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sanstropfremir · 4 years ago

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episode 9 baby!!! dear lord that was a lot!!

frankly, i'm still in shock that i full on manifested an opera stage, AND it was a rock opera stage at that! plus i got a jazz stage AND a taemin stage??? if they’re pulling out all my favourites now then what on earth are they gonna do in the finale??? this was a very overwhelming crop of stages, i thought i was going to be prepared, but oh no i was not prepared. i'm just going to get right into it because this one is gonna be long and i have many words. i'll discuss in airing order first, and then put my personal rankings for this round at the end.

btob

costume

changsub, you absolute king. spectacular. stunning. incredible. zoot suit riot playing in my brain on repeat. will i finally get the zoot suit revival of my fucking dreams instead of this current drab ill-fitting suit trend? for those who are wondering why in the fuck changsub is dressed like that and what on earth i’m talking about, the specific cut of suit that he’s wearing is called a zoot suit, which were popular in mexican, black and italian american communities in the 30s and 40s, until they were outlawed by the united states war production board as a fabric rationing method as part of the war effort in 1942. there was a huge amount of mob violence surrrounding the wearing of them (there were actual zoot suit riots) as they were direct counter culture fashion to the predominant drab trends of white americans at the time. i'm actually very impressed they got a proper (modernized) cut of zoot suit instead of just putting him in an oversized one; there are actually specific structural differences. the pegged trouser legs, large should pads, and knee length single breasted jacket are key features, and they were often in much more flashy fabrics than a pinstripe, but they get points for effort. i wish they had put all of them in zoot suits but he’s playing the ‘lead’ actor so i will begrudgingly forgive them.

eunkwang those are the stupidest sleeve garters ive ever seen i love them never take them off. they’re like someone decided to repurpose a suspender in the worst way. excellent. i do love that they’ve got three of them in oxford saddle shoes, another great touch.

love the three piece and the fedora* on peniel. it's also in a relatively close period cut; waistcoasts (vests) were generally cut much higher in the neck pre-war, we only start seeing the neckline slide down in the 60s (i think? i don’t remember when exactly). also love to see a proper sleeve and jacket length, it's good practice to have at least a finger’s width of sleeve cuff visible ahead of the jacket sleeve when hanging at rest. also looks like there’s french cuffs on everyone, which is also great.

minhyuk in his slutty lowneck shirt....thank you. in addition to the zoot suit revival i would also like a revival of those ultra low necklines on mens’ shirts from like 2010-2011. i don’t think those are the same boots from the backdoor stage but those are some beautifully cut boots. i also loved the little details of his crewmember look, especially the chunky watch and the string bracelets; those are super realistic, i know so many crew with them and i had several for many years. and who doesn’t love a visible button fly?

none of any of the other costumes are period in any way shape or form but i’m forgiving it because there’s several layers of meta in this stage, and they explicitly based it on la la land, even though we don’t respect la la land in this house. do i wish they had gone more strictly period with at least the jazz club ‘actors’ a little more? absolutely, but i'm not mad about it.

set

again we’ve got a good delineation of the two different ‘stages,’ there’s the club itself in the smaller stage and the soundstage set in the larger space. you can pretty clearly see all the ‘pieces’ of the set on the soundstage, especially the obvious set painting techniques on false prosc frame and the window facade from that first little scene. also the you can see the castors (wheels) on all the setpieces too, which is another nice little versimilitudinous** (triple word score!) touch, as old hollywood movies were made still using theatre stagecraft techniques.

i love how the visual shorthand for ‘this is a set wink wonk’ is just...leaving a ladder on stage. i see it all the time and it's so funny. it doesn’t always make sense because as soon as there’s actors on set the ladders are the first thing cleared because actors cannot be trusted, but yes there are always ladders, so. also psa ladder safety is no joke, please be careful on ladders.

nice streamline of the mnet deco into the club. i’m consistently surprised at how well the designers have been able to mask it or use it to their advantage, because in the normal kingdom stage lighting it is SO obvious and stylistic that it always sticks out.

i'm going to ignore the fact that they implied changsub and miyeon were drinking wine out of martini glasses.

lighting

no complaints, it does its job. everything is visible and super clear. love that the ‘scene’ changes are made through the lighting, it's a really simple and effective device to change atmosphere. purple/blue/amber are the most flattering colours on human skin and that’s why you see it so commonly in stage lighting. also blue/lavendar is the best way to show nighttime/moonlight.

really nice and subtle projection work, especially with the billboard bit and the blue moon sign in the club. despite being obviously meta/’world breaking’ it’s actually very seamless and fits well into the flow of the stage.

sound

i love love love the big band feel in the intro, combined with the piano lead. very duke ellington, as all things should be.

no complaints. i love big band. i love eunkwang’s voice. i have nothing else to say.

staging

i LOVE this movie within a movie within a performance meta nonsense! it's such a fun concept and it is exactly what i wanted ikon’s first round stage to be! i also love to see btob consistently coming up with concepts that are inventive and fun and allow them to showcase their technical performance skills without the aerobics the younger groups are putting themselves through. it provides a really lovely variety and it just goes to show that you can make impressive, dramatic stages without having to be serious or ‘dark.’

i do wish they had leaned into the band director/lead singer with eunkwang a bit more; this could have been a really excellent place for a tap number a la the nicholas brothers or an homage to cab calloway. i know i know this was meant to be la la land themed but la la land is a cheap and whitewashed version of jazz and look me right in the eyes and tell me this isn’t the greatest tap routine of all time. i know i’ve typed this out somewhere before but la la land is just a conglomeration of old hollywood tropes and so stylistically cheap that this would have such a better visual core if they had actually looked back at the real old hollywood musicals like stormy weather. even singing in the rain and an american in paris have such phenomenal visuals and are really beautiful examples of the scope you can pull off with a limited technical capacity and sticking to these old techniques.

now that i'm thinking about it, oh my GOD i would DIE for a lindy hop routine in kpop PLEASE. i know it would never happen because kpop doesn’t like partner dancing and not a single kpop boy has the chops but oh you think fourth gen has too many acrobatics?

this got off track but i think you see my point.

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ateez

costume

these are really sharply cut suits. and the detail work on the beading??? so beautiful. i'm disappointed that they gave me a rock opera stage without the true ridiculousness of rock opera costuming, because they could have pushed this a lot farther if they really wanted. a tragic lack of gay little outfits, seonghwa’s lace choker is just not enough! two favourite suits: hongjoong’s and yunho’s.

that being said i do actually really like these. this stage is actually very modern opera with a kpop twist and i'm a little surprised by that? i continue to be impressed by the ateez team who are clearly doing their research.

i'm absolutely not going back through their stages to check all the choreography but i wonder if you can track all the ‘wound’ placements to places they’ve been ‘hit.’ i wouldn’t put it past them to have put that thought in but also i’m not expecting that much either.

who is this white grim reaper bdsm executioner chain arm man. where did he come from. i have no idea and i love it.

why is honjoong blindfolded. it was such a fast beat, if youre gonna blindfold someone give it a little longer and some more obvious narrative weight!

seonghwa does that quickchange, runs across that massive stage to the smaller set, and gets into places in like 45 seconds. it's not the hardest quickchange in the world but still, under a minute is fast for any quickchange, especially when there’s travel time involved. i think the fastest, most complex quickchange i ever did was in university which was a 50s cocktail dress into a flannel and culottes with a shoe, hair, and jewelry change in 35 seconds. and that took three dressers. quickchanges are always impressive. the added bonus of this review being later is that i can specifically reference that you can see him book it the fuck off stage in the full cam!

cute moment with the backup dancers dressed in costumes from the previous stages. i'm assuming this is a time travel reference? i'll get more into my thoughts on this in the staging section. regardless, love to see that iconic seonghwa moment again.

set

this is such a restricted space! they really pared down their dancing space with those staircases and ....arms? honestly i have NO clue what these are supposed to be. the only thing i can maybe think of is flying buttresses??? but why?? i mean, i'm 90% sure theyre just there for drama and i agree but i do still have questions.

there’s a lot of moving parts in this set? the buttresses, and the upstage centre staircase. i don’t think the staircase is totally automated because i spotted some dancers securing it in place, but it’s still a moving part. i do really like that we get that expanding upwards energy, because it's really tough to get functional level movement in this kind of a performance, mostly because of its length and because it moves so quickly. so seeing the downward vertical movement and then the upward movement was actually a really nice visual contrast that made use of how tall those fucking ceilings are, and the fact that they had less horizontal space. in sort of similar way to sf9’s jealousy stage, using long, narrow vertical lines really makes it feel like a castle space. the interiors of castles, especially the really old ones, are a lot smaller than you think they would be.

i’ve actually seen that type of small house/tent/thing several times in various types of performances before, but i think this is the first time i’ve seen it used as a time travel device (other than in the say my name mv). aesthetically it's a bit incongruent but i dont really mind because i'm used to watching rock operas that look a lot weirder than this.

lighting

there is so much happening. i have NO clue what the projections are doing. i dont hate it though, so that’s a plus? there’s a clear-ish colour arc even if it does get a bit funky in the middle, which is why the projections dont feel as insanely distracting as some of the other stages we’ve seen.

the climax is a perfect example of how to light a busy stage with primarily red but still maintain clarity on the performers. a little bit of red goes a long way; the spark stage from last week would have looked so much better if they had done what the ateez designers did here.

sound

i know it's only ode to joy, but answer already gets my motor running and then i get so gassed by the guitars and then by the time those vocals come in i'm inconsolable. i don’t know why i wasn’t expecting a rock opera stage but i'm so glad i got that surprise because i genuinely love rock operas so much. it's two of the most dramatic genres in music, what more could you possibly want?

staging

the choreo for answer is so goofy that I'm kinda glad this was mostly terrible mnet boom shots. i love it, but you can't deny that it's goofy. i spotted a couple of moves from their other choreos as well?

choreographing dance fights is just as difficult as choreographing real fights and i think they did a fairly good job here. i think it was a solid mix of dance and conflict that erred on the side of dramatic rather than accurate and i prefer that over trying to be ‘realistic.’ i’ve only ever seen one truly realistic fight scene on stage and that was for a deeply naturalist play (boring and a waste of the medium), but the best fight scene i’ve ever seen was in the prague national ballet’s adaptation of kafka’s the trial where three ballet dancers beat the absolute snot out of the main character with the most beautiful leg extensions. that whole show was probably one of the best pieces of dance i’ve ever seen, holy fuck it was so good.

despite how insane the music and the visuals were going, i actually really liked how sedate this was, on the part of ateez’s performance. there was a really sophisticated and resigned energy from them that is very different from what we’ve previously seen and i think that was a pretty admirable risk to take. reaching the top and then throwing away the crown? especially in a competition where every other stage has involved stealing crowns or royalty and there’s a group competing that got here through that very concept? that shows a real maturity, peace of mind, and foresight that i did not at all expect from a bunch of 22 year olds.

here we come to a very interesting comparison. both ateez and tbz are very heavily leaning on previously established group lore. we all know my thoughts on why it isn’t working for tbz, but here’s why i think it is working for ateez: it's because it doesn’t matter to the audience’s understanding of the stage. i had absolutely no fucking clue what was going on the first time i watched this, but that didn’t stop me from enjoying the music and all the weird shit they were doing. i totally believed that they understood what was going on. there’s a loose enough established conflict right at the beginning that draws us in, and really it doesn’t matter who they're fighting because they win in the end. the key here is that they’re so earnest. they believe 100% in every move they make on that stage. there’s no winks to camera, there’s not a drop of irony. they really deeply care about the ridiculousness of it all and that’s what makes it work. i sure as fuck dont know what’s going on, but i can see that they do, and i trust that. this is what i meant when i talked about convincing the audience you belong on stage in my stage presence post. i’ve never once believed that juyeon was anything other than an idol. he’s talented and very beautiful and he may occasionally stand on that stage like he owns it but it's always as juyeon. as an idol. but when hongjoong flaps around in that gigantic fur coat i 100% believe he’s a pirate captain. I believe he’s a punk rebel leader. i believe him a resigned king. there’s always a level of irony you have to fight as a performer because we all start from a place of disbelief. acting is not just lying to the audience, it's lying to yourself too. and if you succeed in convincing yourself? well, you’re already halfway to convincing us.

i checked it out because i wanted to see if they did the blindfold how i expected them to and was genuinely surprised by hongjoong’s fancam. the boy is EMOTING even when he knew the camera wasn’t on him; that’s a real dedication to craft.

ok i'm finished talking about this stage, this is over two pages in my document, there’s so many things i have not covered here but that’s fine, i'm quite sure any further thoughts will end up out there at some point.

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sf9

costume

let’s get it out of the way......crop top. crop top? crop top. crop top.

ok, besides the crop top, i think i might actually like the backup dancer outfits more...? i find mannequin adjacent looks really fascinating and i thought there was a lot more they could have done here in connecting the two thematically. i actually think a change of costume on the boys would have been very interesting, especially because there was a lot of inference and direct reference to changes of colour.

ALL the backup dancers are wearing the same wig and i LOVE that.

special mention zuho’s.....jacket? the right idea but it absolutely should have been one of those extreme french cut bodysuits, you COWARDS. don’t come at me with this ‘male version of venus’ if you don’t have your whole torso out! come on!

set

not sure if this is meant to be a department store, a factory, or a white cube gallery. honestly you could make the case that they’re all the same place anyways. more on this later.

i loved the movator and wish they had used it more! that sequence was so good and they could have done some more interesting repetition sequences to further highlight the ‘sameness’/the breaking of that sameness.

i feel like the set could have been used more as a whole? i would have loved to see some mannequin interactions with those boxes, because all they did was dump colour everywhere.

....why did they feel the need to include the rain bit? i know it's likely because it's in the mv and at the 2018 dream concert taemin does perform move in the rain, but with the standing still and the box walls with the words it just looks like a department store ad. which i...dont think is what they were intending?

lighting

nothing really to say here. it has a similar feel to the mayfly rap stage, which is fine because the lighting for that was good. i could tell what was going on all the time and that’s the most important part. notable standouts are the lips sequence, that's fun use of pop iconography and very effective, and the scanning lasers at the beginning.

the repeating sequence in the edm dance break is actually done pretty simply, it's just what happens when you point a camera that’s livestreaming to a monitor directly at that monitor. it's a very cool effect and it was neat to see it used intentionally, especially with the handheld leds.

actually i also really liked the lightbox tables, those were cool.

sound

the remix was fine for the most part, it was about what i expected it to sound like. i did however greatly dislike that unnecessary edm break in the middle. what was the point of that? it didn’t add anything to the overall sound or arc of the stage because it was SO out of place. there was no connective tissue around it.

oh i was also not a fan of the effect on zuho’s mic. no one else had a discernible vocal effect so it felt a little out of place. also for some reason his cadence and tone right at the end made me think of some of the voices that bo burnam uses for his vocal masque sketches/songs, especially repeat stuff, weirdly? took me right the fuck out of it. i listened to it again after i slept and i’m still getting it, so maybe i’m just going insane so best ignore this part.

staging

loved the mannequin tree, not a clue why it was there.

do actually think this is a successful cover because it does what i was hoping it would, which is take move completely out of the taemin context and put it into an entirely new one. however, i’m really struggling to figure out what exactly that new context is? and what theyre trying to say with it?

obviously they went for a ‘show your own colours/individuality’ vibe, like i said in the set section, where exactly is this supposed to be? from the start i get factory/mechanized environment, which is fine and grand because mannequins and making repetitive motions and products and all that, makes sense. but then there’s stacked shelving type units happening and curtains and that combined with the mannequins give me pretty big department store vibes, which is also fine, because that’s still a comment on commercialization and the mass production of product. but then we get to the movator and the repetitive movements of the dancers say pretty clearly factory, but the lighting and projections are very pop art referential, plus combining that with the white set, just makes me think of an art gallery. so now is this a comment on the commercialization and commidification of contemporary art? are they making a statement about being ‘real’ artists among the others who have lost the critical understanding of why pop art was even a thing in the first place? and then the rain bit at the end literally looks like a department store ad, so are they then making another statement that they still are that packaged product? maybe the episode has more clarity in it but i’m genuinely a bit baffled by what the underlying statement is here.

i suspect it is not as deep as i'm making it, but i did say that i was likely to be hyper critical of this stage AND i am a grad student, so here we are.

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tbz

costume

ok of all the ‘fourth gen’ style costumes we’ve seen, i actually like these ones more than most. i'm not entirely clear on the theme but i'm assuming it's meant to be post apocalyptic, and i'll take that.

backup dancers in black!!! we’re beyond this!!!

this will be a running theme with this stage, but i’m disappointed these don’t have more depth.

set

compared to every other stage, the set here seems especially plain. there’s so little set dec that it's disappointing. i do like the movement of the pieces themselves combined with the blocking; that first slide underneath the arches was slick and i would have liked to have seen more of that.

yea ok the big snake was cool and also a fairly complex build, but the transitions around it were a bit awkward for my tastes. especially the turn around, why did they even show that at all? you have control over what the audience sees, you can totally not show scenic transitions. skz were super smart about hiding theirs in last week’s episode.

also if you have a bigass puppet like that, i wanna see some more movement from it! it doesn’t have to be complex, we literally just saw a kraken balloon arm wave around aimlessly, but at least there was movement! that snake had a long ass body, why didn’t they at least take a pseudo dragon dance movement with it, that would have been such fun to watch with the iridescent scales. there was a lot of opportunity here!

lighting

i don’t hate it but also.... not a lot to say about it on the whole.

there were two really smart ideas here, the first being the front projection section, which i was SO glad to see! i explained in a previous review, but the projections in kingdom are not actually projections per se, because they’re actually massive led screens. there are two common types of projections in performance, rear projection and front projection. rear projection is when the projector is behind the screen, and front projection is ‘normal’ projection. rear projection can produce a crisper image because you have full control of the light values, because the projector is in a separate room from the performance space. but the downsides are that the projector has to be in a separate room from the performance space. so if you’re short on real estate, it's not ideal. front projection is much more common, because the tech is a lot cheaper and easier to access, especially now, and it requires less real estate because you can ceiling mount about the audience (you can move a projector wherever, this is just the most common spot in commercial theatres). but! in order to get an actually crisp image, you have to be really careful with your light bounce. it’s exactly the same principle as how you kinda can't see a projected screen when you have all the lights turned on, but when you turn them off it's a lot clearer. front projection works best in pitch dark, so when you use it in a theatre you gotta be smart about it. i use front projection a lot in my personal art practice as a singular light source, and that’s what tbz did here in that traveling/snake intro sequence. it’s a really fun technique that they used as a good gimmick because it’s not something we’ve seen before, and you get some great shadow effects because the projector is throwing light directionally at the performers (they have it set up close to the floor, it’s probably on a wheeled cart of some kind). however i did not like the snake intro. a bit too cheesy and out of place, especially because the asset quality didn’t match the rest of landscapes that we have been seeing.

the second smart idea, which is partially also a set and blocking thing but whatever, was that final image of the eclipse within the circle architecture with all the members standing in front of it. it was a great shot and a great ending pose, but it felt like a concept photo. like someone had that image as the idea that they then built the stage around, instead of a narrative first and then imagery after.

sound

this remix had SO much promise! those first two minutes were SO GOOD. i love that dirty discordant strings bit, it's gross and right up my alley. but it really fell off in the back half and i'm sad about that.

staging

i'm sorry tbz but.....what did you actually do differently than exo here? with the exception of the continual game of thrones references? nothing here felt transcendentally different from the original monster. and especially coming RIGHT after sf9’s move, which did go beyond its original context. this feels more like an awards show stage cover than a stage at the level of the others we’ve seen just this episode.

again like with the skz stage, there’s no conflict here. no tension. yes they do a great job covering the dance but it just isn’t enough! this is obviously personal preference and i'm sure lots of people liked the fact that it was uncomplicated, but even just a hint of narrative tension could have pushed this into more engaging territory. and if they didn’t want to do that, i would have loved to see them make up for that with extra visual spectacle. this is the no limits round! ikon is putting a full jungle on stage and these are grey cubes!

i think this is a perfect example of what i talked about at the end of my tbz section in my episode four review; this is a good performance, there are good elements at play and good ideas at their genesis, but the core of the issue is that nothing about this is transformative. all of the ideas here are just exaggerations of the original song. fuck, the snake was even IN the mv! and they didn’t even include the best part which is the lip chains! ive said before and i'll say it again; being a good artist has two steps, the first is understanding the material and its context, and the second is elevating the material from that context and synthesizing something new. tbz are really good at the first step, but terrible at the second.

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ranking

btob - the cleanest and the most fun of the round. everything i wanted.

sf9 - fun and a good cover, despite being conceptually baffling.

ateez - very extra dramatic nonsense with an unexpected dose of sincerity. and it’s rock opera, of course i love it.

skz - fun, with some good thematic devices but generally lacking in arc. also australian accents, that’s an automatic ding.

tbz - honestly the first two minutes of the remix and the costume are holding this above 6th. it just wasn’t fully formed.

ikon - aesthetically this is a great set design and although i do love the opening and closing moments, everything else scrapes me the wrong way. super personal preference here, i’m not expecting anyone else to agree with me.

i feel like my rankings were probably pretty easy to guess if you’ve been around reading the reviews for long enough. i do have very specific tastes after all. i know sf9 ranked first in the episode but i have no idea what the other slots are. i’ll find out when i watch the episode in a couple of days, but i think yea a first for sf9 is fair. i do think its mostly because it’s a taemin song and you have to do something horrendous in order to fuck up a taemin song, but there is a lot of thought and work that went into that stage.

ok i'm done now, sorry this was later than usual, but i was busier and there were four stages that i had to review. also technical difficulties because tumblr is a garbage platform and nothing works properly. comments/questions/opinions always welcome, i know i didn't expand on a couple of points that i could have so hopefully y'all have some thoughts too!

* the type of hat that ~society~ has told you is a fedora is actually a trilby. what peniel is wearing is a real fedora, i felt the need to correct this unjust hat malignment.

** meaning ‘the appearance of being true or real.’ you do sometimes hear it used by normal people, but it’s more commonly used as a descriptor in film and theatre. it’s also one of the five rules of neoclassical theatre, which are: versimilitude, purity of form, five act structure, decorum, and purpose. the most prominent playwrights from that era are moliere and racine if youre interested in what those look like in an actual text.

#kingdom #kingdom review #btob #ateez #stray kids #the boyz #sf9 #tumblr is so broken it would NOT let me save this as a draft #does my constant hyperlinking make you angry tumblr? too bad im gonna keep doing it #i played in a jazz band in school for seven years #which is another indicator as to why i am like this #one of the first songs i remember learning was zoot suit riot #i have very strong memories of yelling RIOT during performances #i will however forever question the logic of our band teacher making us learn a song written by 'the cherry poppin daddies'#christ on a bicycle this is TEN pages #and it took a full eight hours last night and then i did like two hours of editing after i woke up #maybe i should go back to bed #ah i forgot to tag ikon again lmao #ikon #kpop analysis #text #if there are any spelling errrors do not tell me im tired of reading this #im pretty sure this is my longest review so far i decided to hate myself and did a wordcount #its 5.2K you're welcome you better get a snack for this one #i hope this is an interesting read for people ive lost all objectivity at this point #pls enjoy my semi-comprehensible word vomit!

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standbyplacesplease · 4 years ago

Text

SM ASTROLOGY

Aries

You have a natural leadership that makes the role of SM come easily to you. Your dynamic personality and strong ego (come on, admit it!) can keep a complex tech running along smoothly. However, you can step on a few toes with your super-confident attitude – and it usually surprises you when people take things the wrong way. You hate being told what to do, though occasionally you should slow down and listen to the carp with decades of experience under his tool belt. You are quick to come up with solutions to problems, and directors usually appreciate that you maintain shows consistently and with excellent quality.

Most likely to lead the parade to the bar after rehearsal.

Taurus

You are the epitome of patience, and never sweat the small stuff. You are content to rule over the theatre from behind your SM station, watching everyone hustle and flow as you calmly impose order over this chaos. People enjoy working with you because you always have your eye on the big picture. Sometimes your slow walk and quiet watchfulness are mistaken to mean that you are less than enthusiastic about your show. But those who know you best know the truth: you are a fierce defender of your production’s best interests, and you’ll win any shouting match if it finally comes to that. In fact, you’d really excel as a producer. When people need someone to put a foot down, they come straight to you.

Most likely to keep the company from giving out comps like candy.

Gemini

Your SM motto is “Communicate!” No one can top your skills at moderating discussion, passing along information, and keeping all members of the cast and crew in touch. Your paperwork is informative and lively. You are a true master at running production meetings. However, you might tend to debate issues longer than necessary because you can see all sides of an argument naturally – which sometimes leaves you caught in the middle. You tend to move quickly, and can jot down complex blocking on the first go.

Most likely to be the best cue caller on Earth.

Cancer

You adore the now-you-see-it-now-you-don’t illusion of theatre magic. You are definitely most comfortable backstage, under the blue glow of work lights. While you can guide a show competently through rehearsals, it is backstage where you really shine. You can call those visual or “feel” cues perfectly every time because you are always in the moment when it comes to performances. While you’re not one for the spotlight yourself, you love the warm-and-fuzzy feeling when a cast bonds and the audience gives a standing-O. You can tend to get sick easily, especially during a stressful tech.

Most likely to have the Mary Poppins Bag of kits – and to be called “Mom” by the cast.

Leo

You have the natural qualities of a mentor, and can guide a production from start to finish using sheer will alone. People naturally look up to you, and you take this and run with it (even when you secretly know you’re not quite sure what you’re talking about sometimes). Your showbiz motto could be “High Class, Baby!” You want everything done with no expense or effort spared – you’ll settle for nothing less than the best in all things. You’re extremely independent, but might do well to delegate more tasks to your ASMs. You secretly love the backstage gossip and can be quite susceptible to flattery.

Most likely to give speeches – about tardiness, show concept, backstage protocol, anything really.

Virgo

You are tops when it comes to organization. Even your prop tables are taped with perfect right angles. Your pencils are perfectly sharp and your paperwork is pristine (even if it takes you a while to file reports because you’re fussing with line spacing). Sometimes you can get impatient when the “creatives” are taking too long to debate character motivation or the exact shade of green that expresses the emotion of this scene. But you have saved the day more than once because while everyone else was looking the other way, you quietly put everything in order.

Most likely to guard your kit like a lion.

Libra

You are level-headed and patient – even when everyone around you is beyond stressed. Your calm demeanor makes you extremely valuable during crazy techs, and cast and crew alike a drawn to your easy-going friendliness. You are able to prioritize tasks and to defuse various crises as soon as they arise. You aren’t the perfect caller, or paperwork maven, or the master fixer. In a way, you are very good at all areas of SMing, while you don’t necessarily excel at any – except providing an enthusiastic but realistic outlook at all times.

Most likely to be the Go-To person for all things show related.

Scorpio

You just belong in the theatre. The drama, the craziness, the long hours, the nighttime schedule – it fits you perfectly. You become extremely attached to productions you’re working on, and are most likely to suffer from Post-Dramatic Stress Disorder after closing. But for each show you work, you give it your all. You work especially well with directors and actors because you appreciate the emotional demands of theatre. Measuring ground plans and making run sheets are definitely not your favorite activities – you’ll delegate these to your ASMs whenever possible.

Most likely to get involved in a show romance.

Sagittarius

You want the biggest, craziest, sparkliest shows you can find. Musicals are your favorite – with the glitzy costumes, the big sets, the intense cue sequences, and the glitter drops (love the glitter drops!). You enjoy theatre not for the emotional catharsis but for the pure entertainment factor. You are always the cheerleader for whatever production you are on, and can make people smile through even the most painful tech. Typical SM neuroses -– pristine paperwork, overstocked kits, impeccable call boards – are not for you. Sometimes people might accuse you of being a little slap-dash in your execution. But gosh darn it, you just love the theatre, and you’re guaranteed to give ‘em a great show every time.

Most likely to secretly want to be an actor.

Capricorn

You are the perfectionist SM personified. Not because you’re neurotic or naturally orderly, but for the pure challenge of it. You enjoy SMing because it allows you to use all your skills, constantly learning how to do things better. Though you’re patient in your way, you can be quite demanding when others don’t live up to your expectations. You have a certain detachment from your shows because for you they are exercises and learning opportunities. But this constant personal challenge means that you are inevitably very good at what you do. Your ASMs think you are god.

Most likely to have run sheets drafted before rehearsals even start.

Aquarius

You are an SM because you love being a central part of the creative process. You are imaginative, energetic, and friendly. However, you might not be the most practical SM – paperwork and call boards with hospital corners are not where you excel. With your inventive mind, you can come up with amazing creative solutions to most dilemmas – especially in regards to props and costumes. You are likely to have a few silly toys in your kit alongside your pencils.

Most likely to be SM + costumes + props + carpenter + house manager + program designer + ...

Pisces

Your independent, non-competitive nature makes SMing a good position for you. You’re rather optimistic and can always see the best in people and situations, though you can get emotionally attached in rehearsals. While running through the tragic scene, you’ll be the first one with tears in your eyes – but be careful that you don’t go home in a foul mood, too. You might find it hard to sit through long rehearsals or to park yourself at the SM desk through a show (wireless headsets were made for SMs like you!).

Most likely to give counseling sessions to sobbing actors backstage.

#tech theatre #stage management #theatre #stage manager

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brindaneer · 4 years ago

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Film-making, like almost every other creative endeavour, requires not just an incredible level of talent and hard work but also immense fortitude. Naturally, good films are hard to come by. Masterpieces, however, are rare. A movie is most often just a source of entertainment for viewers; at times, it is a medium of abstract communication with actors they admire. However, cinema truly becomes art only when it is able to stimulate the emotions as well as the artistic sensibilities of its audience. And Jodha Akbar does exactly that. It is without an iota of doubt, a masterpiece of the modern era that ought to be watched by art lovers across the world.

The words ‘Akbar’, ‘Jodha’ and ‘Mughal Empire’, whenever uttered in the context of Indian cinema, have been primarily associated with the all time classic ‘Mughal-e-Azam’. K. Asif’s epic directorial venture of 1960 has remained the benchmark of historical costume dramas in India since its release, not without any reason. Created on a budget of rupees 1.5 crore, considered mammoth six decades ago, Mughal-e-Azam continues to be the greatest Indian blockbuster of all time even today. It amassed roughly 11 crore rupees after its run at the box-office then, which is equivalent to about a massive 2000 crores now. Such is the film’s aura that substantial interest was generated among cine-lovers during the release of its coloured version even as late as in 2004 and 2009. Hence, those were enormous shoes that Ashutosh Gowarikar had to fit in; there was no way of escaping the comparison since the subject matters of both films were too closely related. And because it was Ashutosh Gowarikar, he succeeded.

Not only did he find the perfect story (courtesy of Haider Ali) and draft a soulful script with Haider Ali and K.P. Saxena, he also roped in musical maestro A.R. Rahman and poetic genius Javed Akhtar to take care of the ‘music and lyrics’, two attributes that were required to be absolutely flawless in a period film such as this. While Neeta Lulla’s costumes and accessories made every actor look the part, ace set designer Nitin Desai recreated the Agra and Amer forts at shooting locations with faultless precision. However, all of this could have gone to waste had Ashutosh not been able to get the perfect cast on board. Having Hrithik Roshan and Aishwarya Rai Bachchan as Mughal emperor Akbar and feisty Rajput princess Jodha respectively was nothing short of achieving an ultimate casting coup. And these two were going to be indispensable for the grand success of this colossal project, probably more so than anyone else, except the director himself.

Hrithik Roshan might have already established himself as a terrific nuanced actor in the industry by the time he signed Jodha Akbar but taking on a role which would draw comparisons with the iconic Prithviraj Kapur and the legendary Dilip Kumar himself was a challenge he was yet to undertake. Likewise, Aishwarya Rai Bachchan, despite being the undisputed claimant to the title of the ‘most beautiful woman in the world’ during that time (which she still probably is) had never had her talent and beauty measured against the ethereal Madhubala before. Naturally, the burden of expectations lay as much on their shoulders as their director’s. The task at hand was going to be difficult for both but even more for Hrithik since he would be setting foot into the world of period films for the first time. His co-star had had previous experience from Sanjay Leela Bhansali’s Devdaas and Doug Lefler’s The Last Legion. The Last Legion in particular, deserves to be mentioned in this context because the sword-fighting training that Aishwarya had received for her role in that film probably helped her in Jodha Akbar too.

Despite not having the advantage of prior experience, Hrithik, like a true artist, owned the character of Akbar, making it seem like he had been playing historical characters all his life. His body-language, attitude, diction, voice modulation and movements were so attuned to someone of Akbar's stature that it took real effort to remember that the latter was a separate person. In a promotional interview before the film’s release, Ashutosh Gowarikar revealed how amazing an experience it was for him to see Hrithik get into the skin of the most famous Mughal of all time with an approach that was a combination of preparedness and spontaneity. Aishwarya too gave everything to the role of Jodha, and made this her career best performance since ‘Provoked’. Anyone who has watched ‘Jodha Akbar’ will agree that it is impossible to even imagine other people playing these two characters. If praise of the common man is not credible enough, let it also be known that Dilip Kumar saab himself was impressed by Hrithik’s versatility as an actor after watching the film at a special screening arranged for him by Ashutosh. He also admitted that the film had rekindled memories of the Magnum Opus ‘Mughal-e- Azam’ for him. Aishwarya too received immense praise for her performance as Jodha from critics, audience and industry colleagues alike.

Although comparisons between Mughal- e- Azam and Jodha Akbar were inevitable, it must be noted that both films dealt with very different aspects of Akbar’s life. While the older classic was about the aged Akbar’s conflicted relationship with his son Salim over the latter’s love affair with Anarkali, a courtesan renowned for her exquisite beauty, Gowarikar’s Jodha Akbar depicted the love story between the young emperor and his first wife, the Rajput princess Jodha. The similarity between both films, apart from Akbar and the Mughals, lay in the fact that the identities of both Anarkali and Jodha had been a matter of contention amongst historians since decades. However, staying true to his meticulous nature, Ashutosh correctly issued a statement explaining that it was not his intention to disrespect any one; Jodha was one among the several historically mentioned names of Akbar’s Rajput wife and it had been chosen in the film over the rest due to its considerable popularity among commoners. Ashutosh was also very clear about the love story between Akbar and Jodha being completely fictional since no such account had ever been documented in history. Basically, the film was a fiction set against a historical backdrop, and as far as that setting was concerned, Ashutosh tried to be as accurate as possible, building a story around events that had been recorded in the Akbarnama.

Now that we have given the prelude, it is time to experience the film all over again, and we hope that prospect excites our readers. ‘Jodha Akbar’ opens with the second battle of Panipat that took place in 1556 A.D. between Mughal forces led by the child Emperor Jalaluddin Mohammad’s regent, Bairam Khan, and King Hemu. After defeating the latter, the Mughals were able to recapture the throne of Delhi. The war scenes are all flawlessly directed, keeping in mind the period and style of warfare adopted during that time, something that is naturally expected from a director whose resume boasts of films like ‘Lagaan’ and ‘Swades’. By the time Hrithik appears on the silver screen in one of the most challenging roles of his life, six years have elapsed and Jalal is an adult. Demonstrating his terrific grasp of the character, Hrithik sweeps the audience off their feet as Jalal finally sends Bairam Khan away to Mecca after stopping him from beheading the unarmed defeated opponent, and effectively takes over the administration of ‘Hindustan’ ('Ab apne faisle hum khud lena chahte hain'). Hrithik’s portrayal of Jalal’s suppressed rage as well as authority in this scene was a delight to watch then, and remains so even after all these years. As Jalal plans to annex the entire Rajputana, we are introduced to the other half of the film’s title, princess Jodha. Adept at sword-fighting, having learnt the skill from her cousin Sujamal (played beautifully by the talented Sonu Sood), Gowarikar’s Jodha is the perfect example of ‘beauty with brains’. Aishwarya is as graceful at sword-fighting as she usually is while dancing and imbibes the exact body language required to play a Rajput princess aptly.

Staying loyal to historical facts, Ashutosh Gowarikar depicts Jodha and Jalal’s marriage just as it actually was- a politically motivated alliance. Troubled by Jalal’s over-ambitious brother-in-law Sharifuddin, Jodha’s father, the King of Amer, requests Jalal to marry his daughter so that Amer could obtain Mughal security (In the film, Raja Bharmal of Amer sees Jalal for the first time as he tames a wild elephant in a superbly executed action sequence. Hrithik obviously did it himself, and in order to ensure his safety, he used to feed the said elephant regularly before the shooting of this particular scene took place). Her father’s decision comes as a rude shock to the young Jodha who does not want to compromise her culture after marriage, and is therefore left devastated. Despite not being completely sure about the proposal initially, Jalal eventually agrees to it in front of the Dargah of Khwaja Moinuddin Chisti as he realizes that this inter-faith marriage may be of assistance in promoting religious harmony throughout the country. In a beautiful monologue, he admits to the Khwaja that religious differences were the reason why previous rulers had not been able to establish their rule over the entire ‘Hindustan’; he believes his marriage with Jodha shall solve that problem.

However, Jodha’s decision is yet to come. She is not a stereotypical submissive sixteenth century female, unable to stand up for her own rights. Instead, she is brave enough to summon the Mughal emperor to her tent and lay two conditions in front of him, the fulfilment of which, is mandatory for her agreement with this new association (the famous ‘Humari do maange hain’ scene). First, she does not want to be forced into giving up her religion and customs; second, she wants a temple to be built inside her room in the Mughal palace for her spiritual guide, Lord Krishna. Aishwarya is enthralling in this scene; her calm yet rigid posture and polite yet bold speech are worth watching. Hrithik is simply magnigficent here; no other adjective is suitable enough to describe his phenomenal performance as Jalal hears Jodha out and later recounts the two demands to her relatives and rest of the entourage. He obviously goes on to accept these demands, his respect for Jodha increasing in leaps and bounds at her fearlessness and simplicity (‘Amer ki Rajkumari ke bekhawf jasbe aur saadgi ko hum salaam karte hain’). Naturally, Jodha has no other option left other than agreeing to the marriage.

Had the director wanted, the wedding could have been an elaborate dramatic affair, but Ashutosh Gowarikar is not just another director looking for success through gimmicks. The grand wedding sequence lasts only for about a few seconds during which Jodha and Jalal wed each other as per both Hindu and Islamic traditions in an exemplary display of socio-religious amalgamation. Any extra time devoted to this would have been unnecessary and detrimental to the pace of the movie. After the wedding, a group of Sufi singers perform the utterly captivating ‘Khwaja mere Khwaja’, one of A.R. Rahman’s all time best compositions, in probably the most poetic Hindi film sequence of recent times. Such was its impact upon Mr. Bachchan that he termed it the ‘most apocalyptic moment’ in cinema since the great Stanley Kubrik’s ‘2001: A Space Odyssey’. It is not just the song that casts a spell upon the audience during this scene; rather, the direction and acting, in conjunction with the soulful music engender a near hypnotic effect among viewers which last in their minds forever. Hrithik’s expressions as Jalal experiences a spiritual epiphany and joins the Sufis in a trance are simply fascinating. He is a privilege to watch. The scene is an acting masterclass in itself and had he received every existing accolade for this moment alone, it would still not have been unfair.

Jodha and Jalal’s first night together is another instance of the subtlety that this film ceaselessly displays. Jalal, perceptive enough to understand that Jodha’s unyielding attitude towards his romantic gestures is not shyness in disguise, but unwillingness to be with him, has the perfect solution- she is free to leave him if that is what she wants. However, once again giving proof of her simplicity and honesty, Jodha directly confesses that she has no intention whatsoever of walking out of this relationship despite her inhibitions towards it; for her it is an unbreakable bond that shall last unto death. Respecting her wishes, Jalal vows to never be intimate with her against her will. Hrithik and Aishwarya’s acting styles truly compliment Ashutosh’s direction as is evident from this scene among many others in the film; without an ounce of melodrama, they are able to set the stage for an epic love story ridden not just with external impediments but personal inhibitions as well.

The rest of the movie is basically a collection of beautiful moments between the two leads, interspersed with an optimal amount of drama to propel the plot. The first sequence post their marriage that needs to be discussed in detail is the Deewan-E- Aam scene followed by the part wherein Jalal and Jodha see each other's faces without a curtain or ‘ghoonghat’ in between. As Jalal conducts his first hearing at the Deewan-E-Aam after his marriage to the Hindu Jodha, he, quite expectedly, faces opposition from the Ulemas of the court regarding his decision. However, before he is able to solve the problem at hand, the melodious voice of his newly wed bride distracts him, thereby interrupting the court proceedings. The expressions on everyone's face are worth watching as Jalal leaves his throne and begins to walk out of the court, clearly too engrossed to even officially dismiss everyone present. Realization hits him a bit too late, leaving him embarrassed in front of the entire Deewan-E-Aam, but he manages to salvage the situation by uttering an awkward 'Takliya'. This entire scene is once again a brilliant testimony to the skills of the director who expertly incorporates subtle humour in such a serious scene without overdoing any of it or making it seem farcical. Hrithik's performance here is admirable, his comic timing being absolutely flawless. Drawn by Jodha's entrancing voice, Jalal enters her 'Mahal' and they see each other for the first time in what was arguably the most romantic meeting sequence of Bollywood then and has been so since the last two decades. Ashutosh does not provide the actors with any dialogues here, who, therefore, rely completely on facial expressions to convey their feelings towards each other. Hrithik has been a master in expressions since he first entered the industry and in this scene, he is at his nuanced best. But Aishwarya is no less, and that is precisely why their interaction looks so natural and enchanting. With tiny eye gestures and body postures, they express admiration for each other's physical appearance, their eyes speaking a thousand words at once. The part where she wants him to put sindur on her, and he fails to understand initially, is such a wonderful portrayal of his willingness to understand and respect her culture that it strikes a chord with one and all.

For Jalal, it is almost love at first sight. Though completely smitten by her, he knows instinctively that Jodha is going to take more time, no matter how impressed she is with him. In the next few minutes, Ashutosh shows Jalal and Jodha gradually treading the first steps of love with Javed Ali's mellifluous voice ringing in the background. 'Kehne ko jashn-e-bahara hai, ishq ye dekh ke hairaan hai, phool se khushboo khafa khafa hai gulshan mein, chupa hai koi ranj fiza ki chilman mein'. When the inimitable Javed Akhtar is in charge of lyrics, songs get transformed into dialogues and help the story to march forward. Jashn-e-bahara does just that, and does so exquisitely. It challenges the notion that romantic scenes must always entail physical intimacy, and proves that sometimes a look or a smile is worth much more. Most of the credit for this should go to Hrithik and Aishwarya who defy every existing idea about screen chemistry by making heartbeats race even through mundane acts such as walking side by side while glancing furtively at each other, or smiling in embarrassment as they sit miles apart in a garden. Who says old-fashioned romance is always boring? When two individuals are able to set silver-screens ablaze by just standing together in one frame, every trivial action becomes exciting.

Scattered in between their light-hearted romantic moments during this prolonged sequence are two ‘more important’ ones. The first one depicts Jalal in an angry mood as he admonishes Maham Anga’s son Adham Khan when the latter dares to insult Jodha; as his awe-inspiring authoritative ‘Khabardar Adham, Rajkumari ka naam adab se lo. Ye na bhulo ki ab wo Malika- e- Hindustaan hain’ echoes through the silent night and reaches Jodha, she understands the extent of his respect for her and there is an expression of happy pride on her countenance. The second is probably everyone’s guilty pleasure and inspired multiple ‘tele-serial adaptations’ back in the day; while Jalal practices moves with the sword bare-bodied, Jodha suddenly catches sight of his chiselled body and cannot stop staring. In a brilliant directorial move, Ashutosh makes her put the plate of worship down so that she can actually concentrate on the view better 😂😁🤩🤩. Aishwarya is terrific here, portraying Jodha’s attraction to her husband perfectly although in an extremely nuanced manner. Of course when the man in question is Hrithik Roshan, it helps. Jalal is shrewd enough to notice his ‘wifey dearest’ and catches her off guard by turning around suddenly after which the poor girl hastily draws the curtains. Hrithik’s mischievious look is a treat to eyes! But seriously, how mean of him to intrude upon his wife’s private moment of ‘adoring her husband’ that way?🤪🤪

Being one of the best directors in the industry, Ashutosh Gowarikar ensures that his film contains the right mix of romance and drama. The first instance of drama in the movie since the wedding is provided by Maham Anga, Jalal’s ‘Badi Ammi’ (played by the exceptional Ila Urun) a politically shrewd woman, whose possessiveness for her foster son and displeasure at the advent of a strong-willed intelligent Rajput princess into the fort of Agra makes her vindictive towards the said person. When Jodha decides to prepare authentic Rajput food herself after Jalal orders a ‘Rajputi Daawat’ on the day of ‘Peer’ in her honour, Maham Anga spews venom at her through harsh words and accuses her of trying to establish control over the kitchen, and eventually Jalal himself. Jodha, although shocked, gives her befitting replies, and ultimately completes the entire cooking by herself. The scene that follows could easily have been a disaster if it had been handled by an ordinary director; it could have been an excruciatingly slow and boring sequence testing the patience of the audience. The fact that it is one of the most interesting parts of the entire film is a measure of Ashutosh Gowarikar’s genius. Substantial credit must also be given to the actors including supporting ones without whom Ashutosh might not have been able to produce the desired outcome in this scene ultimately. However, this scene belongs to Aishwarya Rai Bachchan. Her shock at being insulted by Maham Anga when she asks her to taste the food before serving it to the emperor, rage as she turns to her husband for support, and suppressed anger as well as sadness when she realizes that there is no way out are nothing short of mesmerizing. Her genuine happiness when Jalal decides to have food from the same plate she has eaten and her sly look towards Maham Anga are a sight to behold. Truly, Aishwarya is probably one of the most underrated actresses in our industry; she is fantastic but does not always get the due credit for it. Most of the time, it is her beauty and personality that gets talked about. Nevertheless, she is a terrific actress too and we sincerely hope people acknowledge that more often. Hrithik supports her fascinatingly throughout the scene, his eyes showing anger, helplessness and embarrassment at his wife’s insult flawlessly. It is the mark of a great actor to allow his co-actors to soar when the scene requires so. In an old interview, while explaining why Aishwarya was his favourite co-star, Hrithik said that they had very similar working styles which made them more compatible with each other; according to him, both of them were more concerned with the larger picture, and did not care if they were being given importance in every frame or not. This particular scene is the perfect example of that working style he was talking about.

The ‘Rajputi Dawat’ sequence changes something between Jodha and Akbar; they have managed to cross that initial threshold of hesitation towards each other. However, just when they are gradually coming closer, circumstances and people pull them apart. When Adham Khan murders one of Jalal’s most trustworthy ministers, Shamsuddin-Muhammad-Atgah-Khan, and intrudes into the emperor’s personal premises with a sword, the latter tackles him and orders royal guards to throw the traitor with his head downwards into the ground below. When he is only half dead after the first fall, Jalal, showing his cruel side, orders his soldiers to bring Adham up to the roof so that they can throw him down again. Future generations will remember Hrithik for this scene among many; he is spectacular here with a stance that is completely majestic and a face that exudes rage and grief in equal measure. He was actually able to generate tangible fear amongst the audience back when the film had released; we still remember the collective gasp at the theatre during this scene. This is also the first time Jodha gets acquainted with Jalal’s darker side. Until this moment, she had known him as a gentle, understanding young man; now she sees him as capable of being cruel to someone. Aishwarya’s portrayal of fear is spot on and subtle with no melodrama whatsoever, for which the director also deserves praise.

The next scene had actually been deleted from the movie to manage its length but we genuinely feel it should have been included due to its significance. Horrified at Jalal’s action, Jodha confronts him in a terrific angsty sequence only to realize that Jalal is mourning the loss of a father figure in Shamsuddin-Muhammad-Atgah-Khan. Hrithik is superlative as Jalal breaks down and confesses to his wife about being orphaned again. This is the most tender moment both have yet experienced, and that realization is clearly etched upon Jodha’s face, who gives her heart-broken husband sound advice. She understands why he killed Adham, but asks him to apologize in front of Maham Anga, despite all the troubles the latter has created for her. We surely would not have minded sitting in the theatre for a few extra minutes to watch this brilliant scene Mr. Gowarikar!

The scene wherein Jalal explains his behaviour to Maham Anga is one of the most important sequences in the film for multiple reasons. Firstly, the acting is phenomenal; emotions have always been Hrithik’s forte and what do we say about Ila Urun? We are probably not qualified enough. So, its better to just bow our heads in respect and keep quiet. Second, this is when Maham Anga is able to instigate Jalal against Jodha by feeding him false information. She shows him a container of poison that her spy had extracted from Jodha’s personal belongings earlier and lies that his wife may be planning to harm him. In reality, Jodha’s mother had given her the poison so that she could kill herself if she feared of being dishonoured by her husband after the marriage. Maham Anga also misleads him by talking about a letter that Jodha has written to Rajkumar Ratan Singh, the Rajput prince, she had been betrothed to since her childhood. This letter had actually been written by Jodha to her cousin Sujamal, who had left Amer after being denied the throne. In the letter, Jodha had requested him to rescue her from being married off to the Mughal emperor. However, she had never sent it. After finding it in Jodha’s room, Maham Anga sends it to Sujamal, to take advantage of the situation and create a rift between Jalal and his wife. Unfortunately, this diabolical ploy works because of Jalal’s blind trust in his ‘Badi Ammi’. Upon receiving the letter, Sujamal believes it to be genuine, and goes to the Agra fort at night without caring about the risk. Jodha comes out to meet him, surprised at this sudden visit, but assures him that she is happy with Jalal. To her misfortune, her husband, who has never seen Sujamal or Ratan Singh before believes the intruder to be the latter and sends soldiers to capture him. Sujamal escapes, but only after thinking that Jodha deliberately called him there to be arrested. Meanwhile, Jalal accuses her of plotting with Ratan Singh behind his back. Outraged and shocked at this humiliation, Jodha tells him that Maham Anga is the one who has caused this entire misunderstanding. When Jalal refuses to believe her, she asks what punishment he has in mind. And, he tells her to go back to her parental house! Jodha naturally feels terribly insulted at his decision, and decides to leave him and protect her self-respect! This is a wonderfully executed sequence with the two leads reacting to each other masterfully, and turning it into one of the best angsty interactions ever. This was also the moment that Ashutosh chose as the point of intermission, a sound decision obviously because to be very honest, by this time the audience was indeed in need of some food and drinks 😄😄. On a serious note, this was a watershed moment in the lives of our two lead characters, and a perfect opportunity to take a break and come back refreshed.

Any analysis of Gowarikar’s Jodha Akbar is bound to be elaborate simply because it is impossible to designate any scene from the film as unimportant or bad. It is not for nothing that we termed this film a masterpiece at the beginning of this blog. Every second of it is still a pleasure to the senses and deserves mention. However, for the purpose of your sanity and ours (not to mention the time constraint), it is vital that we take an ‘interval’ too, and analyse the second part of the movie in a separate blog. Don’t worry, we will not take too long. So au revoir as the French say ; hopefully you will bestow your good wishes upon us once again like you have till now.❤️❤️

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neroushalvaus · 4 years ago

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Top 10 favourite characters from any fandom

I was tagged by @limalepakko , thank you! Since I have recently listed male characters here (or you know, in August, but we all know time hasn't been a thing for many moons), I took the liberty to list characters in general this time. I also went with which characters feel right at the moment, so does not show all my favourites. I also try to keep these short. (edit: okay so these are not remotely short, I will post a list first and have the explanations be under the cut, read if you want to hear my ramblings c': )

1. Fantine, Les Misérables 2. Javert / Jean Valjean, Les Misérables (yes i am cheating) 3. Carrie "Big Boo" Black, Orange Is the New Black 4. Jane Marple, Agatha Christie's Marple 5. Aunt Lydia, The Handmaid's Tale 6. Bridget Jones, Bridget Jones books & movies 7. Rock Lee, Naruto 8. Sarah O'Brien, Downton Abbey 9. Marilla Cuthbert, Anne of Green Gables / Anne with an E 10. Sister Monica Joan, Call the Midwife

1. Fantine, Les Misérables

I love Fantine with all my heart. I remember reading Les Mis for the first time and her story sending chills down my spine. Her character development makes me so sad, from a girl who falls hard and fast and won't deny anything from her lover, to a woman who is so beaten down by society that she can't do anything but laugh at her fate. But I love how she doesn't lose her pride or her fighting spirit and how she still has the guts to spit in Valjean's face when she sees him after being arrested. And I love how all she does is for her daughter and how despite selling "the gold on her head and the pearls in her mouth" she is content, because all that matters to her is that Cosette will live.

2. Javert & Jean Valjean, Les Misérables

I was really trying to limit this list to one character per fandom, but alas, I am but a weak little person. Thus, I am cheating already. The thing is that when it comes to Les Mis characters, Fantine, Javert and Valjean are the eternal top 3 for me, but I'm never quite able to say who I love the most. Last time I picked Javert for the male character meme because I love the symbolism and critique of society his character embodies, but let it be known that Jean Valjean is the best character in all of literature and I will fight you on this. The original soft on crime icon (aside from Jesus Christ but they're the same and you know it). Valjean's character journey is such a complicated one from an ordinary man (no worse than any man) to a person, who had been shaped by society and criminal justice system to be a very dangerous man, to someone you could compare to a saint if you wanted to... To an ordinary man, who would do anything for his daughter. He has so many character-defining moments, the biggest ones being in my opinion the trial of Champmathieu and letting Javert go instead of killing him. I just love Jean Valjean so much and could speak about him for hours.

3. Carrie "Big Boo" Black, Orange Is the New Black

Hopping away from the Les Mis hole and into a OITNB hole. I was debating on whether I'd put Boo or Pennsatucky on this list since I love them both so much, but I've been feeling so much love for my angry butch king that it had to be her. First of all, I'm just so happy to see butch lesbian representation where the butch identity is not just a joke. I know OITNB sometimes uses Boo questionably, but in general she is a nuanced character and one of the most interesting ones in the series in my opinion. I'm so sad they forgot all about her on the last seasons. I love everything about her, how she has trouble with feelings besides anger and often deflects serious stuff through humor, how fiercely protective she is of those she loves (boosatucky otp forever fucking fight me), how proud she is of her butch identity ("i refuse to be invisible")... Also, not to express attraction, but... Mama I'm in love with a criminal. And not to be a slut for how characters view religion/spirituality/God, but the relieved smile she has in one of her flashbacks when she says "there's no God... there's nothing", like you can't just do stuff like that and expect me not to love the character to bits.

4. Jane Marple, Agatha Christie's Marple

Last time I listed Poirot and was a bit frustrated I couldn't list Marple, but now it's time to right that wrong! I love this little old lady so much. I love Agatha Christie so much for just going "you know who is the person who knows everything that's going on in a community, and thus would make the perfect detective for a detective story? the nosy old woman". As she is introduced in The Murder at the Vicarage: "Miss Marple is a white-haired old lady with a gentle, appealing manner — Miss Weatherby is a mixture of vinegar and gush. Of the two Miss Marple is much more dangerous." She is so likable and witty, you can't help but love her. My favourite portrayal of her is by Geraldine McEwan, she looks so gentle but has such a sharp gaze. I would spill all my secrets to her any day. I also am compelled to tell you that when I was a child we had a costume party at my school and I dressed up as Marple and learned some old lady things in English (it was before third grade so I didn't know much English back then) just for the occasion (such as "thank you, my dear", "what a lovely necklace you are wearing" or "there has been a murder"). Teacher might have thought me rather morbid but I remember that day being quite good.

5. Aunt Lydia, The Handmaid's Tale

The Handmaid's Tale is such a great series and a book and Aunt Lydia is such a great character. The way she's capable of being absolutely cruel and vicious, but how she is also protective and caring in her own way. One of my favourite scenes in this series is when Serena Joy (my other favourite, can you tell) tells Lydia to "remove the damaged ones" from a line of handmaids and Lydia tries to argue with her. Sure, she is responsible for some of the punishments these women are now "damaged" by, but she truly believes those punishments were for a greater good and now the handmaids deserve their place with the others as much as anyone else. It is chilling and the character is such a dark shade of morally gray, but I can't get enough of it. The actress who plays her, Ann Dowd, has so interesting thoughts about her, like here. I just love this character so much I could scream.

6. Bridget Jones, Bridget Jones books & movies

I'm mostly talking about the movies here because Renée Zellweger's performance is iconic. Plus the movies are what made me love this character first. But I'll give it to the books, they're one of the few books I've laughed out loud while reading. Anyway, how do you even begin explaining the love I have for Bridget Jones... I love how she is a character so many people can relate but who would be a comic relief side character in some other story. Yes, yes, it is really bad that she is constantly described as fat when she really is not, but when I was growing up she gave me hope that people who are viewed as fat and/or unattractive by other people can be admired and appreciated, and they don't have to be super talented at everything and highly intelligent and some kind of a super smooth social butterfly to "make up" for what they "lack". And also that they can have standards (i once dodged a bullet by rejecting someone by pretty much subconsciously quoting Bridget Jones so..). I also love how the comedic tone of everything does not dismiss Bridget's feelings. For example in some other movie we maybe would concentrate on how "stupid" Bridget was to trust that Daniel was in love with her, but in Bridget Jones we concentrate on how Bridget was hurt by Daniel cheating on her, how he is the one who did wrong. Idk I just love Bridget Jones so very much can you tell.

7. Rock Lee, Naruto

Aka the boy who would have kicked Madara in the balls if Kishimoto had any sense of drama and good storytelling. I think I robbed Lee by not putting him on the fav male characters list. You know that post that goes like "gays be like 'these are my comfort characters', 1 literal ray of sunshine, 2 war criminal" etc? This child is the sunshine. I've been reading and watching Naruto again ( @hapanmaitogai is my sideblog for that nonsense) and I'm so ready to adopt Lee and/or Gai. Rock Lee is just such an earnest character, he has a goal he will give anything to achieve and he's the one true underdog in this manga. I love how he's so kind and polite (it's not so clear in English but in the Finnish translation he speaks as formally as he does in Japanese, he uses singular polite "you", calls Sakura "Sakura-neiti" = "Miss Sakura" etc... i love one polite boy). Also, he has the best fights in the series. Like Lee vs Gaara is a Classic, but we simply can't forget that time Lee absolutely crushed Sasuke in just a few minutes, or that time he politely asked Kimimaro not to kill him while he drinks his medicine. The best boy. I love that boy so much.

8. Sarah O'Brien, Downton Abbey

Last time it was Thomas' turn, so now I must talk about the snakiest snake, the queen of weaponized handmaidenry, Miss O'Brien. She is such a great character especially in the first two seasons (I obviously love her on season three as well but Julian Fellowes really tried to make it hard by not explaining her actions at all, didn't he. Well, luckily I am ready to stuff the gaps with my headcanons). She has some of the best comebacks in the series and brings some needed realism in some conversations. I also love how she uses her position as a lady's maid for her advantage and how she is proud of her profession despite being highly aware of the power structures in the Abbey. And then there is the soap. That is such a good character moment, because for a character who always plans ahead, who is ruthless and cunning and intelligent... I don't think O'Brien thought about the soap thing at all before she left the room ("Sarah O'Brien, this is not who you are" hit me like a train). Just once she did something with nothing but anger motivating her and that became one of the defining moments of her character. And one of the defining things of the future relationship between her and Cora. That's why I find the Sarah/Cora ship so interesting, because there will always be the undercurrent of bitter regret. Also Sarah O'Brien and Thomas Barrow are the greatest brotp and Fellowes was a coward for driving the smoking scheming gay best friends apart, and

9. Marilla Cuthbert, Anne of Green Gables / Anne with an E

I'm not saying L.M. Montgomery is entirely responsible for me having a fondness for strict, older women who first act unkind but have a heart of gold, but she most certainly did not help. Between characters like Marilla Cuthbert and Elizabeth Murray, how can you not fall in love with the type? It's been a while since I read the Anne series, but I really love how Marilla's character has been adapted into the Anne with an E tv series. Geraldine James looks like she was born to play her, she has me in tears so often. She has the ability to portray someone like Marilla, who is a very hard and stern person but feels deeply for her loved ones. I was watching the episode that dealt with Matthew's heart attack and Marilla berating her brother while hugging herself like she was trying so hard to hold herself together absolutely destroyed my heart.

10. Sister Monica Joan, Call the Midwife

It was a tough choice between her and Sister Evangelina. I just love these nuns very much. Sister Monica Joan is such a lovable and wise character. She is so knowledgeable of many subjects, from the Bible to astrology, and I feel like her unspecified memory problems and confusion are handled very tastefully. I also love how she's such an important part of her community despite not working as a midwife anymore. She is such a kind woman and gets visibly upset when others are treated poorly. And how could I not mention her saying "I do not believe in weeds. A weed is simply a flower that someone decides is in the wrong place", like... I love her so so much.

I won't tag anyone, but if you read this and you want to do this, consider yourself tagged and you're no allowed to mark me as the one who tagged you!

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hollenka99 · 5 years ago

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The One Where Jackie Takes Each Day As It Comes

Summary: Chapter 1. Jackie may not have a home but he’s meeting some friendly faces.

@bupine @badlypostedeverything

Spotting all the daily newspapers declare it was February 13th 2019 that first morning had been rough. Part of Jackie had wanted to believe it was a really elaborate prank. But the lads wouldn't be able to do something like that. Especially given the state they'd gotten themselves in at Stuart's party. Maybe it hadn't been a bad thing that Jackie decided to go easy on the alcohol. At least he didn't enter the next century completely hammered. Seeing couples out on Valentine's Day causes him to reflect. He spent that day missing Chris, which he had been in two minds about. And Nate. God knows how he'd be able to return home to 1986, if he could at all. Perhaps getting thrown three decades into the future was the thing he needed to sort that mess out internally. The risk of the band going their separate ways because two members broke up sounded more attractive now. Sure beat them disbanding because the drummer disappeared indefinitely or was presumed dead. Yeah, he would split from Chris to be with Nate if he had the chance now. It was the old question niggling in his mind: didn't he deserve to be with the one who made him happier than the other? Not like all that relationship drama mattered much when he had no worldly possessions except for his clothes now. Fuck the shit with those two anyway. He'd rather have Caoimhe in his arms any day. Whatever happens to her with him gone, Jackie hopes she is kept safe and loved. Okay, so maybe he was going to get teary about some things. There was no point exhausting himself with tears regarding all this. How would giving himself a massive headache help matters? It got worse the more he accepted his drastic life change. Dwelling on it all hurt. Bridget, Annette and Spencer must all be adults by now. His friends were in their 50s, like he should be himself. They all must be unrecognisable to him now. Like he said, dwelling on the currently inaccessible past was redundant. Instead, he did his best to find somewhere dry to sleep at night. Days were spent on the lookout for food. At least there was a water fountain near the bus station. It's fine. It's not like this is his first time taking each day as it came. He'll manage, one way or another. It's while Jackie is preoccupied with drinking someone's discarded hot chocolate that a man approaches him. The stranger's curls remind him of how his own hair used to be, prior to its current style. Freckles litter his face too. The smile seems genuine but he's been in this situation before. Jackie decides to cautiously give this stranger the benefit of the doubt. "You know how to play guitar?" American? Canadian? He doesn't know enough about those accents to distinguish them. "...Yes." "Here." The guy holds out his guitar case. "I don't need the change anymore. Got a decent job now and all that." "Thank you but I can't." "You look like you could do with a source of income. Stealing isn't exactly a reliable method of feeding yourself. Which reminds me..." An oat bar is retrieved. Through part of the plastic wrapping, it is visibly crumbling. "I'll admit, not in the best condition. Sorry about that. Still, please take it." Well, don't look a gift horse in the mouth and all that. "Thanks." "No problem. I'm Joel, by the way." He winks, heading a few feet away. "Jackie." The ground crumbles in front of where Joel stood. Straight up vanishes as if it hadn't existed in the first place. It wasn't like Jackie had never met someone with powers before but... it was certainly impressive to see this sort of stuff first hand. The outstretched leg, meant to be taking a step into oblivion, is retracted. There is a pause. Joel turns to face him once more. Still there is continued hesitation. "Listen, I shouldn't be saying this but... things are going to change soon. Just be careful. Anti's about and he likes targeting people who can uh, easily disappear." "Anti?" "There's a killer on the loose and I'd hate to see your face on the news for all the wrong reasons." And like that, Joel hops backwards into the hole. Jackie takes his advice and plays during the day. Playing acoustic guitar simply makes him miss rehearsals with the lads. Guitar wasn't even his instrument. That had been drums. Even so, their type of guitar had been electric. Not much comes from busking. He's rusty, he knows. He continues playing songs he recalls off by heart in the hope of earning a pound here and there. He supposes the public secretly question why he sang nothing but hits from 30 years ago. Days blur. The last time he'd bothered to check the date it had been the 21st. He didn't keep track of how many days ago that was. The wind has been blustery all day. It was for this very reason that Jackie had spent the majority of it as sheltered as he could. He notices a man passing by his spot who seems unaffected by the bad weather. He walks by as if they hadn't been suffering strong winds recently. That's not the only odd thing about the stranger. His choice of fashion is very interesting. His entire outfit is purple apart from the covered half of his face and his gloves. The white mask resembling a cat's face reached the top of his cheeks. To complete the look, the mask extends into triangular ears. Jackie feels the guy hitting his head must hurt even more with those attached. Jackie's presence must have been caught in his peripheral vision. Cat Guy halts and turns to him. Surprise transforms into a warm smile on his face. "Hey, I don't think I've seen you around here before. I'm guessing you haven't been living like this for long?" "About a week or two. Haven't been counting." "Tell me you at least have something to cover yourself with at night." "I try to find somewhere relatively warm. Ish." "Dude, it's February." "Yeah, tell me about it." Cat Guy removes his backpack. From it, he retrieves a water bottle and a blanket. "Good thing I tend to carry some stuff around. Ham or cheese?" "What?" "Sandwich." The stranger presents him with the gifts. Once Jackie takes the blanket and water, the superhero holds out an object encased in tin foil. "I tend to make ham and cheese ones. You're not vegan or a lactose intolerant vegetarian, are you?" "No. I'll uh... take the ham, thanks." "Oh, by the way, what's your name?" He could say John. Or Bartholomew. He doesn't have to say Jackie. Shit, he could say his name was Sean if he wanted, seeing as that was another form of his name. He didn't have to even provide a name that was half true. But eh, fuck it. It's not like this guy will find a Jackie Mann born in Ireland during the late 90s. "Jackie. And what should I call you, Mr Super Cat?" "Super Cat, wow." He laughs. "That's a new one. Well, I'm known as the Magnificent Cat around here. A bunch of people shorten it to Cat." Cat? Yeah, that sounds cool. The superhero carries on with his day a minute or two afterwards. He sees him tossing a sandwich and making brief conversation with the black woman situated on the corner of the street. Mondays and Thursdays rapidly become Jackie's favourite days of the week. Cat always swung by at some point in the day, making sure those living outside had certain necessities like food or some money. He had a habit of apologizing for not being able to give more than £5, as if that was a tiny amount to provide to each homeless person he catered to around the city. They typically talk but it never lasted long before Cat had to carry on with his rounds. Once, the superhero had to excuse himself due to a burglary being reported. Jackie also liked seeing this other guy who kept popping up over the days. They'd first met when Jackie had been performing Billie Jean. Marvin was a really nice, frequently sparing 2 or 3 pounds whenever he passed by Jackie. There were also their conversations. The topic didn't matter. They also varied in length but by far fulfilled his social quota better than Cat's busy schedule could. It was pleasant to have someone to talk to. Either way, he had two people in his corner which was two more than he'd expected. The first week of April is laden with rain. Waking up to a damp blanket sucked but it was hardly like he had anything else to cover himself with. At least it was gradually warming up now. The last thing Jackie wanted was hypothermia, let alone getting sick in general. He must be getting his days mixed up because he thought Cat's last visit was on a Thursday. Yet here he was, walking around as he tended to do. Jackie didn't hear him chatting with anyone else like he'd expected him to. It didn't matter. It was getting fairly late anyway. It wasn't as if Cat was prohibited from strolling around in his costume. Plus, he was under no obligation to be as social as he typically was. Saying hi to him as he passed wouldn't hurt though. "Cat! It's good to have a dry spell in the middle of all this bad weather, huh?" Jackie chuckles. "How are things going?" The superhero halts abruptly at this. It's almost like he didn't expect Jackie to be there. That was a little odd because this was his usual spot. However, he decided to brush it off as Cat having a long day. His theory is further solidified when he doesn't seem as in the mood to talk today. "Hey. Things are good." Cat smiles thoughtfully. "Actually, I've been meaning to show you this new community centre that opened recently. They're letting people sleep there if they want. It's technically within walking distance from here but it's much easier to get there by car. Want me to take you there?" He obliges Cat's generosity. They chat about how foot traffic had significantly dropped in the past few days due to the downpour. Cat points out his black car. He motions to Jackie that he'd be sitting at the back because unfortunately, there was a bunch of clutter in the front. The door is red when he grabs the handle. A couple blinks confirm it is still red. The darkness of the evening must have been confusing his ability to see colours properly. It also may be linked to this headache that's appeared out of nowhere. He really hopes this isn't a sign the rain has negatively affected his health. He'd rather focus on how lovely the interior of Cat's car was. The doors lock internally. He moves his head to direct a remark about it to Cat. Except it's not the superhero at all. There was no costume, only a dark hoodie. The first feature that causes him to stare when Cat faces him were those eyes. Was there even anything other than black in them? The hair too. He's never seen Cat without his mask on but he didn't think it would be dark green. Had Cat looked so pale all those other times? He's not certain. He definitely knows that grin belongs in Hell. "Funny how easily people will follow you if they think you're a friend. Isn't it?"

#jumbled au #my writing #writersofjack #jackie mann #the magnificent cat #antisepticeye #tw kidnapping #but it's more... luring away in this chapter

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schmergo · 6 years ago

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Okay, here is my full review of Richard III at the Shakespeare Theatre Company! As you proooobably know, Richard III is one of my favorite plays. I’ve seen five professional productions and directed one community production and one staged reading, as well as writing an entire novel-length story based on it. For seven years, I’ve checked my email when the STC season announcement came out, hoping to see Richard III, and when it finally happened this year, I actually began to cry.

So needless to say, my love for this material may make me both unreliably lenient AND overly critical of any production I see. On one hand, I’m always thrilled to see Richard III and my love of the text mitigates many issues I may have with the director’s and actors’ choices. On the other hand, I’m so familiar with the script— of a play so long that it’s almost impossible to perform uncut— that I have really strong ideas about which moments *I* think are crucial and which themes should stand out. They’re never gonna do a version that keeps in ALL of my favorite lines.

Would I recommend STC’s production? Yes, I would, especially to people who are less than familiar with the play. It keeps the story and characters as clear as possible and moves at a quick, crisp pace full of action and intrigue. There’s never a dull moment. But would I say I loved the production? I can’t quite go that far.

If you’re not familiar with this play, Richard III takes place in the aftermath of a massive civil war. A veteran of the wars whose ruthlessness was handy in battle, Richard is the youngest brother of the king and is restless during peacetime. So he hatches a plan to climb to the throne- no matter how many family members he must kill and friends he must betray to get there.

David Muse’s stark aesthetic for the play may seem weird at first, but it definitely kept things interesting. The stained, off-white, instutitional-looking box of a set was inspired by an abandoned morgue- a concept they took very literally with body lockers, gurneys, and creepy machines full of fluids and tubes. The blank expanse at the top of the set was handily used to project text- whether backstory at the beginning of the play or the names of each major character as they enter the scene- accompanied by bursts of hard rock music. I’ve never seen a play as devoted to making sure the audience keeps names and relationships straight.

Costumes are modern and generally in shades of greys (with brilliant white for the royal York family- I particularly loved Queen Elizabeth’s white gown), but with some gorgeously surreal twists. Richard wears armorlike bracing to support his body, with heavy corsetry, neck brace, leg and arm brace, and a matching cane. This exoskeleton operates as an extension of himself- his strength and physicality never seems very limited when fully clad, and he does cut a strong, powerful figure. Once he becomes king, the bracing doubles as a fashion statement as he dons a glittering gold corset to match his crown while other members of court wear stylish corsets and neck bracing that call to mind Elizabethan fashions popular at the time Shakespeare wrote the play.

In a notable scene near the end, though, Richard’s servant removes his bracing so he can sleep before the battle of Bosworth Field, and we see this indefatigable bulldozer of a man helpless and in pain for the first time in the play. It’s powerfully done and makes the audience realize this is how Richard always sees himself.

I was sitting near the very back of the house, which may color my impressions of the show (I plan to see it again in two weeks from the front row to see if I change my mind), but my overall assessment is that this is a show that paid so much directorial attention to staging, aesthetic, theme, and visual excitement that it left a lot of individual performances underdeveloped or emotionally unconvincing. Maybe it’s the sheer size of Sidney Harman Hall, which I almost think is TOO big to effectively communicate the subtleties of Shakespeare’s dramas.

The death scenes, for example, were incredible. Wow. Most of them took place offstage in the original play, but in this production, every single one is depicted with graphic originality, including onstage drowning, lethal injections, decapitations, and more. It’s brutal but thrilling. Richard’s nightmare sequence, in which the ghosts of everyone he’s killed come back to haunt him, is the best and spookiest I’ve EVER seen it done.

For the most part, though, individual performances seemed to lack a certain spark of life. Though most performers had memorable specific moments, none truly stood out to me as really exceptional performances. Across the board, the delivery style seemed slightly stilted, formal, shouty, and “Shakespeare-y,” which I not only felt didn’t fit the raw text but clashed even more weirdly with the modern rock-and-roll visual aesthetic.

Even Matthew Rauch as Richard seemed to be holding back in the first half of the play- he seemed almost cautious, formal. Richard in the first half of the play is written to be so charming and charismatic that he even brings the audience along for the ride until his terrible deeds reach a point of no return. Rauch’s Richard was the most serious I’ve seen in the first half- even his humor felt strained- and paradoxically, I found him less scary and less dangerous than other Richards because of that. When you have such brutal onstage deaths, juxtaposing them against Richard’s devilish glee in ordering said deaths really drives home how little conscience he has. Rauch has the bearing of a soldier and clearly understands Shakespeare well, but he almost faded into the background of many of his early scenes. Maybe some of this was intentional- the directors’ notes in the script emphasized the importance of the supporting roles, which overbearing Richards so often overshadow— but given that Matthew Rauch’s face is splashed all over posters for the show around town, you’d think they’d give him more opportunities for the ol’ Razzle Dazzle.

Rauch hits his stride in the second half, when Richard begins to become slightly unhinged and paranoid. With a manic energy and unpredictable temper, Richard felt fully realized and truly threatening- with moments of keen vulnerability. His confrontation scene with Queen Elizabeth (portrayed rather blandly though elegantly up to that point) felt electrifying even if I didn’t necessarily love the cut of the text. And this production dispensed with the portrayal of Richard as sexually perverted or predatory that you often see these days. Rauch’s Richard is a misogynist who sees women as disposable objects or tools to aid his rise, but he doesn’t lust after them.

Some directorial choices looked cool but were confusing or distracting, like repetitive chanting from an ensemble or the rhythmic sharpening of scalpels and snapping of leather straps every time Richard prepares to kill someone. It sets the tone but obscured the language... and not that it matters, but why DOES Richard have a large army of mad scientists in the first place?

I did appreciate the diversity of the cast, filled with performers of different ethnicities, ages, genders, and sizes. Richmond, the valiant and pious hero who ultimately defeats Richard, was a woman of color and was well cast in the role, commanding yet gentle. But the business about marrying Elizabeth’s daughter to Richmond was both mentioned once and failed to come up again at the end of the play, maybe to keep from drawing attention to the fact that there would be no Tudor dynasty with two queens on the throne? I felt they should have really leaned alll the way in and ended with Princess Elizabeth by Richmond’s side or else avoided the marriage subplot all together.

Richard’s end was also quick and anticlimactic after all of the exciting battle that had preceded it, but maybe they wanted to avoid portraying Richmond as being as brutal or ruthless as Richard. Still, they had blood-covered ghosts of Richard’s slain foes adding to the numbers of Richmond’s army. Maybe they could have taken that a step further by having the ghosts assist in finishing off Richard- after all, the historical King Richard’s body was hacked by a mob.

All in all, I felt it was definitely a play worth seeing but I couldn’t help but feel disappointed by some of the elements. In particular, a lot of the funnier lines and scenes were removed from the script, as if the director wanted to keep things “Dark Knight style grim dark,” while to me, the black humor is one of the best things about the script. But the audience still laughed and reacted to the more humorous- or shocking- moments nonetheless— in fact, hearing gasps of disbelief or excitement or disgust from the audience at crucial moments was one of my favorite things about this production. Clearly, many people were seeing Richard III for the first time. And, like me, they felt it in their bones.

Richard III plays through March 10 at Sidney Harman Hall, the Shakespeare Theatre Company.

#stc #shakespeare theatre company #richard iii #shakespeare #washington dc #dc

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dramazones · 6 years ago

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Oh Wow! Im finally here with a headcanon birth chart and analysis for jamie!

i'm on mobile so I cant even put this long ass post under a read more i am so fucking sowwy but anyways a lot of this was inspired from dewmie-in 's meta posts and also i rlly love astrology so pls follow them first of all or else ur a fake fan shhfhgjsjkfkd

☀️ ♓︎ Pisces Sun ♓︎ ☀️

There is no doubt that Jamie is a pisces sun. Some of the well known characteristics of a piscean are being the artistic ones, the ones more in touch with their emotions and the absolute dreamers of the zodiac, I can assure you this as a mercury and moon piscean!

And it’s quite obvious that these traits 100% match up to jamie’s surface character being a big theater nerd, writer, poet, and as an actor, he HAS to understand emotion in all its forms! While being the more compassionate of signs, that also comes with sympathy, and maybe even empathy.

to which he expresses when he tells steven that a good story with a quality protagonist HAS to include said protagonists struggles as well, now this might be a reach but perhaps this was self projecting after his own struggles in kansas, maybe even foreshadowing ooOoOh

(“a real hero must struggle” jamie struggles living in kansas, moves back to beach city, nails his first production and gains management position @ the theater, aka his heroic ending i guess idk, then more theater related accomplishments as mentioned in letters to lars ofc)

☽♎︎ Libra Moon ♎︎☽

One of the biggest desires for any libra placement is balance, And the moon sign being the emotion sign, Libra moons desire an emotional balance as much as they do in their environment. Libra Moons can also be known as a “people person” while typically depending on the study of others to lean their own nature.

Jamie fits the Libra moon description being a sort of people person himself. Though he’s capable of keeping a friendly conversation with just about anyone, There’s also no doubt that this guy has severe anxiety that affects his communication with others along with his emotional stability (even affecting him physically). The thing is that he’s managed to keep the anxiety and his social skills much more balanced the more we see him or i guess as time passes, not one of them overpowering the other. (see venus in scorpio as to why he limits himself socially as much as he would his anxiety)

While he desires emotional balance that also comes with a feeling of frustration and defeat when things are even slightly out of balance (also a symptom of anxiety ; easily irritated/defeated) such as his improv performance in letters to lars, ending his performance within a minute after feeling overwhelmed as it started going south.

So while there are several moments of him maintaining an emotional balance he also has another side of the scale that’s less balanced (astrology word play lmao) such as a general lifestyle balance, also nonexistent for jamie (even though your lifestyle heavily affects your behavior) in a sense that he lacks of a healthy sleep schedule being a mailman AND an actor, one occurring from the early morning to the afternoon and the other job occurring at night. Probably irrelevent but its MY sleepover and Ill add as much necessary info in this birth chart reading as i please.

Im also including buddys book as an example because though it was only jamie being the faceclaim for buddy theres no denying that since historical friction theres at least some parallels between the two characters sharing the same traits (being writers, returning to beach city to prosper in their careers, being absolute drama kings)

♀️♏︎ Scorpio Venus ♏︎♀️

One of the biggest aspects to Jamie’s character INCLUDES being an absolute sucker for romance so lets get this bread and talk abt his relationships w/ everyone and his views on love uwu

Scorpio being a water sign means healing is one of the largest aspects to the sign. Healing nonetheless comes with a relation to trauma being from the planet representing death itself. Life and Death go hand in hand to define each other, ya feel me.

while were on the topic of death lets bring back the parallelism between jamie and buddy thats been around since historical friction. in the play buddy is presumed dead up until william reaches beach city. ok. so hear me out. perhaps that was foreshadowing for jamie’s traumatic near death encounter with topaz and aqua. remember how I said the water element represents healing as well as trauma??? It all kinda ties in yall...

ANYWAYS It’s safe to say that Jamie is a person that’s been through his rock bottom AND trauma already (his death if you will), struggling to live a happy, or even regular (lets face it as far as we know the only thing he came back to beach city with was sunglasses, bitch was broke) life in kansas, the abduction, its not something you can heal from overnight. While he does show symptoms of severe anxiety (to say the very least) even after the abduction he’s also grown closer to working on healing, moving on from his overwhelming fear of rejection by prospering in theater (him coming back to life if u will), and as for anything directly related to the abduction is unknown, but its very likely he’s working on moving on from that on his own as far as we know!!

which brings up the next trait of a scorpion venusian! They prefer to be a mystery in order to protect themselves as a result of fear of getting hurt for trusting/opening up too much. The first time we see jamie since the abduction is during the re-election in dewey wins, where he doesn’t seem affected at all. Yes, Jamie is a pretty open book for the most part (see dewmie-in’s analogy to in/out of the closet in historical friction) however theres also moments where he limits himself, or perhaps another side to himself, a far more passionate side…

Holding back tears during his drama zone and waiting until hes alone to be excited abt delivering his letter in love letters, playing it cool when earning theater director position in historical friction, not to mention his room SHOULD play a very huge role in his secretive side. (see brodingle’s post on jamie’s room, his casual side vs his passionate side)

the venus in scorpio (or any scorpio placement rlly) also remains a secret not truly by choice, but theyre also studying others of interest. being an actor, Jamie should know a thing or two on body language and raw emotion as he sees it.

And finally, The venus is scorpio is a devoted, passionate, and emotionally attached lover. in love letters he falls for someone easily, and even if he learned in the end love at first sight isnt real he is most definitely the type to fall easily based on emotional connection alone! Also, his fear of rejection can easily play into his love life as well. Being in kansas getting constantly rejected and returning back home out of not just defeat but most likely homesickness as well. He missed his stable job. he wants stability, loyalty, commitment! yeah ok thts all i got for now ladies!

♂️♍︎ Virgo Mars ♍︎♂️

Mars being the planet of impulsiveness, energy, initiation and “doing it” being born under the sign of doing it efficiently and orderly gives a handful of traits that completely match up to Jamie and the way he puts out his energy into the world

Jamie has been the type to not just instantly put his energy into something new, but he’s also put his energy into mastering said thing! While Mars is the planet of impusiveness, Virgo is the sign of patience, the Virgo mars is a firm believer of practice makes perfect, and striving for overall perfect, which does in fact get overwhelming for Jamie the perfectionist.

In historical friction, though hesitant, he was not afraid to critique and analyze dewey’s writing skills. And although he was anxious again to go against deweys script and use pearls version instead, he went with pearls because he desperately needed to execute his first play flawlessly. this also occurs again in letters to lars, when his improv performance doesnt go as planned he doesnt just end it from there, in fact, he still has that sense of patience to critique his cast members on stage before getting completely irritated when they dont comply. imo its important to note this duality of patience and impulsiveness because this is an anxiety inducing combination that heavily matches up to Jamies energy.

it’s also important to bring Jamie’s room back in this, because while it was creepy as shit its also FILLED with books, and has really fancy stationery meaning he is in fact a writer. The Mars in Virgo is an attentive to detail oriented person, and being a writer, Jamie not only reads others’ works, he records his own with plenty of detail as seen in his love letter to garnet. Its in his nature by now to have an eye for detail as seen in his room, his costumes, his writing, etc.

Its very likely that his venus and his mars sign do sort of relate in a sense of the way he will present himself. The virgo mars wants a deep connection as the next person but refuses to express that “passionate side” as much as others, preferring to remain casual or present a “cool exterior” which plays into the venus in scorpio’s preference for a secretive side or to remain a mystery.

lets also not forget Jamie’s mime performance in Sadie’s Song. His body language easily read as excited and desperate for perfectionism. Theres no denying he spent time and energy into his act, probably studying mimes and all lol

plus the virgo mars being an attentive to detail type of person, scorpio venus’ silent study on their person of interest and libra moon’s dependance on the study of others to learn how to express emotion when and where and how all tie into each other. Jamie depends on detail before well, doing! he is the type to not just think before acting but hes also gotten quite anxious overthinking as well!

The Taurus Ascendant is a sucker for stability, loyalty, especially to their passions with change being their biggest weakness, very fitting to Jamie. Stability is what made Jamie return to beach city from Kansas because he was not used to such a drastic change in an unstable life, doing the absolute opposite of prospering in his acting career, another big desire for a taurus rising btw, they thrive for success!

They also need a sense of security and any chance at risking that security is a big no-no for the Taurus Ascendant. Jamie’s constant fear of rejection, his anxiety before a production that could make or break his career, he desires a sense of reassurance and security that will assure him that things will not turn out as horribly as his anxiety’s (cough drama zone cough) made it out to be.

⬆️♉︎ Taurus Rising ♉︎⬆️

now, in Reunited, hes completely moved on from garnet at this point. This takes places after the abduction, the only thing that would really be on his mind rn is healing and finding peace again with himself and in his surroundings. while hes handled this healing process alone (as far as we know) hes also learned about what he wants for himself including his love life. seeing garnet extremely happy and married and all makes him defeated for a moment not because “uUuuUUhH shes the one that got away!” its because he truly desires a passionate and devoted relationship as ruby and sapphires! which brings up the next topic!

In relationships, the Taurus Ascendant won't easily break up with someone they gave their heart to. Jamie wants a partner thats going to be as devoted and passionate as himself. He needs that sense of commitment and loyalty from someone and probably wouldn’t handle something as emotionless as one night stands for example! Any taurus placement has the same desires for romance as scorpio placements to be quite honest here, im just sayin as a venus in taurus and scorpio rising lmao.

🌊 Water Dominant 🌊

Ok so the thing is heres the thing. Out of all four astrological elements, Jamie exudes water energy the most, then earth, then fire, and lastly air. He’s not just an emotional person, he’s also an optimistic person, even when he overthinks things, he continuously looks into the future rather than his past so I think its important to note he also has that “psychic” aspect to him as well as having a strong sense of someone else’s emotions as much as his own.

let me also add in dewmie-in’s post where they point out tht jamie does in fact have a literal reocurring theme with water so even if he turns out to like not be a water sun sign in canon (highly doubt there will ever be a canon bday for him lmao the entire point of this post tho) theres no way hes gonna not be associated with water coincidentally. so if u didnt read their post tldr: being a fucking buffoon in the literal rain, throwing letters into the ocean, staring at the ocean on his free time, (aka during working ours, worlds okayest mailman) cries easily, buddy dying in water, jamie nearly being killed as instructed by a gem named aqua, jamie surviving in water after being THROWN off the ship. (i added a few more btw hshfhhdjd)

so yeah thats that on that, theres plenty more planet placements than that in a birth chart but i just felt like doing the usual ones i guess :P

#its literally going on 5am as i finish this #im so sorry if this is shit hsfhfnsjkf #im not what they call a writer #but i do love to talk abt things like astrology and my fave characters sjjffj

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sleemo · 7 years ago

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Adam Driver: ‘Compared with the military, acting isn't that difficult’

The Star Wars actor on leaving the Marines, filming nude scenes with Lena Dunham and getting in touch with his dark side — The Guardian | Dec 9, 2017

Adam Driver has a reputation for being a serious young man, which is partly a matter of attitude and partly, I suspect, to do with some aspect of his physiognomy: he has a large head and outsize features that somehow combine to give an impression of gravity.

Before the photoshoot, he let it be known that he finds it uncomfortable to have a journalist (me) in his sightline on set, the kind of specification one might expect of a particularly precious Hollywood star. But this turns out to be misleading. Driver’s discomfort is with the entire celebrity aspect of his job, which makes talking about his role in the latest Star Wars trilogy somewhat tricky. I don’t even know where to start with The Last Jedi, I say, as we settle down after the shoot, and Driver grins, then looks gloomy. “Me, neither,” he says.

We are in downtown Manhattan, a few miles from Driver’s Brooklyn Heights neighbourhood (Lena Dunham lives there, too) and a more upscale part of Brooklyn than the grungy Greenpoint location of Girls. That show, the sixth and final season of which ran on HBO earlier this year, was watched by relatively modest numbers, but has had an outsized influence on the culture. Barely a day goes by without Dunham being mentioned in a blogpost somewhere, and it gave Driver, who played her on-off boyfriend, the kind of career launch twenty-something actors can only dream of.

At 34, not only does he have his second go as Kylo Ren in the latest Star Wars movie, but he has just shot The Man Who Killed Don Quixote, directed by Terry Gilliam, was in the Steven Soderbergh film Logan Lucky and played the title role in the Jim Jarmusch movie Paterson. Pretty good, I’d say, although I assume the two Star Wars films – The Force Awakens and The Last Jedi – are the real life-changer.

“No,” Driver says, looking genuinely baffled.

But to be part of a juggernaut that size – wasn’t he warned it would change his life? “I don’t think anyone said that, and I wouldn’t have listened to them, anyway. As a person, I’m the same. The problems I had before Force Awakens, it didn’t solve any of them.” He laughs. “For me, the only noticeable difference is your visibility as a person. Loss of anonymity is a big thing. I didn’t realise how I would see that in a billion little ways.”

The fame he had before Star Wars was somewhat localised. As Driver says drily, “In my neighbourhood, a lot of people watch HBO.” Star Wars is different: “Seven-year-olds to 70-year-olds.” It is global and almost impossible to escape. Driver is 6ft 3in and distinctive-looking, like a child’s drawing of a man brought to life. He’s even recognisable when travelling at speed. “I thought, I’ll ride my bike around the city,” he says, “and within two seconds I got pulled over by the cops, who said, ‘Hey, can we take a picture?’”

Really? “Yeah. I mean, I also ran a red light, so it was fair.”

Driver has been in New York since his early 20s, and part of his appeal as an actor has to do with his background. Before attending drama school at Juilliard, he was in the Marines. He was discharged after two years of training, and before his unit got shipped to Iraq, following an injury brought on while he was out mountain biking, a terrible blow at the time.

It is this – the combination of the classical theatre training and the military experience – that gives Driver an unusual ruggedness. As with most things that come up during our conversation, he is mildly amused and emphatically deflating about the role of the military in his appeal as an actor. He already knew he wanted to perform when he joined the Marines in his late teens, a move partly inspired by 9/11 and partly by youthful lack of direction. Driver’s application to Juilliard had been rejected; he had no other plans and was listlessly living in his mother and stepfather’s house in Indiana when 9/11 happened, filling him with what he described in a recent TED talk as “an overwhelming sense of duty”. He was also feeling “generally pissed off” and underconfident, and for some reason – he agrees, looking back, that it was in many ways an odd move – signing up seemed to be the answer.

At high school, Driver wasn’t particularly macho. “I didn’t do organised sports, not because I didn’t like them, but because I wasn’t very good at them. Except basketball. But I was never, like: let’s play football.”

He mainly hung out with the high school drama nerds. “I wasn’t someone who was into groups of guys – we’re men! We’re going to eat meat!” He looks momentarily wry. “I don’t know what guys do. Anyway, I would never have talked to those people before the military. Now you’re stuck in the epitome of alpha-male territory.”

To everyone’s surprise, he loved it. One can almost see why: there is an earnestness to Driver that relished the purity of military life and the more he talks about it, the more he makes it sound like a combat version of Buddhism. “There’s something about going into the military and having all of your identity and possessions stripped away: that whole clarity of purpose thing. It becomes very clear to you, when you get your freedom back, that there’s stuff you want to do.”

The bonds Driver made with his fellow Marines were startling to him, given how different many of them were in terms of background. (In his own family, his mother is a paralegal, his stepfather a Baptist preacher and his father works “at the copy counter at Office Depot”.) In the military, Driver says, none of that mattered. “You’re in this high-stakes environment where who you are as a person is constantly tested. And, in my experience, a lot of the people I was closest to in the military were very self-sacrificing. For me, it speaks volumes, more than how well they were able to articulate, or whatever front they were putting on. You get to see them at their most vulnerable and they’re literally going to back you up. All pretences dissolve.”

Being discharged on medical grounds before deployment was devastating for Driver; but the experience of having been in the military also made rehabilitation easier. Nothing, he believed at the time, could be as hard again, and after a period of working in a warehouse back in Indiana, he found that he still wanted to act and reapplied to Juilliard. It was different this time. “Whereas at 17 I just wanted to be liked, and to be funny, and accepted, later I had a bit more life experience.” He was accepted and moved to New York.

He has worked almost constantly since then, to the extent that he took four months off recently just to hang out at home with his wife Joanne Tucker. (They met at Juilliard and she is also an actor.) Most of his early roles – he was in Frances Ha, the excellent Noah Baumbach movie, and in the Coen brothers’ Inside Llewyn Davis – were very good, but relatively small scale and indie. Even Girls, his breakthrough role, didn’t look like much when it first came on screen. The Force Awakens, on the other hand, became the fastest film to take $1bn (£740m) at the global box office. I try again: surely this does something to Driver’s basic levels of self-confidence?

“No, because that’s not what I was after when I started to be an actor,” he insists. “It would if that was my goal. I know people think that if you’re an actor, it’s your goal to be famous and wealthy. Surely you want to be famous and wealthy! And there are great things about that part of it – it frees you up to do other things. But part of my job is being anonymous and I think being able to live, to observe more than to be observed, is important. [Being famous] seems counterintuitive to my job. It’s a weird dynamic when you walk into a room and there’s an image people project on to you.” He interrupts himself to say, conscientiously, “My problems compared with global issues, or anybody else’s, are very small. Even that I have time in my day to think about the existential.”

This is how it goes with Driver: he is assiduously mindful of broader sensitivities and somewhat embarrassed to air his own. “What it means to lose anonymity is a bougie problem in and of itself. And I won’t garner sympathy, nor am I asking for it. The image of us on our red carpet wearing expensive suits, where people naturally assume your life is, is not what I was after when I started this job. Believe it or not.”

I do believe it, I say. One has only to look at him, twisting this way and that in his chair. (“I’m not doing it on purpose to get away from you,” he says.)

So he doesn’t take any credit for, or validation from, the success of Star Wars? “You mean, am I, like, yes!” He gives a little satirical air punch. “I’m excited that people liked it, but do I think that I got it right? No. If I had directed it, maybe. But I didn’t write it, direct it, pick out the costumes. All these decisions – about the lightsaber, that it’s unfinished and unpolished – none of those were mine. I know enough about this job not to take credit.” He looks pained. “That would be an illusion.”

Driver’s family have no roots in acting, although his stepfather’s job as a minister might be said to have some performance aspect to it. Driver sang in the church choir well into his teens, which, he says, gives you an idea of how left-field his decision to enlist was. When he joined the school theatre, it was because his friends were doing it and it looked fun. “They auditioned for Oklahoma!, so I did. And I got a part in the chorus. I remember being backstage and it seemed like a community that was a bunch of weirdos, and I liked that part of it. I also felt that I was kind of OK at it. I tend to get frustrated with things that I don’t pick up right away.”

When people in the US think of Indiana, he says, they think of somewhere “boring and flat”. It is also deep into Trump country, such that Driver and his family are careful to avoid talking about politics when he goes home for the holidays.

Occasionally, his worlds collide. A few years after being demobbed, Driver set up a nonprofit organisation called Arts In The Armed Forces, which puts on theatre performances for personnel at military bases. His burgeoning celebrity has made it easier to recruit other well-known actors to the cause, but it is testament to his management skills that from the outset, the company has been smartly and seriously run. His aim, he says, was to broaden the range of entertainment put on for the troops. When Driver was stationed at Camp Pendleton, in California, the troop entertainment was, “‘The Dallas Cowboys cheerleaders are going to come and dance for you.’ Which is great, but there wasn’t anything like theatre or performance art brought to us.”

Unlike Bryan Doerries’ excellent stage project Theatre Of War, in which Greek drama is performed before military audiences as a public health initiative, there is no therapeutic element to Driver’s nonprofit. Still, it can have an interesting impact. “In one of our first performances, Laura Linney did a monologue from this Scott Organ play called China, about a female employer reprimanding a female employee for not wearing a bra. It’s really funny, that’s why I picked it – not really thinking it through. It was one of a series of monologues, and the male Marines were coming out and saying, we really liked it, but we thought [that particular one] was an indirect attack on how we do things in the military.”

When Driver asked why, they replied, “Because there’s a uniformity and structure and a reason in the military, and we thought that’s what you were trying to criticise. I said, OK, that’s interesting. And then the female Marines were coming out and saying, I liked the whole thing, especially that monologue, because I know what it’s like to be a female in a very male-dominated environment. That’s the best response we could’ve asked for. Hopefully they like it and it’s entertaining. But it also confronts them, and they bring something to it that a civilian audience wouldn’t think of.”

It can take a little persuasion on Driver’s part to get officers to allow him on to the base, and if he is adept at overcoming the military’s initial scepticism towards theatre, it is thanks to the experience of having overcome similar prejudice in himself. Theatre school seemed insane after the Marines, he says. “It is a very egocentric four years, just sitting around and focusing on what does the back of my tongue sound like when I make this sound? What is a Scottish dialect?”

Failure didn’t particularly worry him; he was still in his early 20s and brimming with the confidence of youth and the machismo of two years of hard training. “In the military, you are put in hard circumstances, so I’m thinking, I’ll move to New York and be an actor, and if it doesn’t work out, I’ll just live in Central Park. You know, compared with the military, it can’t be that difficult. I’ll dumpster dive. I’ll survive. Civilian problems compared with the military are small; that was my thinking at the time. That’s not right. But at the time, that’s what I thought.”

It wasn’t just the contrast between the two worlds that gave Driver confidence. There is something almost fanatical about his belief in the right and wrong way to do things. When he was still at school and decided to be an actor, the only place he applied to was Juilliard; nowhere else, no backup. He had heard it was the best place in the US to train, so that’s where he wanted to go.

Unsurprisingly, perhaps, he isn’t on social media. Those kinds of exchanges don’t interest him. As a result, he missed out on a lot of the hype around Girls, although even he couldn’t fail to recognise that the show was a hit. (Driver won three consecutive Emmy nominations for his role as Adam Sackler.) It was a strange thing, he says, to sign up for what felt like a relatively obscure show – “Something that felt like it was made in the basement of a friend’s house” – and watch it rise, while he and his friends rose with it. (We speak before the controversy over Lena Dunham’s defence of a Girls writer against an accusation of rape.)

It did not escape Driver’s notice that his own nudity on the show was less remarked upon and criticised than that of Lena Dunham, even though Dunham wrote, produced and directed the show. “Of course there’s a double standard for men and women. I don’t think that’s a controversial thing for me to say. It’s so obvious, and one of the things that she was fighting against, which I understood right away, is that it wasn’t gratuitous. There was always a point behind it, it was always still storytelling. It just seemed very natural. We talked just as much about being naked, and what was the story and the sex scenes, as we did about scenes where there’s dialogue.”

It wasn’t uncomfortable to film? “If it’s for no purpose whatsoever, that would be very uncomfortable. But part of the storytelling is about our bodies and how they look, and if there’s something that’s not flattering about it, that was probably what we were going for. That’s my job, to tell the story.”

What did he learn from Dunham?

“Um. I mean, Lena is a great writer. She’s a good thief, also: she’s very aware of her environment and is very good about processing her experience of something immediately. I feel like I need more time to get distance on it, so I can look back and have an opinion. She is forming opinions as she does things. Which I think is a rare ability.”

Driver sometimes wonders if he’ll ever come to firm conclusions about anything. “I never figure anything out,” he says, winningly. “I do my job. That’s my goal, to be as economical as possible. Basically, the only thing I try to do is know my lines.”

His ego is contained, too. “Usually, the mood of the set is what I adapt to, as opposed to having a set way of working and imposing it on everybody else. If you need private time, usually people give you space for that. But getting set into one way of doing something seems like closing yourself off from being wrong.” On the other hand, “interesting things can come out of being wrong”. He smiles. “Sometimes.”

Can he let things go?

“No. I don’t think so. Maybe after a while. I keep replaying scenes in my mind. That’s why I don’t like to watch anything I’m in – it’s not my responsibility.” It’s a Zen attitude Driver has worked hard to perfect and he frowns with the effort of maintaining it. To be a small part of the machine is where he has always felt comfortable. “It’s not about me,” he says .

— The Guardian

#adam driver #kylo ren #cast #interview #logan lucky #star wars #the last jedi #the force awakens #girls #paterson #long post #uploads #*

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rkseokwoo-blog · 7 years ago

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— picture books and choices

LATE MARCH, 2018

It was late by the time Seokwoo got home, feet fumbling over one another as he stood in the entryway. Sleep was becoming a difficult task, a restless on that came with his Patamon plush being strewn from his bed and waking up feeling as if he hadn’t closed his eyes at all. Time was running out on the decision over Interstellar, if or whether he would sell; how much it was worth. His friend had come back with a number, suggesting he negotiate for more. The blue post it notes over the contract had been stared at for hours, before he left the offer on his desk in his room and dragged himself away to deal with the day. It was difficult for Seokwoo. The money would help, but selling it after agreeing to help his employees and planning to do the next season. The sigh was heavy on his lips as he glanced into the darkness of the apartment, knowing if he turned on the light his grandmother and sister would wake up, and he didn’t want to do that.

But the darkness sent a shiver down his spine, and he had to steel himself before he took the first few steps in. His bag clutched to his chest, a weapon if he was confronted by a ghost. One hand patted at the entrance to the kitchen, and he was turning when there was a sound, one that caused his entirety to jolt and freeze. “Who’s there? I.. I know how to fight,” did not sound as intimidating as he wanted it too -- and the way he flinched, and stumbled a step back when the light came on did not scream a man who knew how to fight. Seokwoo’s hand clutched to his chest, gripping his racing heart as a familiar voice asked who he thought he was, sneaking home in the dark, and his gaze landed on his grandmother sitting at the table. “Halmeoni... Why? Are you trying to kill your precious grandson?” He complained, nose crinkled and rubbing over his hammering his heart.

His grandmothers silence drew his full attention back to her, to the table, to her hand resting on the familiar collection of papers with blue post it notes. The bag now clutched to his chest for protection as he’s beckoned closer, urged to sit down across from her and he knows he’s going to regret it. It doesn’t take a second for her to ask what the paper is and he blurts out a lie in panic. Seokwoo cringes when the paper whacks him over the head. “Do you think your grandmothers a fool, Seokwoo? I can read!” His grandmothers voice was sharp, angry; and it flashed him back to when she’d heard her dropped out of SOPA, that he wasn’t going to do that anymore, that he didn’t plan to go to university after. There’s another smack to his head and Seokwoo ducks his head down.

“You wait here.” His grandmothers orders were never to be ignored. “Don’t move, Seokwoo.”

With one arm holding his bag to his chest, Seokwoo reached for the fruit that was sitting in front of him. He didn’t know what his grandmother was doing, but he felt stressed and every time he glanced at the contract left on the table, he was struck with the need to eat. The yellow skin peeled back, quietly taking bites and glancing over at the door that went to his grandmother and sisters room. Moving meant moving from the chair -- that’s what he told himself as he took another bite. He was halfway through before his grandmother returned, holding a book in her hands and he twisted to face the other direction; hide that he was currently trying to swallow what was in his mouth. His grandmothers sigh makes him glance over at her, and he’s struck with guilt. He knew why she was angry, why she sat up until he came home; why she looked at him like she did.

“If I sell it, I can pay for some of Mina’s tuition,” Seokwoo utters, peeking through the corner of his eyes at his grandmother and then down at the book. It weighed on his heart again, that thought that he would be letting everyone down. They were expecting him to continue, to push the company through and forward. His grandmother’s silence gnaws at the back of his mind, sitting up taller and reaching for the contract, flipping to the page where the money was written. “My friend says I can negotiate to this price, they will give me that. It’ll pay off the hospital bills, fix my car, help Mina, and still be some left over for us to live on. I’ll get another job, you know I always can find a job -- I’ll work two if I have to. This money would really, really, really hel--”

“Seokwoo-ah, it’s your decision.”

He doesn’t expect that answer, chest deflating as he realises her gaze is fixed on the book that rested in front of her. There’s was something familiar about it, but he didn’t know where he’d seen it before. Waiting for her to speak again feels like the most difficult thing in the world, and Seokwoo doesn’t know what to expect. They’re in the florescent lights of the lounge room, it’s quiet and late, and the dining table feels like it is in it’s own world; sheltered away from everything else. Seokwoo watches her pat the cover of the book, turn it and place it down in front of him. “When you were born, I bought this book for your father and mother. I told them to document everything they could in here about you. You’ll grow up so fast and they’ll wonder how they missed so much.”

It was rare for his grandmother to speak about his parents, especially both of them.

Seokwoo’s lashes flutter, gaze falling down to the book and feeling like the weight is on his chest. As if his grandmother had laid it on his ribs and it was heavier than he expected, too heavy. Before he’s ready, she’s reaching over and the cover is flipped open, showing a picture of a baby. Him. His name. The date of his birth. Weight, height. But he barely takes in the first picture before the pages are being flipped over, hearing his grandmother utter that she knows they were in there somewhere. Her hand pressing, flat to the pages, ones of him as a baby, growing bigger, walking, his first bike, a birthday with his parents there -- Seokwoo doesn’t know how to explain the way each turn of a page pushed the book harder into him, cracking his ribs now and his mouth feels dry when it lands on a picture of him in kindergarten.

He was standing in a tree costume. It must have been his first performance -- he didn’t even remember it. There were notes, the date, handwriting he didn’t recognise past that the assumption that it must have been his mothers. It wasn’t his, it wasn’t his grandmothers or his fathers.

‘Our precious Seokwoo-ah performed so well today. He told me that he wants to do it again next year. He says he’ll be the duck next time, because the duck has lines. He looks cute, doesn’t he, Yeobo?’

There are days where he forgets how his mother sounds, her voice becoming a garbled recollection that he fills in with what he thinks she would sound like and how his friends mothers sound, how the mother at the park talking to her son sounds, how the mother in a drama on TV sounds.

“Why are you showing me this, halmeoni?” Seokwoo’s not mad, he doesn’t think he is at least. Confused, wondering why the elderly woman who had raised him with her own hands, was now trying to suffocate him with a book. Whether she hears him or not, she doesn’t seem to respond; instead flipping further in, another page, at elementary school, at a community centre, at a birthday party, on a random day -- sometimes he was standing on a stage and others, the family couch, and one, at least on the boxes he kept his toys in. The notes grow in length, in the same handwriting, about how Seokwoo was growing, how he said he was someone from TV now, how he memorised the lines or the song.

‘He performed so well, Yeobo. He’s going to make all the girls hearts flutter in the future.’

By the time he stands at eight years old in the pictures, the writing changes -- his fathers. The pictures are further apart, six months, a year, two months, another seven. It’s when the pictures begin to approach when he was thirteen and fourteen that Seokwoo reaches out to clasp onto his grandmothers hand. His fathers death was soon, the pictures would end there; that was all Seokwoo could think of. When the pictures ended, his father was gone, and so was his dream. “Halmeoni, please... Why are you showing me this?” He felt small, he felt like he had when he was taking out the trash and came back to hear his grandmother sobbing, clutching onto the police officer who was trying to explain that they tried to call, but the phone was disconnected.

She looks at him, then sighs again. One more page, and the page contains only his fathers handwriting and photographs that had been tucked in, kept there. It was a letter, written to Seokwoo and he feels his eyes burn. The ink blur and he looks at his grandmother, not sure if he could bring himself to read what was written.

“When you said you wanted to go to SOPA, he asked for the book. He was worried that you wouldn’t be able to go, because he made so many mistakes. He failed at his dream, and because of that, he thought you wouldn’t be able to have your own -- I know he was distant, too busy working after your mother...” His grandmother’s voice sharpened at the mention of the woman who had given birth to him, and Seokwoo’s hand pulled away. He knew how she felt, but she was still his mother and he didn’t know if he’d completely let go of the idea that she would come back one day. His reaction causing her to reach out, for the frail hand to rest on his own, curl over his fingers. “I’m sorry, Seokwoo. She’s not why I brought this out. All.. All I wanted was for you to see this. To see... More than anything... Your parents wanted you to follow your dreams, to achieve them.. No matter what mistakes they made, to you and your dongsaeng.. They did their best to protect your dreams, your happiness..”

She squeezes his hand, and Seokwoo lifts his empty one, rubs at his nose, and tries to stifle his sniffle.

“You grew up faster, faster than you should have had to. Taking care of your dongsaeng, of me. You didn’t have anyone protecting your dreams for you, and I’m sorry... And if your dream is to run your company, you should do that, and if it’s to do something else, you should do that,” her voice seems to lose strength a little, but she tightens her hold on his hand and Seokwoo glances at the contract, at the book and feels even more lost than he had before. “I can’t tell you what to do, but.. Mina is an adult now, she’s going to university, she’s following her dreams because you protected them for her, and my dream to see you two grow up and be good people, to raise you two after your father passed, you protected that too.”

Slowly she releases his hand, patting the book in front of him.

“Now it’s time for you to protect your dream too, even if it’s not this anymore. Your parents would have wanted you too.”

#( s. )#( a super late solo that i was supposed to get out months ago #tw: death mention #tw: abandonment

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jmsa1287 · 7 years ago

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In the Ballroom Culture Drama 'Pose,' Stars are Born

Hello! I wrote about the upcoming new FX series “Pose,” which explores the drag ballroom scene of the 80s and was co-created by Ryan Murphy.

A scene from “Pose.” Photo credit: FX

It's hard to write about "Pose," the new drama about '80s ballroom culture debuting Sunday on FX, without discussing the story around the show.

"Pose" made headlines last year when its co-creator Ryan Murphy (one of the most prolific showrunners today, known for co-creating "American Horror Story," "American Crime Story," "Feud," "Glee," and much more) revealed the series will have one of the biggest casts of transgender actors and LGBTQ people of any scripted TV show. Ever. Murphy, who is openly gay and said he'd donate all the proceeds he earns from "Pose" to LGBTQ organizations, has made a conscious effort to hire women, people of color and LGBTQ people in front of and behind the camera, thanks to his foundation Half.

That a show as diverse as "Pose" exists feels like an accomplishment in of itself. To get a show with a cast of actors who are primarily trans and people of color leading a prestige drama series is something to behold. It's 2018 and there have never been so many shows on the air at any given time, but stories highlighting the experiences of trans people are rarely explored, never mind the focus of a TV show. "Pose" is a platform to a number of fresh faces and new voices, creating a space where stars can be born.

Set in 1987 in New York City, the series follows the thriving ballroom scene in uptown, juxtaposing that life with the rise of Trump-era capitalism in Manhattan. With its diverse cast, "Pose" is incredibly specific, sometimes playing like "Paris is Burning" fan-fiction (this is meant in the best way possible). "Pose" also looks like nothing else on TV - it's full of life and, most importantly, color. A terrible trend with prestige TV is the cold and dark color pallets many showrunners often use (Murphy has been guilty of this, too) - navy blues and steely greys have come to signal that This Show Is Important, but actually make things flat and boring to look at. "Pose" is the complete opposite, embracing every color of the rainbow - bright reds and yellows pop on screen during vibrant and dazzling dance-offs. It may be a small detail, but its one that makes a huge difference.

For how groundbreaking "Pose" is, at its core, it's surprisingly quite conventional. The show is a family drama of sorts, as it showcases how queer people, especially those rejected by the ones they love, can come together and choose their own family, forming unconditional bonds. As with any family, those bonds are tested at times, but overcoming obstacles only bring them closer together. The family drama is one of TV's most reliable and relatable forms of storytelling, but there's something rebellious in the way "Pose" utilizes this tried and true format.

"Pose" also begins on a handful of clichés we've seen time and time again in LGBTQ cinema. In the first 20 minutes of the pilot, someone is diagnosed with HIV, while another character comes out as gay and is beaten by his father and kicked out of the house by his mother. But "Pose" isn't a movie, and isn't constrained to a two-hour time limit; in fact, episodes clock in at a full 60 minutes, with the pilot totaling a whopping 78 minutes. Fluid running times may feel daunting, but they allow directors and writers to flesh out these familiar tropes and take them to places that movies cannot.

At the heart of "Pose" is MJ Rodriguez, who plays Blanca Rodriguez. It's a major breakout role for the enchanting newcomer, who oozes star power and commands every scene she's in. Unsatisfied with being a member of the House of Abundance, led by the towering Elektra Abundance (Dominique Jackson), Blanca decides to break free and start her own house. The move sparks a vicious rivalry between the House of Abundance and Blanca's new House of Evangelista. Becoming a house mother isn't easy, and Blanca enlists her own ragtag crew, including aspiring dancer Damon (Ryan Jamaal Swain), fellow ballroom scene competitor and sex worker Angel (the stunning Indya Moore), and others. She's got the support from the ballroom scene's magnificent emcee Pray Tell (the wonderful Billy Porter), who is ready to assist Blanca with costume construction and life advice.

The supporting cast of "Pose" round out the show's lived-in and felt world. The vulnerable Angel is the connecting thread between the ballroom world and the Trumpian life in Manhattan - she's involved in a relationship with Stan (Ryan Murphy veteran Evan Peters), a New Jersey family man, married to Patty (Kate Mara), and a new hire working for Donald Trump's business (lol). His boss Matt (James Van Der Beek, doing his best Christian Bale à la "American Psycho") is a live wire and is the epitome of what many in the drag/trans community desire at that time. Still, the Peters and Van Der Beek stories don't feel necessary or particularly exciting through the four episodes of "Pose" provided for review, though that could easily change later in the season.

Viewers will enter "Pose" through Damon, who Blanca takes in after spotting him dancing on the streets of New York. Her motherly instinct is to push him into dance school, which splits Damon into two versions - the one competing in the underground ballroom scene, and the one experiencing a life some of his closest friends will never see. It's a fascinating journey, but the handsome Swain's wide-eyed performance doesn't always connect, which is a problem because he is the show's avatar at times.

Your mileage of "Pose" will vary, depending on how soapy you like your dramas. There are Big and Powerful Speeches, show-stopping dance-offs and devastating moments in "Pose" that can feel pandering to LGBTQ viewers, but the show maintains a nice pace and never lets up being engaging and entertaining.

The show tackles a number of heavy topics, too, ranging from the AIDS epidemic of the '80s, gender confirmation surgery, socio-economic class, and much more. But "Pose" doesn't feel dated when handling delicate issues. The writing and the performances are strong, assertive and confident, taking on discussions of sex, health, and identity with an admirable frankness. It also finds fascinating ways to take on modern issues within the LGBTQ community. In the second episode, "Access," one of the most provocative moments comes when Blanca and a friend, Lulu Abundance (Hailie Sahar), who is also trans, face discrimination by cis white gay men at a popular gay bar. After being berated with transphobic language by the bar's manager, who kicks the pair out of the establishment, Blanca tells him, "This isn't over!

"It was over before it started," Lulu tells Blanca. "Everybody needs someone to make them feel superior. That line ends with us though. The shit runs downhill, past the women, the blacks, the Latins, the gays until it reaches the bottom and lands on our kind."

It's a powerful moment that rings as true today as it did in 1987. And it's a sentiment that is rarely discussed among the gay community - forget portrayed and expressed with nuance on a mainstream program airing on a premium cable network like FX.

Murphy expertly directs the first two episodes and co-writes them along with Brad Falchuk and Steven Canals, both of whom are credited as co-creators. "Pose" lifts off, however, when they take a step back, allowing trans activist Janet Mock and "Transparent" writer Our Lady J to pen episodes. Authentic voices unsurprisingly lead to earnest and heartfelt results, making "Pose" a fiercely fascinating show that revels in how daringly conventional it is.

#pose #tv #drag #fx #ryan murphy #ballroom #voguing #vogue #lgbt #lgbtq #culture #dance #evan peters #queer #trans

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supernovasilence · 7 years ago

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Newsies Shakespeare Camp AU

—Modern AU where Medda runs a summer camp where kids spend a few weeks putting on an abridged Shakespeare play

she tries to keep the kids organized but she also believes in letting them develop independence and creativity

also they're way less mature than she gives them credit for and she can't leave them unsupervised as much as she thinks she can

it's chaos half the time and they love it

—At the start of camp they're all supposed to work together to pick what play, and any interesting takes on said play, they want to do

David always wants to just do the play straight: original setting, original time period. He also knows more of the plays than the others (most of them just know famous ones like Romeo and Juliet), so he keeps suggesting lesser known ones until the others accuse him of making names up

Jack wants to do any drama/tragedy (Macbeth, Hamlet, anything with a high body count and preferably ghosts), but make it a Western

Racetrack tries to work gambling into any play. After all his ideas get rejected he starts running bets on who will fall off what piece of set/rigging next (because everyone's climbing all over everything with no regard for safety; you know these boys will climb anything). After Medda shuts that down, he settles for talking everyone he can into card/dice games during breaks and winning their pocket money. After Medda shuts that down, the camp develops its own currency consisting of markers, corks, scraps of fabric, and other snitched art/costume supplies. (Medda just gives up at that point.)

Someone brings up Richard III and there's an awkward moment where no one's sure how Crutchy will react because productions vary on how they portray it but Richard definitely has some sort of disability and he's one of Shakespeare's great characters but he also one of Shakespeare's great villains…but Crutchy thinks this is great and instantly starts campaigning for the group doing Richard III with himself in the title role

idk if they end up doing Richard III because it's pretty dark and politic-y for a kids' camp but either way Crutchy spends the rest of the camp insisting the others call him Richard, chasing people around cackling and threatening to behead them and take the throne. Also Crutchy's really bad at being Richard? He's such a cinnamon roll he just can't be evil and scheming to save his life but oh boy is he having fun

—Spot Conlon ain't afraid of any curse, and takes every opportunity to yell "Macbeth!" at the top of his lungs. This means Spot Conlon spends a lot of time spinning in circles and spitting over his left shoulder and doing whatever else the others make him do to ensure they don't all die horribly

I can see Racetrack being really superstitious? Like as a gambler he belives in luck and vibes and all that, and he just starts ranting about curses every time Spot says "Macbeth"

Jack thinks this is hilarious and starts encouraging Spot to say "Macbeth"

—Medda's running the camp out of a proper theatre with working backdrop rigging and everything. Les discovers he's light enough to get pulled up along with the backdrop. By the second day, Les, Snipes, Boots, Tumbler, and the other younger kids are launching themselves into the rafters while David yelps in horror, Jack urges them on, and Sarah laughs before dragging them down and getting Medda to put a padlock on the rigging or something

—Katherine's doing a journalism summer camp but everyone there is encouraged to find their own stories from around the community and she decides to do one on the Shakespeare Camp's performance

oh boy was this a mistake

she walks in planning headlines like "Future Stars in the Making" and "Pint-size Actors Bring Giant Talent and Charisma to Amateur Play", takes one look at the chaos, and realizes it's probably gonna end up being "Play Cancelled After Campgoers Break Their Necks Having a Paint-fight in Theatre Rigging" (they're supposed to be painting sets)

she's just about to walk out and find something else to do a story on when someone bumps into her

oh no it's a cute girl (it's Sarah)

oh no the cute girl is asking for her help moving props—someone named Jack was supposed to help her but he's snuck off to make out with her brother somewhere, like we don't all know they're together—and really, no, Katherine was just leaving and she's busy and—wow this girl is really cute when she's laughing about her brother thinking he's sneaky, and in the background Medda has successfully gotten the small children back on solid ground with unbroken necks, and maybe this article will work after all

uh that’s all I got but if anyone has any ideas feel free to add on

#newsies #shakespeare camp au #nova actually posts stuff #javid #newsbians #medda larkin #david jacobs #jack kelly #racetrack higgins #crutchy morris #spot conlon #les jacobs #snipeshooter #boots #tumbler #sarah jacobs #katherine plumber #i think that's everyone mentioned?#yes shakespeare camp is a real thing i did as a child and this idea has been buzzing around my brain a while

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nelson-riddle-me-this · 7 years ago

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Rules: tag 9 people with excellent taste

Colour(s) I’m currently wearing

Mostly white - I’m wearing my bathrobe. My mom got it for me and it’s great. It’s not the softest but it’s good and it’s got cool blue and grey horizontal stripes on the bottom. Normally it’s very frustrating for her to try to get clothing gifts for me, but she hit the nail on the head with this one.

Last band T shirt I bought

I’ve never bought a ‘band’ t-shirt. The artists I really love don’t have much in the way of t-shirts and if they do, they look really corny. Like I’m not gonna get a Streisand t-shirt and look like some middle-aged empty-nester out grocery shopping.

Last band I saw live

I guess our evening Jazz Ensemble - it’s professional adult musicians - at my school’s Jazz Ensembles concert. They’re great. As for non-school performances, I think? the last concert I went to was a Brian Setzer concert at the Hollywood Bowl with my mom a while back.

Last song I listened to

youtube

I tried listening to some contemporary pop from the Love, Simon (2018) soundtrack today and it was really difficult so now I’m at the computer enjoying some tumblr-time and listening to my most-chill and most-favorite Doris Day album.

Lipstick or chapstick?

I used lipstick once for my Katharine Hepburn halloween costume last year and - tbh lipstick is so much work - makeup in general. Like it would be fun to be a girl and wear dresses and be super pretty and stuff - but wo-MAN it’s so much work!

So chapstick. The tube I use is some Burt’s Bees pink grapefruit that I really love. This might sound weird but I only have it because a boy I had a small crush on once asked me to hold it while he changed clothes and forgot to collect it from me..

Last movie I watched

I went to the movies last weekend with @adamsberg and another one of my best friends and saw Love, Simon (2018). I really really really really loved it.

I hadn’t even heard of it until a few weeks ago I saw a trailer on YouTube, but I thought it looked great and it was everything I hoped and more. I have this soft spot for angsty contemporary teen dramas like this [The Fault In Our Stars (2014) and The Perks of Being a Wallflower (2012) are also in this micro-genre]. While I love my classics, I also love these great movies that are being made here and NOW! Sometimes I feel apart from the rest of the world - and not in a good way. I wasn’t friendless in high school - but I wasn’t anywhere near as close to any of my friends as any of these movie teens are... as accepted and loved as I am to/by an amazing, small, group of my friends now. I have no horror stories, but I don’t have very many stories and that’s just it - I could have had so much more, but I didn’t. Part of it was because I wasn’t out yet and this film so wonderfully explored that. I highly reccomend it - and not just for the good plot, it’s hilarious and an overall great experience.

Last 3 TV shows I watched

911 (2018-present)

Sometimes my mom’s taste in first-run television is pretty bad (NCIS stopped being good like a decade ago) but in this case I am totally on-board. Angela Bassett [WAIT HOW IS SHE 59???????] is an inspiration (I WANT HER CHARACTER’S HOUSE!), the writing and production values are generally very good - it’s a solid, interesting show. Still, can anyone tell me what the deal with that middle-aged white lady (who’s a few years younger than Angela Bassett but lowekey looks 20 years older) who dresses like a suburban mom trying to dress like her teenage daughter - like what’s the deal with her dating that guy in his 20s?

Frasier (1993-2004)

My mom and I watch this show somewhat regularly as it’s on like every flippin’ night on the scourge that is the Hallmark Channel (generally decent reruns, but I hate the channel itself and their original programming is complete trash). In a lotta ways I really love it - it’s hilarious, witty, sophisticated, adult, and has the power to create a real poigniant moment like you rarely see so fully-realized in sitcoms.

It has its issues though. Frasier and Niles (especially in early seasons) can get annoyingly whiny/snobby. I get that their characters are kinda built around that, but there’s a point at which they take it too far and it becomes disengaging. Also it’s a super white-people-centric show (I wonder why Hallmark likes it so much...) so diversity could be a lot better. Still, it’s generally a high-quality program.

Gosh I don’t remember what else I watched last. I haven’t had a lotta TV time lately so Imma use this opportunity to plug...

Stranger Things (2016-present)

One’a my best friends, Grace, introduced me to this show and I absolutely love it. The period’s really well done - not just accurate, but alive and real and relatable. The acting and casting is great. Winona Ryder is a treasure and I have a shameless crush on Joe Keery’s amazing hair and the person it belongs to. The scoring is effective, interesting, and very different from the kind of film music I usually am exposed to (I’m really making an effort to expand my horizons beyond classic orchestral sounds lately). The production values are great - it’s just an amazing show.

Last 3 characters I identified with

1.) Simon Spier from Love, Simon (2018)

While there are some things about him I definitely don’t identify with (message me personally if you wanna know specifics- I don’t want to spoil anything), I very much identify with his coming out story and coming to terms with his sexuality on his own terms.

I feel like there are people who will criticize the film based on Simon’s extreme normalcy - like he’s honestly a fairly stock white, middle-class, suburban teenage boy and, aside from his involvement in theater and ‘ya know liking boys he doesn’t do much that would be considered “gay” - but that’s kinda the point of the film. Being gay is just something that is and anyone can be gay - they’re not weird or whatever just for being gay - that was one of my fears - that I would be treated (or even just feel like) some strange unwelcome outsider just because of this one thing.

I had a long conversation tonight with an older kinda mentor’y friend of mine (though I’m more of the mentor) who’s gay and who was having a really rough night. Among the lotta things he said was that all gay men cheat that there’s no true monagomous love in the gay community and like lightning I shot him down with a fervor and wisdom and riteousness that would make Kate proud (wayto blow my own horn).

That’s the exact kind of idiotic prejudice that makes people afraid to come out in the first place. It’s fear that kind of small-minded judgmental behavior which was most responsible for me remaining closeted in high school. It’s a hard thing to explain to someone who hasn’t been there because after you’ve been through it, it can kinda feel like nothing afterwards - all this fear and conflict and it’s really kinda purposeless. You find that people still love you and the people who don’t are really not good people anyway. I wish I had come out in high school, I could have been happier. But I am happy now.

2.) Tracy Lord from The Philadelphia Story (1940)

Dedicated followers may remember I rewatched this one a few wks ago on what would have been a date with me and my crush until he cancelled. That time I saw Trace and Kate herself through lenses less tinted than ever before, but still she’s there in all her glory and all her not-glory. Tracy is riteous, despises drinking and gets very contemptful of what she views as weakness, such as her ex-husband’s drinking problem or Mike’s cynical view of the rich. I am often that way (in large part due to the second-generation effects of my mom’s own east coast catholic upbrining) which has it’s merits certainly - that specific east coast almost ‘puritan’ toughness (I think Dick Cavett, said Bette Davis and Kate both had it) can be a tremendous source of strength and sense. It can also easily become cold, prudish, snobbish, and condesending. I have tried to unlearn these aspects and I am still working on that. This is kinda what Tracy’s arc is about, learning to be human and be loved and to love others.

Though it’s not as recent, the next one that comes to mind is

3.) Nancy Wheeler from Stranger Things

I already mentioned that my friend Grace got me into this show, but I didn’t mention that I only ever watch it with her. Not that I don’t really love the show - I do - but I like saving it for when we’re together - it makes it more special.

Anyway, more than perhaps any other single character on that show, I identify with Nancy Wheeler. Regular suburban teenager who’s better - not just a regular suburban teenager - she’s aware of the sort of suburban ‘don’t do much with your life ‘cept rasie kids [not that there’s anything wrong with having and raising kids, that’s wonderful] trap. I also found the episode with her at Steve’s house really resonated with me. Barb telling Nancy “this isn’t you” really got to me. Part of me still has an internal ‘Barb’ that kinda ties in with the whole east-coast ‘puritan’y’ morality but there’s also the part of me that wants to be young and just a person and do cool things with my friends and kiss boys and watch great angsty contemporary teen dramas. They both have their merits and drawbacks - the young side has life but can be stupid and reckless - the old side is wise and careful, but can be paralyzing and stagnating.

Books I’m currently reading

I have a whole slew of books checked out that I’m supposed to be reading (for my own enjoyment).

The Unanswered Question: Six Talks at Harvard by Leonard Bernstien

I loved his The Joy of Music so I figured I would like this too. He’s a great music lecturer. I’m only like 5 pages in so far.

Elizabeth Taylor: A Private Life for Public Consumption by Ellis Cashmore

This one I’m a little further on, though most of that was just the introductory timeline of her life with a key notating each illness/medical episode, marriage/actual or rumored romantic relationship, and neaar-death experience (her life is such ‘drama’).

I also have a book about motifs in Hitchcock’s films with the car picnic from To Catch a Thief (1955) on the cover. I haven’t started reading it yet.

And I have some book about Lerner & Lowe, the duo responsibly for My Fair Lady, Camelot, etc...

-------------------------------------------------------------------------------------

This was really really wonderful to participate in. Thank you, my amazing friends, so much for tagging me @adamsberg and @in-the-key-of-d-minor. I’ve enjoyed lots of asks and tag games, but I’ve never felt this good about one before...

I tag

@hildy-dont-be-hasty @tyronepowerbottom @reluctant-martyrs @thevintagious @littlehappyrock @n2ninvisiblegirl @solasdisapproves @hepburnandhepburn and @her-man-friday

If I didn’t tag you but you wanna participate, have at it!

What’m I gonna do, fire you?

#personal #asks #tag game #love simon #gay #the philadelphia story #katharine hepburn #stranger things #doris day #andre previn #jazz

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