a bunch of white people want that stuff so they come over, act kind of nice, and then slowly kill everyone. In that sense, it makes sense that our main native American character who has a disease. She’s one of many characters who’s disease is used against them. 

Oh, and also, we see many poor white characters used as pawns by the richer white characters as part of their schemes, often using racist rhetoric when they do that, but not using that rhetoric when talking amongst themselves.

The motivations of Robert De Nero’s character and others like him isn’t racism, it’s money. However, they use racism as a tool and as an excuse, often blaming the violence on the Native Americans themselves, and using the government’s apathy towards Native Americans as a way to get away with their crimes. We are told that “You have a better chance of convicting a man for killing a dog then for killing an Indian.”

Basically, these schemers are taking advantage of the Osage people.

Ernest’s relationship with Molly is a microcosm of this, with him using her trust of him to slip poison into her insulin. 

I also love the way the film uses language. Usually, the characters speak english. However, there are multiple scenes where native americans use their native tongue when talking to white people as a way to sort of gain a slight amount of power. After all, they native americans are being forced to adapt to a different language, so Molly speaking in osage to Earnest forces him to make that same sacrifice.

The real reason for why this film is in number one is for the ending, which sees Martin Scorcese making a cameo that sort of redefines the entirety of the film we’ve seen so far and almost seems like a commentary on his career. There’s the idea that this is probably inaccurate, as there’s no real way of perfectly portraying this actual historical event.

Oh, and I forgot to mention, every performance in this movie is fantastic, whether it be Lily Gladstone, Leonardo Dicaprio, Robert Deniro, Todd from Breaking Bad, or Brendan Frasier- who appears in three scenes and absolutely steals the show with an insane amount of energy.

All of these actors give so much fire and humanity to many absolutely stunning conversations about insurance fraud. I’m serious. I don’t think insurance fraud has ever been more poignant and tragic.

[0613magazine]

072423 Rolling Stone UK

Check out our exclusive images as Jung Kook tells us about solo summer anthem ‘Seven’

BTS' Jung Kook talks about his summer anthem 'Seven,' performing at Wembley and his signature style

BTS member Jung Kook has revealed how he’s aiming for a summer anthem with his new solo hit ‘Seven’

The track, featuring Latto, which is defined by an upbeat tempo and a catchy chorus you might belt out in the bars of Ibiza, has got all the trappings of a perfect summertime song. It’s also caught fire on the all important platform, TikTok, being the perfect soundtrack for the insanely popular K-Pop fan-cams.

Jung Kook has been over to England on the promotion trail, where Forbes reported that he has become only the fifth Korean act to chart in the UK top ten (landing in at number 3.)

The success in Britain seems less of a surprise when you listen to the sonic influences of ‘Seven’ too – with a brilliantly nostalgic nod to UK garage and the Born To Do It heyday of Craig David.

We wanted to find out more from Jung Kook about the reciprocal love between himself and the UK, so read our Q&A with the man himself below.

There is a UK Garage influence to this sound too. Do you feel connected to the UK? What do you love about London/The UK? 

As soon as I heard ‘Seven,’ I was immediately drawn to the track and became interested in UK Garage.  I still have vivid memories of us going to the UK to perform at Wembley Stadium. It’d be exciting to have opportunities to visit again in the future!

Do you have any fond memories from the UK with the rest of the band? 

When I think of the UK, I think about our Wembley Stadium concert a lot. It’s a dream come true for artists to perform at Wembley Stadium, so I can’t forget the moment when I was there performing on stage with our members and fans.

How did you feel before you went on stage at Wembley? Some of the greats have performed there.

I remember watching the movie ‘Bohemian Rhapsody’ before our concert at Wembley and I liked it very much. The movie made me realize how significant this Wembley concert meant to us and feel proud to perform there.

You’re used to being part of BTS. How does it feel going solo? Is it daunting? Do you get to be more creative/Involved with making a song and music video? 

Since it’s my official solo debut, everything is a challenging yet refreshing experience for me. I’m both nervous and excited to know how people will respond. I practiced diligently and was hands-on throughout the process to be able to show the best version of myself. I especially paid a lot of attention to recording the song and acting in the music video.  

What was it like collaborating with Latto?

While I was looking for a rapper who would fit well with “Seven,” one of the producers recommended Latto, and we ended up working together- (Latto’s) verse fits the vibe of the song perfectly, and Latto’s favourite number is 7!

This track is a summery track, what do you like do in the summer?

I actually don’t prefer summer because I get hot very easily (laughs) I like winter!

What would you say your personal style is? What are you drawn to? Favourite colours, brands and fits? 

It’s hard to define my style as one thing. I love any outfit that looks right on me and makes me feel confident when I wear it (laughter). My favorite colors are purple, black, and blue. I like to get dressed in black, so I often go for all-black outfits. Also, I’m not saying this because I’m an ambassador (laughter), but I really like Calvin Klein. 

Source: Rolling Stone UK

[incorrectborhapquotes]

Freddie: Sorry it took me so long to get here. I broke down on the way.

Roger: Oh, is your car ok?

Freddie: what car, darling?

Roger: ...

Freddie: ???

[realandcorrectpromarequotes]

Ignis: What do we think of Galo?

[pause]

Aina: [sighs] Nice pal.

Lucia: I think he's gay.

[sweepinguptheemeraldbar]

Joe: [flexes]

Joe: How I got these arms?

Joe: Wii Sports Resort.

[radiogagaga]

John: And now for a gay update with Freddie!

Freddie: Getting gayer.

John: Wonderful.

[incorrectbellshellsquotes]

Roger: You’re the devil in human shape!

Paul: Take that back!

Roger: Okay, I take back human shape