#the vanishing of Gregory Cooper | Explore Tumblr posts and blogs

uneminuteparseconde · 6 years ago

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Des concerts à Paris et alentour

Mai 13. Foals – Bataclan 14. Romain Berteau + Claus & Clausen + Borja Flames + Ambeyance (fest. Switch) – théâtre de Vanves 14. Erikm & Anthony Pateras + Dieb13 & Burkhard Stangl – Instants chavirés (Montreuil) 14. Ramona Cordova + Charlène Darling – Mains d'oeuvre (Saint-Ouen) 16. Saudaá Group + Orgue-Paysage – Fondation Cartier 16. Voiski + Myako & Basses Terres + Marylou (RA Paris) – Silencio 16. Franck Vigroux & Antoine Schmitt : "Chronostasis" + Quatuor Impact & Giani Caserotto + Open Women Orchestra (fest. Switch) – théâtre de Vanves 17. Crave + Zaltan & PAM + Full Circle + Low Jack + Oko dj + Clara3000 (RA Paris) – Dizonord (gratuit) 17. Ujjaya + Archétype – Salle Icare|Médiathèque (Vélizy-Villacoublay) (gratuit sur résa) 17. Philip Glass : Études pour piano – Salle Pierre-Boulez|Philharmonie 17. Jacco Gardner + Chris Cohen + Eerie Wanda + Tonn3rr3 + Discovery Zone (Le Beau fest.) – Trabendo 17. Hen Ogledd + Faune – Instants chavirés (Montreuil) 17. Inigo Kennedy + Möd4rn + Stephanie Sykes – Rex Club 17. Polar Inertia + Dement3d + Ninos Do Brasil + Lokier + A strange Wedding + Full Circle – La Machine 17. Surgeon + S.Y.R.O.B + DJ Jee + Cénile Technorama – NF-34 18. Bruce Brubaker & Max Cooper : Glasstronica – Cité de la musique|Philharmonie 18. Eliane Radigue : musique (diff.) pour "Continuum" de Félicie d'Estienne d'Orves – Centre Pompidou 18. Planningtorock – Gaîté lyrique 18. Thurston Moore + HAHA Sounds Collective + L'Éclair + Luis Ake + Domotic + Pantin Plage (dj) (Le Beau fest.) – Trabendo 18. Croatian Amor + Re:Ni + dj Sacom + Hanah (RA Paris) – Badaboum 18. Brandt Brauer Frick + Collectif sin ~ + Axel Rigaud (fest. Switch) – théâtre de Vanves 18. Orphx + Konkurs (Blush Response & Sarin) + Blush Response + O/H – tba 18. Function + dj Deep + Lewis Fautzi – Concrete 19. DJ Sundae + Crystallmess + Betty + Toma Kami (RA Paris) – Concrete (gratuit) 19. Julien Claus – Ancienne Brasserie Bouchoule (Montreuil) (gratuit) 19. Commando Koko + The Soft Rider + We Will Woo ! – L'International 22. Housewives – Supersonic (gratuit) 23. Lots in Kiev + Thot + Brusque – Petit Bain 23. 1919 + Guerre froide + Pest Modern + Warum Joe – Gibus 24. Beak> + TVAM – Gaîté lyrique 24. Shonen Knife – Petit Bain 24. Antichildleague + Corps + Geography of Hell – Les Voûtes 24. Othello Aubern + City Dragon + None + Graal – Espace B 24. Felix Kubin & Hubert Zemler + Phuong Dan + RVDS & Best Boy Electric + Ron Morelli – La Station 24. Codex Empire + Dimitri Rivière + Nari Fshr + Sina XX b2b Munsinger – Petit Bain 25. Sydney Valette + Blind Delon + Ruines – Supersonic (gratuit) 25. Xeno & Oaklander + Automelodi + Void Vision – Petit Bain 25. Rebekah + Schwefelgelb + JKS + Regal + Parfait – tba 26. Jérôme Poret – Ancienne Brasserie Bouchoule (Montreuil) (gratuit) 26. New Berlin + Euromilliard – Pointe Lafayette 27. Me Donner + Somaticae + Nani ∞ Guru – Espace B 27. USA Nails + Dead Arms + Cohaagen – ESS'Pace 28. Alice in Chains + Black Rebel Motorcycle Club – Olympia ||COMPLET|| 29. Flotation Toy Warning + Raoul Vignal – Petit Bain 29. Unit Moebius + Scorpion violente + Prettiest Eyes (fest. Ideal Trouble) – La Station 29. Pizza Noise Mafia + Laz (Air Lqd & Lost Sound Bytes) + Bear Bones, Lay Low + Summer Satana + Tav Exotic + La Souris & l'éléphant + DJ Athome (fest. Ideal Trouble) – Centre Wallonie-Bruxelles 29. Big Brave + My Disco + Tu brûles mon esprit – Instants chavirés (Montreuil) 30. Cuntre (Lionel Fernandez & Nicolas Mazet) + Couloir Gang (fest. Ideal Trouble) – Le Zorba 30. AnD (dj) + Dyen + Parfait [Blawan + ABSL : ANNULÉ] – NF-34 31. François Bonnet + Knud Viktor + Jim O'Rourke + Florian Hecker (fest. Akousma) – Studio 104|Maison de la Radio 31. De Ambassade + Beau Wanzer + Anna Funk Damage + Le Matin + Bernardino Feminielli + Unas + Fiesta en el vecchio (fest. Ideal Trouble) – La Station

Juin 01. Eryck Abecassis & Reinhold Friedl + Hilde Marie Holsen + Anthony Pateras + Lucy Railton (fest. Akousma) – Studio 104|Maison de la Radio 01. Millimetric + Phase fatale + Terence Fixmer + Dersee + Raffaele Attanasio + 14Anger + Arnaud Rebotini & David Caretta – Studio de Lendit (La Plaine-Saint-Denis) 01/02. Metronomy + Laurent Garnier + Ricardo Villalobos + Mr Oizo + Bonobo (dj) + Yves Tumor + Marie Davidson + Pond + Sleaford Mods... (fest. We Love Green) – Bois de Vincennes 02. Bernard Parmegiani + Jean Schwarz (fest. Akousma) – Studio 104|Maison de la Radio 02. Vanishing Twin + Eye (fest. Ideal Trouble) – Lafayette Anticipations 04. Kurt Liedwart + Billy Roisz + Julien Ottavi + Eryck Abecassis – Instants chavirés (Montreuil) 05. Shellac – La Maroquinerie 05. Institute + Last Night + The Cherry Bones – L'International 05. Otzeki – Safari Boat 06. Tim Hecker & Konoyo Ensemble + Mondkopf + Kelly Moran (Villette sonique fest.) – Cabaret sauvage 06. Umwelt + Falhaber + VII Circle – NF-34 07. Danny Brown (Villette sonique fest.) – Périphérique 07. Constant Mongrel + Computerstaat + Warm Swords – Espace B 07. Kuss + HDN – La Plage|Glazart 08. Julia Holter + Cate Le Bon (Villette sonique fest.) – Trabendo 08. Deena Abdelwahed + David August + Ross from Friends + Objekt (dj) + Apollo noir (dj) (Villette sonique fest.) – Grande Halle 08. Thurston Moore Group + Modern Men – La Maroquinerie 08. Nova Materia + Maria Violenza + Aïsha Devi + Belmont Witch + Black Midi + Coucou Chloé + Front de cadeaux + Juan Wauters + Krampf (dj) + Musique chienne + Nyoko Dokbaë + Novelist + Shanti Celeste + Szun Waves + Wiki (Villette sonique fest.) – parc de la Villette (gratuit) 09. Fontaines DC + Crack Cloud + Efrim Menuck + Bracco + Mdou Moctar + Corridor + The Messthetics + Warm Drag + Borja Flames + Myako + Zaltan & Oko + Tiger Tiger + Sinkane 09. Stereolab + Jonathan Bree + Anémone (Villette sonique fest.) – Grande Halle 12. The Soft Moon – Safari Boat 12. Rouge Gorge – L'International 12. Matmos + John Wiese – Instants chavirés (Montreuil) 13. Minuit Machine + Hørd + Marble Slave – Supersonic (gratuit) 13. Christian Death + Little Nemo – Gibus 13. Fat White Family – Élysée Montmartre 13. The Horrorist + Poison Point + Melania + Philipp Strobel – NF-34 14/15. Jessica 93 + Year of No Light + Hangman's Chair + JC Satan + Vox Low + White Heat (15 ans de New Noise) – Trabendo 15. Karen Gwyer + Gudrun Gut + Dorit Chrysler joue Laurie Spiegel – Gaîté lyrique 15. Ensemble Citrouille + Félicie Bazealire + Foxtrt + Delphine Dora + Manolito + Anna Serra + Sophie Agnet & Olivier Benoit + Trans Aéolian Transmission + Hippie Diktat (fest. Les Oreilles libres) – Théâtre Les Thénardiers (Montreuil) 16. Siglo XX + The Arch – La Maroquinerie 16. Plaid – Petit Bain 16. Vomir + Straub Mocky + Achille + Strie + LV2 + Trans Kabar + Club Sieste (fest. Les Oreilles libres) – Théâtre Les Thénardiers (Montreuil) 18. Simon Whetham + Estelle Schorpp – Instants chavirés (Montreuil) 19. Stephen Malkmus & The Jicks – La Gaîté lyrique 21. Anne Clark : perf. pour "Ocean 21" de Maggie Boggaart – Auditorium Saint-Germain 22. The Intelligence + Flatworms – La Maroquinerie 22. LA Witch – Black Star 23. La Pince + Leon + Howdoyoudance + Polar Polar Polar Polar – Cirque électrique 26. Magma – Salle Pierre-Boulez|Philharmonie 26. Cannibale – Safari Boat 26. Caterina Barbieri + SKY H1 – La Gaîté lyrique 26. Pigalle – La Maroquinerie 26. Daniel Menche + Point invisible + Tzii – Instants chavirés (Montreuil) 27. Plomb + Perm36 + Pour X raisons – Cirque électrique 28. To Live & Shave in LA + Carrageenan + TTTT – Instants chavirés (Montreuil) 28/29. Rammstein – La Défense Arena (Nanterre) ||COMPLET||

Juillet 02. Interpol – Olympia 04. Cat Power + H-Burns (fest. Days off) – Salle Pierre Boulez|Philharmonie 05. Klimperei, Sacha Czerwone, David Fenech, Denis Frajerman & Christophe Micusnule – Chair de poule (gratuit) 05. Pantha du Prince + Scratch Massive (fest. Days off) – Cité de la musique|Philharmonie 05. I Hate Models + Jardin + Mount Kimbie + Oktober Lieber + Rodhad + Mor Elian + Olivia... (The Peacock Society fest.) – Parc floral 05. The B-52's – Olympia 05/06. The Psychotics Monks + La Jungle + Yachtclub + Zombie Zombie + Frustration + Fleuves noirs + Bruit noir + Le Singe blanc + Le Sacre du tympan + Enablers + Os Noctambulos + The Scanners... (fest. La Ferme électrique) 06. Jonsi & Alex Somers jouent "Riceboy Sleeps" (fest. Days off) – Salle Pierre Boulez|Philharmonie 06. Helena Hauff b2b DJ Stingray + Jon Hopkins + Motor City Drum Ensemble + Len Faki + Robert Hood + Octavian + The Black Madonna + Clara! + Nicola Cruz... (The Peacock Society fest.) – Parc floral 07. Jonsi, Alex Somers & Paul Corley : "Liminal Soundbath" (fest. Days off) – Cité de la musique|Philharmonie 07. Ministry – La Machine 07/08. Thom Yorke (fest. Days off) – Salle Pierre Boulez|Philharmonie 08. Gossip – Salle Pleyel 08. Melvins – La Plage|Glazart 11. Full of Hell + The Body + Pilori – Gibus 11. Masada + Sylvie Courvoisier & Mark Feldman + Mary Halvorson quartet + Craig Taborn + Trigger + Erik Friedlander & Mike Nicolas + John Medeski trio + Nova quartet + Gyan Riley & Julian Lage + Brian Marsella trio + Ikue Mori + Kris Davis + Peter Evans + Asmodeus : John Zorn's Marathon Bagatelles – Salle Pleyel 11. Flamingods + Warmduscher + Triptides (Garage MU fest.) – La Station 12. Tomaga + ��тро + Tôle froide + Society of Silence + Sharif Lafrey + Elzo (dj) (Garage MU fest.) – La Station 11>13. Kraftwerk (fest. Days off) – Philharmonie 13. The Will Gregory Moog Ensemble (fest. Days off) – Le Studio|Philharmonie 13. Chloé & Vassilena Serafimova : "Sequenza" + Apparat (fest. Days off) – Cité de la musique|Philharmonie 13. La Récré (Garage MU fest.) – canal de l'Ourcq 13. Metz + Bo Ningen + Ashinoa + Die Ufer + Panstarrs (Garage MU fest.) – La Station 17. Grand Blanc – Safari Boat 18. Neurosis + Yob – Bataclan

Août 18. The Driver – But Mortemart|Bois de Boulogne 23>25. The Cure + Aphex Twin... (fest. Rock en scène) – parc de Saint-Cloud 26/27. Patti Smith – Olympia ||COMPLET|| 28. Arnaud Rebotini – Safari Boat

Septembre 05. Oh Sees – Bataclan 12. Blawan – NF-34 14. Clan of Xymox + Plomb – Gibus 14. Danny Elfman & le Grand Orchestre d'Ile-de-France : cinéconcert sur "Alice au Pays des merveilles" de Tim Burton – Salle Pierre Boulez|Philharmonie 20. Spiral Stairs + Canshaker Pi – Olympic café 23>25. John Cale – Cité de la musique|Philharmonie

Octobre 05. Nuit de l'orgue avec des œuvres d'Éliane Radigue, Arvo Pärt, Olivier Messiaen, Phillip Glass, Nico Muhly, Jonathan Fitoussi... (Nuit blanche) – Salle Pierre Boulez|Philharmonie (gratuit) 06. Daughters – La Maroquinerie 08. Sleep – Bataclan 09/10. Ty Segall & Freedom Band – La Cigale 11. New Order – Grand Rex 14. King Gizzard & Tle Lizard Wizard – Olympia 17. Puppetmastaz – Trabendo 18. Dream Syndicate – Petit Bain 19. Sisters of Mercy – Bataclan 19. Pixies – Olympia

Novembre 08. Bedroom Community – Cité de la musique|Philharmonie 08. Boy Harscher – Trabendo 10. Amiina : cinéconcert sur "Fantomas" de Louis Feuillade – Le Studio|Philharmonie 10. Ôlafur Atnald + Hugar – Salle Pierre Boulez|Philharmonie 17. Nitzer Ebb – La Machine 24. The Young Gods + Les Tétines noires – La Machine 26. Wardruna – Olympia

Décembre 06. Phillip Glass Ensemble : cinéconcert sur "Koyaanisqatsi" de Godfrey Reggio – Salle Pierre Boulez|Philharmonie 07. Phillip Glass Ensemble : cinéconcert sur "Powaqqatsi" de Godfrey Reggio – Salle Pierre Boulez|Philharmonie 08. Phillip Glass Ensemble : cinéconcert sur "Naqoyqatsi" de Godfrey Reggio – Salle Pierre Boulez|Philharmonie

2020

Janvier 04. Rokia Traoré + Ballaké Cissoko & Vincent Segal – Salle Pierre Boulez|Philharmonie

Février 16. Orchestral Manoeuvre in the Dark – La Cigale

Mars 07. Ensemble intercontemporain joue Steve Reich : cinéconcert sur un film de Gerhard Richter – Salle Pierre Boulez|Philharmonie 20. Ensemble Dedalus joue "Occam Ocean" d'Éliane Radigue – Le Studio|Philharmonie 21/22. Laurie Anderson : "The Art of Falling" – Cité de la musique|Philharmonie

Mai 08. Max Richter : "Infra" + Jlin + Ian William Craig – Cité de la musique|Philharmonie 09. Max Richter : "Voices" – Salle Pierre Boulez|Philharmonie 10. Max Richter : "Recomposed" & "Three Worlds" – Salle Pierre Boulez|Philharmonie 24. Damon Albarn – Salle Pierre Boulez|Philharmonie

en gras : les derniers ajouts / in bold: the last news

#agenda concerts #concerts à Paris #gigs in paris #paris gigs

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churchyardgrim · 7 years ago

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rip this took me fucking eons to finish and did I abuse the italics function and ole grandpa piss’s emotions both? maybe I did, and proud of it. so here’s my flimsy excuse for why greg got upgraded from shitty basement dorm to tower suite, along with some terrible Ye Olde Fancy Talk dialogue practice

Something smells sweet.

Sweet like flowers, like candy, and it disturbs his rest. He can’t sleep with this smell in the air, even ceasing to breathe doesn’t help much; it gets in his sinuses and won’t leave. He hears people moving in the levels above, laughter.

When a servant comes down to fetch food from the cellars Gregory calls to him, and, incredibly, gets no response.

He shouts again, but the serving boy doesn’t even flinch. Ignores him completely. Gregory goes as near to the bars as he can, craning his neck to see; the boy could be deaf, or stupid. Or so used to the monster in the basement that nothing scares him anymore.

But he doubts that last one.

He hisses softly, that smell giving him a headache. The boy comes back into view carrying a jar half his height, full of some packed-away confection, no doubt meant for holiday time. He wobbles under its weight, teetering precariously on each step, but managing the ascent without incident. All the while, he never blinks once.

Gregory’s skin prickles, aware of… something.

He growls to himself, pacing restlessly in front of the cell door. Something’s happening, he knows it, something that gave that boy a thousand-yard stare and the wherewithal to ignore him. But he can’t move from here, not without a key on the other side.

So he fidgets and grumbles and tries not to wonder what’s going on above his head and startles very nicely when a trio of serving girls comes traipsing down, giggling and prancing on the balls of their feet. He stares at them, alarmed by further uncharacteristic behavior; cavorting is hardly smiled upon, among the house staff. So unprofessional!

“Look!” one crows, pointing through the bars, “the devil’s come to visit!”

He reels back, halfway offended — but the speaker’s unlocked his cell door with a twist of her hand and saunters inside, trailed by her chirping friends.

“Will you grant us a wish, devil sir?” one of them sings out, a hand arcing out and lashing around his wrist with fantastic heedlessness. His incredulity dies in his throat, swatting irritably at their fluttering attention. “Grant the wish of dancing, won’t you! Come, before the music stops!”

The giggler’s laughs have become labored, a wheeze audible on the inhales, and she wobbles on her feet. Her weight drags at him, attached to his arm with the determination of the supernaturally fixated.

Thankfully, mercifully, all three of them suddenly cock their heads, ears turned towards the dungeon corridor. Gregory feels the pressure of their attention wane, and draws in a suddenly clear breath.

Two of them dart from the cell, a laugh peeling from one of their throats, faux devil completely forgotten. Their third makes to follow them, but hasn’t got as far as releasing Gregory’s hand and trips, tumbling down like a puppet with cut strings.

He blinks at her slumped form, calloused hand still in his. His first impulse is greed, followed by apprehension: here is a meal practically presenting itself to him, but if he partakes there will be no shortage of punishment. And her addled behavior… perhaps she is drunk? But he can smell no alcohol tang on her breath, just more of that floral sweetness wafting down from the upper floors.

He turns her hand over, watching the blue lines under the skin, contemplating. Mentally addled, but apparently undrugged… waltzing straight into his cage, but very likely a trap…

He licks his lips.

A crash from above shatters his indecision with the sound of broken glass; he jerks his head up, hearing elated shrieks and laughter. What is going on up there?

He stands, dropping the serving girl’s unmarked wrist. She and her flock have left his cell door wide open, and he’s got no qualms about taking advantage of this carelessness, at least. He slinks through with nary a sting and heads upstairs, tentative.

No one stops him. No one even notices him.

The whole household is distracted, he realizes. Servants, children, the courtiers; all of them swaying dreamily as they walk, murmuring nonsense at each other. Twice he hears groups of people bubble up into charmed laughter at something he can’t see.

He doesn’t like it.

Whatever spell this is is tugging at him too, he can feel it. Cobwebs pulling distractingly at his skin, shapes seen out of the corner of his eye that vanish when he tries to see them properly. He wants to leave, to flee this house while the hunters are distracted, but the sun, the sun… It’s midsummer, the haze of heat outside making him wince just thinking about it. Maybe he could steal a carriage, bully the horses into cooperating, but it’d be a dicy thing even with someone to drive the beasts. He’s not even sure the seal on his breast will let him go. And something bids him to stay, filling his sinuses with sickly sweet rose smells. Something wants him here, among all these dazed and wandering people.

Something catches his eye; here, among slow-moving sleepwalkers, a flash of bright quickness. He follows it, lengthening his strides, and it comes into focus as a figure nestled in the crook of a chandelier’s arm, mere feet from a ceiling that stretches four or five bodylengths above Gregory’s head. As he gets closer he can see more detail, the figure resolving into an apple-cheeked boy, hair honey-yellow and tousled, dressed in shockingly green finery. His body is lean, and Gregory guesses sixteen summers at least. He’s got the look of someone in a growth spurt.

“What are you doing?”

The youth looks down, his face blossoming in surprise. “What do you know, a corpse! How unusual!”

Gregory scowls, glaring upwards. “What have you done to this place?”

“Hm?” The youth swings from his perch, hooking his legs around the arm of the chandelier and hanging upside-down to get at the jeweled bauble hanging at the very bottom. “They are but dreamers, corpse! They only dream.”

Seeing this feat, and the way the upside-down view made the boy’s features clearer in the light, Gregory suddenly understands. “You are the Fair Folk.”

The boy grins angelically, the planes of his face seeming suddenly alien. “Aye! A lord in my own right, I am!” He twists the bauble free with a delicate snap, and tucks it into the folds of his seafoam clothes.

He drops down suddenly, twisting in midair to land on his feet, light as a feather. “You, though, pose a problem. You do not dream!” He moves languidly around Gregory, eyeing him from all sides. “Perhaps the mist isn’t strong enough… ah, the dead are such tricky things, magic will roll off you as water off a duck!”

Gregory scowls, trying to keep the fae youth in sight — though who knows how old this creature really is? The Fair Folk only look old as a disguise, and are otherwise eternally young. “Stop babbling, what is it you’re here for?”

“Hmm?” He stops in front of him, tapping his chin as he looks the vampire up and down. “Oh. Politics, really. Opportunities arise, you see, and must be taken advantage of before the window closes.” He grins cheekily. “Don’t worry! It’s nothing to do with you. Won’t even know I’ve been here, in and out like a flash!”

Gregory opens his mouth to argue, to press more information out of the boy, but cool hands cup his face and shock him into silence and.

Oh. Oh.

The fae youth has pressed his mouth to Gregory’s, and shock paralyzes him until the fair lord swipes his tongue — sweet, like honey — between his captive’s lips. The taste and warmth make Gregory groan, rational mind bowing out; his hands twitch abortively at his sides.

“Sleep,” this beautiful boy murmurs, breaking the kiss and making Gregory whine with need — he wants more, he wants…

But he’s falling, unable to hold himself up, and his head hits the polished flagstones with a crack he barely feels.

“Sleep, and dream beautifully.”

—————

Gregory does dream, in his deep daytime sleeps. He dreams of red, red nights, when he still had his freedom and could sate his baser urges as he pleased. Sometimes, he dreams of his human days, and he hates these more than he hates the nightmares that plague him wearing the faces of his captors.

But now, under a Green Man’s spell, he dreams of love.

He walks through a rosy mist, following a scent that is all of his loves at once. He is suffused with it, filled to bursting with adoration. It is not the burning desire he knows so well, that drives him through his endless undeath, it is not want; and he has no name for this thing that is not want.

His steps are sluggish, turning to catch voices beckoning him. “Gregory,” whispers Peter’s voice, and it’s been so long since he’s heard it he almost doesn’t recognize it, “this way, this way, here.”

“My love, my draugr, hurry,” urges Torsten, all tenderness, and Gregory wants to weep.

“You fool,” Adelaide murmurs, “you utter, utter fool.”

And under it all the voice of his last love, that which will never leave him but which he will also never, ever have enough of; the throbbing of a live heart, full of rich, priceless blood. His basest vice, the key to his endless appetite.

Oh, he loves them all! He is shot through with love, crippled by it, and still he staggers on, choking on cloying, floral air. He has no awareness of his surroundings, nor of his fellow prisoners in this vague, foggy place. It doesn’t matter. Nothing matters, except following the unseen objects of his adoration.

And so it is no surprise that when, after an empty trackless time of wandering, he finally sets eyes on the source of these beckoning voices, he throws himself at the figure without a second thought.

But he moves as if through thick syrup, his limbs unhurried. The mist has thinned a little, now, enough for arched windows and a vaulted ceiling to be faintly visible, and the crouched shape that seems to flicker; he sees Torsten’s braided mane, Peter’s open, vulnerable face, Adelaide’s hands—

Have they always been marked like that, the dark silhouettes of vines fanning out from her wrists?

But he can’t dwell on that, he can’t, because his love recoils with a cry and Gregory almost sinks his nails into his own stomach in shame before he realizes that their gaze is not on him. His vision pivots, sweeping around, and— there.

A second shape, sweeping through the fog, and even dazed as he is, Gregory can recognize the murderous intent. He moves before it’s even registered, fighting through the haze for footing and traction and lashing out with an animal snarl.

To the utter surprise of his hindbrain, he hits something. The figure goes flying, flickering and skidding and rushing back at him and Gregory braces his feet, hands curved into claws, and meets his enemy head on. It jitters, faces morphing, and Gregory throws a nameless raider to the floor, parries the return slash from an armored Crusader, and smashes his own mocking, bloodthirsty face into the marble flagstones.

You killed her you killed her the others you just couldn’t save but Adelaide you killed her.

But something shifts, at that cracking impact of skull on stone. His mind clears, a fraction, some of the suffocating cloud lifting from his sight. His combined love is gone, replaced by an unfamiliar man kneeling, gasping, and the tidal wave of loss that sweeps through him is almost enough to make him lose his grip on

on the

the fucking fae boy, face snarling and catlike and suddenly the magic comes crashing down on his head again, making him gasp and reel and it’s almost enough to make him forget his own name—

But he can never forget his last and final love. The smell of it sings sweet and true through the fog and it is so, so easy to hold this creature down and rip into its rice-paper flesh and gorge himself. It is ecstasy, his love filling him up and making him perfect—

And then the spell snaps like a cut bowstring and he cries out in pain and sudden clarity. The taste in his mouth mutates, turning sour like old milk, and he coughs and spits and stares down at the cooling corpse beneath him, its throat torn out and a circle of blood spreading, oozing — it shines, that fae blood, gleaming like an oilspill, like the surface of a tainted pond. Not human enough for his tastes, apparently.

And the fog has lifted, he realizes belatedly. With the death of its maker the spell unravels itself into nothing, freeing his mind from that rosy mist. He scrubs at his mouth, wiping the iridescent red smears from his face as best he can.

There’s yelling. There’s always yelling, he’s starting to get tired of it.

“What’s happened? Does anyone know?”

“The dreams, the dreams, I…”

“That smell, ugh!”

“Forget the dreams, what about the king?”

King? Blinking, Gregory turns his head to look at the man trying to stand, the man that had worn the skin of all his past loves. Suppressing the flinch that comes with this thought, he sees this person clearly now; ermine on his shoulders, rings crusting his fingers. Yes, that checks out.

Fancy that. A king.

People rush into the room and the yelling intensifies. He wants to put his head down and wait until they figure out he hasn’t done anything, at least not to this king of theirs. A few soldiers start on him but are halted by a command from the doorway; Harold. Finally, someone reasonable.

“What happened here?”

It takes a minute for Gregory to realize the question’s directed at him. “Fae trickery,” he says, waving a hand at the corpse still before him. “Something in the air.”

Harold nods, sending a few of his men to secure the grounds, search for any others, and tasks another group with removing the corpse cooling on the flagstones. Gregory stays kneeling, ignoring the household moving around him and trying to tamp down the roiling boil of anger and loss in his gut.

Fucking Green Man. Old wounds are oozing again, torn open by that horrid dream spell, and it’s all he can do to keep his face impassive. Numb. He doesn’t even let himself think because if he starts thinking again he’s going to tear himself apart. Just. Stay still, and wait.

A heavily ringed hand lands on Gregory’s shoulder, making him jump visibly. “The nobility of this beast has impressed me.”

That makes everyone stop, sudden silence falling like a hammer blow. Noble? Him?

The king continues, “The love in his eyes, taking the blow meant for me; whatever his past sins, this absolves him!”

Gregory’s gut twists slightly. It wasn’t for you, stupid man.

The men object. “Sir, begging my lord’s indulgence, this man—”

The king raises his hand imperiously, cutting off their anxiety. “I will not hear of it. My gratitude must be delivered, I command it be so!”

Things happen very fast then, the king being whisked away by an entourage overeager to get him away from the stunned vampire on the floor, Gregory blinking after him in sheer bewilderment.

He is, mostly, ignored by the household then. They have bigger problems and he’s not actively menacing anyone, so they push him down the priority list so that it’s perhaps an hour before Harold seems to remember that he’s there.

“You lot, over here,” he calls to an unoccupied group loitering by the big double doors. He gestures, demonstratively. “South tower, you know the room. Escort him there.”

Gregory’s cognition is still held carefully immobile, so it’s a jolt to his nerves when he’s hauled up by one elbow, a sourfaced soldier landing him on his feet. Mouth twisting, he jerks his arm out of the man’s grip and the sight of the group he’s been saddled with makes his lip curl further.

Meyer’s gang, all watching him with varying levels of distaste.

His eyes narrow but his input is clearly not needed here, as he’s prodded none too gently in the small of the back, and the group falls into lockstep around him, herding him out of the arched hall.

“What did you see?” he hears whispered behind him, one thug to another, and then hears the thump of a “Don’t talk about it, stupid,” reprimand.

Meyer glances back over his shoulder as they walk. “Bet you think you’re hot shit now, huh old monster.”

Gregory’s hackles raise, prickly with stress and the indirect afternoon sunlight making the corridor glow. “And what’s that supposed to mean.”

“Barging in like that, saving the day? What do you think you’re playing at, like anyone wanted you involved.”

“I didn’t ask for this,” Gregory hisses, still-bloodied hands flexing into claws at his sides. “I was lured! And it’s not like you were doing any good.”

That makes Meyer round on him, stopping the escort team short. “You wretch,” he growls, “you don’t know a damn thing about this, it could have been us what got nobility realized.”

He sneers, then. “Did you even hear what that fool king said? Love in his eyes? Hah!” He looms, pushing Gregory back into the wall of his gang and looking contemptuous. “You’re not capable of—”

“Meyer!”

His head whips around, expression schooling sluggishly; Harold gives him a cowing look, long strides eating up the carpeted floor between them. “I thought I gave you an order.”

Meyer scowls, just barely avoiding tucking his hands behind his back like a schoolboy. “Was just poking fun, we was gonna get him there.”

The look Harold gives him is that of patience wearing thin. He jerks his thumb over his shoulder. “Make yourselves useful and line the windows with nails, Agatha’s got the bucket.”

Meyer’s pack grumbles, it’s busywork and they know it, but none of them have the guts to argue. Belatedly, Gregory wonders what Meyer himself saw in the mist.

Harold watches them slink off back down the hall, then turns to Gregory with a look that brokes no argument. “Come.”

He does, silently, through parts of the castle he’d never seen before. Up three stairways, past portraits of ancestors long dead, skirting around the light of the dying day shining through those big, colored glass windows while Harold strides right through it.

At last they come to the second-to-top floor of a tower, after so many turns and spiral stairs that Gregory’s lost all sense of direction. There’s just one door up here, and Harold unlocks it with little preamble.

“Our lady says this is to be yours, now.” He pushes the door open to reveal a room the dimensions of his cell ten times over, with carpets and curtains and a corner of a bed piled high with linens visible from the hallway.

A room. An actual room, for people, almost as far from the cellar as it’s possible to be in this castle. Gregory’s disbelief must show on his face, because Harold sighs.

“You understand, I’m sure, the difficult position we are in now.”

Gregory nods, hesitating to speak. One does not put dogs up in a noble’s bed. Certainly not a half-feral hound with a biting habit.

“This is… mine?” he says after a moment. “Truly?”

Harold’s face remains outwardly impassive. “If the Lady Margaret orders it so, yes.”

Gregory’s eyes narrow. This has to be a trick, a sadistic play. They’re pulling him out of the dungeons for this? On the whim of one measly king?

Harold continues, “I’ll admit, it seemed lunacy. But our Majesty insists it be done, he’s convinced of your good character.”

That makes Gregory laugh, incredulously. He’s under no illusions, at least, as to the state of what could perhaps jokingly be called his character.

Gingerly, he steps over the threshold. Nothing burns, nothing stings, and he takes another step. “In all honesty, I’d much rather be up here than down there.”

Harold rubs the back of his head, a gesture of embarrassed acknowledgement. “That I know. And I can in truth promise you nothing, not before our lady has convinced the rest of the family heads.” That means her husband, and maybe an advisor or two.

“What is your opinion, then?”

“I will not say.”

A moment of irritation; then, “These curtains can be thickened, yes?”

Harold grunts an affirmative, face betraying nothing more than a slight twitch at the question. Something that could be any number of emotions.

Harold leaves, then, locking the door behind him. And Gregory is now alone, in a room that is still too bright for his liking, even with the shades drawn, and more luxurious than anything he’s been inside for at least a hundred years.

His first instinct is to wallow in it. To strip all the pretty things off the walls and floor, out of that elaborately carved wardrobe, pile them all on the bed and go to sleep inside the heap like some sort of demented miniature dragon.

Instead he walks around the perimeter of the room, avoiding the slivers of sunlight around the curtains, and examines everything.

The walls are decorated with fine tapestries, one or two with metallic thread, signifying their value. The subjects he can identify easily; biblical scenes, most of them depicting the same event. [symbolism/foreshadowing wahey, find a good scene to tie in here, and comment on the changing fashions for such things] Underneath them is bare stone; the tapestries serve as insulation as well as decoration.

Opposite from the bed stands a wide fireplace, empty of wood and ashes; this room has not been used in a long while. He supposes firewood will be brought eventually, but probably not until the conflict over his living situation that is currently gripping the rest of the house has played itself out.

More evidence as to the room’s disuse makes itself known in the ornate wardrobe; it is empty, though not horribly dusty. Perhaps he will one day have a collection of noble clothes to fill it with. The thought almost makes him laugh.

The wardrobe is well made, however, and obviously cared for. He runs a hand over the curls carved into its crown, admiring it. The wood is a rich, dark color, lacquered, and it wouldn’t take much work to get it gleaming.

The floors, though. They are stone like the walls, and like the walls are covered in luxurious fabrics, rugs instead of tapestries. A similar concept, executed slightly differently for the sake of function. No one would dare allow the tapestries now on the walls to be walked on.

The rugs are Turkish.

He’s seen that pattern before.

(But the Moor was Tunisian, wasn’t he, not Turkish, so their country of origin shouldn’t make much of a difference to him. Shouldn’t make his mouth taste bitter, shouldn’t make his head hurt with the effort of refusing to look at the memories it brings up.)

But it’s easy enough to ignore them as his eye is drawn to what is arguably the centerpiece of the room, that great, grand, curtained four-poster bed.

He’s almost afraid to touch it. Contents himself, for the time being, with running a hand along its outermost covering, and even that sends a delicious shiver down his hindbrain. There’s honest-to-God velvet here, on top of layers and layers of feathers and linens. He aches to strip down and crawl underneath all those blankets and quilts and pass out for a day or six.

Before he can take the thought further the door to the room opens.

He is startled to find the lady of the house looking him up and down, appraising. Jerks his hand away from the covers almost guiltily.

She says, quite bluntly, “Tell me your position on this whole business.” Not a request. He tries not to swallow.

“Begging my lady’s pardon, I would rather not be in a cage.”

She gives a small hm. “And our adversary, today? What of that?” The word she uses, adversary, has biblical connotations; she knows that he knows it. “I am sure you did not save the king on purpose. It doesn’t seem like the sort of thing you’d do.”

He elects, on his better judgement, not to take offense to that. “My lady is too observant.” His face stiffens slightly, feigned expressionlessness. “What I saw was not what was there. The rest of the household experienced similar things, I am sure. I acted on… false visions.”

Another soft, thoughtful hum. “I see.”

Then, “You understand, we cannot be careless. You yourself have ensured that.”

He suppresses a bristle, aware of his disadvantage right now. One on one, he’s not sure he could beat her. Not during the day, certainly. “Begging my lady’s pardon, but the feeling is mutual.”

She gives an odd little tilted nod, not appearing to disagree. “Consider this a probationary period then. Cooperation and compliance in exchange for… privileges, shall we say.” She brings her gloved fingers to her lips in a thoughtful gesture, looking around the room. “I confess I had been considering something of the sort for a time now. More flies with honey than vinegar. Perhaps one day we might do away with the unpleasantness of chains and muzzles. I have not noticed favorable results out of either.”

He blinks, slightly stunned. “…has it been decided, then? Properly?”

Her gaze returns to him, its intensity banked by contemplation. “Hm? No, not quite yet. But it will be.”

She leaves him bewildered, intimidated, and thoroughly sick of court politics. Even if it is through them that he’s landed in a room like this, he dislikes them.

It’s still light out, afternoon sliding sonorously into evening — one of those long, lingering summer twilights, thick with flying insects and the noise of the world keeping itself going, one amorous cricket at a time. The light out the window still makes him squint, when he peeks out between the curtains. It’s a long way to the ground, from here.

He should stay awake; it doesn’t feel safe to let his guard down in this place. And it will be night soon, besides.

But that bed…

Well, a nap can’t hurt.

#my writing #gregory #pls give me attention

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hearts401 · 12 days ago

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READ THE VANISHING OF GREGORY COOPER!!

Has anyone done an AU where Gregory has a twin? I think it would be a neat little idea.

I think there at least like one au where Cassie and Gregory are twins out there somewhere

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chipistrate · 1 year ago

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Foreshadowing is a literary device that-

I love this Gregory design soso much he's so adorable I had to draw him,,,,, also I love this line so much- the entire interaction was just They Don't Know

Also I couldn't decide on the lighting 4 this piece so there's a few alts under the cut

Design belongs to @puhpandas for his fic 'The Vanishing of Gregory Cooper'! go read it if you can! It's really good and has Gregory/Cassie twin dynamic which is always based<3

I was just messing with colors tbh

#my art #chipillustrates #fnaf #fnaf Gregory #Gregory Cooper #tvogc #the vanishing of gregory cooper #fnaf fanart #fnaf AU #five nights at freddy's #five nights at freddy's au #five nights at freddy's fanart #five nights at freddy's Gregory

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puhpandas · 1 year ago

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req from instagram that was ‘cassie and gregory talking in the hospital from your the vanishing of gregory cooper fic’

#they knew i was thinking about them today somehow #cassie has straight hair bc tvogc was written before ruin #hence why they’re twins #so all i changed about her initial design is her and gregory’s skin color #the vanishing of gregory cooper #drawing tag #my fics #gregory and cassie #superstar duo #cassie cooper #gregory cooper #tvogc #the coopers #gregory and cassie cooper

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dweemeister · 7 years ago

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2017 Movie Odyssey Awards

For all my followers out there, I have two final posts left for this year’s Movie Odyssey. This is the penultimate one and the second-most important of all: the awards ceremony. Based on 230+ feature- and short-films that I saw this year for the first time in their entirety, here is an Oscar-like ceremony celebrating twenty-six categories of filmmaking completed over a hundred years. The ten best motion pictures of the year that I saw this year lead us off.

Thanks again for everyone’s support. A Happy New Year to you and your loved ones, and the full list for the 2017 Movie Odyssey will be out at around 8 PM Pacific!

Best Pictures (I'm naming ten, I'm not distinguishing one above the other nine)

A Brighter Summer Day (1991, Taiwan)

Captain Blood (1935)

Friendly Persuasion (1956)

In the Mood for Love (2000, Hong Kong)

The Lady Vanishes (1938)

Lonely Are the Brave (1962)

A Man There Was (1917, Sweden)

Sweet Smell of Success (1957)

Tokyo Twilight (1957, Japan)

A Touch of Zen (1971, Taiwan)

In the Mood for Love, The Lady Vanishes, Sweet Smell of Success, Tokyo Twilight, and A Touch of Zen received 10/10 ratings. All others received 9.5/10.

Best Comedy

Blackbeard’s Ghost (1968)

Destry Rides Again (1939)

Dr. Jack (1922)

The Great Muppet Caper (1981)

Kung Fu Hustle (2004, Hong Kong/China)

Mr. & Mrs. ’55 (1955, India)

Much Ado About Nothing (1993)

Porco Rosso (1992, Japan)

The Sandlot (1993)

Yoyo (1965, France)

Hey, I’m just looking for the movie that made me laugh the most here.

Best Musical

Coco (2017)

Funny Face (1957)

The Great Muppet Caper

It’s Always Fair Weather (1955)

Kid Galahad (1962)

Mr. & Mrs. ‘55

Nashville (1975)

Pink Floyd – The Wall (1982)

Take Me Out to the Ball Game (1949)

You Were Never Lovelier (1942)

It’s not a fully original musical, but it contains some of the best arrangement of George and Ira Gershwin music you could find. You Were Never Lovelier and Mr. & Mrs. ‘55 and It’s Always Fair Weather also threatened here.

Best Animated Feature

The Breadwinner (2017)

Castle in the Sky (1986, Japan)

Fantastic Planet (1973, France/Czechoslovakia)

My Life as a Zucchini (2016, Switzerland)

My Neighbor Totoro (1988, Japan)

Ponyo (2008, Japan)

Porco Rosso

The Red Turtle (2016, France/Belgium/Japan)

Your Name (2016, Japan)

A much stronger year for animation this year than the previous Movie Odyssey. Fantastic competition, with what I think is a great winner.

Best Documentary

Don’t Look Back (1967)

The Horse with the Flying Tale (1960)

Jungle Cat (1959)

Life, Animated (2016)

Monterey Pop (1968)

The Statue of Liberty (1985)

Swim Team (2016)

The Tattooed Police Horse (1964)

Tyrus (2015)

Best Non-English Language Film

Aguirre, the Wrath of God (1972), West Germany

A Brighter Summer Day, Taiwan

Charulata (1964), India

In the Mood for Love, Hong Kong

My Life as a Zucchini, Switzerland

My Neighbor Totoro, Japan

The Salesman (2016), Iran

Sound of the Mountain (1954), Japan

Tokyo Twilight, Japan

A Touch of Zen, Taiwan

Best Silent Film

Camille (1921)

Dr. Jack

Ducks and Drakes (1921)

The Last of the Mohicans (1920)

A Man There Was

Now or Never (1921 short)

Sparrows (1926)

Strike (1925, Soviet Union)

Tokyo Chorus (1931, Japan)

West of Zanzibar (1928)

Personal Favorite Film

Akeelah and the Bee (2006)

Coco

Destry Rides Again

The Goonies (1985)

The Great Muppet Caper

Lady Bird (2017)

The Lady Vanishes

Lonely Are the Brave

My Life as a Zucchini

Pollyanna (1960)

It might be one of the best neo-Westerns I have ever seen. Kirk Douglas said it was his personal favorite movie, and it’s obvious and you can see why.

Best Director

Michael Curtiz, Captain Blood

Stanley Donen, Funny Face

Alfred Hitchcock, The Lady Vanishes

King Hu, A Touch of Zen

Rex Ingram, The Four Horsemen of the Apocalypse

Alexander Mackendrick, Sweet Smell of Success

Jean Renoir, The Southerner (1945)

Victor Sjöström, A Man There Was

Wong Kar-wai, In the Mood for Love

Edward Yang, A Brighter Summer Day

Holy hell this is a strong field. I desperately wanted to find an excuse to put in Greta Gerwig as Best Director for Lady Bird, but I never found it. Congrats to Hitchcock, for may be the best-directed work I’ve seen from him.

Best Acting Ensemble

A Brighter Summer Day

Caged (1950)

Fences (2016)

Friendly Persuasion

Pollyanna

Road to Perdition (2002)

Sense and Sensibility (1995)

Sound of the Mountain

Sweet Smell of Success

Tokyo Twilight

Now, none of the actors from Fences are going to win an individual award as you seen down below. But together, they were outstanding and surpassed all comers this year.

Best Actor

Gary Cooper, Friendly Persuasion

Tony Curtis, Sweet Smell of Success

Kirk Douglas, Lonely Are the Brave

Charles Laughton, Island of Lost Souls (1932)

Gregory Peck, Twelve O’Clock High (1949)

Edward G. Robinson, Scarlet Street (1945)

Andy Serkis, War for the Planet of the Apes (2017)

Victor Sjöström, A Man There Was

Denzel Washington, Fences

Robin Williams, What Dreams May Come (1998)

I’ve already commented how brilliant Douglas is here. Also in prime contention were Robinson, Serkis, and, yes, Robin Williams.

Best Actress

Ineko Arima, Tokyo Twilight

Leslie Caron, Lili (1953)

Maggie Cheung, In the Mood for Love

Viola Davis, Fences

Olivia de Havilland, Captain Blood

Chôko Iida, Record of a Tenement Gentleman (1947, Japan)

Dorothy McGuire, Friendly Persuasion

Madhabi Mukherjee, Charulata

Eleanor Parker, Caged

Mary Pickford, Sparrows

As a lonely wife, Mukherjee does so much with so little dialogue. You almost wonder if she could have excelled in silent film, too. Cheung, de Havilland, and Iida were also considered the strongest contenders here.

Best Supporting Actor

Dan Duryea, Scarlet Street

Henry Gibson, Nashville

Stephen Henderson, Fences

Burt Lancaster, Sweet Smell of Success

Paul Newman, Road to Perdition

Anthony Perkins, Friendly Persuasion

Alan Rickman, Sense and Sensibility

Patrick Stewart, Logan (2017)

Gustav von Seyffertitz, Sparrows

Mykelti Williamson, Fences

Supporting categories love a villain. And as the immoral columnist J.J. Hunsecker, Burt Lancaster commands Sweet Smell of Success whenever he is on screen. A terrific performance.

Best Supporting Actress

Ronee Blakley, Nashville

Hope Emerson, Caged

Elsa Lanchester, The Big Clock (1948)

Charlotte Mineau, Sparrows

Agnes Moorehead, Caged

Kay Thompson, Funny Face

Lily Tomlin, Nashville

Michelle Williams, Manchester by the Sea (2016)

May Whitty, The Lady Vanishes

Kate Winslet, Sense and Sensibility

I’m usually not kind to comedic performances, but I have to give it to Kay Thompson here. She was ebullient and heavens-to-goodness hilarious in Funny Face. A great singing voice, too.

Best Adapted Screenplay

James Bernard, Roy Boulting, Paul Dehn, and Frank Harvey, Seven Days to Noon (1950)

Kenneth Branagh, Much Ado About Nothing

Sidney Gilliat and Frank Launder, The Lady Vanishes

Yasunari Kawabata and Yôko Mizuki, Sound of the Mountain

Al Morgan and José Ferrer, The Great Man (1956)

Clifford Odets and Ernest Lehman, Sweet Smell of Success

Satyajit Ray, Charulata

Bernard C. Schoenfeld and Virginia Kellogg, Caged

Céline Sciamma, Claude Barras, Germano Zullo, and Morgan Navarro, My Life as a Zucchini

Michael Wilson, Friendly Persuasion

Best Original Screenplay

Sean Baker and Chris Bergoch, The Florida Project (2017)

Guillermo del Toro and Vanessa Taylor, The Shape of Water (2017)

Asghar Farhadi, The Salesman

Greta Gerwig, Lady Bird

Tadao Ikeda and Yasujirô Ozu, Record of a Tenement Gentleman

Frances Marion, Joe Farnham, and Martin Flavin, The Big House (1930)

Yasujirô Ozu and Kôgo Noda, Tokyo Twilight

William A. Wellman, Robert Carson, Dorothy Parker, and Alan Campbell, A Star Is Born (1937)

Wong Kar-wai, In the Mood for Love

Edward Yang, Hung Hung, Alex Yang, and Mingtang Lai, A Brighter Summer Day

Best Cinematography

Hoyte van Hoytema, Dunkirk (2017)

William H. Daniels, The Far Country (1954)

John F. Seitz, The Four Horsemen of the Apocalypse

Ray June, Funny Face

Christopher Doyle and Mark Lee Ping Bin, In the Mood for Love

Karl Struss, Island of Lost Souls

Julius Jaenzon, A Man There Was

Conrad Hall, Road to Perdition

James Wong Howe, Sweet Smell of Success

Hua Hui-ying, A Touch of Zen

Best Film Editing

Lee Smith, Dunkirk

Frank Bracht, Funny Face

Norman R. Palmer, The Incredible Journey (1963)

William Chang, In the Mood for Love

R.E. Dearing, The Lady Vanishes

Gene Havlick and Gene Milford, Lost Horizon (1937)

Ray Boulting and John Boulting, Seven Days to Noon

King Hu and Wing Chin-chen, A Touch of Zen

Tom Held, San Francisco (1936)

Henri Lanoë, Yoyo

Best Adaptation or Musical Score

Richard Baskin, Nashville

Adolph Deutsch, Funny Face

Adolph Deutsch, Take Me Out to the Ball Game

Bob Dylan, Pat Garrett and Billy the Kid (1973)

Leigh Harline, You Were Never Lovelier

O.P. Nayyar, Mr. & Mrs. ‘55

Alfred Newman and Lionel Newman, There’s No Business Like Show Business

André Previn, It’s Always Fair Weather

Joe Raposo, The Great Muppet Caper

Richard M. Sherman, Robert B. Sherman, and Buddy Baker, Summer Magic (1963)

This comes to the strength of the entire adaptation or musical score, not just the best songs. As a whole, I felt like It’s Always Fair Weather had the most going for it compared to the other seen here. I didn’t care for Baskin’s or Dylan’s work outside of a single song from each. Funny Face, Mr. & Mrs. ‘55, and There’s No Business Like Show Business were next in line.

Best Original Score

David Arnold, Independence Day (1996)

Elmer Bernstein, Sweet Smell of Success

Alexandre Desplat, Valerian and the City of a Thousand Planets (2017)

Patrick Doyle, Sense and Sensibility

Jerry Goldsmith, MacArthur (1977)

Joe Hisaishi, Castle in the Sky

Erich Wolfgang Korngold, Captain Blood

Thomas Newman, Road to Perdition

Dimitri Tiomkin, Friendly Persuasion

John Williams, Star Wars: The Last Jedi (2017)

Tiomkin has never won yet, but now one of my favorite movie composers has finally triumphed in this category with a gorgeous, lush score that swats away close competition from Independence Day, Castle in the Sky, and Captain Blood.

Best Original Song

“Blue Gardenia”, music and lyrics by Bob Russell and Lester Lee, arranged by Nelson Riddle, The Blue Gardenia (1953)

“Bonjour, Paris!”, music and lyrics by Roger Edens and Leonard Gershe, Funny Face

“I Like Myself”, music by André Previn, lyrics by Betty Comden and Adolph Green, It’s Always Fair Weather

“I’m Easy”, music and lyrics by Keith Carradine, Nashville

“Knockin’ on Heaven’s Door”, music and lyrics by Bob Dylan, Pat Garrett and Billy the Kid

“My Neighbor Totoro”, music by Joe Hisaishi, lyrics by Hayao Miyazaki, My Neighbor Totoro

“No Wrong Way Home”, music by Alexis Harte and J.J. Weisler, lyrics by Alexis Harte, Pearl (2016 short film)

“Remember Me (Recuérdame)”, music and lyrics by Robert Lopez and Kristen Anderson-Lopez, Coco

“San Francisco (Be Sure to Wear Flowers in Your Hair)”, music and lyrics by John Phillips, Monterey Pop

“Zenzenzense”, music and lyrics by Yôjirô Noda, Your Name

Thanks again to all those who participated!

Best Costume Design

Milo Anderson, Captain Blood

Edith Head and Hubert de Givenchy, Funny Face

Dorothy Jeakins, My Cousin Rachel (1952)

Walter Plunkett, Pollyanna

Adrian, San Francisco

Jenny Beavan and John Bright, Sense and Sensibility

Leo Bei, Gerdago, and Franz Szivats, Sissi (1955, Austria)

Leo Bei, Gerdago, and Franz Szivats, Sissi: The Young Empress (1956, Austria)

Charles LeMaire, Travilla, and Miles White, There’s No Business Like Show Business

Li Chia-Chih, A Touch of Zen

Best Makeup and Hairstyling

Roy Ashton and Frieda Steiger, Brides of Dracula (1960)

Tom Savini, Taso N. Stavrakis, Katharine Vickers, and Cecilia Verardi, Friday the 13th (1980)

Charles Gemora and Wally Westmore, Island of Lost Souls

Sarah Craig and Stephanie Ingram, It (2017)

Uncredited, Jigoku (1960, Japan)

Jordan Samuel and Paula Fleet, The Shape of Water

Fritz Jelinek, Jupp Paschke, and Heinz Stamm, Sissi

Uncredited, The Southerner

Uncredited, Sparrows

Thi Thanh Tu Nguyen and Félix Puget, Valerian and the City of a Thousand Planets

Best Production Design

Anton Grot, Captain Blood

Joseph Calder and Amos Myers, The Four Horsemen of the Apocalypse

J. Michael Riva and Rick Carter, The Goonies

Stephen Goosson and Babs Johnstone, Lost Horizon

Carroll Clark, Robert Clatworthy, Emile Kuri, and Fred M. MacLean, Pollyanna

Cedric Gibbons, San Francisco

Fritz Jüptner-Jonstorff, Sissi: Fateful Years of an Empress (1957, Austria)

Fritz Jüptner-Jonstorff, Sissi: The Young Empress

Chen Shang-Lin, A Touch of Zen

Eugenio Zanetti and Cindy Carr, What Dreams May Come

Achievement in Visual Effects (all films nominated here are winners because it’s unfair to have a 1930s film with groundbreaking visual effects compete with a 2010s film)

Captain Blood

Dawn of the Planet of the Apes

Dunkirk

Independence Day

Kong: Skull Island (2017)

Lost Horizon

San Francisco

Star Wars: The Last Jedi

Tom Thumb (1958)

Tremors (1990)

Valerian and the City of a Thousand Planets

War for the Planet of the Apes

What Dreams May Come

Worst Picture

Ben (1972)

Beyond the Poseidon Adventure (1979)

Dr. Goldfoot and the Bikini Machine (1965)

Friday the 13th

The Happening (2008)

Independence Day: Resurgence (2016)

Olaf’s Frozen Adventure (2017 short)

Return of the Fly (1959)

Willard (1971)

The X from Outer Space (1967, Japan)

OH GOD WHY

HONORARY AWARDS

Five Came Back (TV series), for illustrating the history of WWII experiences through the prism of Hollywood

Loving Vincent (2017), for giving new meaning to the phrase “every frame a painting” – an international artistic triumph

National Film Board of Canada (NFB), for decades of delights and invention in its animated short films

June Foray (posthumously), for a long, accomplished career that made her one of the greatest voice actresses in film history

Pearl, for innovative use of virtual reality in animated filmmaking

Robert Osborne (posthumously), for many years of introducing classic movies on TCM – a calming, erudite presence to his fans and a hero to this blogger

Jack Shaheen (posthumously), for his tireless research spotlighting and critiquing portrayals of Arabs and Muslims in cinema

Tyrus Wong (posthumously), for his impactful artistry long overlooked – one of the greatest artists that ever worked in Hollywood

FILMS WITH MULTIPLE NOMINATIONS (61... excluding Worst Picture) Eight: Funny Face; Sweet Smell of Success

Seven: Captain Blood; Friendly Persuasion; In the Mood for Love

Six: The Lady Vanishes; Nashville

Five: A Brighter Summer Day; Fences; A Man There Was; Sense and Sensibility; Sparrows; Tokyo Twilight; A Touch of Zen

Four: Caged; The Four Horsemen of the Apocalypse; The Great Muppet Caper; Lonely Are the Brave; My Life as a Zucchini; Pollyanna; Road to Perdition; San Francisco

Three: Charulata; Coco; Dunkirk; Independence Day; Island of Lost Souls; It’s Always Fair Weather; Lost Horizon; Mr. & Mrs. ‘55; My Life as a Zucchini; My Neighbor Totoro; Sound of the Mountain; There’s No Business Like Show Business; Valerian and the City of a Thousand Planets; What Dreams May Come

Two: Aguirre, the Wrath of God; The Big House; Castle in the Sky; Destry Rides Again; Dr. Jack; The Goonies; Lady Bird; Monterey Pop; Much Ado About Nothing; Pat Garrett and Billy the Kid; Porco Rosso; Record of a Tenement Gentleman; The Salesman; Scarlet Street; Seven Days to Noon; The Shape of Water; Sissi; Sissi: The Young Empress; Sound of the Mountain; The Southerner; Star Wars: The Last Jedi; Take Me Out to the Ball Game; War for the Planet of the Apes; You Were Never Lovelier; Your Name; Yoyo

WINNERS (excluding honorary awards and Worst Picture... 31) 3 wins: In the Mood for Love; Lonely Are the Brave; Sweet Smell of Success 2 wins: Captain Blood; Dunkirk; Friendly Persuasion; Funny Face; The Lady Vanishes; A Man There Was; Valerian and the City of a Thousand Planets; What Dreams May Come 1 win: Blackbeard’s Ghost; A Brighter Summer Day; Charulata; Coco; Dawn of the Planet of the Apes; Fences; Independence Day; It’s Always Fair Weather; Kong: Skull Island; Lost Horizon; Monterey Pop; The Red Turtle; Road to Perdition; San Francisco; Sissi; Star Wars: The Last Jedi; Tokyo Twilight; Tom Thumb; Tremors; War for the Planet of the Apes

111 films were nominated in 26 categories.

#My Movie Odyssey

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hearts401 · 10 months ago

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HEARTS4GGY. DO YOU HAVE ANY FNAF FIC RECOMMENDATIONS <33333333

UUUUUUUUUUUH I DONT. I DONT READ A TON OF FICS BUT I KNOW SOME GOOD ONES (Heed the warnings on these tho some of em r heavy and also a lot of these r unfinished)

Asclepius. A henry-centric time travel fic with really fun henry characterization and afton sibling drama

Any of percy's fics honestly but my personal favorite is the time travelers bear if u havent read it already. gregory centric time travel fic with flashlight duo and awesome characterization. The Vanishing of Gregory Cooper is awesome as well

I have two mike time travel fics too! Encore and Dissatisfaction brought it back both r so so so fun

Inside the heart is smth youve probably already read bc its by V but I'm putting it here anyways because I love it. the cassidy characterization especially is my favorite

The moon will sing by dykevanny is peak as well <333 wererabbit vanny au with really silly characterization (also haz's other fics r fun too!! esp teh ones w will and ness)

If you haven't read Aftermath yet then I cannot reccomend it enough. I still have to read the sequel but waugh this was so fun to read!

Springlocked butterflies is short but sweet its about springtrap and vanessa and its fun <333 (and completely platonic in case ur worried)

This is just a concept and not a full fledged out fic but its fun! It's called Mirror Game and it's flashlight duo centric with fun michael characterization as well!

Escaping Tragedy is another one! It's got a few tropes I'm not a huge fan of (It's the only good brother Michael fic I read at all, and I tolerate the charlie/michael) but the william vs michael rivalry is fucking peak

I think that's most of my big favs, I hope I included enough tropes (You can tell Michael's my favorite because so many of these r michael centric lmao but its rlly hard to find ones i like)

#tzu rambles #tzu asks #fic recs

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janeaddamspeace · 7 years ago

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Addams Author Eloise Greenfied is 2018 Coretta Scott King-Virginia Hamilton Award #JACBA Newsletter 23Feb2018

The Coretta Scott King Book Awards

Eloise Greenfield is the recipient of the 2018 Coretta Scott King-Virginia Hamilton Award for Lifetime Achievement.

"Eloise Greenfield is a trailblazer whose extraordinary books of poetry and prose have influenced many and continue to resonate with children today. Her rich body of work inspires and enriches readers," said Award Committee Chair Deborah D. Taylor.

Paul Robeson by Eloise Greenfield 1976 Awardee

UC San Diego exhibition features work by 7 leading international women

The seven artists - Eleanor Antin, Barbara Kruger, Faith Ringgold, Martha Rosler, Miriam ... Substantiate Our Horror" (1985), Faith Ringgold's hand-stenciled quilt "Seven Passages to a Flight"...

Presented together for the first time, seven internationally recognized artists are featured in the UC San Diego exhibition "Stories That We Tell: Art and Identity," celebrating those who paved the way for greater inclusion by inventing new means to address issues of race and gender.

The seven artists - Eleanor Antin, Barbara Kruger, Faith Ringgold, Martha Rosler, Miriam Schapiro, Lorna Simpson and Carrie Mae Weems - have all been honored with major exhibitions at leading museums, recognized with prestigious awards and are all representative of the university's Department of Visual Arts.

"Faith Ringgold: An American Artist" to open at the Crocker Art Museum

"In the exhibition Faith Ringgold: An American Artist, there is warmth, charm, and straightforward honesty in Ringgold's art," said Crocker Art Museum Associate Curator Kristina Gilmore. "It draws us in and disarms us, then often reveals powerful messages. Through her work, she speaks truths that are sometimes haunting and painful, but often joyful and heartwarming. It's quite inspirational."

Aunt Harriet's Underground Railroad in the Sky by Faith Ringgold 1993 Awardee

Exploring the Black Experience through the Art

"Create Dangerously - In this deeply personal book, the celebrated Haitian-American writer Edwidge Danticat reflects on art and exile, examining what it means to be an immigrant artist from a…

In this deeply personal book, the celebrated Haitian-American writer Edwidge Danticat reflects on art and exile, examining what it means to be an immigrant artist from a country in crisis. Inspired by Albert Camus' lecture, "Create Dangerously," and combining memoir and essay, Danticat tells the stories of artists, including herself, who create despite, or because of, the horrors that drove them from their homelands and that continue to haunt them. Danticat also suggests that the aftermaths of natural disasters in Haiti and the United States reveal that the countries are not as different as many Americans might like to believe.

Create Dangerously is an eloquent and moving expression of Danticat's belief that immigrant artists are obliged to bear witness when their countries of origin are suffering from violence, oppression, poverty, and tragedy.

Mama's Nightingale: A Story of Immigration and Separation written by Edwidge Danticat, illustrated by Leslie Staub 2016 Awardee

African-American history for young readers

Children's books on African-American history, they both said, are increasingly becoming part of mainstream curriculums.

"Just look at the American classrooms today," Andrea explained. "The majority have children of all kinds of races, nationalities and backgrounds. I think teachers and educators are realizing they have to serve these kids. These are the thought leaders, the teachers, the librarians, the illustrators, the writers and the decision makers of tomorrow."

Sit-In: How Four Friends Stood Up by Sitting Down by Andrea Davis Pinkney, illustrated by Brian Pinkney 2011 Awardee

Sojourner Truth's Step-Stomp Stride, by Andrea Davis Pinkney & Brian Pinkney 2010 Awardee

Top 10 Diverse Nonfiction for Older and Middle Readers

"Danza! Amalia Hernandez and Ballet Folklorico de Mexico. By Duncan Tonatiuh. Illus. by the author. 2017. Abrams, (9781419725326). Gr. 2–4. The life and work of dancer and choreographer Amalia Hernandez...

Separate is Never Equal: Sylvia Mendez and her family's fight for desegregation, written and illustrated by Duncan Tonatiuh 2015 Awardee

Black Power: 17 Children's Books on Black Activists, Innovators, and...

Schomburg, The Man Who Built a Library by Carole Boston Weatherford, illustrated by Eric Velasquez. Where is our historian to give us our side? Arturo asked.

The Legendary Miss Lena Horne by Carole Boston Weatherford, illustrated by Elizabeth Zunon: Celebrate the life of Lena Horne, the pioneering African American actress and civil rights activist.

Radiant Child, The Story of Young Artist Jean-Michel Basquiat by Javaka Steptoe: Jean-Michel Basquiat and his unique, collage-style paintings rocketed to fame in the 1980s as a cultural phenomenon unlike anything the art world had ever seen.

The Book Itch: Freedom, Truth & Harlem's Greatest Bookstore by Vaunda Micheaux Nelson, illustrated by R. Gregory Christie: In the 1930s, Lewis's dad, Lewis Michaux Sr., started a bookstore in Harlem and named it the National Memorial African Bookstore.

Gordon Parks: How the Photographer Captured Black and White America by Carole Boston Weatherford, illustrated by Jamey Christoph: His white teacher tells her all-Black class, You'll all wind up porters and waiters. What did she know? Gordon Parks is most famous for being the first Black director in Hollywood.

Frederick Douglass, The Lion Who Wrote History by Walter Dean Myers, illustrated by Floyd Cooper: Frederick Douglass was a self-educated slave in the South who grew up to become an icon.

Sugar Hill, Harlem's Historic Neighborhood by Carole Boston Weatherford, illustrated by R. Gregory Christie: Take a walk through Harlem's Sugar Hill and meet all the amazing people who made this neighborhood legendary. Includes brief biographies of jazz greats Duke Ellington, Count Basie, Sonny Rollins, and Miles Davis; artists Aaron Douglas and Faith Ringgold; entertainers Lena Horne and the Nicholas Brothers; writer Zora Neale Hurston; civil rights leader W. E. B. DuBois and lawyer Thurgood Marshall.

Coretta Scott by Ntozake Shange, illustrated by Kadir Nelson: Walking many miles to school in the dusty road, young Coretta Scott knew the unfairness of life in the segregated south.

Birmingham, 1963 by Carole Boston Weatherford 2008 Awardee

New Shoes by Susan Lynn Meyer, illustrated by Eric Velasquez 2016 Awardee

Hot Day on Abbott Avenue by Karen English, with collage art of Javaka Steptoe 2005 Awardee

Now Is Your Time! The African-American Struggle for Freedom by Walter Dean Myers 1992 Awardee

Patrol: An American Soldier in Vietnam by Walter Dean Myers 2003 Awardee

Ruth and the Green Book by Calvin Alexander Ramsey with Gwen Strauss and illustrated by Floyd Cooper 2011 Awardee

Heart and Soul: The Story of America and African Americans written and illustrated by Kadir Nelson 2012 Awardee

The Village That Vanished written by Ann Grifalconi and illustrated by Kadir Nelson 2003 Awardee

The Book Itch: Freedom, Truth & Harlem's Greatest Bookstore by Vaunda Micheaux Nelson, illustrated by R. Gregory Christie 2016 Awardee

Books help build strong girls

"I Dissent: Ruth Bader Ginsberg Makes Her Mark" by Debbie Levy. (Ages 4-8) This biographical picture book about the notorious Supreme Court justice, tells her story through her famous dissents, or disagreements.

"The Firefly Letters: A Suffragette's Journey to Cuba" by Margarita Engle. The award-winning poet paints a portrait of early women's rights pioneer Fredrika Bremer and the journey that transformed her life.

I Dissent: Ruth Bader Ginsburg Makes Her Mark, written by Debbie Levy, illustrated by Elizabeth Baddeley, 2017 Awardee

Silver People: Voices from the Panama Canal by Margarita Engle 2015 Awardee

The Surrender Tree: Poems of Cuba's Struggle for Freedom by Margarita Engle 2009 Awardee

9 Children's Books to Raise Awareness of Civil Rights

The Youngest Marcher: The Story of Audrey Faye Hendricks, A Young Civil Rights Activist by Cynthia Levinson

We Shall Overcome: The Story of a Song by Debbie Levy

Martin's Big Words: The Life of Dr. Martin Luther King, Jr. by Doreen Rappaport

Through My Eyes by Ruby Bridges

Brown Girl Dreaming by Jacqueline Woodson

...

We've Got a Job: The 1963 Birmingham Children's March by Cynthia Levinson 2013 Awardee

Martin's Big Words: The Life of Dr. Martin Luther King, Jr. written by Doreen Rappaport with artwork by Bryan Collier 2002 Awardee

Trouble at the Mines by Doreen Rappaport 1988 Awardee

Through My Eyes by Ruby Bridges 2000 Awardee

Each Kindness written by Jacqueline Woodson, illustrated by E.B. Lewis 2013 Awardee

From the Notebooks of Melanin Sun by Jacqueline Woodson 1996 Awardee

I Hadn't Meant to Tell You This by Jacqueline Woodson 1995 Awardee

---

The Jane Addams Children's Book Award annually recognizes children's books of literary and aesthetic excellence that effectively engage children in thinking about peace, social justice, global community, and equity for all people.

Read more about the 2017 Awards.

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caveartfair · 7 years ago

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The “Most Dangerous Architect in America” Built a House—Then It Vanished

"Portrait of Gregory Ain," publicity photo released in connection with the exhibition, "Exhibition House by Gregory Ain," on view at The Museum of Modern Art, New York, May 17, 1950 through October 29, 1950. The Museum of Modern Art Archives, New York. Photographer: Homer Page

Installation view of the exhibition, "Exhibition House by Gregory Ain," on view at The Museum of Modern Art, New York, May 17, 1950 through October 29, 1950. The Museum of Modern Art Archives, New York.

Architecture can make the lives of people, all people, better. This belief guided the vision of 20th-century architect Gregory Ain, though it may also have contributed to his decline.

Ain was hounded by the Federal Bureau of Investigation for years during the Red Scare, leaving his reputation irreparably marred. Today, while many of his great modernist works—designed to be affordable and racially integrated��still stand in Los Angeles, the architect’s personal history, vision, and achievements, when compared with his contemporaries, remain relatively unknown.

His absence from the architectural canon is mirrored by a structure that should have rocketed him to lasting fame. In 1949, Philip Johnson, then the director of the Museum of Modern Art’s architecture and design department, commissioned Ain to build an exhibition house for the institution. That same commission, to design a house that would temporarily live in the museum’s garden, had brought great acclaim to Marcel Breuer the year before. For Ain, though, the MoMA house was something of a zenith.

Ain approached the MoMA commission with a commitment to affordability, without sacrificing design. He used sliding walls to avoid creating boxy rooms, and developed open spaces that could adapt to the needs of a given resident. The estimated cost for construction of the full-sized home, a press release noted, was as little as $15,500 (roughly $157,000 today). The house went on view to the public in the MoMA garden on May 19, 1950.

What happened next, like what happened to Ain’s career, remains something of a mystery. But the story has been partially unravelled by architect Katherine Lambert and artist Christiane Robbins, who created “This Future Has a Past,” which is currently on view at New York’s Center for Architecture. (Originally shown at the 15th International Venice Architecture Biennale in 2016, the show has been brought to New York by the nonprofit Anyspace.) The project brings together details of the MoMA commission with FBI files documenting a dizzying level of surveillance that focused on the left-leaning architect. Ain even had the attention of J. Edgar Hoover, who considered him the most dangerous architect in America.

The show is a timely deep-dive into the life of a man who worked towards equality, at a time when that, along with the company one kept, was considered a political stance. But more broadly, the show raises questions around what history forgets and why.

Breuer’s MoMA commission was meant to be demolished at the close of its exhibition, but instead it was purchased by John D. Rockefeller, Jr. and re-constructed permanently at the Rockefeller Estate in the Hudson Valley. But there’s no record of the fate of Ain’s exhibition house—despite the fact that it drew more than three times the number of visitors than Breuer’s.

“When we think about what happened to this building after the exhibition was over, what surprises us is that there is so little information,” said Lambert.

While attempting to shed light on the history of the MoMA commission, Lambert and Robbins found that the scope and intensity of the Red Scare had left a lasting impression on those who knew Ain (who died in in 1988). In 2001, they approached artist Julius Shulman, who had photographed Ain’s work; he intimated that there was a larger story to tell about the architect. “He wouldn’t tell us what it was,” said Lambert, “it piqued our interest.”

Others who lived through the Scare were similarly reticent to talk. “You would bring this up and it would be an instant pivot to another subject,” said Robbins, who began looking into Ain while living in one of his buildings in the Avenel Cooperative Housing Project in Los Angeles. Their next stop was the FBI.

Courtesy of The Center for Architecture.

Lambert and Robbins knew that the architect had been watched during the Red Scare and submitted a Freedom of Information Act Request to review any declassified FBI documents on him. While they were initially denied, further requests were granted. Upon digging into the documents, it quickly became clear that Ain and his family were the target of three decades of surveillance. Documents relate that even his babysitter reported his family to the government, suspicious of the “literature” in their home and noting that they “seemed to be in some sort of group.”

While there are some newspaper stories around the MoMA house, in the absence of much documentation, until recently it was largely unclear what the house actually looked like. For the show’s first outing in Venice, Robbins and Lambert presented a model that recreated it, based on their research and understanding. But the New York iteration of “This Future Has a Past” also includes a newly discovered model of the structure, which was recently acquired by MoMA for its collection.

According to this latter model, the MoMA house resembles one of Ain’s unrealized Los Angeles Community Homes, which, Robbins noted, the FBI suspected was linked to the Communist Party. By the time Ain began working on the MoMA house, he knew that this L.A.residential project was dead in the water, as it had been denied government loans because it was racially integrated.

“Ain was being a bit sly,” said Robbins, nodding to the decision to make the MoMA house so similar to the design for the Community Homes. After finishing the MoMA commission, he returned to California and aware of the surveillance on him, told his business partners that he could be a liability and resigned. He continued to work and design houses, but his days of ambitious housing developments were behind him.

Courtesy of The Center for Architecture.

While one finds echoes of Ain’s populist idealism in the “Usonia” of Frank Lloyd Wright (who also wanted to build affordable homes for the middle class), it wasn’t the primary concern of the man who actually brought Ain to MoMA. “We were ignorant of the political dimension of the art,” said Philip Johnson decades after he commissioned Ain. “For us it was revolutionary, but only aesthetically. Our job as we saw it was to advocate, to sell those new cultural innovations to the wealthy and powerful.”

Standing next to the model of the MoMA house and reading the FBI documents displayed on the walls, it feels very difficult to separate architecture from politics. “[Johnson] claimed to not even care about politics. He cared about selling modernism,” said Lambert.

But it is possible Johnson was feigning ignorance when it came to the politics of Ain’s work. Like much else about the architect’s life, Johnson’s reasons for commissioning Ain aren’t neatly spelled out. Still, though their careers were quite different, Ain and Johnson did share something, though it’s entirely possible neither knew it: Both had an FBI file.

—Isaac Kaplan

from Artsy News

#Artsy News

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thereviewingdead-blog · 8 years ago

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TWD season 7 finale review

Sasha’s Journey

The season finale starts with a fix of Sasha tuning in to music in a dull, limited space. Sasha instructs herself to wake up, and when she opens her eyes, she’s back in Alexandria with Abraham. The couple shares a few kisses, and after that Abraham discloses to Sasha that Maggie’s having an issue with the infant, and Rick is taking her to the Hilltop to get looked at. He likewise says that he anticipates running with Rick, however Sasha lets him know not to go.

After this short flashback, Sasha is back in her cell at the Sanctuary, and Negan has brought her breakfast. Negan compliments her and says nobody, including him, will need to see her bite the dust. Fortunately, she doesn’t need to, however somebody does - perhaps a few people. Sasha asks him what he needs from her. There is then a dose of Maggie and Sasha sitting together viewing the dawn as they did amid season 5 as they were associating over their sorrow.

The scene keeps on blazing between Sasha alone in the haziness, Sasha with Negan in the cell, and Sasha with Abraham before everything turns out badly. (Sasha’s scenes in this scene are reminiscent of Tyreese’s mental trips amid his last minutes back in season 5. In both cases, the scenes hopped around in time before at long last uncovering what was happening.)

In the flashback, Sasha discloses to Abraham that she had a fantasy that he kicked the bucket. This is unmistakably why she’s having questions about running with Maggie to the Hilltop. In the cell with Negan, he has obviously revealed to her what he needs from her, but off-screen. Sasha is obviously vexed about what he revealed to her with respect to his arrangements. Negan goes ahead to state that she ought to stay quiet when she turns out, her companions will down, and Lucille will get her three slaughters. Sasha reveals to Negan that she’ll do what he needs, yet nobody needs to die. Negan in the end bargains and says that he’ll thump the body check down to one, only for her. Sasha appears to be a great deal less furious as she concurs that just a single individual needs dying.

Back at the Sanctuary, the gathering is taking off as Sasha converses with Eugene. He inquires as to whether she’s altered her opinion about taking her “hypersensitivity solution” (Eugene’s code for the suicide pills), and she says that she has. Eugene goes ahead to state that if individuals pass on today, this is a result of decisions they made, and Sasha concurs with him. After more flashbacks to Sasha’s time with Abraham and Maggie, Eugene and Sasha proceed with their discussion. He gives her music to tune in to on the excursion and says he wishes he had the right stuff. Sasha says regardless he can, and she’s not abandoning him.

At Alexandria, Negan at last uncovers that the dull space we’ve been seeing Sasha in all scene is really a pine box. Before landing at Alexandria in the casket, Sasha keeps on having recollections/flashbacks of Abraham. Their last scene together incorporates a few decent call-backs to some of their prior minutes. The two in the long run consent to go on the mission to the Hilltop on the grounds that Maggie’s infant speaks to the future, and putting their lives on hold for another person is the thing that it intends to really be living. (We never got the opportunity to see a lot of Sasha and Abraham as a couple, so these scenes between them are beautiful. It’s additionally recently pleasant to see Michael Cudlitz as Abraham once more.)

As the Saviors are leaving the Sanctuary, Negan discloses to Sasha that she doesn’t need to make the excursion in the box, however Sasha says she could utilize the rest. She is given a water bottle before moving into the pine box. Once the pine box is shut, she utilizes the water to swallow the suicide pills while tuning in to the music that Eugene gave her. Sasha appears settled realizing that her demise will imply that Negan can’t utilize her against her companions. (While Sasha’s give up is unbelievably unfortunate, it feels like a characteristic end for a character who was always taking a chance with her life for others.)

Sonequa Martin-Green gives a delightful, nuanced execution in this scene, and it at the end of the day makes me dismal that she didn’t get more screen time this season. While there was a lot of foretelling that Sasha’s chance was reaching an end, I was still trying to claim ignorance before watching this scene. The performing artist was a magnificent expansion to the cast back in season 3, and Sasha wound up plainly one of my most loved characters because of her curve in seasons 4 and 5. Her passing isn’t as rough as the other significant passings this season, yet it’s surely merciless in its own specific manner.

Dwight is Freed

We get with Rick and organization right the latest relevant point of interest. Rick is as yet holding Dwight at gunpoint as Dwight tries to persuade the gathering that he needs Negan dead. An angry Tara raises Denise before Daryl dispatches himself at Dwight, hammering him into a divider and pulling a blade on him. Tara advises Daryl to murder him, and Dwight says he knows Daryl needs to. Dwight says he remained with the Saviors in view of another person (Sherry), yet now she’s gone so he’s prepared to betray Negan.

Tara at the end of the day advises Daryl to do it, yet Dwight says there is another decision. He guarantees that on the off chance that they cooperate, they can vanquish Negan. Daryl brings down the blade, and Rosita at long last raises the way that the Saviors have Sasha as a detainee, accepting she’s as yet alive. Jesus is frantic that Rosita held as of not long ago to say something since Dwight may be their exclusive opportunity to get Sasha back, however Rosita says that she doesn’t put trust in Dwight. She does, in any case, put stock in Daryl.

Dwight tells the gathering that Negan is coming to Alexandria tomorrow. He asserts he can moderate Negan and the Saviors down to purchase the Alexandrians time to plan. On the off chance that they figure out how to slaughter Negan and the general population he takes with him, Dwight will radio back to the Sanctuary that all is well, and Rick’s kin can drive directly into the compound. When they complete off the Saviors at the Sanctuary, Dwight supposes they can then go from station to station wiping out whatever is left of Negan’s kin. Rick instructs him to continue talking, however we don’t get the opportunity to hear whatever is left of Dwight’s arrangement.

Soon thereafter, Rick and Daryl look as Dwight leaves Alexandria, and Daryl says that if Dwight is lying he will slaughter him “real slow.” Heck, he’ll murder him at any rate when this is over.

Allies are Gathering

Elsewhere in the world, the Kingdom group is taking off to join the battle against the Saviors when they go over a barricade of shopping baskets. Obviously, Morgan is utilizing Richard’s strategies to wage his one-man war against the Saviors. Ditty discloses to Morgan that he can’t take them on alone, however Morgan is persuaded that he can.

As the Kingdom officers begin cleaning up the shopping baskets, Ezekiel pauses for a minute to converse with Morgan. Ezekiel recommends that if Morgan needs the Saviors dead, he ought to go along with them in making an organization together and get ready for war. Ezekiel sees that Morgan is wearing Benjamin’s protective layer, and Morgan appears more ready when Ben is said. Ezekiel at the end of the day requests that Morgan accompany them, and Morgan noiselessly concurs.

In the interim, Rick clearly conversed with Maggie off-screen and requested that the Hilltop sit this one out so regardless they had a card to play if things don’t go their way in the fight. Maggie is debating whether she ought to take after Rick’s requests or take her kin into the battle. Jesus is happy she’s the one deciding now that Gregory has vanished.

Jadis and her team touch base at Alexandria, prepared for the battle. There’s a gross minute when Jadis understands that Rick and Michonne are a couple, and she inquires as to whether she’d give it a second thought in the event that “I lay with him after.” Michonne overlooks her, and poor Rick just watches went ballistic. Jadis and her kin help the Alexandrians plan for the fight to come. As a feature of their readiness, Rosita makes many bombs.

Team Family vs. the Saviors

After the Saviors make it past the barrier Dwight set up, they touch base at Alexandria. Eugene tries to talk Rick and company into remaining down. Rick asks where Negan is, and Eugene reacts with, “I’m Negan.” Rick and the others are shocked that Eugene has joined the Saviors now. After Eugene’s discourse, Rick gives Rosita a flag to set off the bombs, yet nothing happens. Jadis and her group then turn on the Alexandrians, and Jadis clarifies that they made a superior manage the Saviors.

Negan dispatches into yet another of his addresses and after that has his men uncover a casket. Negan says if Rick couldn’t care less in regards to Eugene anymore, he knows Rick thinks about Sasha. He says Sasha is in the box and that she’s fit as a fiddle. He conveyed her so he wouldn’t need to slaughter every one of them. Negan then makes a group of demands and says that if Rick doesn’t collaborate, he’ll slaughter Sasha. Rick needs to see her, so Negan goes to open the pine box and out pops walker-Sasha. As walker-Sasha follows Negan, Carl utilizes the chance to get the drop on Jadis’ kin, and the fight starts.

One of the Saviors pulls walker-Sasha off of Negan, and she winds up murdering that Savior. Negan chooses it is time for plan B similarly as Jadis shoots Rick in the side and pushes him to the ground.

Michonne has taken up position on the top of one of the houses. She is matched up with one of Jadis’ kin, and the two women wind up getting into a merciless, grisly battle after Jadis’ team turns on the Alexandrians. Michonne in the end gets the high ground and manages to divert the woman from the rooftop, however poor Rick mistakes the falling body for Michonne’s from a separation.

While Rick’s kin are battling back, Negan puts Carl and Rick into a mini-lineup and reveals to Rick that he will execute Carl and take Rick’s hands. Rick discloses to him that regardless of the possibility that he does that, it won’t transform anything. Rick still means to slaughter Negan and every one of the Saviors. This Rick is a long ways from the separated man we found in the season premiere, and Negan knows it. Negan goes to take a swing at Carl when Shiva comes out of the blue and jumps on a random Savior!

Yes, the Kingdom strengths have arrived, yet they aren’t the only one. Maggie and the Hilltop team have likewise come to join the battle. As Negan and the Saviors keep running for cover, the other three gatherings start cooperating to win the day. This is an amazing activity succession and a pleasant see without bounds fights beyond any doubt to come next season as we truly get into the war.

In the turmoil, Jadis’ gathering manages to get away. Negan additionally escapes with his remaining Saviors.

Back at the Sanctuary, Negan asks Eugene how Sasha kicked the bucket in the pine box, and Eugene says maybe she just came up short on air. Negan doesn’t seem to trust him, yet then he addresses a tremendous gathering of Saviors and discloses to them that they will war. The Saviors are exceptionally amped up for this.

Afterward, Daryl finds a chess piece with the message “didn’t have the foggiest idea” composed on the back. One can assume it’s a message from Dwight saying that he didn’t know Negan had made an arrangement with Jadis’ team.

A Fitting Tribute

Once the battling is over, Rick and Carl raced to beware of Michonne. They understand that she managed to murder the woman she was battling, however she’s been seriously harmed and is quite out of it when they discover her. Rick and Carl remain with her, guaranteeing her that they’re all alright. All things considered, as she tries to let them know, “We’re the ones who live.”

Rosita is shot amid the fight, however she’s later observed recuperating in the infirmary with Tara close by. Rick has likewise taken Michonne to get took a gander at, and this gives us another decent moment between the couple. We additionally observe Maggie and Jesus find walker-Sasha, and a weepy Maggie puts her down. (I teared up on account of Lauren Cohan and her capacity to depict Maggie’s peaceful sadness. There’s additionally a lovely flashback of Maggie and Sasha smiling at each other that is such a pleasant beat to end on for that companionship.)

As the scene comes to an end, there is a great montage of everybody tidying up after that fight that closures with Rick, Maggie and Ezekiel conversing with their kin as a unified front. The organization together is going all out, it seems.

There is additionally a flawless voice-over including Rick and Maggie. Rick says Sasha gave them a shot, thus did Maggie. He says she made the correct decision in disregarding his requests, and Maggie says the choice was made quite a while back by Glenn. Maggie says that Glenn began everything by ricking when they initially met and that prompted Rick’s gathering landing at Hershel’s farm and everything that took after. Glenn ricked, and it just developed from there until they all became one major family willing to battle for each other. Maggie says Glenn made the choice, and she was quite recently taking after his lead. The scene closes with the camera panning down to uncover that Maggie is holding Glenn’s watch.

#twd #thewalking dead #thewalkingdead #negan #glenn #maggie #carol #shiva

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