#the drama is enough. the drama makes it worthwhile. superior even

[deangirldisease]

the whole concept of Calypso as a romantic lead… he was in love with a storm. literally in love with the sea

[angryschnauzer]

Superior Specimen - Epilogue

Summary: One night when you are following the Archaeology tag on instagram you stumbled across a fun looking dig… and an even more interesting Paleontologist who soon follows you back. Over the following weeks you start chatting and a friendship soon grows.

Relationship: AU Henry Cavill x Female Reader (No race or body shape mentioned)

Chapter 1, Chapter 2, Chapter 3, Chapter 4, Chapter 5, Chapter 6, Chapter 7, Chapter 8, Chapter 9

Warnings: Slow Burn, NSFW, 18+, Mutual Masturbation, Phone Sex, Drunken Piggy Back Rides, Oral Sex (Female Recieving), Drama, Theft, Amateur Heroics, Hospital Visit, Shower Sex, Oral Sex (Male Receiving), Blow Job, Fingering, Lavish lifestyle, Henry is loaded, The Shard, Expensive Gifts, Sixty nine, Unprotected Sex, Multiple Orgasms, Public Sex, Exhibitionism, Angst, Argument, Jealousy, Talk of car crashes, heroics, rough sex, use of safe words, Anal play, Hangovers, Vomiting, Workplace Disputes, Crying, Declarations of Love.

I do not operate a tag list, but please follow @angryschnauzerwrites​ and put that blog onto notifications, as you will then be notified whenever i post something new.

I don’t have a masterlist, but all my works are on AO3, link here. Usually i post oneshots to Tumblr and AO3, and multichapters exclusively to AO3, but as this is my first henry story and its going to be a short series, i’ll post to both places.

Epilogue

 The tent fabric moved in the strong wind, but thankfully Henry had not only driven the extra long tent pegs into the ground, he had also found a number of massive stones to tie additional guy-lines to. You stretched your limbs out as you heard the sound of the zip being pulled back you turned and smiled, seeing Henry climbing back into the tent with two travel-mugs of fresh coffee from the mess tent.

 You unzipped the flyscreen layer and rolled to the side as he toed his boots off and climbed in, zipping the screen back but not the outer layer. He let out an exaggerated shudder as he handed you one of the flasks;

 “Wasn’t expecting it to be this cold, it’s the middle of summer”

 “We’re halfway up the Aoraki range, they don’t call them the Southern Alps for no reason”

 “No wonder the fucking dinosaurs perished, they were thought to be at the end of the Cretaceous period”

 “I’m not about to remind you of continental drift patterns and the shift in seasons before the Cenozoic period Dr Cavill”

 “Fine, fine” he grumbled as he shrugged off his jacket and dived under the multiple layers of blankets and sleeping bags you had nestled down into. 

 You let out a shriek as a cold hand made contact with your naked skin, and the look of surprise on his face when he realised you weren’t wearing anything made up for it as the dark look of desire that followed was filled with promise;

 “Well, this is a nice surprise”

 Pulling off his hoodie he pulled you to his naked chest, your hands working on his combat trousers, trying to tug them down but whatever he had stuffed in his pocket wasn’t allowing you to stretch the fabric enough to get them down over his pert ass;

 “Hen, what have you got in your pockets?”

 He laid back and grinned;

 “What you’re trying to say is; Is that something in your pocket or are you pleased to see me’? Both…”

 Padding him down you found a large lump in his right pocket, squeezing your hand in and pulling out a small velvet box, eyeing his suspiciously;

 “What are you up to?”

 “Open it Princess…”

 When you had rather flamboyantly quit your job at the museum, the following week Henry had surprised you with a pair of Amethyst earrings that matched the necklace he had given you on your very first date. In the months between the hot summer in London and the cold December dig in New Zealand the gifts had continued to come, but this was a surprise, it was only a week until Christmas.

 You opened the box and let out a gasp; nestled within the dark velvet was a beautiful diamond ring, your gaze shooting from it to Henry and back again before he finally spoke;

 “Will you Marry me?

 He pulled the ring from the box and took hold of your hand, and it was only then that you could see his own were shaking, paused as he held the ring at the tip of your finger as he waited for an answer;

 “Yes! Of course YES!”

 Sliding the ring down your finger you watched as one massive hand engulfed both of your own, his other cupping the back of your neck, crashing his lips to yours in a joyous kiss, tears of happiness pouring down your cheeks. 

 When you finally pulled apart you were still both smiling, wiping tears from your cheeks before Henry grinned at you as he lay back;

 “How about we see how that diamond sparkles when your fingers are wrapped around my dick?”

 Matching his grin you tugged his trousers down and grasped him, admiring how your fingers and thumb couldn’t meet as your hand encircled Henry’s girth;

 “Our last fuck of the dig, lets make it worthwhile?”

 “Shall we do what we did on the Salisbury dig all those years ago?”

 Newly engaged, the pair of you leisurely fucked, Henry gently making love to you as you gazed up into his eyes, and you wondered what surprises he would come up with for Christmas back in London the following week… a proposal would be hard to beat.

Ha! No, not the end, here, have a prequel!

Last Night On The Plain

[mbti-notes]

Anonymous asked: 

Hello. How to be a well-known and well-liked person at work?

Why do you want to know? What is your underlying motivation? When you approach personal learning and development without a clear or authentic intention, you are liable to stumble badly and get unpleasant results. Your question includes a lot of confused thinking, which is a major part of the problem.

I used to think that knowledge and working hard are the only things necessary for success at work. I haven't had a career yet. but I hear from others that other factors and office politics are also involved. Good comunication and social skills, being liked by coworkers and bosses for example. There are people who join a workplace/college and after a short time, they know almost everyone and everyone knows them, trusts and loves them. Bosses like and respect them, don't want replace them, etc.

You seem to “think” a lot of things. And to what end exactly? Do you enjoy “thinking” yourself into a pit of worry? You don’t possess any meaningful experience, yet you still claim to “know” things based only on some imaginings and secondhand information. This kind of speculation is problematic, a bad cognitive habit that should be stopped, because it is counter-productive to learning and growth. You are misinterpreting the few facts that you’re hearing. Yes, it is a fact that some people are good at socializing, but what does that mean for YOU? Does it mean that you have to be just like them? Yes, good social skills are required to succeed in some work environments? But all of them? Don’t jump to conclusions so quickly. You can’t seem to tell the difference between a fact and your own faulty interpretations of the fact.

Do you believe that you can become a good footballer by listening to people talk about how to play or describe their impressions of a few matches they watched? Secondhand information is subjective and anecdotal. You take the few facts that were presented and then you stitch together an elaborate narrative of some abstract “workplace” that you believe represents ultimate reality. This is very poor reasoning. In the end, you construct a very distorted view of the world and become blinded by faulty or oversimplified beliefs about how the world works. All this before having even stepped out the door, so to speak.

While I like to have that, I don't have the energy or skills for that as an introvert. I don't know how to start a good conversation or get people to like me, trust me and open up to me. I would naturally want to get the job done and go home. I'm not really interested in people's lives. meeting with more than seven people or going somewhere crowded gives me social anxiety and sensory overload. and Idk what is ok to say/ask in convos. Idk if I should be friendly or professional with bosses, supervisors and coworkers. or what behavior is ok or too much.

If you want to learn, then learn. There are lots of resources available out there. If you don't want to learn, then don't. It's your choice to make, as it's your life to live. DO YOU OR DO YOU NOT WANT TO LEARN? I can’t help you if you are stuck in contradiction and talking out of both sides of your mouth, saying that you both want but don’t want (i.e. unaware of who you really are or what you really want). How are you ever going to get motivated when you can’t commit to any particular desire/goal/direction?

If you suffer from severe social anxiety, get professional help for it. Social skills can be learned, just like learning how to play football by actually playing it though hours of practice. If you want to learn any worthwhile skill, you must put in time and effort to study and practice repeatedly, to get better gradually - it is certainly tiring - no pain, no gain. Is feeling “tired” the end of the world? You seem to believe that it is for some strange reason, which means that you’re not willing to put in the work? If you’re not willing to work hard, that is the end of the story. 

So I just stay safe, overly formal, independent and polite. I prefer to be alone. During long hours of college or socializing, I stay quiet and anxious, get headaches and feel dizzy/confused. And I'm not on any social media because I don't care about the pictures people post about family, pets, celebs. I'm also not assertive and I'm afraid of drama or ppl hurting/using me.

"Stay safe" is the key phrase. Generally speaking, an excessive desire for safety is rooted in emotional problems, often stemming from painful memories and/or traumatic experiences. Until you resolve the emotional problems that keep you stuck and resistant against venturing outside your comfort zone, you won’t be able to grow as a person. The heavier the emotional baggage you’re unconsciously dragging around, the more “tiring” the learning process is, because there are too many self-inflicted psychological obstacles holding you back. 

Instead of facing up to your emotional problems, you’d rather entertain useless speculation about imaginary workplaces and people you haven’t met yet, making yourself more and more scared (in order to justify isolation)? It’s quite easy to speculate and imagine all the possible threats out there in the world. It’s hard to examine the reality of how much you fear being hurt and how the fear twists your perception of reality. You keep taking the easy road and then wonder why you never get anywhere. DO YOU OR DO YOU NOT WANT TO CHANGE? Once again, I can’t help you if you are stuck in contradiction and talking out of both sides of your mouth, saying that you both like and don’t like how you are (i.e. unaware of who you really are or what you really want). I only help people who are fully committed to change.

I already know the consequences of being the way I am.

I’d argue that you don't understand - another example of thinking that you “know” when you really don’t. You've emphasized that you prefer to be alone, which means that you LIKE the consequences - your feelings tell the true story. You don't perceive the consequences as being negative, so why would you change your behavior? If you like isolation, isolate. Why not just “be yourself” and live the life that you want? Who says that you have to be anything but what you are? Why do you even care about any of this “social” stuff (that you also claim to not care about)? Why pressure yourself to be something that you’re not? If you put the pressure on yourself, then you take it off at any time.

But “being yourself”, if you’re doing it properly, won’t lead you into an unhealthy tertiary loop, so you’re not doing it properly, are you? If you’re not ready to leave your loop, don’t. Keep pretending that you’re “staying true” to your antisocial self, keep enjoying the safety of isolation, until you can’t live in denial anymore. That’s how most people have to play out their tertiary loop. 

One day, when you’ve had enough, you may realize that your desire for isolation isn’t actually “staying true” to who you are and what you want. One day, you may realize that “staying true to yourself” was just an excuse, that you don’t really know yourself at all, and that your self-image has been nothing but a twisted little ball of fear all along. In other words, right now, your idea of “being yourself” is actually just being a scared little puppy that hides from every loud noise - is this what you really are and want to be? Is there nothing more to you than fear? Do you want to spend your entire life under the spell of the irrational fears you have conjured up to protect your comfort zone?

I need your help. How can I develop interest in people? How can I have more energy to socialize? How can I gain social skills and get people to like me, trust me, open up with me and let me in? (without being fake or pushy?).

Very simple: You have to care about more than just yourself and your own safety and comfort. But this is impossible if you leave your fear unaddressed and it continues to hijack your whole mindset. When you live in fear, you are all too willing to believe that people are bad and the world is terrible (based on selective evidence gathering), only looking out for yourself and your own feelings, which, in the end, amounts to starting every relationship in an extreme state of defensiveness and self-centeredness. A person needs to know you to like you, and how would they know you when you are emotionally closed-off and obviously hostile to their advances, when all you show them is coldness? A positive relationship should be built through the connection of two open and trusting hearts. Cynicism about people or society is merely a convenient cover that allows fearful or helpless people to feel safe/superior, but only in their own mind. Living in a coffin, worrying or complaining about the outside world without ever venturing out, is surely safe emotionally. But nothing ever happens there, does it? You’ve put yourself in there because you’re scared, which means that it’s up to you to own your fear and step out anyway.

How can I maintain relationships?

By putting in the time and effort to build your social skills and learn through firsthand relationship experiences. By taking the time to care about something other than yourself. Even psychopaths manage to care about the people closest to them. Is the problem that you can’t care or that you won’t care? If it’s a problem of won’t, why won’t you? 

Relationship skills aren’t something that can be summarized in one paragraph, especially if you have a lot of dysfunctional relationship habits to unlearn. I've already recommended many relevant books on the resources list. Are you a good learner? From what you’ve said, I suspect that you have trouble learning or accepting advice because you always think that you know better and/or have an excuse ready to rebut good advice? If you’re serious about learning, then devote yourself fully to studying and practicing.

How can I learn office politics? How can I make my bosses like/trust me without seeming fake?

"Office politics" is not what you believe it is - dismantle your faulty fearful beliefs. Every workplace is just a group of people, made up of various individuals, some of them not too different from you. The quality of a group depends on the quality of the individuals and what they contribute to it collectively, and this varies quite widely from group to group and the size of it. If you contribute negativity, you influence others to be negative. If you contribute positivity, you influence others to be positive. But you don’t care about how you affect others because you don’t even recognize that you have any power to affect anything due to your fear, passivity, and helplessness. All you care about is whether you get paid? Work has no other benefit or purpose besides monetary compensation?

Some of the surest signs of having poor social skills include:

mindreading: presuming to know what people think/feel with little to no evidence; grossly misinterpreting people’s intentions/behavior due to fear, insecurity, anxiety, or overactive imagination

prejudice: making blanket/overgeneralized judgments about individuals, groups, or society based on very selective “facts” or superficial characteristics; unable to treat people as individuals to be dealt with in an adaptable case-by-case basis

self-centeredness: compulsively resorting to inauthentic and/or defensive behavior to manipulate social situations for personal reward/comfort; unable to understand situations from other people’s point of view

You suffer all three problems. You are quick to assume that people have ill-intentions. You like to divide people up into these or those “kinds” of people. You only care about people in terms of whether they make you feel good/bad and inexplicably refuse to care about their perspective. 

A healthy relationship should be mutually satisfying in order to establish a sense of connectedness. A healthy relationship should be mutually beneficial in order to establish a sense of equality. A healthy relationship should include mutual caring and sharing in order to establish intimacy. Why would anyone want to enter a relationship with you if you make them feel uneasy, unsatisfied, and uncared for? Would you want to enter a relationship with you? If you’re a terrible friend, you’ll feel undeserving of friendship, because, deep down, you believe that you don’t deserve any kindness for never giving any kindness to anyone. If you want good friendships, you must first be a good friend. If you’re not willing to open up emotionally to care for people, that is the end of the story. 

How can I make sure people don't see me as a good target to hurt, use or gossip about?

What is the source of your paranoia? Why is your first stance towards the social world one of negativity, fear, mistrust, suspicion, attack-and-defense? If you’ve been hurt before and that’s why you’re scared, then address that problem.  Serious questions: Have you ever known LOVE? Have you ever known a caring, supportive, empathetic, and intimate relationship with someone? If you haven’t, for whatever reason, then you have a lot to learn about relationships. But going around pretending that you already know how people are (out to get you) and how the social world works (to victimize you) is not going to help you learn. You won’t learn if you already presume to know.

I haven't had a job yet. but I'm honestly afraid of having a career for these reasons.

You can’t prepare for every situation in life. No amount of mental preparation is going to eliminate your fear when the fear itself is always left unaddressed. Go out into the world, live your life, learn from your experiences. That's how life goes. But you don't want to live in real life, do you? You prefer living in your own imagination, pretending to know what the world is like without proper breadth of experience?

"Afraid" is the key word. Are you really ready to confront your fear? I don't think you are yet because you are still talking about how nice it is to be safely protected by tertiary loop. No one can force you to let go of your faulty beliefs when you depend on them so much for safety. You overthink and overanalyze, speculate and imagine, turn human beings into abstractions, convince yourself that you “know” when you really don’t... all for what? It is all a defense mechanism that keeps you trapped within yourself, ruminating in circles. It's all just meant to hide the fact that you are afraid, helpless, and willfully ignorant (in twisting the facts). The solution to fear is to actively confront it. The solution to helplessness is mastering the appropriate social and emotional skills. The solution to willful ignorance is humility: let go of what you think you know so that you can finally start to learn fresh.

[luna-rainbow]

jdrama 2020 autumn (oct #1)

Talio ~ Fukushou Daikou no Futari Stars: Hamabe Minami, Okada Masaki I went into this with high(ish) expectations because I like Okada, and while I've never watching Hamabe (except for like half of the first episode of her most recent drama with Yokohama Ryusei), I've heard that she's the next up-and-coming. Also, the premise looked unusual - a lawyer working with a conman, so it should be cute and tense and cerebral all at the same time. I'm not sure what went wrong. To start with, Hamabe's character is not cute. She (and I mean the character, not necessasrily the actor) is not even very convincing. A child without a mum who then loses her dad at a young age to grow up in a foster family to have that much (undeserving) self-assurance, naivety and social ineptitude is...astounding. She comes across as someone highly book-smart but socially tone-deaf, which would be fine for a normal prodigy who grew up with a very sheltered home life, but just unbelievable when she would have spent the last 10+ years living under someone else's roof and trying to get along with a family and siblings who are not her own. Your social cognition gets an early start when you realise people around you aren't there for you unconditionally. Her tics are also not cute or funny. I'm not sure what they're trying to build by her always saying "I'm telling only you this but I was the valedictorian" only to have her do something dumb afterwards. Is it to show that she's smart? Or that she's dumb? Or just socially inappropriate? Her doing the kiss and shoot motions during her confrontations are also not cute or funny, and really jolts you out of the story to the point of me having to fastforward things to get through the whole episode. Okada Masaki's character isn't well-defined in the first episode, and that may be intentional. They've left it so that he reluctantly works with her but is still clearly in the grey zone. But their dynamic come across awkward and not as clearly defined as these partner stories ought to be. For example - MIU404 has a rational vs reckless type, or Keiji to Kenji has a materialistic vs sentimental type, or even Kimura's recent BG2 has his socially observant type up against Saitou's socially awkward type. The idea with these screen partnerships is that they are complementary to make it worthwhile, and contradictory to make it interesting. The only clear traits about the two of them is that Hamabe's character is a lawyer hence supposedly law-abiding, and Okada's character is a borderline law-breaker. But she uses some very dodgy methods that I'm not sure would pass off all that well with the real law-abiders - stalking, blackmailing, going against her superiors without talking to them. And I'm not sure if I just stopped paying attention at that point but - did she really just steal the key evidence for her client by getting someone else to steal the data, then running off with the money?? So much for sticking to the path of justice. Okada's character is also not leading enough with his street-smartness, and in fact his motivation for actually helping her or working with her remains unclear. So basically the two of them aren't different enough for you to feel they need each other, nor are they on equal enough footing for their conflicts to be worthwhile. I normally really like Okada, but I think I've decided he's best staying in goody-too-shoes roles, because he just comes across here as creepy and annoying. For the sake of my remaining goodwill towards him, I had to stop watching. Gokushufudo Stars: Tamaki Hiroshi, Kawaguchi Haruna Mostly Japanese comedies don't do very well, but I think the year is in dire need of comedies. How do I put it? It is what it needs to be - it's full of gags, not much plot, and lots and lots of ridiculous posturing and misunderstandings. Most of the time the humour does get it right. It's certainly nice to see Tamaki get back into something light-hearted because he's actually got great comic timing. Kawaguchi's acting is much more natural these days (or maybe because everyone is trying really hard to over-act in this one?), which is nice. But I really worry about an entire season of this, because even by about 2/3 through the first episode, the gags were starting to wear a bit thin. I hope they've added some backstory and plot, because I'm not sure it can sustain itself for the whole season. I also wish whoever's doing the camera work could just chill it on the shaky cam and filters, because there's enough spinning and jolting to make me carsick (and I don't normally get carsick), and the filters make everything fuzzy. The actors really do give it a good go, and it's propped up by some solid veterans, but again...I really hope there's some plot to all this because it can tire very quickly.

[armsdealing]

@neotropical​ sent: 10, 12, 15, 18, 26, 26 for Shiro | 28, 31, 36, 40 for Fenrir character development questions / inbox cleaning.

SHIRO.

10. what energizes and drains them most? shiro is introverted. heavy social interaction can drain him really fast, especially inane social interaction like small talk. paradoxically, being idle can also drain him. if he's not sleeping or eating, or reading or using his mind in some fashion, he'd rather be out there in the field, investigating cases and trying to solve them. he's a bit workaholic, and feeling like he's doing nothing worthwhile can affect his mood.

12. how are they bodily expressive? how do they use nonverbal cues such as their posture, stance, eyes, eyebrows, mouths, and hands? he's more expressive than he gives himself credit for, though most emotions tend to be negative, like annoyance or irritation or suspicion, if not outright anger cuz he's grumpy as fuck. he has expressive eyes even in wolf form, and since they are devoid of color the dilatation of the pupils is very clearly visible when he's agitated. body wise, he also goes tense, hackles proverbially raised, fists balled up, mouth pinched into a frown (or flashing fangs), standing tall or slightly crouched as if to lunge. his body language is pretty authoritative, typical of his species. and though like i said most of the emotions can be negative, he's not above showing emotional vulnerability. if he feels moved, he can truly start to cry right then and there (albeit stoically) without carinh, and if he's content/pleased/happy he's not above smiles -- though they are rare.

he's also easy to make blush if flirted with too heavily.  :/

15. what kind of inner life do they have — rich and imaginative? calculating and practical? full of doubts and fears? does it find any sort of outlet in their lives? mostly on the practical side, that's for sure. he tends to be motivated toward concrete goals, and is very good at staying focused. of course, he is not above occasionally daydreaming and losing track of things. this happens especially when not engrossed by something; his mind is full with grief regarding his past, as well as wariness toward the future, and that can lead him into brooding. his main outlet for his thoughts is his job as a social worker and private investigator. he finds it very rewarding that he can put his skillset to good use for the benefit of the community.

18. what kind of person could they become in the future? what are some developmental paths that they could take, (best, worst, most likely?) what would cause them to come to pass, and what consequences might they have? what paths would you especially like to see, and why? best case scenario shiro becomes a more tolerant person of humans, learning to understand and accept the gradations to their morality and that some humans are okay, while also learning to cope with his trauma in a healthy fashion, growing all around more emotionally open. along those lines he also accepts that he can have romantic feelings for someone without negating his sense of purpose and identity as a vigilante slash undercover god dlfkjdkf.

worst case scenario he distances himself more from the warmer side of him and opts to become a cruel and punitive deity that sees things mostly in black and white terms (something he already does to an extent) and doesn't form actual relationships with anybody, opting instead to dedicate himself to slaughtering humans he deems evil. basically it's a regression: going back to the same place where he was before making it to anima city and turning his life around.

both are likely, but of course the most likely is the former one if things go ideally -- like if he has more positive contacts with humans, and if others manage to get through to him emotionally. basically friendship and love will save him.

i'm good with either path tho of course i want to see him become healthier. i'm not opposed to him getting worse before he gets better, because i do love myself some drama.

26. how do they view and feel about relationships, and how might this manifest in how they handle them, if it does? he doesnt have many of them. most are purely incidental and tho they are positive they're not very deep. it's mostly work related or people that leave in his apartment building that he chats with from time to time or like, the owner of the coffee shop he frequents ddfjh. he thinks they are okay but at the same time he feels awkward and doesn't know how to go about them. he feels distant (his past and status as a god play a role no doubt) and even tho occasionally he wants to be closer to people he doesn't know how to even start. he's also a bit of a jerk and that doesn't help.

27. what do they strongly like and dislike, in any category? why? shiro greatly dislikes humans as a result of his past, being a victim of a massacre where all but himself died (purely on incident, since he was beheaded). he thinks they are all an irredeemable and violent bunch who sees his people as lesser. he also doesn't like beastmen that work with humans, seeing them as just as bad as humans too. in a more casual note he does not like the cult that has formed around his person, he thinks it's all a bunch of scammers trying to make money off his image. he wants to do something about it but isn't yet sure what.

he likes seeing anima city prosper and thrive and see beastmen happy; it genuinely warms his heart. and he likes children a lot. he has worked with the city to find many orphaned children better homes. he also has an affinity for boots and sweaters. 😌

FENRIR.

28. what are they likely to do if they have the opportunity, resources, and time to accomplish it? why? i mean if he had the opportunity resources and time odin would be DEAD already dfjgdhjfg prophecy be damned. he would've already put down a lot of asgardians, if not asgard itself. other than that... he's off and on about the idea of forming a legitimate pack. he could do it but it's a risky move considering gods are always cutting him short whenever they think he's getting 'too powerful'. but those things aside he doesn't want for much and he DOES already have the resources and time to do whatever he wants... to an extent.

31. is there anything that counts as a “dealbreaker” for them, positively or negatively? what makes things go smoothly, and what spoils an activity or ruins their day? why? fenrir has a short fuse and on bad days if you get on his nerves he will kill you. i mean he will really just shoot you dead for annoying him if he doesn't feel like acting civil. disrespecting him is a big no-no, he has a low tolerance for idiocy and people who think they can act all insolent around him. if you think you're close enough to get away with that you need to give yourself and ur relationship with him a long hard look because chances are you're wrong. acting like you're better than him/superior to him? dealbreaker. pitying him in any way? also a big dealbreaker. it truly annoys him. he will sooner stop talking to you than entertain your sympathy, even if what he's going through is worthy of it. he doesn't want anything to do with it. other things that can ruin his day is pain flares due to his bound status -- he deals with chronic pain 24/7, and it's the source of most of his bad moods.

as for things that makes situations go smoothly -- if the pain is unusually mild that given day. nice food or drink, or completed jobs, and presence of people he likes (family, or lovers)

36. how much do they rely on their minds and intellect, versus other approaches like relying on instinct, intuition, faith and spirituality, or emotions? what is their opinion on this? fenrir is more instinct and intuition than intellect, but he is by no means dumb. he is hypersensitive and hyperaware of things and is constantly processing amounts of information that would knock out the average human, and acting accordingly to it all. his hunches are usually correct and he's quite capable of analysis and deductive reasoning when necessary -- take for example when he quite correctly guessed that asgardians where trying to trick him with gleipnir. emotions play less of a role when it comes to serious decision making, tho yeah like anybody sometimes he will act purely on passion if its something that affects him to such a degree. he doesn't feel any particular way about it, and is confident in his decision making (perhaps sometimes overconfident but yh y'know, that happens), since it tends to work for him.

40. what do they wonder about? what sparks their curiosity and imagination, and why? how is this expressed, if it is? for a long long time(pre-binding) midgardian culture truly sparked his curiosity. he wanted to learn about humans and how they operated and the things they liked to do. after this curiosity was satiated he doesn't express wonder over many things. he has unanswered questions about the fate of the world and how fate will play out but virtually everyone does. he would rather spend his time in the present than invest a lot of time simply thinking about the future. simply put, he is not an imaginative person. 

[telugumovies2017jlxk417-blog]

The Worst Videos of All Time About hd movies counter

This movie Edition on the Dan Brown classic is Probably the most controversial and intriguing, And that i doubt there is someone else out there who'd question that.

In advance of the rest, allow us to initially establish that “The Da Vinci Code” is not really an outright attack to Catholic religion conservatives neither is it an enjoyment exclusive for whoever has concluded their Dan Brown (Langdon) sequence or their Holy Grail collections. The nice issue relating to this movie is the fact everyone can observe and understand it (delivered, naturally, that there are nearly no restrictions With regards to cinema admission). Oh no, there's nothing cryptic in the least with this Ron Howard masterpiece.

Some Brown followers and mystery aficionados may well sit and expend a full two plus a half hours and regard the Film as way too bland or way too… anti-climactic. Let's be obvious: “The Da Vinci Code” is undoubtedly an adaptation, so comparing the monitor Edition to your book won't make A lot feeling. Sure, be expecting the Motion picture being the same as All those Harry Potter publications, in which You can also find portions not included in the picture.

Around I have nothing versus guides becoming transformed into films, I beg to disagree about the argument that “The Da Vinci Code” just isn't loyal to the novel. If nearly anything, I feel movies counter 2019 the gist getting offered and held alive on the display is just appropriate and fitting, especially for whoever has not gotten near hearing the author’s title. Mainly, the plot requires a head get started in on the list of Louvre’s chambers, wherever a curator is murdered and has still left different enigmatic messages within the museum’s interiors for his granddaughter, Sophie Neveu (Audrey Tautou), and symbologist, Robert Langdon, to find. In endeavor to find the offender, the pair is led right into a maze of clues and anomalous and elusive figures. Ultimately, These are attended by Sir Leigh Teabing (Ian McKellen), who turns out to become the nemesis (or even more suitably, considering the fact that this isn't that kind of pumped-up movies counter 2018 download suspense — the antagonist) ultimately.

As I've pointed out, this isn't precisely comparable to All those substantial-flying experience or sci-fi hits, with the many explosions and remarkable stunts, so anticipate zilch of These. It is possible to assume, even though, some vehicle chases during the streets of France and in the woods. But which is all contained while in the novel, in any case, and I doubt Howard would would like to considerably disappoint the viewers with a completely manufactured-above picture. I guess it is fairly sensible, in this feeling, to think that the film lacks some creatively driven climax or maybe a superior momentum. Certainly, these shortcomings all boil down to the pre-existence of The premise of The full Motion picture — the best-seller ebook.

What seriously will make the image worthwhile may be the mental stimulation you can get from absorbing all These facts and data in one sitting. Amazingly, the clarity and simplicity by which the data together with other historical accounts are laid out are commendable. Concerned about everything spiritual controversy? I assure you, there’s no must be queasy or not comfortable regardless of what religion (or not enough it) you belong to. Akiva Goldsman, the film’s screenwriter, has done a good work of making certain the audience also are retained on track Along with the plot rather than wander away with seemingly unfamiliar labels for instance Priory of Sion, Opus Dei or The Knights’ Templar.

Another place wherever “The Da Vinci Code” is considered to surpass other movies in its genre could be the computer graphics. I am not speaking about action-run, egoistically snazzy consequences. Just the inclusion of electronic graphics in the course of the brainstorming times of Langdon are by now and definitely extraordinary. The crew also deserves a thumbs up With regards to the remarkable established and background. I comprehend it is challenging to recreate a church’s inside, particularly if You're not allowed to shoot in a single (the original location, that is certainly). Not to mention that concurrently, you can also be embarking on One of the more predicted Film ventures of the final two many years (given that the discharge in the e book).

Alternatively, the main points may also look a tiny bit as well bluntly or certainly laid out, in this type of way that these are definitely alleged to be The complete place from the film. Properly, the details are of the essence, but as reiterated, the producers could have long gone a little farther, say an insertion of some inducing tunes or some scene-improving things, to lessen the monotony or even the tone down the nerd-like excellent of your movie. Some scenes could also do without the excessive drama or intellect, if you will, much like the 1 exactly where These are purported to retrieve the curator’s security deposit box and enter a specific code (lest They could never ever obtain use of the Significantly-coveted cryptex at any time). On the other hand, these are typically the directorial endeavours in putting some spice (or action) in the thriller hunt.

In regards to casting, “The Da Vinci Code” brings alongside one another an international cast, all of whom are fitting and outstanding in their roles. Pressure in the novel’s track record may have performed an element, but all in all, the actors are convincing as they may be and the Motion picture treats all characters on an equivalent footing. Certainly, I are unable to do without the need of commenting on Audrey Tatou’s attempts at English or perhaps the lousy haircut Tom Hanks has from the Film, but truth of the matter of your make any difference is, all of these shine inside the parts in which They may be designed to be shining. Heck, I even forgot my earlier distaste of Tom Hanks becoming casted as Langdon Once i saw how other actors are ideal for their respective roles. Choose, As an example, Ian McKellen. I can really truly feel his laid-again nevertheless enthusiastic solution, not only to your job from the Grail’s obssessive collector, but additionally in enjoying the element in the summer season Film.

Normally, “The Da Vinci Code” deserves an applause, not just for its relatively loyal adherence to the very best-vendor, and also for bringing together an ensemble efficiency and story that substantially understood (and shipped) the popularity and magnitude of your undertaking.

[abookbythesea]

Acts of Love

Just finished reading Acts of Love by Talulah Riley. I would describe my attitude to the beginning of the story as bored. I had picked up this book for the sole reason that it was written by one of Elon Musk’s ex-wife, and was quite disappointed with it. However, as I had already bought and started the book, I was willing to read at least half of it. The unexpected that might have been expectable was that I little by little grew a feeling of involvement. That happens in most fictions I read, but with the first pages I hadn’t thought it would happen. Even though I very strongly suspected the output of it, the urge of wanting to continue was there. It’s a good feeling, and I was happy to let myself into it. So, even with the overly blunt parts, I was endeared with the rawness of thoughts and some emotions. Humans wanting to love and be loved. I should also note that it was a good moment for me to read it. The drama effect was so exaggerated that it became acceptable, and even enjoyable (not at all passages, I must admit, but overall).

Bernadette’s feminist speech wasn’t elaborate enough to have a real meaning - scratch that out, the feeling is there. I however don’t feel like analysing it for now. All I have to say is that even though I wouldn’t say what she said, I understand where it comes from.

I’m thinking on wether I should write more… I feel like it, but at the same time not. The intent on this isn’t to produce a literary analysis, but a quick few words that I can read back to lightly, with a soft smile and knowing eyes. I will end with a few extracts from the book:

Bernadette ran, Lauren’s words ringing in her ears. She had never been called a coward before; she had always been praised for her fearlessness and daring. But it was true: she was a coward, an emotional adventure-seeker who couldn’t face the reality of her own nature.

***

‘Why do you feel like the last sane person on earth?’

‘Because everything inside my head makes so much sense. I’m very logical. I reason from first principles. And yet people call me crazy!’

***

Her eyes opened as he ran his hand gently down her throat, dragging the tips of his fingers across her pale skin. Then suddenly he looked away. ‘I can’t,’ he said hoarsely, pushing himself up to standing and moving from the bed.

‘What?’ she cried, aghast.

‘I never intended to.’

‘What?’

‘I don’t want you like this,’ he said, as if that was enough of an explanation. He walked into the adjoining bathroom, out of sight, and Bernadette could hear him running a tap. When he returned, she noticed he had splashed water across his face and wrists. ‘I don’t appreciate being used, by you or anybody. I’m sorry that you’ve been hurt in your past, and I don’t want to take advantage of a vulnerable person, but equally, I don’t want you to take advantage of me. What you said in the elevator today made me determined not to sleep with you.’

‘I’m not using you,’ said Bernadette, trying to stop her breath coming in ragged grasps. ‘It’s mutual.’

‘But it isn’t,’ he said, shaking his head with shining eyes. ‘It isn’t mutual at all. I want you more that I’ve ever wanted anything.’

‘So have me!’ she cried impatiently, wondering why most of her romantic encounters ended in debate rather that debauchery.

‘I won’t have you unless I can have all of you.’

***

‘I know there’s a warm and fuzzy girl in there somewhere.’

‘You’re wrong,’ she said, matter-of-fact. ‘Deep in my heart there is nothing but ice. It’s a cold and barren interior, just glaciers, and icebergs, and a polar bear named Borghild. Borghild likes to eat men for fun.’

***

‘I can’t bear to be without you, Tim. I’ve loved you from the very first day, truly. I want to be with you. Every single piece of me loved every little part of you. I want to marry you, and have a whole parcel of babies!’

***

‘You are funny,’ he said appreciatively. ‘You might be the most selfish creature I’ve ever met.’

She opened her mouth indignantly. ‘I’m not selfish.’

‘You are a passionate soul, impulse-driven and pleasure-seeking and thoroughly self-serving. The only true hedonist I’ve ever met.’

‘I don’t know where you get this codswallop from,’ she said, her throat dry. He thought her selfish, and it stung.

***

She was intrigued by the idea of being intimate with him, and her perversion was more that sexual. It was arousing to know she would be sharing personal space. She would be a witness to his nightly ablutions, see what snacks he chose from the hotel minibar, know what time he set his alarm for in the morning. Radley Blake was the kind of person who exuded such a mannered superiority, it was difficult to imagine him performing tasks essential to mere mortals. But now she would see him tie his shoelaces.’

***

You may know me, but you don’t love me. Not yet, anyway,’ said Radley, as the doors slid shut behind them.

‘How can I love you?’ asked Bernadette, quietly.

‘Charming. I’m not so thoroughly bad, you know.’

‘No, no, I wasn’t being hostile. I meant it as a genuine question.’ She turned her green eyes up to gaze at his face, wanting very much to kiss him. ‘How can I love you? Help me to love you.’

***

‘I tend to eat all my meals here at work,’ Sam-the-Eager laughed. ‘In fact,’ he said, warming to his theme, ‘going home at all just isn’t necessary. I could shower here, eat here, exercise here… sleep in the meditation room. It would be awesome! I’d live here twenty-four seven if they’d let me.’

‘Wouldn’t you feel the lack of something?’ Bernadette asked. ‘Real life, for example?’

‘But this is real life!’ he exclaimed, his body twisting for emphasis, his face adamant. ‘There is nothing more real that what we’re doing here, nothing more interesting, nothing as beautiful or as challenging! There is nowhere I’d rather be.’

‘Gosh,’ said Bernadette drily. ‘Lucky you.’

He stared at her with clear blue eyes that reminded her suddenly of Elizabeth, his face registering pity and confusion. ‘I’m sorry if I sound extreme to you,’ he said frankly. ‘But there are a lot of people here like me. We all think we’re doing something good and worthwhile. That’s not an easy thing to find in this world. Believe me, I’ve chased that feeling down in all the wrong places.’

‘I’ve never felt that way. I can’t really imagine what it’s like,’ she admitted, feeling suddenly very useless.

***

The mirage Bernadette has created around Tim and Love.

Elizabeth’s integrity and caring.

It’s so out there and overly dramatic. And I can’t help but feel a sense of cliché, even if it’s in a storyline I’ve never experience before. But I can’t deny their passion, and I that doesn’t count for nothing. Passion, even if ridiculous when looked upon from outside, is one of the most enthralling feelings. I felt their’s in this slice of life, and I enjoyed it. Life is more like a soap comedy that we think, we just realise it in our craziest of moments.

When looking back on passages, I’ve come to a realisation that I’m willing to admit; one of the main reasons for my enjoyment of this book is the fact that I’ve thought and felt some thoughts and feelings that are displayed. This realisation came in full speed when I chose to transcribe the avant-dernier passage.

Anyway, after noting the fact that I wrote those last paragraphs in between different passages and not all at the end, I’m going to end this here. I couldn’t stop myself from writing so many passages, even though I wanted to make it short. Let’s go back to real life and kick some ass. I do enjoy reading quite tremendously.

[saving-people-shipping-things]

Sick of Losing Soulmates: Part 1

Title: Sick of Losing Soulmates: Part 1

Pairing: Cas x Reader

Theme song: “Sick of Losing Soulmates” by Dodie

Word count: 2,690

Request: @amy-de-l-abc requested a Cas fic and I’d had this one mulling around for a while now, so here it is! :)

A/N: So this was originally intended to be a one shot, but it sort of got away from me. I had the idea of a story where the reader is working for Crowley, but is also in a relationship with Cas and has to keep the two separate somehow. Why is she working for Crowley? Will she be able to keep it a secret? What happens if Cas finds out? You’ll have to read and see . . . I’m not sure how many parts it will be, but I’m guessing two or three. Let me know if you want to be tagged in future fics!

You always hated the smell down here. And the lighting. And how cold it was. Everything, all of it, it reminded you of years in your past you tried to forget. It reminded you of flashes of figures that came back to you in your dreams. It tasted like hopelessness and smelled like death.

Just how Crowley liked it.

You followed him to his throne, where one of his demonic henchmen stood with a clipboard, ready to read His Majesty the list of traitors who needed sentences to determine the severity of their punishment. The demon leered at you, and if your stomach weren’t already in knots, you would have bared your teeth or flipped him off. Something to make Dean proud.

“Sir,” the demon said, turning his attention to Crowley. “We’ve got quite the list today, so if you don’t mind, I think it’d be best if we got started right away.”

“Can’t a king get a minute around here to breathe?” Crowley grumbled, all but flopping into his throne. You stayed a safe distance away from them both. Or as safe as you could get when you were in the heart of Hell. Your fingers itched for a weapon—a knife, a gun, a big stick, it didn’t matter.

“Will all due respect, sir, the prisoners are getting restless. We’ve lost three guards already.” The demon cast his gaze back to you, as if his problems were your fault somehow. Tingles ran up and down your spine, like tiny spiders.

Crowley’s dark eyes flicked to you. “You don’t have anywhere to be, do you, Kitten?”

“Don’t call me that,” you snarled. “And yeah, actually. I have to be back at the bunker like five minutes ago.”

Crowley gave a soft chuckle, but you’d known him long enough to recognize there was no humor behind the noise. “That question was a courtesy, Kitten. I wasn’t actually giving you permission to leave yet.”

Of course he wasn’t. “Crowley, we’ve talked about this. If you’re going to make me do all of this, you have to give me a little a freedom. They’ll get suspicious if I don’t go back soon.”

You stared at each other, neither of you blinking, both of you sizing the other up. A muscle near his eye twitched, almost imperceptibly, but you were attuned to those sorts of movements. As a hunter, you were always sizing a person up for potential weaknesses.

“What a strange being you are,” the demon mused in your direction. “Questioning the king of Hell, like you’re his superior.”

Crowley waved a hand to silence him. “Fine,” he relented. “But our next meeting will be longer. Text me with any updates. And I expect you to get your hands on something worthwhile the next time I see you, otherwise your friends the Winchesters will face the consequences. I won’t take no for an answer.”

It was his usual threat, his typical farewell to you, and you always rolled your eyes at him to show you weren’t afraid. But secretly, you wouldn’t dare test that promise. “Great. Can I go now?”

He snapped his fingers, and there you were, back by your car in the darkened parking lot. You put your face in your hands and let out a long sigh. How had it already been nine months of this?

#

“Freaking finally!” Dean called out from the kitchen as you descended the stairs, paper bag in hand. “How long does it take to pick up a few burgers and beers?”

“Calm down, drama queen.” You handed him the takeout and shrugged off your jacket. “There was a long line. I had to wait behind this old lady who couldn’t decide between sweet potato fries or curly fries.”

Dean wrinkled his nose. “Is there even a choice? Who would go for fried vegetables over deliciously seasoned bits of crispy heaven?”

“Maybe people who actually want to live to reach fifty?” Sam suggested. He smiled at you as you slid him his salad.

Dean grumbled something under his breath, but you didn’t catch it. You restrained from snorting at the noise he made after biting into his burger.

“Pretty good, huh?” You said.

He gave you a thumbs up. “Definitely worth the wait.”

“Where’s Cas?” You asked when you glanced around and couldn’t find the angel.

“Can’t keep your hands off each other for two seconds.” Dean shook his head at you, then dodged the balled up napkin you lobbed at his head.

“Shut up. I haven’t seen him all day. Isn’t he back from that case yet?”

“Last I heard he was going to check out another house.” Sam scrolled through his phone. “He texted me a couple hours ago. Looks like the demons really spread themselves out this time.”

Without any warning, Cas appeared behind him. He only looked at you, though, as if the others didn’t exist.

“Speak of the devil,” Dean said.

Cas blinked, then turned to him. “I’m not the devil, Dean.”

“It’s an express—never mind,” Dean said, knowing he’d never be able to explain it to Cas without taking several minutes.

Paying Dean no more attention, Cas swooped down to give you a quick kiss, which you leaned into with a smile. You hadn't thought the angel would be one for public displays of affection, but any sign of a hardened or more serious exterior melted when he was with you. You ignored the sound of Dean gagging, as well as the sound of Sam slapping Dean.

"Stop it," Sam chastised.

"I'm sorry, they're making me lose my appetite," Dean said.

"You're being dramatic." You twined your fingers through Cas' as he took a seat by you. The angel didn't eat, of course, but he was all too happy to keep you company whenever he had the chance.

"So, Cas," Sam attempted to change the subject. "How was the case? Any luck?"

Cas sighed, and the crease in his forehead appeared. You frowned at him. You never liked to see those wrinkles on him. It meant he was distracted, unhappy. Trying to get him to relax was already a challenge.

"That bad, huh?" Dean said.

"I managed to get rid of a few demons." Cas' voice was a deep rumble, but you caught the edge to it. "But I could never get them all. They seemed to be scattered everywhere, but they're all connected. I think they might be planning something."

Sam's eyebrows furrowed. "Planning what?"

"I don't know, but it can't be good."

You squirmed in your chair, poking at your glob of ketchup with a fry. Dean, who had been trying to fatten you up ever since you started working with them, flicked his gaze between your plate and your face. He looked like he was trying to read a foreign language.

"Not hungry?" He said.

You shrugged. "Eh. Just tired."

Now Cas looked concerned, but you didn't dare meet his eyes. It was bad enough trying to lie to Sam and Dean. You nibbled on the end of the fry in an attempt to draw the attention away from you.

"I did find this." Cas pulled his phone from his trench coat and opened a picture, sliding it across the table. Sam and Dean leaned forward to inspect it, but it only took you a glance to know what the strange symbol was.

"What is that?" Dean picked up the phone to look closer.

"I'm not sure. I've never seen those kinds of symbols before. But it was drawn in human blood." The rasp to Cas' voice became more prominent with disgust.

"Is it some kind of summoning ritual?" Sam suggested.

You, of course, knew what it was. Crowley had told you months ago. But you'd been hoping none of the boys would discover it. It made everything so much messier.

"I'll have to go back and see. That is, if the demons haven't already covered their tracks," Cas said. "I'll check again in a bit."

"No." You said quickly, your other hand shooting out to rest on his, like you were scared of him leaving right then. They all raised their eyebrows at you, and you wondered if your face looked as red as it felt. "Just--why don't you stay here for the night? I've missed you."

Dean gagged again. Cas' worried expression softened, his shoulders slumping a little.

"I can go tomorrow instead."

You grinned widely at him and kissed his cheek. "What would I be without you?"

As soon as the conversation moved to a safer topic, you allowed yourself a moment to catch your breath. The charade had been going on for close to a year, and yet you hadn't gotten used to it. It was a wonder you were able to handle the pressure at all.

Cas' thumb rubbed circles on your palm, calming your heart rate. Maybe it was the small wonders that allowed you to go on.

#

It was late into the night when you excused yourself to shower and change into pajamas. Hair up in a messy bun, you tapped on your phone screen, sending a text.

They know about the rituals.

As you chewed your thumbnail, which was already cracked and bleeding, a response came back.

How much?

Crowley, as always, wasn't a man of many words when it came to technology. He much preferred in person meetings with long, dramatic monologues. You definitely preferred this.

Just that the demons are up to something, but not what. They're going to look into it more tomorrow. You should clear everyone out.

I'm not going to bloody flee. We're close.

Close enough to finish before tomorrow?

If we're not finished, we'll take care of it.

Your heart jumped into your throat. You knew what "take care of it" meant. It meant bloodshed. It meant bad news for whoever was involved.

It meant endangering Cas.

But what choice did you have?

"Who are you texting?"

You squeaked and turned to face Cas standing in the doorway. God, he was quiet. Stuffing your phone into your sweatshirt pocket, you put on a brave face, a wide smile, a careful facade. Hide the truth. It had been your mantra for nine months. Which meant nine out of the twelve you'd been with Cas, your stomach had been in knots, your head in utter agony from the migraines. Your nightmares were fueled on guilt, which only made you more restless when the lights were turned off.

"Nobody," you said. Then, "Jody." Cas was unreadable, and your chest rose and fell too shallowly for you to think straight. He'd know something was up. You waved your hands in a dismissive manner. "She wanted some advice on teenage girls. No biggie. Are you coming to bed?"

"In a minute," he said. He still didn't move from the doorway. Your hands clutched at your phone tighter inside your pocket, fingers slick with sweat. "I have to go back."

"Go back where?"

"Wisconsin. To the warehouse where the symbol was."

Now you were sure you were going to throw up. "What? Why? I thought you said it could wait until tomorrow?"

Cas shook his head and stepped into your room. "It won't take long. I just have to check out a few more things I might have missed."

"But--it's not going anywhere, right? Just stay with me." You reached out to take his hands, hoping yours had dried enough to not draw suspicion. "Please."

The internal struggle Cas was having with himself showed on his face, in his slightly squinted eyes and parted lips. But he pulled away, leaving you breathless. "I can't. I'm worried something will happen if I don't act now. They could be up to something big, Y/N."

"What's one more night?"

"Y/N--"

You blurted out the first thing that popped in your head. "I know what they're up to."

Silence. You almost wished you'd pass out, just so something would happen. Something other than him staring at you like you'd hit him.

"What?"

"I--I recognized the symbol." You licked your lips, but it only seemed to make them drier.

The intensity of Cas' blue eyes had always made you weak in the knees, but now they made your legs tremble for an entirely different reason. "Why didn't you say anything before?"

"I didn't realize what it was until now." It was a feeble excuse, but you hoped the year you'd been together, the amount of trust you'd built, would be enough to believe you on this. Every time you relied on him trusting you, you felt horrible. But it was all for him, you told yourself. Him, Sam, and Dean. It was all for their protection. "I saw it in a book years ago."

"And?" He prompted you.

You were too on the spot to lie, so you gritted your teeth and told the truth. "It is a summoning ritual. It's to bring back the dead Knights of Hell, but it's incredibly complicated."

Cas rubbed his face with a hand, color draining from his skin. He paced a small circle in the room, looking utterly lost.

"This is all the more reason to go now," he said. "We have to stop--"

"We will," you assured him. You sat on the edge of the bed, too weak to hold yourself up anymore. Crowley was going to kill you. Maybe literally. "But not yet. And definitely not on your own. Look, I'm exhausted, I won't be any use to you tonight. But if we wait until tomorrow, I can go with you. And they're not close enough to do anything soon from the looks of that picture. There's still tons that needs to be prepared."

Now Cas looked like the angel you'd first met: lost, confused, serious, and on guard. You'd seen a different Cas in the past months, a Cas that laughed and told epic stories about life in Heaven when things were peaceful. You'd seen how gentle he could be with small children and animals and you. You'd felt his warm body pressed against yours at night as he hummed so you could fall asleep, and he'd stay with you like that until you woke up. You'd held his hand and leaped into his arms after a successful hunt and kissed him wildly and passionately.

All of that seemed to melt away like it had never happened. And it killed you.

"But you didn't say anything before now?" He said.

"It--it just occurred to me," you said. "I told you, I'm tired. I wasn't thinking straight. Can we please just take care of it tomorrow?"

He nodded, a small movement, and it didn't meet his eyes. They were cold, didn't hold any warmth toward you in that moment. But he shrugged off his trench coat and pulled back the covers to the bed. "Fine. We'll go tomorrow."

"Thank you," you mumbled.

He didn't answer. He didn't look at you at all as you finished getting ready for bed and crawled in next to him. And when you turned off the lights, he didn't make any move to hold you like he normally did. His back was to you.

You sighed, but didn't say anything and didn't try to move closer. All that mattered was you'd bought him some time. At least you'd done that.

You took the opportunity of Cas paying you no attention to turn the brightness down on your phone and sneak another text to Crowley.

I had to tell Cas what was up. I'm going with him tomorrow to shut it down.

It took longer for him to respond this time. You wondered if he was staring at it in shock as much as you were. How could you have gotten into a mess this deep?

You what?

I didn't have any other choice. I had to keep his trust. Finish up quick.

You don't give the orders, kitten.

I didn't have a choice.

There was another excruciatingly long period of time between texts. Then, a new one from him came in. Every part of you went numb.

We need to meet. Now.

Part 2

[lets-carameth]

Part of our ongoing Doc Nights collection, AND WITH HIM CAME THE WEST screens July 17 at 7:30 PM at the AFS Cinema with director Mike Plante in individual. Purchase tickets. Plante may even be a part of us the following night time for a Moviemaker Dialogue on brief movies.

The gunfight at the OK Corral was a legend made famous by Hollywood studio westerns over many many years, from John Ford’s MY DARLING CLEMENTINE (1946) all the option to George Cosmatos’ ‘90s blockbuster, TOMBSTONE. In his provocative documentary, filmmaker Mike Plante examines the Hollywood legacy of Wyatt Earp by way of the many movies that rewrote history to immortalize him. Plante shall be in attendance for the screening on July 17 and in addition take part in a Moviemaker Dialogue at Austin Public on July 18.

Here he shares his thoughts on what impressed him to make the movie and some of the questions it poses:

What’s it about the story of Wyatt Earp that inspired you to make this film?

I grew up in western Colorado, so apart from seeing western films and reading tons of books about the “real” wild west, I used to be all the time operating round ghost towns. It was enjoyable as a kid, however unusual too. Going to a totally shaped city that was super wealthy for a number of years that had collapsed right into a shell was surreal. It was additionally lovely, and sad and damaged—a mysterious comic ebook come to life.

As an adult I noticed how insane these frontier towns have been. The immense circumstances that everybody had to overcome, the harsh places, the mountains, the deserts. The group that had to come together to survive. I additionally realized the brutal politics of manifest future. The difficult historical past of the people concerned, both good and dangerous. The truth is way extra fascinating than the mythology.

In the late ‘80s I moved to Tucson, Arizona, and lived there for a decade. Tombstone is nearby and I turned more serious about that specific town history. There were not that many duel-style gunfights in the west, most have been myths, so the OK Corral caught out much more.

After I discovered that Wyatt lived lengthy enough to go to Hollywood and go to film sets, this specific story turned much more surreal. Tons of western characters reinvented themselves in their very own lifetime—however for Earp to go to filmmakers in Hollywood and ask them to make a film about him, to help type his legacy, that’s subsequent degree.

Have been there specific films you watched rising up that influenced your understanding of the Wyatt Earp story better than others?

I grew up in the ‘70s and ‘80s so the western was not a well-liked genre at that second. It was western characters in outer area as an alternative. I noticed the older Earp movies on TV. I favored them however they felt like a bygone era that was utterly faraway from trendy occasions, closer to King Arthur than Al Capone.

The previous films really blended together over time—one of the ways films create American mythology. You start to assume that this many films on one subject couldn’t probably misinform you, which is absurd. And then the revisionist ​DOC is from 1971 however was never talked about, I by no means saw it on TV. One thing like ​MCCABE AND MRS. MILLER​ (1971) is unimaginable, not a few historical individual yet so sensible and deep. But I by no means saw it on TV. We didn’t have a revival movie theater on the town, and these weren’t the huge VHS tapes of the second.

There have been a couple of non-Earp westerns that basically influenced me in terms of their fashion, films that felt absolutely true and very important although they weren’t sensible. The spaghetti westerns ​ONCE UPON A TIME IN THE WEST (1968) and ​MY NAME IS NOBODY (1973) are still superb to me. They paid off in phrases of overboard action and large story, but they’ve received complicated characters in the center of them.

In ​ONCE,​ Henry Fonda is heroic and delightful however a horrible villain. Claudia Cardinale is a robust feminine lead preventing for her land, this ain’t a 1930s western. ​NOBODY is a satire however succeeds in the similar method, with Fonda (in his final western) even stating, “there were never any good ol’ days.” It’s with these movies that I began to assume perhaps the west was far more superior, bizarre, and messy, and that folks of their day have been very trendy.

When ​THE LONG RIDERS (1980) got here out, I was obsessed with it. Again, a contemporary movie with trendy digital camera and modifying, with characters extra nuanced into a gray hat, fairly than a white-hat black-hat simplicity. But this time the characters had the names of real individuals (the James-Youthful gang). What I needed as a child was not clean propaganda, however messy realism. What did it seem like to be in the similar place as these individuals? Including all the mundane moments. That movie is nearly a musical, the soundtrack is just not booming however true to life, full with a marriage dance and characters enjoying instruments.

So then once I saw the Earp movies again as an grownup, ​GUNFIGHT AT THE OK CORRAL (1957) for example, they felt unusual. The type was great—Technicolor-delicious—but the appearing was really stilted and the story was so jumbled. There’s some fascinating stuff, like how the town had gun control and some awesome gambling scenes. But there’s rather a lot of pressured romance and no dangerous language. The fun elements have been enjoyable, but the G-rated-ness made you marvel what happened in real life.

As a movie fan doing historical analysis for years, I began to piece together the scenes and the lasting impact films have had on history. Once I began seeing unimaginable found-footage films, like Craig Baldwin’s ​TRIBULATION 99 ​(1992) and Naomi Uman’s REMOVED (1999), or even Cindy Sherman’s images, I received a blueprint for the concepts. I’m working in the vein of Thom Anderson’s LOS ANGELES PLAYS ITSELF ​(2003), simply ‘Wyatt Earp Plays Himself.’

By the means, I don’t assume I’m anyplace close to the degree of these filmmakers! I’m just standing on shoulders.

Why do you assume Hollywood has returned repeatedly to the retelling of Earp, Tombstone, and the gunfight at the OK Corral?

Money. That’s the primary aim of studios, Hollywood is a business. Westerns fall in and out of reputation, however they will all the time relate to the present occasions in a method or another, and action movies make lots of cash. This story made cash earlier than, it will probably once more.

However you may also look to people who really believed in the story and the complexity, who then had enough pull in the business to get a movie made, like Kurt Russell and Kevin Costner. They appear to know the trendy connections between at this time and the wild west, not only in social issues however in the sort of people who reinvent themselves into legends.

And it’s in all probability a helluva lots of fun to make a western.

All through it, the movie explores the blurring of strains between reality and fiction. In the end, is that distinction essential, or does it not matter?

I feel it issues. We need to consider in historical past. I feel it starts to matter more as a result of individuals run with what they need to consider, and that’s what I’m making an attempt to explore.

Even when an elevator doesn’t put the quantity 13 on the buttons… there’s nonetheless a 13th flooring. Why can we do this to society? I’m actually curious about how that blurring occurs and how it’s typically simply accepted. People need to feel protected on this large planet and we create issues to be comforted.

The mythology of the past could be extremely inventive and inspirational. I feel most people know that once you examine the previous, there is a layer of interpretation concerned. From the author sharing the info to the individual reading it. So, you determine what is trustworthy when it’s worthwhile to, and what’s just enjoyable and entertaining. And that’s why professional journalists and critical historians and librarians actually matter.

In the film, I give my take on what happened, however I don’t inform the viewers what to think about the occasions or how the films have warped historical past. This can be a poem about Wyatt Earp, not an encyclopedia. I’m supplying you with the info and we should always all have a dialogue about it. The actual danger is just not talking about history.

At the similar time, let’s have fun. I typically marvel if individuals with opposing opinions would get alongside once they realized that they all consider in UFOs.

The film also takes us by means of the very beginning of movie and its evolution as a way of storytelling – in this occasion the story of an actual historical individual. What do you assume is the subsequent wave of Westerns and filmmaking know-how and why is it essential that moviegoers proceed to be all in favour of historical past?

We like to recollect our personal lives as film scenes so it’s not a surprise to keep making these connections to historical past as entertainment. Some historic figures are so nuts, so fun, it makes a terrific film. Let’s snort and cry and study together, that’s what each films and historical past are for.

The western is such an everlasting genre and filmmakers retains pushing the limits of drama, comedy and action. I love to see crossovers with different genres. The Zellner Brothers’ ​DAMSEL (2018) is nice, principally a romantic dark-comedy in the west. The ONCE UPON A TIME IN CHINE collection by Tsui Hark must be counted among the great westerns. Or just extra stories with unique characters, like Kelly Reichardt’s ​MEEK’S CUTOFF (2010). And I’m undoubtedly not the first to explore the western in a documentary—everybody ought to be watching Neil Diamond’s ​REEL INJUN (2009). Nor am I the first to do a remix, like the superb brief by Peter Tscherkassky, ​INSTRUCTIONS FOR A LIGHT AND SOUND MACHINE​ (2005).

We’d like the dystopian western. The technological advancement of the previous west was ridiculous, fueled by the gold rush. Like ​THE CITY OF LOST CHILDREN (1995) by Jeunet and Caro—you possibly can’t even tell if that’s the previous or the future, it’s so magical.

And why no more bombastic spaghetti westerns?? Just don’t use real historic names and make it bizarre.

The post Austin Film Society Interview with Mike Plante, Director of New Wyatt Earp Doc ‘And With Him Came the West’ appeared first on Black Dot Mobile.

[omgxfireicewolfx-blog]

Part of our ongoing Doc Nights collection, AND WITH HIM CAME THE WEST screens July 17 at 7:30 PM at the AFS Cinema with director Mike Plante in individual. Purchase tickets. Plante may even be a part of us the following night time for a Moviemaker Dialogue on brief movies.

The gunfight at the OK Corral was a legend made famous by Hollywood studio westerns over many many years, from John Ford’s MY DARLING CLEMENTINE (1946) all the option to George Cosmatos’ ‘90s blockbuster, TOMBSTONE. In his provocative documentary, filmmaker Mike Plante examines the Hollywood legacy of Wyatt Earp by way of the many movies that rewrote history to immortalize him. Plante shall be in attendance for the screening on July 17 and in addition take part in a Moviemaker Dialogue at Austin Public on July 18.

Here he shares his thoughts on what impressed him to make the movie and some of the questions it poses:

What’s it about the story of Wyatt Earp that inspired you to make this film?

I grew up in western Colorado, so apart from seeing western films and reading tons of books about the “real” wild west, I used to be all the time operating round ghost towns. It was enjoyable as a kid, however unusual too. Going to a totally shaped city that was super wealthy for a number of years that had collapsed right into a shell was surreal. It was additionally lovely, and sad and damaged—a mysterious comic ebook come to life.

As an adult I noticed how insane these frontier towns have been. The immense circumstances that everybody had to overcome, the harsh places, the mountains, the deserts. The group that had to come together to survive. I additionally realized the brutal politics of manifest future. The difficult historical past of the people concerned, both good and dangerous. The truth is way extra fascinating than the mythology.

In the late ‘80s I moved to Tucson, Arizona, and lived there for a decade. Tombstone is nearby and I turned more serious about that specific town history. There were not that many duel-style gunfights in the west, most have been myths, so the OK Corral caught out much more.

After I discovered that Wyatt lived lengthy enough to go to Hollywood and go to film sets, this specific story turned much more surreal. Tons of western characters reinvented themselves in their very own lifetime—however for Earp to go to filmmakers in Hollywood and ask them to make a film about him, to help type his legacy, that’s subsequent degree.

Have been there specific films you watched rising up that influenced your understanding of the Wyatt Earp story better than others?

I grew up in the ‘70s and ‘80s so the western was not a well-liked genre at that second. It was western characters in outer area as an alternative. I noticed the older Earp movies on TV. I favored them however they felt like a bygone era that was utterly faraway from trendy occasions, closer to King Arthur than Al Capone.

The previous films really blended together over time—one of the ways films create American mythology. You start to assume that this many films on one subject couldn’t probably misinform you, which is absurd. And then the revisionist ​DOC is from 1971 however was never talked about, I by no means saw it on TV. One thing like ​MCCABE AND MRS. MILLER​ (1971) is unimaginable, not a few historical individual yet so sensible and deep. But I by no means saw it on TV. We didn’t have a revival movie theater on the town, and these weren’t the huge VHS tapes of the second.

There have been a couple of non-Earp westerns that basically influenced me in terms of their fashion, films that felt absolutely true and very important although they weren’t sensible. The spaghetti westerns ​ONCE UPON A TIME IN THE WEST (1968) and ​MY NAME IS NOBODY (1973) are still superb to me. They paid off in phrases of overboard action and large story, but they’ve received complicated characters in the center of them.

In ​ONCE,​ Henry Fonda is heroic and delightful however a horrible villain. Claudia Cardinale is a robust feminine lead preventing for her land, this ain’t a 1930s western. ​NOBODY is a satire however succeeds in the similar method, with Fonda (in his final western) even stating, “there were never any good ol’ days.” It’s with these movies that I began to assume perhaps the west was far more superior, bizarre, and messy, and that folks of their day have been very trendy.

When ​THE LONG RIDERS (1980) got here out, I was obsessed with it. Again, a contemporary movie with trendy digital camera and modifying, with characters extra nuanced into a gray hat, fairly than a white-hat black-hat simplicity. But this time the characters had the names of real individuals (the James-Youthful gang). What I needed as a child was not clean propaganda, however messy realism. What did it seem like to be in the similar place as these individuals? Including all the mundane moments. That movie is nearly a musical, the soundtrack is just not booming however true to life, full with a marriage dance and characters enjoying instruments.

So then once I saw the Earp movies again as an grownup, ​GUNFIGHT AT THE OK CORRAL (1957) for example, they felt unusual. The type was great—Technicolor-delicious—but the appearing was really stilted and the story was so jumbled. There’s some fascinating stuff, like how the town had gun control and some awesome gambling scenes. But there’s rather a lot of pressured romance and no dangerous language. The fun elements have been enjoyable, but the G-rated-ness made you marvel what happened in real life.

As a movie fan doing historical analysis for years, I began to piece together the scenes and the lasting impact films have had on history. Once I began seeing unimaginable found-footage films, like Craig Baldwin’s ​TRIBULATION 99 ​(1992) and Naomi Uman’s REMOVED (1999), or even Cindy Sherman’s images, I received a blueprint for the concepts. I’m working in the vein of Thom Anderson’s LOS ANGELES PLAYS ITSELF ​(2003), simply ‘Wyatt Earp Plays Himself.’

By the means, I don’t assume I’m anyplace close to the degree of these filmmakers! I’m just standing on shoulders.

Why do you assume Hollywood has returned repeatedly to the retelling of Earp, Tombstone, and the gunfight at the OK Corral?

Money. That’s the primary aim of studios, Hollywood is a business. Westerns fall in and out of reputation, however they will all the time relate to the present occasions in a method or another, and action movies make lots of cash. This story made cash earlier than, it will probably once more.

However you may also look to people who really believed in the story and the complexity, who then had enough pull in the business to get a movie made, like Kurt Russell and Kevin Costner. They appear to know the trendy connections between at this time and the wild west, not only in social issues however in the sort of people who reinvent themselves into legends.

And it’s in all probability a helluva lots of fun to make a western.

All through it, the movie explores the blurring of strains between reality and fiction. In the end, is that distinction essential, or does it not matter?

I feel it issues. We need to consider in historical past. I feel it starts to matter more as a result of individuals run with what they need to consider, and that’s what I’m making an attempt to explore.

Even when an elevator doesn’t put the quantity 13 on the buttons… there’s nonetheless a 13th flooring. Why can we do this to society? I’m actually curious about how that blurring occurs and how it’s typically simply accepted. People need to feel protected on this large planet and we create issues to be comforted.

The mythology of the past could be extremely inventive and inspirational. I feel most people know that once you examine the previous, there is a layer of interpretation concerned. From the author sharing the info to the individual reading it. So, you determine what is trustworthy when it’s worthwhile to, and what’s just enjoyable and entertaining. And that’s why professional journalists and critical historians and librarians actually matter.

In the film, I give my take on what happened, however I don’t inform the viewers what to think about the occasions or how the films have warped historical past. This can be a poem about Wyatt Earp, not an encyclopedia. I’m supplying you with the info and we should always all have a dialogue about it. The actual danger is just not talking about history.

At the similar time, let’s have fun. I typically marvel if individuals with opposing opinions would get alongside once they realized that they all consider in UFOs.

The film also takes us by means of the very beginning of movie and its evolution as a way of storytelling – in this occasion the story of an actual historical individual. What do you assume is the subsequent wave of Westerns and filmmaking know-how and why is it essential that moviegoers proceed to be all in favour of historical past?

We like to recollect our personal lives as film scenes so it’s not a surprise to keep making these connections to historical past as entertainment. Some historic figures are so nuts, so fun, it makes a terrific film. Let’s snort and cry and study together, that’s what each films and historical past are for.

The western is such an everlasting genre and filmmakers retains pushing the limits of drama, comedy and action. I love to see crossovers with different genres. The Zellner Brothers’ ​DAMSEL (2018) is nice, principally a romantic dark-comedy in the west. The ONCE UPON A TIME IN CHINE collection by Tsui Hark must be counted among the great westerns. Or just extra stories with unique characters, like Kelly Reichardt’s ​MEEK’S CUTOFF (2010). And I’m undoubtedly not the first to explore the western in a documentary—everybody ought to be watching Neil Diamond’s ​REEL INJUN (2009). Nor am I the first to do a remix, like the superb brief by Peter Tscherkassky, ​INSTRUCTIONS FOR A LIGHT AND SOUND MACHINE​ (2005).

We’d like the dystopian western. The technological advancement of the previous west was ridiculous, fueled by the gold rush. Like ​THE CITY OF LOST CHILDREN (1995) by Jeunet and Caro—you possibly can’t even tell if that’s the previous or the future, it’s so magical.

And why no more bombastic spaghetti westerns?? Just don’t use real historic names and make it bizarre.

The post Austin Film Society Interview with Mike Plante, Director of New Wyatt Earp Doc ‘And With Him Came the West’ appeared first on Black Dot Mobile.

[iinsatiablezus]

Part of our ongoing Doc Nights collection, AND WITH HIM CAME THE WEST screens July 17 at 7:30 PM at the AFS Cinema with director Mike Plante in individual. Purchase tickets. Plante may even be a part of us the following night time for a Moviemaker Dialogue on brief movies.

The gunfight at the OK Corral was a legend made famous by Hollywood studio westerns over many many years, from John Ford’s MY DARLING CLEMENTINE (1946) all the option to George Cosmatos’ ‘90s blockbuster, TOMBSTONE. In his provocative documentary, filmmaker Mike Plante examines the Hollywood legacy of Wyatt Earp by way of the many movies that rewrote history to immortalize him. Plante shall be in attendance for the screening on July 17 and in addition take part in a Moviemaker Dialogue at Austin Public on July 18.

Here he shares his thoughts on what impressed him to make the movie and some of the questions it poses:

What’s it about the story of Wyatt Earp that inspired you to make this film?

I grew up in western Colorado, so apart from seeing western films and reading tons of books about the “real” wild west, I used to be all the time operating round ghost towns. It was enjoyable as a kid, however unusual too. Going to a totally shaped city that was super wealthy for a number of years that had collapsed right into a shell was surreal. It was additionally lovely, and sad and damaged—a mysterious comic ebook come to life.

As an adult I noticed how insane these frontier towns have been. The immense circumstances that everybody had to overcome, the harsh places, the mountains, the deserts. The group that had to come together to survive. I additionally realized the brutal politics of manifest future. The difficult historical past of the people concerned, both good and dangerous. The truth is way extra fascinating than the mythology.

In the late ‘80s I moved to Tucson, Arizona, and lived there for a decade. Tombstone is nearby and I turned more serious about that specific town history. There were not that many duel-style gunfights in the west, most have been myths, so the OK Corral caught out much more.

After I discovered that Wyatt lived lengthy enough to go to Hollywood and go to film sets, this specific story turned much more surreal. Tons of western characters reinvented themselves in their very own lifetime—however for Earp to go to filmmakers in Hollywood and ask them to make a film about him, to help type his legacy, that’s subsequent degree.

Have been there specific films you watched rising up that influenced your understanding of the Wyatt Earp story better than others?

I grew up in the ‘70s and ‘80s so the western was not a well-liked genre at that second. It was western characters in outer area as an alternative. I noticed the older Earp movies on TV. I favored them however they felt like a bygone era that was utterly faraway from trendy occasions, closer to King Arthur than Al Capone.

The previous films really blended together over time—one of the ways films create American mythology. You start to assume that this many films on one subject couldn’t probably misinform you, which is absurd. And then the revisionist ​DOC is from 1971 however was never talked about, I by no means saw it on TV. One thing like ​MCCABE AND MRS. MILLER​ (1971) is unimaginable, not a few historical individual yet so sensible and deep. But I by no means saw it on TV. We didn’t have a revival movie theater on the town, and these weren’t the huge VHS tapes of the second.

There have been a couple of non-Earp westerns that basically influenced me in terms of their fashion, films that felt absolutely true and very important although they weren’t sensible. The spaghetti westerns ​ONCE UPON A TIME IN THE WEST (1968) and ​MY NAME IS NOBODY (1973) are still superb to me. They paid off in phrases of overboard action and large story, but they’ve received complicated characters in the center of them.

In ​ONCE,​ Henry Fonda is heroic and delightful however a horrible villain. Claudia Cardinale is a robust feminine lead preventing for her land, this ain’t a 1930s western. ​NOBODY is a satire however succeeds in the similar method, with Fonda (in his final western) even stating, “there were never any good ol’ days.” It’s with these movies that I began to assume perhaps the west was far more superior, bizarre, and messy, and that folks of their day have been very trendy.

When ​THE LONG RIDERS (1980) got here out, I was obsessed with it. Again, a contemporary movie with trendy digital camera and modifying, with characters extra nuanced into a gray hat, fairly than a white-hat black-hat simplicity. But this time the characters had the names of real individuals (the James-Youthful gang). What I needed as a child was not clean propaganda, however messy realism. What did it seem like to be in the similar place as these individuals? Including all the mundane moments. That movie is nearly a musical, the soundtrack is just not booming however true to life, full with a marriage dance and characters enjoying instruments.

So then once I saw the Earp movies again as an grownup, ​GUNFIGHT AT THE OK CORRAL (1957) for example, they felt unusual. The type was great—Technicolor-delicious—but the appearing was really stilted and the story was so jumbled. There’s some fascinating stuff, like how the town had gun control and some awesome gambling scenes. But there’s rather a lot of pressured romance and no dangerous language. The fun elements have been enjoyable, but the G-rated-ness made you marvel what happened in real life.

As a movie fan doing historical analysis for years, I began to piece together the scenes and the lasting impact films have had on history. Once I began seeing unimaginable found-footage films, like Craig Baldwin’s ​TRIBULATION 99 ​(1992) and Naomi Uman’s REMOVED (1999), or even Cindy Sherman’s images, I received a blueprint for the concepts. I’m working in the vein of Thom Anderson’s LOS ANGELES PLAYS ITSELF ​(2003), simply ‘Wyatt Earp Plays Himself.’

By the means, I don’t assume I’m anyplace close to the degree of these filmmakers! I’m just standing on shoulders.

Why do you assume Hollywood has returned repeatedly to the retelling of Earp, Tombstone, and the gunfight at the OK Corral?

Money. That’s the primary aim of studios, Hollywood is a business. Westerns fall in and out of reputation, however they will all the time relate to the present occasions in a method or another, and action movies make lots of cash. This story made cash earlier than, it will probably once more.

However you may also look to people who really believed in the story and the complexity, who then had enough pull in the business to get a movie made, like Kurt Russell and Kevin Costner. They appear to know the trendy connections between at this time and the wild west, not only in social issues however in the sort of people who reinvent themselves into legends.

And it’s in all probability a helluva lots of fun to make a western.

All through it, the movie explores the blurring of strains between reality and fiction. In the end, is that distinction essential, or does it not matter?

I feel it issues. We need to consider in historical past. I feel it starts to matter more as a result of individuals run with what they need to consider, and that’s what I’m making an attempt to explore.

Even when an elevator doesn’t put the quantity 13 on the buttons… there’s nonetheless a 13th flooring. Why can we do this to society? I’m actually curious about how that blurring occurs and how it’s typically simply accepted. People need to feel protected on this large planet and we create issues to be comforted.

The mythology of the past could be extremely inventive and inspirational. I feel most people know that once you examine the previous, there is a layer of interpretation concerned. From the author sharing the info to the individual reading it. So, you determine what is trustworthy when it’s worthwhile to, and what’s just enjoyable and entertaining. And that’s why professional journalists and critical historians and librarians actually matter.

In the film, I give my take on what happened, however I don’t inform the viewers what to think about the occasions or how the films have warped historical past. This can be a poem about Wyatt Earp, not an encyclopedia. I’m supplying you with the info and we should always all have a dialogue about it. The actual danger is just not talking about history.

At the similar time, let’s have fun. I typically marvel if individuals with opposing opinions would get alongside once they realized that they all consider in UFOs.

The film also takes us by means of the very beginning of movie and its evolution as a way of storytelling – in this occasion the story of an actual historical individual. What do you assume is the subsequent wave of Westerns and filmmaking know-how and why is it essential that moviegoers proceed to be all in favour of historical past?

We like to recollect our personal lives as film scenes so it’s not a surprise to keep making these connections to historical past as entertainment. Some historic figures are so nuts, so fun, it makes a terrific film. Let’s snort and cry and study together, that’s what each films and historical past are for.

The western is such an everlasting genre and filmmakers retains pushing the limits of drama, comedy and action. I love to see crossovers with different genres. The Zellner Brothers’ ​DAMSEL (2018) is nice, principally a romantic dark-comedy in the west. The ONCE UPON A TIME IN CHINE collection by Tsui Hark must be counted among the great westerns. Or just extra stories with unique characters, like Kelly Reichardt’s ​MEEK’S CUTOFF (2010). And I’m undoubtedly not the first to explore the western in a documentary—everybody ought to be watching Neil Diamond’s ​REEL INJUN (2009). Nor am I the first to do a remix, like the superb brief by Peter Tscherkassky, ​INSTRUCTIONS FOR A LIGHT AND SOUND MACHINE​ (2005).

We’d like the dystopian western. The technological advancement of the previous west was ridiculous, fueled by the gold rush. Like ​THE CITY OF LOST CHILDREN (1995) by Jeunet and Caro—you possibly can’t even tell if that’s the previous or the future, it’s so magical.

And why no more bombastic spaghetti westerns?? Just don’t use real historic names and make it bizarre.

The post Austin Film Society Interview with Mike Plante, Director of New Wyatt Earp Doc ‘And With Him Came the West’ appeared first on Black Dot Mobile.