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tomasistrill · 5 years ago

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“Don’t look; but I Think The Elephant In The Room is Wearing An MF Doom Mask..”

By @tomasistrill

December 12, 2019

The Manifesto

“I am the elephant in the room;

bringing doom,

really soon.”

-TOMMY TRILLY

-Form & Shape

The image is sized to be square to eligantly frame my thesis of the symmetry that outlines all things asymmetrical.

Using dimensions of 1080x1080pixels gives the piece functionality & purpose as cover artwork for an important project being manifested as we think, speak & breath.

The color scheme is purposely & purely monochromatic. Starting from left to right; the viewer will immediately see that black is the dominating color of the composition.

However, dominant, is nothing less than an understatement. When working with black on this piece; I found myself compulsive, aggressive & even manic at times.

I strayed far from my initial concept of having the black fade to an almost white tone; never truly giving my viewer the graceful embrace of a pure white.

Instead; my fanatical usage of black lead me ever deeper into the enigmatic labyrinth of my subconscious & a graceful awareness of the courage to create.

-Ethos, Pathos & Logos

The toxic love affair between my creative mania & the color black conceived a scene no longer so two dimensional; contrasted with a character that will never be anything more than it’s two dimensions.

The character is depicted in the center of the room. However, because he cannot escape his two dimensional existence, the center of the room is a place he can only observe from afar. He doesn’t understand why none of the people in the room pay attention to him.

His body language communicates a lonely disposition; arms hanging at his sides, hands [possibly] in his pockets & eyes staring far into the abyss; painfully conscious of his glaze matched by the depths of true existence.

On the left & right of our self-ruminating character; reads “S†≡≡Z.”

A word meaning to have style with ease; made popular by hip-hop on the East Coast. In my meditations on the word, came to me, the most clear understanding of grace & what it means to have it.

Bruce Lee describes it as the effortless flow of water; taking the shape of whatever contains you; the body containing the mind & the mind then containing the soul.

This journey inward in search of the holy S†≡≡Z requires you to courageously be yourself purely in the face of adversity. Everytime you choose fear over courage; you’re taking steps outward & away from the S†≡≡Z!

-Spiritual Subliminals

Diving ever deeper into the art & the messages it has for us; we’ll turn our focus to how the word “S†≡≡Z” is communicated to the viewer. Using things such as; color, form, shape, symbology, typography, etc. I was able to effectively communicate ideas to the beholder, in a very visual, yet subtle way.

“S - - -Z”

The “S” at the beginning represents a wavelength that’s smooth from crest to trough.

While the “Z” at the end presents an opposite, but equal wave; this one being more aggressive in it’s frequency.

This is the inevitability one faces in making the decision to be themselves.

Sometimes the wave is S & sometimes the wave is Z, but if you know how to surf; the ride is always steezy.

“- † - - -“

The letter “T” here serves at a ✞ symbol standing for the divine power of love & forgiveness within Man.

“- - ≡ ≡ -”

The arrangement of three horizontal lines is an angelic numerical sequence “111” that tells the intuition to take action.

Encouraging you to keep following your spirit; if you see this listen to your gut/heart.

This rendering of “S † ≡ ≡ Z” is then contrasted across the longitude of the entire ensemble; painting a polarizing picture of the age old existential struggle of the inner against the outer.

The only usage of a true white tone is in the first occurrence of S†≡≡Z; in the darkest section of the piece. Then, almost mockingly, right in the middle of the lightest area, we see the return of darkness; in the second & final occurrence of S†≡≡Z.

This beautifully illustrates; when the world is dark, the individual will intuitively become the light he so desperately seeks.

We can then safely assume if the world becomes illuminated in mankind’s brilliance; the individual will only find peace in the shadows of his own world.

Narrative-

MF Doom:

A character/persona written by british-born EMCEE Daniel Dumile.

From his upbringing in Long Island, New York to his controversial rise to infamy; his story is trill hiphop lore. He became a man deep in the minds of millions & they don’t even know his name.

Initially, rapping under the alias Zev Love X, he formed the rap group KMD & signed to Elektra Records. Just before the release of the group’s second Album, boldly titled “Black Bastards,” the doom rapper’s late brother DJ Subroc was struck by a car & killed.

That same week the group was dropped from their label & the album was scrapped. Dumile left the industry & lived essentially homeless from 94’ to 97’.

He then left New York to settle in Atlanta, Georgia. Still recovering from his wounds; the rapper would don the iconic DOOM mask & take revenge "against the industry that so badly deformed him".

Thus the notorious villain of the hiphop underground MF DOOM was born.

He is often praised as not only one of the illest lyricist to ever do it, but also as a genius producer.

However, inspite of his immaculate discography & significant respect from industry legends, he is still widly unaccepted by the community he’s devoted his life to.

The Elephant:

Elephants are known as a keystone species; meaning it has disproportionately large effect on its environment relative to its abundance.

In fact, by simply existing; the elephant has the power to inflict change in the world it lives in. They, as all animals do, move across the earth manifesting their every desire; unconcerned with anything & everything that isn’t necessary to life.

Effortlessly laying the foundation on which nearly every other speices, within it’s domain, inevitably builds it’s existence.

They themselves embrace a matriarchal lifestyle; in which the feminine is the primary power within society.

Family Groups, consisting of mainly females & children, are led by the eldest female matriarch; with many of the males choosing a more solitary existence.

The elephant recognizes itself in a mirror; demonstrating a capacity for self-awareness found only in apes & dolphins. They also morn their dead & show signs of stress when loved ones aren’t well.

It is well known that the elephant’s memory is stone; able to recall locations of watering holes, family members, vast migration routes, etc. all over their 70 year lifespan.

Conflict:

It’s no surprise that elephants have inspired many literary, mythical & religious cultures; traditionally the elephant has been a symbol of strength, power, wisdom, longevity, stamina, leadership, sociability, nurturance and loyalty.

We see these things reflected in political ideologies of the American Republican Party; who’ve used the elephant as a mascot since 1874.

Conveying a message to undecided voters to preserve the values of the past & to have noble principle guiding your actions.

On the surface level this is honorably patriotic, but as I dived ever deeper; I found a story of people divided simply by perspectives based on how reality presented itself to the misdirected & misguided naiveté of the ignorant & innocent.

The parable of the blind men & the elephant originated in the ancient Indian subcontinent. A group of blind men, who never encountered an elephant before, all touch a different part of an elephants body & insist they know exactly what it is in front of them; based on their limited experience, they all go on to describe what they understood the elephant standing in front of them to be. The first person, whose hand landed on the trunk, said "This being is like a thick snake". Another man, whose hand reached its ear, said it seemed like a kind of fan. The third man, whose hand was upon its leg, said the elephant is a pillar like a tree-trunk. A fourth man who placed his hand upon its side said the elephant, "is a wall". Another who felt its tail, described it as a rope. The last felt its tusk, stating the elephant is that which is hard, smooth and like a spear.

In this parable; I found a moral of the subjective truths we face every day in our common lives.

All of these men share a deep common attribute of blindness & thus will cling to shallow differences in sensual experience & each man will have a different ideology for why he does so.

Man will neglect fellowship with his fellow man if, in his limited experience of reality, he finds it to be a necessary action in his life.

Unfortunately for a more modest man; life is often misunderstood by his neighbors.

Perhaps he dreamns of power, so he creates the illusion he has a higher knowledge of the elephant. Maybe he’s a coward & would rather formulate an opinion than walk away, because he fears rejection from the group.

Man has a habbit of claiming to know the absolute truth based on their limited, subjective experience. As they ignore other people's limited, subjective experiences. Which may be equally true; only ever able to justify their claims with fear or courage.

Resolve:

Courage requires immaculate moral responsibility & higher knowledge. To stand in the face of destiny with the heart of a warrior is an endeavor most men can no longer dream of.

It requires too much & so most men spend their lifetime in the same predicament the elephant himself is in; standing in a room being ignored by those whose hearts call out to him! To be the elephant in the room is a tragedy largely ignored.

The expression "the elephant in the room" is a metaphorical idiom in English for an important or enormous topic, problem, or risk that is obvious or that everyone knows about but no one mentions or wants to discuss because it makes at least some of them uncomfortable or is personally, socially, or politically embarrassing, controversial, inflammatory, or dangerous. This same sociological & psychological repression operates on the macro scale of modern society.

Should something as conspicuous as an elephant be overlooked in codified social interactions? Of course not. You are the elephant in the room.

Conclusion:

Not only has he not forgotten; but the elephant himself, in all his divine S†≡≡Z, stands in a room full of people he remembers from the beginning of time. They talk of the old days; almost every word hinting at his presence in the room, but they just go on rambling as if the elephant himself isn’t standing next to them. They’re completely oblivious to the fact that there’s a god damn eight-foot seven-inch Asian elephant with a fucking MF DOOM mask on right there. He’s tired of being ignored; soon he will escape from his interdimensional hell & bring doom.

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varietyofwords · 7 years ago

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Addendum, Part Twenty-Five (Chicago P.D.)

Title: Addendum

Chapter: Coming and Going (Part Twenty-Five)

Fandom: Chicago P.D.

Rating: T/PG-13

Author’s Note: This chapter is set directly before the first scene with Erin and Jay in bed in “The Silos” (4x01), and it is an attempt to bridge the gap between the two seasons. I thought Erin’s headspace about Hank going into the fourth season was pretty clear, and I was intrigued by the way she was and wasn’t leaning on Jay (i.e. inviting him over to her place to sleep, presumably telling him that she was meeting with Crowley given their “How’d it go?” conversation yet keeping him handcuffed on how to help her). So I decided to explore how much Jay might have known about where Erin went after she hung up on him, how he felt about the traps being sprung for her and Voight by Crowley, and how might have come to decide that moving in together was the best solution for what she was going through.

Before the chapter begins, though, I wanted to offer a huge thank you to those of you who stuck with this story after I took a year long hiatus from writing it and those who picked it up in the last few months . I’d love to hear any final feedback on this story that you may have.

The relentless rain beats against the windshield; a torrential downpour rather than a pitter-patter that has turned the streets into rivers and cleared the sidewalks around the city as people seek refuge inside their homes. Occasionally, a lone individual with the lapels of their trench coat pulled up to their ears or a couple huddled under a shared umbrella hurry past his parked car, past the Mom and Pop stores flipping over to chain coffee shops and clothing retailers thanks to the shiny, new high-rise forming above.

But, for the most part, the sidewalk remains deserted, and he only has to give each person a passing glance to ascertain if they’re waiting for him or not. Waiting to show off the high-rise building looming over the street, to talk square footage and amenities with him.

The spec sheet the realtor sent over two nights ago is pulled up on his phone, and he glances down at it. Lets his eyes skim over words about how the place has two bedrooms and underground parking and access to a gym as he tries to figure out what she would say about the place. If she would be willing to overlook the lack of “real” Chicago character for a place where she doesn’t have to shovel out her car in the morning or wake up early to get across town to Antonio’s.

Yet the early hours haven’t seem to affect her over the last few days. He’s awoken twice now to the feeling of her slipping out of his bed and once to the sound of the front door of her apartment clicking shut behind her. Spent three nights wondering how she is and what she’s up to until the wee hours of the morning when she didn’t answer her phone, and two other nights when she did answer her phone, when she showed up at his place or told him to come over feeling like she’d rather he go.

Feeling like she’d rather he leave her alone as he reclines on her couch beside her nursing a beer and not talking about Justin. As he sits across the bullpen from her and doesn’t acknowledge that the photographs and notes pulled from the unit’s whiteboard and handed over to Commander Crowley are just a bunch of dead ends now. As he slips under the sheets beside her and doesn’t ask about the ball of wet clothes left in the corner of her bedroom.

At least, this place -- with its gentrifying neighborhood and ubiquitous appearance -- has a washer and dryer in a unit. Offers him the chance to lander those clothes, to remove the reminders of where she went when he told her that Voight wasn’t at the house with him or the rest of the unit without it becoming obvious what he’s doing. Without implicating what he knows -- or, at least, thinks he knows -- about the hour and a half gap between his phone call to her and the 300 arriving back in the District’s parking lot by doing a load of laundry at her place instead of his own.

By completing a silent yet physical omission that he thinks there is something to that pile beyond those being the clothes she was wearing when she and Voight found Justin. That the evidence Crowley is going to be looking for when the team she has assigned to Justin’s case finds only dead ends in the folders and evidence boxes he and Dawson handed over is actually laying in the corner of Erin’s bedroom.

The thought causes him to sigh, causes the knot in his stomach that has been there since he heard her voice over the radio calling out for an ambulance to tighten because this played out in both a way he expected -- with Voight possibly getting a moment alone with their main suspect -- and a way he didn’t with her possibly getting snagged up while the rest of the team was offered plausible deniability.

Possibly because he doesn’t know. Only has theories and suspicious and three years of knowing what Voight meants to her. That Voight, in Erin’s eyes, is the reason why she’s here today. Why he has gotten to know her rather than her becoming an unknown face in a file cabinet of unsolved homicides and overdoses.

But Jay also knows that he -- with his decision to drive rather than ride shotgun beside her, with his phone call to her rather than directly to Voight -- helped the hunt for who killed Justin Voight play out in a way that might have ensnared her. And he can’t stand the idea of of the traps that are bound to set for Voight pulling her down another hole, of watching her come and go out of his apartment and his life -- inside and outside of work -- because of what he did and what he hasn’t managed to do since.

And, so, he is here on a rainy Tuesday night waiting to check out an apartment that he hopes she’ll like, that she’ll maybe want to spend more than a few hours at with him. That will maybe feel like home, like a place that can keep her grounded through the loss of the guy who was like her brother and the home that Voight offered her.

Except he’s pretty sure she’s not going to like this place. Can already hear her incredulous voice about how he’ll need to pick up multiple Violence Reduction shifts and pull in extra overtime in order to afford a small latte at the residents-only coffee lounge the spec sheet boosts about. Can already hear her knowing hum and see her suggestive smirk in response to him saying that he’d only drink the stuff in the breakroom, if it meant getting a place with one of those waterfall showerheads and a jetted tub.

He thought the place he emailed her about this morning -- the condo located on the second floor of a brownstone -- would catch her eye. Would, at least, warrant a text back or an acknowledgement as she came and went out of the District today while the rest of the team pushed paper and kept their mouths shut and their eyes averted from the elephant in the room. But she hadn’t said anything, and he hadn’t been able to find a moment in the breakroom after awakening to an empty bed for the second night in a row to ask her about it. To tell her about his appointment to see this place tonight.

So the headlights shining into his rear windshield from the car pulling up behind him aren’t from her sedan, and the woman with the light brown hair who steps out of the vehicle and hurries over to stand under the flat, metal awning over the entrance of the high-rise condominium isn’t her. And Jay takes a moment to squint through the heavy rainfall to watch her, to double check her identity before pushing open the driver’s side door of his car. Slips his cell phone and his keys into the front pockets of his jeans as he hurries through the rain to meet her.

“Mr. Halstead?” The woman calls out as he comes towards her, as she thrusts her hand out for him to shake. And he grasps it with a nod of his head as she introduces herself as Sarah Murphy, the realtor working with the developer of this site.

“Will it just be you tonight?” Sarah inquires, although the unspoken addition to her question is evident in the way she glances at his left hand. And the question causes him to pause for a moment because somehow his search for a place to call his own, to put down roots had become a search done with her -- her opinion, her presence -- in mind, but she had gone from the District this evening and hadn’t come with him. Hadn’t returned his text inquiring what she was up to or if she wanted to grab dinner; hadn’t really talked to him since the night she showed up at his place after shrugging off his attention and being noncommittal about whether or not he’d see her later that night at Justin’s funeral.

“Yeah, uh, my girlfriend couldn’t make it,” he says telling himself that it’s not entirely a lie. That if this was a normal week, she would have been here to offer her opinions on what is too intimate and too ridiculous for a place that he’ll call home for, at least, the lifespan of his mortgage.

“Oh, that’s too bad,” Sarah counters glancing up at the sky and the steady rain before returning her gaze back to him. “I’d be happy set up another time for her to come see it. Perhaps when the weather is better so she can really see the view.”

“Yeah,” Jay replies soft because maybe the weather will get better. Maybe the dark cloud hanging over her life will dissipate and he’ll figured out how to help her get through this beyond trying to distract her with real estate listings and showing up when and where she wants him to. But, right now, the storm is still raging, and he has no idea where she’s at.

So, instead, he stands alone outside of a high-rise apartment building listening to the relator tell him about the security system installed throughout the building as she fishes out a badge from her purse. About how residents can get in twenty-four/seven with a plastic badge and visitors can be let in by the front desk when it's staffed from nine to five.

And Jay keeps his mouth shut about how he’s seen the system she’s bragging about in more than one burglary-homicide during his years on the force. Tries not to give away how much more he likes the fresh paint and clean lines of this place over the linoleum and rusty mailboxes in the entryway of his apartment building as he follows her through the lobby to the elevator.

“So the unit we’ll be seeing has two bedrooms,” the realtor reminds him as they step into the elevator and she pushes the button for the eleventh floor. The doors shut behind them without the horrific clanking noise that comes from the elevator at his place on the rare occasion that it’s actually working, and Jay jams his hands in the pockets of his black coat as Sarah points to the button for the fourth floor explaining that they’ll stop and check out the gym and club lounge after seeing the unit.

“Gym access is included, right?” Jay questions, and the realtor launches into a list of what is and isn’t included in the purchase price and the condo’s co-op fees -- unlimited gym access for homeowners is included while more than two coffees a month at the club and day passes for guests aren’t -- as the elevator inches closer and closer to the eleventh floor.

“Uh, washer and dryer in unit,” Sarah informs him when they reach the eleventh floor, when she fumbles with the keys to unlock the front door of unit number eleven-oh-four. And she steps aside when she finally unlocks the door, gestures for him to step into the apartment first, offers him the first look at the hardwood floors running from the front door through the open-concept living room and kitchen to the wall of windows on the other side. The wall of windows that look a lot like the ones at Erin’s.

And that realization causes him the smile because maybe he can turn these windows and their view of a stormy sky instead of the brick wall of the apartment across the street into a selling point for her. Can maybe finally end her complaints that his current place with its small windows and close proximity to another building is like living inside a tomb.

“All appliances are included,” Sarah announces dragging his attention away from the wall of windows towards the kitchen with its gleaming white cabinets, granite countertops, and stainless steel appliances. It is about three times the size of his current kitchen -- bigger than Erin’s, too -- and he can’t help but imagine how much easier it would be to cook them dinner now and then without having to step around her. Can’t help but feel a little crestfallen at her not touching him -- eyes sparkling and mouth smirking in such a way that they give her feigned innocence -- under the excuse of cramped spaces.

And he turns on his heels to look at the rest of the space; his eyes settling on the large, blank walls running the length of the room. There’s no fireplace, but there’s plenty of room for a sixty-inch plasma TV mounted to the wall and storage space in the second bedroom for all the blankets she has insisted on needing at his current, fireplace-less apartment.

“Unit comes with one spot in the underground parking garage,” Sarah informs him, and he pauses for a second as he moves towards the hallway leading off from the right of the kitchen. As he realizes that someone will still end up circling the block looking for parking and digging their car out when the city turns into Chiberia, that those loops around the block and attempts to dislodge the car from a snowbank will be the only times he gets to drive.

“But,” the relator jumps in when she catches the look on his face, “a second one can be allocated to the unit with a little negot--”

The caveat is interrupted by the crash of thunder and lighting outside, by the trilling sound of Jay’s phone ringing in his pocket. A sound that causes the knot in his stomach to tighten and then sends his hand scrambling into the pocket of his jeans. A sound that causes him to throw the relator an apologetic look and then furrow his brows as he sees her name written across the screen.

“Hey,” he greets after clicking the green button on screen and raising the phone to his ear. Jay’s voice sounds rough, panicked. Nothing like the flat, monotone voice that greets him on the other end of the line. But there’s an edge to it -- an edge he hasn’t been able to figure out, an edge he hasn’t been able to decide if he wants to fall over -- as she asks if he can come over to her place.

And he doesn’t hesitate to say that he’ll be right over. Offers an apology to Sarah about needing to go and barely notices the way she panics over losing out on a commission as he leads them both to the elevator. Barely absorbs her sputtered words about how he hasn’t checked out the bedrooms or the bathroom or the resident’s club on the fourth floor as they ride down to ground level in the elevator. Barely notices the rain falling overhead as he promises to be in touch about the place and jobs over to his car.

The high-rise is further from her place than his current apartment, and he arrives outfront to find dark windows and not a single light on in her apartment. At least, none visible from the street. But the phone his tossed on his passenger seat is lit up with a text informing him that she left the front door unlocked for him, and he climbs three flights of stairs to find that to be true. Pokes his head into the darkened apartment and calls out her name because only idiots sneak into apartments and homes owned by cops.

“In the bedroom,” she calls out in a gravelly voice from the bedroom and only then -- with the sound of her voice, with the reminder that she really wants him her -- does the knot in his stomach loosen and his shoulders relax. He takes just a moment to slip off his coat and boots, to add the coat to the hooks by the door and straighten the jumbled mess of shoes by the door, to lock the door behind him.

Only then does he pad through the dark apartment to her bedroom, round around the corner to find her laying in bed with the covers pulled up and her back towards him. And as his eyes adjust to the low-light conditions, his gaze drifts from her to the corner of her bedroom, to the spot where her wet clothes from that night lay.

Laid, it turns out. Because, now, the pile is gone. The last remnant of it -- her green trench coat -- is wrapped in the plastic the dry cleaner sent it home in and draped over the chair to his left. The sight causes him to pause long enough that Erin seems to notice, that she rolls over on her back and stares at him with eyes that seem to both challenge him to ask and beg him not to.

And another long pause follows as he tries to decide what to say or what to do, but the decision is made for him by her reaching out to pull back the covers, by her silently asking him to lay down beside her. A request he answers by yanking his damp t-shirt over his head and dropping it onto the floor where her wet clothes used to sit, by fumbling with his belt and sliding his jeans and his socks off so he slips into bed beside her with nothing by a pair of boxers on.

And unlike the last few days when she’s come and gone, when she’s pulled away from him, she rolls into his grasp, curls her body up against his, and places her head in the crook between his arm and his torso. Lets one -- no, two -- hot tears fall down her cheeks and onto his chest as his arm wraps around her, as his thumb traces patterns on the soft bit of skin peeking out from between the hem of her off-white t-shirt.

“Crowley wants to see me tomorrow,” she informs him, and the confession causes his hand to still because he knows what that means. Knows that the cloud of suspicion hanging over their unit right now is narrowing over her, that someone outside the unit has finally noticed the gap in her and Voight and the rest of the unit’s timelines and whereabouts.

“Erin,” he starts, but she cuts him off. Handcuffs him and all his possible reactions by pressing her face further into the crook between his arm and his torso and telling him that she doesn’t want to talk about it. That she just wants to lay her with her boyfriend.

And he agrees because she asked him to come here, because her arm is tightening around his chest as though she needs an anchor right now and he wants to be that for her. Wants to help keep her head above water as she tries to work through her loss and keep her and her career on solid footing as the Ivory Tower starts picking up on rumors and hearsay and unspoken understandings of what happens when a cop’s son is killed.

When Hank Voight’s son is killed.

Somewhere in the middle of the night, she’ll pull away from him. She’ll end up on her side of the bed and he’ll end up on his. Close enough physically that she’ll smack him with the back of her hand when her nightmare wakes him up; far enough mentally and emotionally that she’ll brush off his concern and run out the door. But, right now, she’s not coming and going, and twelve hours of stability, of laying in bed beside her as her boyfriend has to be good enough.

For now.

#linstead #chicago pd #erin lindsay #jay halstead #fanfiction #cpdfic #otp: that's why you have backup #mine #story: addendum #this deviated so hard from my original outline #i both love and hate when that happens #look ma i finally finished a fic

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zephyrthejester · 7 years ago

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Reflecting on Fullmetal Alchemist: Brotherhood

Please click “Keep Reading” to view my concluding thoughts on Fullmetal Alchemist: Brotherhood. Unfiltered spoilers inside.

Fullmetal Alchemist: Brotherhood is, simply put, a narrative masterpiece. One of those once-in-a-decade stories. But before I sing its praises, I feel I'd best get my complaints out of the way first thing. They're all laughably petty, as far as complaints go, and I'd hate to leave this reflection off on a sour note.

1: For how important he was, I felt Alphonse's role was too small. He had a very interesting mini-arc about his identity early on, but after that, he was very passive. He took the support role in both dialogue and combat. Though, he did have what is probably the show's single biggest "fuck yeah!" moment all to himself when he turned the tables on Pride and Kimblee. I dunno, maybe I was just hoping for FMA:B to be "The Edward and Alphonse show ft. a ton of cool characters." But it was actually "The Edward show ft. Hohenheim, Alphonse, and a ton of cool characters."

2: Let's be real. Trying to dethrone God and take their place is just about as cliche an anime/JRPG plot you can get. It was a bit underwhelming, but this complaint is completely dwarfed by the fact that the whole narrative I'm about to exclaim love for is written closely around it, and the fact that the villain actually succeeded (briefly).

3: I wish that one of the show's biggest twists, the Country-Wide Transmutation Circle, wasn't revealed so early. Though the plot certainly had some out-of-nowhere reveals (that always made logical sense when they happened), most were foreshadowed or hinted at. But around episode 20, Dr. Marcoh dropped a guess about the plan to sacrifice Amestris, just... out of nowhere. Looking back, I can't help but think it would have been so much better if we first saw the Xerxes flashback story, then learned about Father's plan for Amestris. It would have been a gut-punch double threat. But by the time we did see the Xerxes story, we were well familiar with the concept. We could have been surprised at the same time as "young" Hohenheim. We could have felt that "oh shit!" feeling when we learned it was about to be repeated on a larger scale. But we didn't.

4: Lack of side character screentime. This may actually be a compliment in disguise, because I'm complaining that the characters I really loved weren't around enough! Danny Brosh, Maria Ross, Barry, Alex Armstrong, Sheska, Jean Havoc, Izumi and Sig Curtis, Ling Yao (who disappeared for a chunk of the show, and then when his body was on-screen, half the time he wasn't actually there, if you get what I'm saying)... I guess too much screentime for some of them would have made them grating or tiresome. But as trickle-fed novelties, I ended up loving the characters and just wanting more. More of everything!

5: It's understandable why this happened, as the second half of the show is incredibly grim and serious, but I found myself sorely missing the humor found in the earlier episodes. There was a new joke every minute, once. By the end of the show we were lucky to get one joke in an entire episode. Again, completely understandable, maybe even necessary. But I still missed the humor... because pretty much every joke landed for me.

Um. That's it. That's all the complaining I have in me. Literally every negative thing I feel about this legendary show. Let's get to the good stuff, shall we?

This story. This story is just... it's just mind boggling. It had the illusion that every little detail was planned out from the start. It juggled over 30 important characters and plenty more in lesser roles with breakneck pacing that never felt too rushed (outside the first three episodes). And let me tell you, I am just sitting in stunned awe as I think back about every single nuance. Every major character was admittedly fairly simple, but it is perhaps this very simplicity that makes them so understandable, likable, and sympathetic. Nearly everyone had only one character trait and a very clearly defined goal from the outset of their introduction... The beauty was seeing these various traits bounce off each other and seeing how the characters got to their goal.

This was not a story where characters changed and grew. I think this story was about how the characters fought hard not to be changed. Ed and Al were tempted to drop their morals, and they didn't. Hohenheim was tempted to hate himself, and he didn't. Winry was tempted to take a life, and she didn't. Mustang and Scar were changed-- into monsters-- and were pulled back from the abyss by their friends. It... genuinely feels like everyone was mostly the same person at the start and end of the story. And somehow, it actually all works. Though, saying this sounds a bit silly because Truth scolded Father for not changing... Oh well.

Moving from the macro to the micro, let's talk about the tiny little details. There were so many elements introduced that seemed innocuous and unimportant, but were actually extremely important. Edward's short height, the butt of many early jokes, was because his body was sustaining Alphonse's. The motion of clapping hands to form a Circle out of your body, a "gift" from God, looked like praying. Havoc's family business ending up being a munitions store. The creepy tubes beneath Central, which I didn't even think to question, ended up being the pumps that fuel the Mannequin Army. As I said, it feels like every single remote detail of this grand story was planned from the very beginning. From the small to the large, it all feels so complete. There's not a single part of me wishing something was more fleshed out (aside from wanting more screentime for my favorite characters, of course).

Indeed, I'll be fondly remembering and respecting this show's narrative and characters for a long, long time to come. It started strong, stayed strong, and though it may have slowed its pace at the start of the Briggs arc, it never faltered in its step. Best of all, it even delivered a very satisfying ending. So satisfying. So happy and perfect and sweet it almost made me diabetic.

Let's wrap things up with what's left, shall we? Thinking hard, I can't exactly recall most of the background music in the show. There were one or two standouts, but... Well, I guess none of the songs were jarring or displeasing, but all the same I can't exactly praise them. They were... serviceable. Yeah. Though, I do really like most of the OP and ED songs! They all grew on me more and more, and a few I still can't get out of my head.

Then there's the animation! My goodness, the animation! For an anime of this length, I was blown away by the effort put in to make all the important fight scenes look damn good. And damn, did they look good. This show had some stellar fight choreography, even with the more fantastical magic powers, and I won't lie when I say I immediately went back to re-watch a few fights the moment I had finished a liveblog session.

Well then. That's everything, I think.

I guess there's only one more thing I have to say.

Fullmetal Alchemist: Brotherhood has succeeded Gurren Lagann as my favorite anime of all time.

In the hopefully long-running lifespan of my blog, I expect that no show will ever top the final score I've allotted FMA:B. By averaging all scores, I calculate the final score of Fullmetal Alchemist: Brotherhood to be a stunning 9.3/10!

Experiencing this show was an absolute pleasure. But even better was taking this journey with you guys.

Thanks for reading.

#Fullmetal Alchemist Brotherhood Liveblog #Fullmetal Alchemist Brotherhood #Fullmetal Alchemist #Liveblogging #Liveblog

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lazyupdates · 6 years ago

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There’s no stopping #Sanju in his quest for love in the song #RubyRuby, composed by A R Rahman. Link in bio. #Sanju #RanbirKapoor @FoxStarHindi @arrahman @vinodchoprafilms #IrshadKamil #RajkumarHiraniFilms

A post shared by Rajkumar Hirani (@hirani.rajkumar) on Jun 19, 2018 at 11:05pm PDT

Sanju, the biopic on Sanjay Dutt’s life, is all set to hit the silver screen on June 29.

Directed by Rajkumar Hirani, and having Ranbir Kapoor in the title role, the film is based on anecdotes narrated by Sanjay Dutt himself.

It deals with Dutt’s various affairs, his drug addiction, his obsession with guns and his involvement in the infamous arms case which led to him being jailed for a large period of time and has haunted his life for more than twenty years.

Sanju’s journey is marked by many ups and downs. Some moments suspend you into disbelief. See these postcards i.. Every image a story.. a story unbelievable but true… #BelieveItOrNot #Sanju #RanbirKapoor @FoxStarHindi @VVCFilms #RajkumarHiraniFilms

A post shared by Rajkumar Hirani (@hirani.rajkumar) on Jun 13, 2018 at 11:00pm PDT

We take a look at 7 famous films based on the lives of actors that gained a cult following over the years…

Mahanati (2018)

Directed by Nag Ashwin, Mahanati is a film based on the life of actress Savitri, said to be the first female superstar of the Indian film industry. Keerthy Suresh brought to life the title character, Dulquer Salmaan, who made his Telugu debut with the film played Gemini Ganesan, Samantha Akkineni essayed the character of Madhuravani (BA Gold Medal), a journalist who is the narrator of sorts for the film, Bhanupriya, Vijay Devarakonda played Vijay Antony. The who’s who of the South industry were part of this prestigious project. Some of the cameos included that of Akkineni Naga Chaitanya who played his grandfather Akkineni Nageswara Rao, Mohan Babu played S. V. Ranga Rao, Prakash Raj played Aluri Chakrapani, Krish was K. V. Reddy, Srinivas Avasarala was L. V. Prasad, Sandeep Vanga was seen as Adurthi Subba Rao, Tharun Bhascker Dhaassyam was Singeetham Srinivasa Rao and Sai Madhav Burra played Pingali Nagendra Rao. N. T. Rama Rao was brought to life using special effects and a body double. The film opened to rave reviews. Talking about her role in an interview, Keerthy reportedly said that it was a life lesson to play the role of a real-life character like that of legendary actress Savitri. She said after playing Savitri, she understood the importance of relations and friendships and added she would never make the mistakes Savitri made with her life and career.

The Dirty Picture (2011)

Directed by Milan Luthria, the film was reportedly based on the life of sex symbol Silk Smitha belonging to the South industry, who was known for her raunchy numbers. The film depicted her life from that of being an extra in the film to that of being one of the most sought after and popular actresses around. Vidya Balan was unconventionally cast against type as the central character and to the surprise of everyone wowed both the masses and the critics alike. The film opened to packed houses and Vidya also won the Filmfare Award for her powerhouse performance. Speaking about her role during the promotions of the film, Vidya had this to say, “I have never enjoyed being a woman more than I did while shooting for The Dirty Picture. I wasn’t uncomfortable doing bold scenes because I knew I was in trusted hands.”

My Week with Marilyn (2011)

My Week with Marilyn is a 2011 British drama film directed by Simon Curtis and written by Adrian Hodges. It stars Michelle Williams, Kenneth Branagh, Eddie Redmayne, Dominic Cooper, Julia Ormond, Emma Watson and Judi Dench. Based on two books by Colin Clark, it depicts the making of the 1957 film The Prince and the Showgirl, which starred Marilyn Monroe and Laurence Olivier. The film focuses on the week in which Monroe spent time being escorted around London by Clark (Eddie Redmayne), after her husband, Arthur Miller (Dougray Scott), had left the country. The film is based on Colin Clark’s The Prince, The Showgirl and Me and My Week with Marilyn; two diary accounts, which document his time on the set of the 1957 film. Monroe and Olivier, who is considered the most gifted Shakespearean actor of all time, didn’t reportedly get along during the shooting of the film in 1956. At that point of time, Monroe found a sympathetic ear in form of British writer and filmmaker Colin Clark. Kenneth Branagh played Olivier in the film. Celebrated actress Michelle Williams was lauded by the critics for her true to life depiction of Monroe and won an Oscar nomination for it. In an interview given at the time, she mentioned she was kind of apprehensive of the whole thing and spent around six months trying to talk herself out of it. “But, in the end, there was a kind of inevitability. It was the kind of part I was born to challenge myself with…”

The Life and Death of Peter Sellers (2004)

The Life and Death of Peter Sellers is a 2004 British/American film about the life of English comedy actor Peter Sellers, based on Roger Lewis’s book of the same name. It was directed by Stephen Hopkins and starred Geoffrey Rush as Sellers, Miriam Margolyes as his mother Peg Sellers, Emily Watson as his first wife Anne Howe, Charlize Theron as his second wife Britt Ekland, John Lithgow as Blake Edwards, Stephen Fry as Maurice Woodruff and Stanley Tucci as Stanley Kubrick. Though the film met with positive reviews, both Britt Ekland, Sellers’ second wife and Lord Snowdon, a close friend criticised it for different reasons, though both agreed that the Sellers they saw on screen wasn’t the Sellers they knew in real life. Film critics were more generous in their praise and Rush won the Emmy for his performance. Geoffrey Rush reportedly tried on 38 wigs and 40 voices to get his impression of the dark genius right. Parallels with his own life were drawn at the time but Rush refuted them saying his own life wasn’t as dark and troubled as Sellers’. It was a tough challenge for Rush to be Sellers as the script by Stephen McFeely and Christopher Markus had Sellers inhabiting the various characters who shape his life. It must have been tough both physically and mentally but Fry somehow overcame the difficulties and gave a wonderful performance. “Some people find the idea of the Sellers character playing various people in the film weird or disconcerting,” Rush said in an interview. “I always found it terrific.”

Iruvar (1997)

The film was loosely based on the life and times of MGR and Karunanidhi, though Mani Ratnam never officially commented on that. MGR was brought to life by Mohanlal in one of his most sublime performances while Prakash Raj gave his career’s best performance as the poet-politician Tamizhselvan and won a National Award for the same. Aishwarya Rai made her big screen debut through this film and played the dual role of Jayalalitha and Mohanlal’s wife. Talking about the role in an interview with a daily, Mohanlal commented Iruvar offered him an entire lifespan of a character. He liked the role as it had a lot of variations. Prakash Raj, who was trying to make a mark outside of Kannada films, too said Iruvar helped him take the next big step in his career. The film is described by some to be the finest film directed by Mani Ratnam.

Chaplin (1992)

Chaplin is a 1992 British-American biographical comedy-drama film about the life of British comedian Charlie Chaplin. It was produced and directed by Richard Attenborough and stars Robert Downey, Jr., Marisa Tomei, Dan Aykroyd, Penelope Ann Miller, and Kevin Kline. It also features Geraldine Chaplin in the role of her own paternal grandmother, Hannah Chaplin. The film was adapted by William Boyd, Bryan Forbes and William Goldman from the books My Autobiography by Chaplin and Chaplin: His Life and Art by film critic David Robinson. It was a role of a lifetime at the time for Downey, who is known today as Iron Man. He was a no-name actor with allegedly no professional training who reportedly aced the screen test in a field consisting of 30 known actors. Director Richard Attenborough described him thus at the time – “This little Brat Pack gadfly with virtually no discipline.” The film opened to mostly positive reviews and Downey was praised for his sensitive portrayal of the troubled genius that was Chaplin. He was nominated for the Oscars but like Chaplin himself, who never won an acting honour at the Academy Awards, he too didn’t win. But he did win the BAFTA in the Best Actor category.

Bhumika (1977)

Bhumika is a 1977 film directed by Shyam Benegal. The film stars Smita Patil, Amol Palekar, Anant Nag, Naseeruddin Shah and Amrish Puri. The film is based on the memoir, Sangte Aika of the well-known Marathi stage and screen actress of the ’40s Hansa Wadkar, who led a flamboyant and unconventional life. The film won two National Film Awards — Smita Patil won the National Award for her power packed performance and it also won the Best Screenplay Award. It won the Filmfare Best Movie Award as well. It was invited to Carthage Film Festival 1978, as also to the Chicago Film Festival, where it was awarded the Golden Plaque in 1978. The story moves back and forth across flashbacks to the early life of Wadkar. Apart from the non-linear narrative, the film also employed the film within a film device. The film was lauded by the critics and Smita Patil’s performance continues to get praised. Some say it’s her career best performance. In an interview with Filmfare, this is what Shyam Benegal said about Smita’s role in Bhumika. “Initially, I had considered Shabana for Bhumika (1977) too but Smita’s body language and dialect seemed culturally apt for her Maharashtrian character. Bhumika, based on the life of Marathi actress Hansa Wadkar, required Smita’s visual presence from the beginning to the end…”

The most awaited biopic of the year, Sanju, is set to hit the theatres on June 29, 2018. We bring to a few posters of the film..

Meet Vicky Kaushal. Such a refined actor and pure joy to work with him. He plays Sanju’s best buddy. #SanjuTrailer out in 2 days on 30th May! #RanbirKapoor @vickykaushal09 #RajkumarHiraniFilms @foxstarhindi @VVCFilms

A post shared by Rajkumar Hirani (@hirani.rajkumar) on May 27, 2018 at 10:34pm PDT

âÂÂÃÂª#sanju is a father-son story. Meet the father today – Paresh Rawal. Had fun working with him. #RanbirKapoor @VVCFilms @foxstarhindi @SirPareshRawal âÂÂÃÂ¬

A post shared by Rajkumar Hirani (@hirani.rajkumar) on May 25, 2018 at 10:13pm PDT

A still from #Sanju’s crazy romantic love life! #SanjuTrailer out in 5 days on May 30th. #RanbirKapoor #VVCFilms @foxstarhindi @sonamkahuja

A post shared by Rajkumar Hirani (@hirani.rajkumar) on May 24, 2018 at 10:38pm PDT

And here is my dear friend Anushka. It’s a special appearance….but she worked on every nuance of the role for days together. Can anyone guess who she plays?….Will reveal tomorrow at the trailer launch. @AnushkaSharma #RanbirKapoor #RajkumarHiraniFilms @VVCFilms @foxstarhindi

A post shared by Rajkumar Hirani (@hirani.rajkumar) on May 29, 2018 at 12:56am PDT

She lovingly called him #Sanju, and now that’s what we all do too! Watch the ever so wonderful Manisha Koirala as Nargisji on 29th June. @m_koirala #RanbirKapoor! #RajkumarHiraniFilms @VVCFilms @foxstarhindi

A post shared by Rajkumar Hirani (@hirani.rajkumar) on Jun 5, 2018 at 10:32pm PDT

And here comes Dia Mirza as Maanayata, someone whose stood by #Sanju through thick and thin. #RanbirKapoor @diamirzaofficial #RajkumarHiraniFilms @foxstarhindi @vinodchoprafilms

A post shared by Rajkumar Hirani (@hirani.rajkumar) on Jun 6, 2018 at 10:37pm PDT

Another one of Ranbir as #Sanju in the 90’s. Coming up tomorrow is the Munnabhai look. #RanbirKapoor #RajkumarHiraniFilms @VVCFilms @foxstarhindi

A post shared by Rajkumar Hirani (@hirani.rajkumar) on May 2, 2018 at 10:09pm PDT

The post 7 famous biopics of actors you must watch appeared first on Lazy Updates.

#lazy #lazy updates #Updates #trending #news #bollywood #recipes #entertainment

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theantisocialcritic · 7 years ago

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This AntiSocial Life: 30 Black and White Movies You’ll Love! (Part 5)

For the home stretch of this five part breakdown on black and white cinema we arrive at the best there is or was. Among the grand traditions of American cinema of the first half century of the art form’s lifespan two genres set themselves apart: The Westerns and Noir. Like Jazz, Comic Books and the movies themselves these two genres stand above the rest as the truest American genres that the medium had and has yet to produce.

What makes the dichotomy truly fascinating is how similar and different the two genres actually are. In many ways the two genres are exactly alike. These fiercely individualistic and rugged tough man with a gun stories where the law becomes personified by a central flawed man’s search for justice. What makes them so far apart is the setting which completely changes the context of that story. In the westerners, set amongst the lawlessness of the 19th century frontier, the law man with the gun is the bringer of law and civilization to a harsh land. He may not always be in the right but the rules and values that come in his wake are necessary. Thus the western tend towards more optimism and patriotism. Alternatively Noir comes from a very different place. Set against urban plight, Noir delves into the failure of those same systems. The man bringing justice to a lawless city is fundamentally an indictment of the values and their ability to work. Both genres are the two sides of a coin, depicting the full breadth of American life. There is optimism in our values but cynicism in our failings as flawed human beings.

At the time of release these two genres were largely ignored. While directors like John Ford and Orson Welles gained attention for their work in the genres respectively many major films weren’t given their due until much later when film critics such as the french magazine Cahiers du Cinéma reevaluated them and found them far more profound than their predecessors had.

What follows is are four classic noir films followed by four classic western films. As with before these only scratch the surface of these genres but as a primer here lies an excellent place to start.

23. Double Indemnity

If there were a film more Noir-ish than Double Indemnity I can’t think of one. Every trope and cliche of the genre shows up here in one form or another and it’s largely to it’s service. It’s a simple story of an insurance agent helping a woman commit insurance fraud by planning a murder and it would go on to influence much of it’s genre. As with the previously mentioned Sunset Blvd this film is directed by the great Billy Wilder. Edward G. Robinson gets a good showing as an insurance agent trying to search out phony scams. This would be the film to help establish the noir film.

24. The Big Sleep

Based on the novel of the same name by the legendary pulp novelist Raymond Chandler, the story to Howard Hawk’s The Big Sleep is one of the more classically streamlined in it’s genre. That’s good because the actual story itself is a bit dense and hard to follow. For a first time viewer the easiest way to engage with the film is to let the central relationship play out before you. The human personification of masculine awesomeness that was Humphrey Bogart and the lovely and talented Lauren Bacall take the lead for this mystery film and their scenes are the driving force of the entire film. Bacall’s Miss Rutledge has a mystery to solve and Bogart’s Phillip Marlowe is a detective who’s job it is to find the solution. No great story is ever driven entirely by the strength of it’s lead’s charisma but this certainly is a contender for coming close to that.

25. The Naked City

One of the early spectacles of film came in the fact that film was able to portray places that most people would never get to see normally. Many early depictions of strange and foreign lands have come to dominate culture’s perception of them. John Ford’s depictions of monument valley would become one of the primary visions of the frontier while films like Bogart’s The African Queen took people out to a place in the world they’d never see otherwise. Entire franchises like the James Bond franchise have been built out of this idea of showing people the far corners of the world. For context though this style of filmmaking was rather difficult. Across it’s entire history Hollywood has shot the vast majority of it’s films in it’s studios and backlots where it could construct and control a film from the ground up and keep the costs down. Given that 1948′s The Naked City is fundamentally a film about a specific time and place though it’s easy to see why the studio would be willing to allow a location shoot for this particular one. This is a story about a city and about the hundreds of scurrying little lives entangled in the investigation of one particular murderer. It’s a bit melodramatic by modern standards but powerful none the less.

26. Touch of Evil

To front load this recommendation: This film has the greatest opening shot in the history of cinema. It also portrays Charlton Heston playing a Mexican. These two cliches dominate the discussion of the film and often overcome discussion on an otherwise brilliant mystery film. In the aftermath of a car bombing on the US-Mexico border a corrupt police detective and a Mexican drug enforcement officer begin investigating and find the murderer. This is one of Orson Welles’s best classics and one that famously got him in a huge fight with Universal who cut significant portions of the film out and reshot them. The changes were so reviled by Welles that he underwent self imposed exile to Europe to work on independent films there for much of the duration of his remaining life. Thanks to a recut of the film by legendary film editor Walter Murch in 1998 we have a version similar to Welles’s true vision.

27. High Noon

If there were a more archetypal western than High Noon i’m not sure which it is. Three outlaws are due in town within the upcoming hours and only the sherif can defend his town from the coming threat. Complicating the matter are the objections of his newly wed Quaker wife who objects to his brazen use of violence as she imposes a threat to leave him if he takes up arms. In the end though Justice must be done. Gary Cooper takes the enigmatic lead and the wonderful Lee Van Cleef who goes on to become a principle in The Good, The Bad and the Ugly gets a small role as one of the outlaws.

28. Red River

The story of the cowboys is one largely forgotten in modern times. For a brief generation before the proliferation of the railroads there was truly only one way to get bovine from their farms down in Texas to the east coast. Vast cattle drives by cowboys for a short period of time drove their animals across multiple states to market. Howard Hawk’s Red River is a wonderful depiction of that brief window in time. The film is fascinatingly one of the few movies where John Wayne plays the bad guy in the story.

29. My Darling Clementine

Once again John Ford manages to bring us his wonderful sense of style and storytelling to the proceedings. Wyatt Earp is a legendary folk hero in the American western tradition. This wasn’t the first or last time that he would be played on screen as we would see adaptions of his life such as Gunfight at the OK Corral and Tombstone. John Ford’s take on the table is one again a perfect expression of the story he wanted to tell.

30. The Man Who Shot Liberty Valance

John Wayne, Jimmy Stewart and John Ford made a western together. Today it’s remembered as the butt of the of Family Guy’s jokes. At it’s core though The Man Who Shot Liberty Valance is one of the purest examples of the western genre. A young lawyer packs up and movies west when he is conflicted by a wild outlaw who is only able to stop the conflict is the old corrupt lawman played by John Wayne. This is the classic western trope of the slow approach of civilization overcoming lawlessness.

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In many ways this list has been a highly cathartic one given how centrally it’s been on my mind for a while now. While i’m happy with what i’ve managed there is still the feeling that i’ve left things off the list. Black and white films comprise half of the entire history of an art form.

How can I not mention the wonderful swashbuckling adventure flicks of Errol Flynn? How can I bring up the delightful comedic works of the Marx Bros. or Abbot and Costello? What of the grand early works of Stanley Kubrick such as the satirical comedy Dr Strangelove or his own noir thriller The Killing? How can I avoid elaborating the importance of the Italian neorealist movement and it’s impact on cinema? Heck I still wanted to put Gojira and King Kong movies on the list…

I can only hope this list proves helpful to you fellow passionate people and that it helps you learn and enjoy something you love in a new way. If any of these sound interesting i’d be happy to explore these concepts in fuller detail upon request!

Thank you all for reading!

If you would like to see more reviews, articles and podcasts lemme know by tweeting me at @AntiSocialCriti or commenting below. Also be sure to check out my review show The Fox Valley Film Critics!

Live long and prosper!

#western #noir #Film Review

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lazyupdates · 6 years ago

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A post shared by Rajkumar Hirani (@hirani.rajkumar) on Jun 19, 2018 at 11:05pm PDT

Sanju, the biopic on Sanjay Dutt’s life, is all set to hit the silver screen on June 29.

Directed by Rajkumar Hirani, and having Ranbir Kapoor in the title role, the film is based on anecdotes narrated by Sanjay Dutt himself.

A post shared by Rajkumar Hirani (@hirani.rajkumar) on Jun 13, 2018 at 11:00pm PDT

We take a look at 7 famous films based on the lives of actors that gained a cult following over the years…

Mahanati (2018)

The Dirty Picture (2011)

My Week with Marilyn (2011)

The Life and Death of Peter Sellers (2004)

Iruvar (1997)

Chaplin (1992)

Bhumika (1977)