#thomas blockbuster

[computer-cryptid]

howdy howdy archive nation :]!! the department of *finished art* is currently lacking a little… HOWEVER!! i come with some wips of a lil animatic im working on :) it’s even going to be sung!! by me!! isnt that exciting :DD!!

i’m really really excited to put this out even if it’s… been a pain in the butt to work on 😭 but it’s a first step towards all the other creative projects i want to pursue! so i welcome it!! i hope you will too hehehe!! and it brings more oc lore… how joyous… (kind of.. its quite sad actually)

[luffyrose]

Dp x Dc Blurb #5 (I think)

SO SO HAD THIS THOUGHT WHILE MAKING MYSELF FOOD!

We know, well, fandom kinda goes that ghosts form when around ectoplasm as well as have a strong enough desire to make a core. And Gotham is like Amity but less ley line more murder (so not as good ecto but still just as much, have to be a stronger ghost in general to be fine there).

Martha and Thomas Wayne are very much the type of people to come back as ghosts. No vengeance, no protection. They just wanted to see how Bruce, their little Brucie, grew up. They just wanted Family.

And that's exactly what they got!

They were thrilled when Alfred filled the role of father, even if he later claimed to just be a butler. Dick appearing in their lives was one of the happiest moments, how they wished they could tell him that his parents wished him well before moving on a few years later. Jason was adorable! Though it was upsetting to watch the other two begin too fight. It was even worse to find Jason joining them, even temporarily. Tim was a blessing to the family, keeping it from fully falling apart, and oh how they wished they could help all their little boys, because they knew where they all were and how they were feeling at all times.

With each addition they were thrilled for the large family, yet sad they could never interact, never help. Jason could sense them, but he'd only gotten help with his illness recently, poor child, he was still so ill.

The two Waynes had been there for it all. Watching, wishing, and gently tucking each of the boys in, even when they were far away from home.

But something was still missing. Both could feel that frail bond reaching out for another part of their family. A young boy they discovered while following it. He was about Damian's age, and could see them! He didn't seem aware he was adopted, let alone had a family waiting for him, but he also seemed so overwhelmed. The two decided to watch him but leave their little Danny alone. At least, they would until he was in danger.

And just like with the rest of the family, danger came.

It was just a random afternoon when they'd felt the pull of panic from the half ghost child, yet they couldn't leave Gotham so quickly. Bruce and Dick had a fight for the first time in a long time and...well it wasn't pretty and left ALL of the other children worried and confused.

So with the ectoplasm they'd gotten with their growing family, and even visiting their halfa on occasions, Martha and Thomas Wayne decided to do something about it.

The mansion was haunted. For the last few days things had been going completely haywire with no reasonable explanation but ghosts, or magic, but from what they knew the two went pretty hand in hand. So they decided to call Constantine to figure out why.

None of them expected Bruce's parents. Especially when they told them they needed to go save their brother Danny...a name that one particular batkid hadn't heard in a long time.

~~~

Open ended on which one, but sibling of batkid implied.

Martha and Thomas kept getting stronger with each kid Bruce adopted/got, Steph and Barbara inculded, and could feel a semi-frayed bond with one of the kid's biological brother and it led to Danny 🤗

They didn't plan to introduce themselves since the boy seemed happy enough despite the stress, they did not really see what his homelife was like. It was only after they felt something happen through their bond (which because they have obsessions based around family they can sense their own family) that they realized something was wrong and decided a good ol fashion haunting to catch their attention so they could find a way to tell them to get their brother.

[bookhouseboy1980-blog]

Deep Blue Sea Watchalong (W/Rachel Macdonald)

Sub to my channel for more: https://www.youtube.com/@borednow5838/videos

@deepbluesea-blog1 #DeepBlueSeaedit #Scifiedit

[weaselandfriends]

Post-postmodernism in Pop Culture: Homestuck’s Revenge

I recently saw an excellent video essay titled Why Do Movies Feel So Different Now? by Thomas Flight. Though the title is opaque clickbait, the video is actually about major artistic zeitgeists, or movements, in film history. Flight describes three major movements:

Modernism, encompassing much of classic cinema, in which an earnest belief in universal truths led to straightforward narratives that unironically supported certain values (rationalism, civic duty, democracy, etc.)

Postmodernism, in which disillusionment with the values of modernism led to films that played with cinematic structure, metafiction, and the core language of film, often with more unclear narratives that lacked straightforward resolutions, and that were skeptical or even suspicious of the idea of universal truth 

Metamodernism, the current artistic zeitgeist, which takes the structural and metafictional innovations of postmodernism but uses them not to reject meaning, but point to some new kind of meaning or sincerity.

Flight associates metamodernism with the “multiverse” narratives that are popular in contemporary film, both in blockbuster superhero films and Oscar darlings like Everything Everywhere All at Once. He argues that the multiverse conceptually represents a fragmented, metafictional lack of universal truth, but that lack of truth is then subverted with a narrative that ultimately reaffirms universal truth. In short, rather than rejecting postmodernism entirely, metamodernism takes the fragmented rubble of its technique and themes and builds something new out of that fragmentation.

Longtime readers of this blog may find some of these concepts familiar. Indeed, I was talking about them many years ago in my Hymnstoke posts, even using the terms “modernism” and “postmodernism,” though what Flight calls metamodernism I tended to call “post-postmodernism” (another term used for it is New Sincerity). Years before EEAAO, years before Spider-verse, years before the current zeitgeist in pop cultural film and television, there was an avant garde work pioneering all the techniques and themes of metamodernism. A work that took the structural techniques of postmodernism--the ironic detachment, the temporal desynchronization, the metafiction--and used them not to posit a fundamental lack of universal truth but rather imbue a chaotic, maximalist world of cultural detritus with new meaning, new truth, new sincerity. That work was:

Homestuck.

That’s right! Everyone’s favorite web comic. Of course, I’m not the first person to realize the thematic and structural similarities between Homestuck and the current popular trend in film. Just take a look at this tweet someone made yesterday:

This tweet did some numbers.

As you might expect if you’re at all aware of the current cultural feeling toward Homestuck, many of the replies and quotes are incredibly vitriolic over this comparison. Here’s one of my favorites:

It’s actually quite striking how many elements of the new Spider-verse are similar to Homestuck; aspects of doomed timelines, a multiversal network that seems to demand certain structure, and even “mandatory death of parental figure as an impetus for mandated personal growth” are repeated across both works. The recycling and revitalization of ancient, seemingly useless cultural artifacts (in Homestuck’s case, films like Con Air; in Spider-verse, irrelevant gimmick Spider-men from spinoffs past) are also common thematic threads.

As this new post-postmodern or metamodern trend becomes increasingly mainstream, and as time heals all and allows people to look back at Homestuck with more objectivity, I believe there will one day be a rehabilitation of Homestuck’s image. It’ll be seen as an important and influential work, with a place inside the cultural canon. Perhaps, like Infinite Jest, it’ll continue to have some subset of commentators who cannot get past their perception of the people who read the work rather than the work itself even thirty years after its publication, but eventually it’ll be recognized for innovations that precipitated a change in the way people think about stories and their meaning.

Until that day, enjoy eating raw sewage directly from a sewer pipe.

(Side note: I think Umineko no naku koro ni, which was published around the same time as Homestuck and which deals with many similar themes and then-novel ideas, will also one day receive recognition as a masterpiece. Check it out if you haven’t already!)

[hotvintagepoll]

I just want to say, a) love your work, thanks for running a delightful blog, I appreciate all the new-to-me vintage star power I've been exposed to…and b) every. single. time I read "It is vintage times." in the Dracula casting posts, I crack up. Pure joy.

this ask is old but thank you! the dracula polls are done for now, but here's one last poll as a farewell bite.

this is a poll for a movie that doesn't exist.

It is vintage times. The powers that be have finished their remake of the classic vampire novel Dracula, with you—the hvp electorate—in charge of the casting. in an amazing show of inter-studio solidarity, Hollywood’s most elite hotties came together to star in a movie that will not soon be forgotten.

Here is the cast list.

Jonathan Harker—Jimmy Stewart

Count Dracula—Gloria Holden

The Old Woman—Martita Hunt

Mina Murray—Setsuko Hara

Lucy Westenra—Judy Garland

The Three Voluptuous Women—Betty Grable, Marilyn Monroe, and Lauren Bacall

The Agonized Mother—Mary Philbin

Dr. Jack Seward—Vincent Price

Quincey P. Morris—Toshiro Mifune

Arthur Holmwood—Sidney Poitier

R.M. Renfield—Conrad Veidt

The Captain of the Demeter—Omar Sharif

The First Mate of the Demeter—Leonard Nimoy

Mr. Swales—Ed Wynn

The Correspondent for The Daily Graph—Ethel Waters

Dracula in dog form—Frank Oz with a puppet

Sister Agatha—Angela Lansbury

Mrs. Westenra—Gladys Cooper

Dracula's solicitors—Peter Cushing and Christopher Lee

Dr. Van Helsing—Orson Welles

Mr. Hawkins—Donald Meek

Thomas Bilder, zookeeper—Lon Chaney Jr.

Thomas Bilder's wife—Elsa Lanchester

The Reporter from the Pall Mall Gazette—Hattie McDaniel

Patrick Hennessey M. D., M. R. C. S. L. K. Q. C. P. I.—George Takei

Mr. Marquand, the Westenras' solicitor—Gregory Peck

The obsequious undertaker—Tura Satana

The Cockneys from the carrier's cart—Wilkins and Wontkins

The beautiful woman in Piccadilly—Dorothy Dandridge

[tenaciousarcadeexpert]

list of young actresses of color who deserve to have more recognition and opportunities as actors like Florence Pugh, Anya Taylor-Joy, Kathryn Newton, Millie Bobby Brown etc. It would be refreshing to see more of these talented and underrated actresses of color

*Note, the list consists of actors born within the mid 90s-2000s. This might not be a complete list so whoever sees this is welcome to add more actors that I missed. I might update this post from time to time

This list has gotten so long that I have to make a separate one for male actors of color

Rachel Zegler-(she deserved way better than the hate over snow white)

Lana Condor-(aside from x-men apocalypse and the to all the boys trilogy, she hasn't done much blockbusters compared to Noah, despite her being the lead in the latter films)

Dominique Thorne-(She has her Ironheart and deserves more opportunities, both in the mcu and outside)

Halle Bailey

Maitreyi Ramakrishnan

Lola Tung-(same example with Lana, pretty jarring how her male co-stars are getting work beyond the summer i turned pretty and yet there's nothing from Lola)

Ashley Liao

Megan Suri-(another cast member from Never Have I Ever who also deserves all the opportunites)

Joy Sunday-(Bianca from Wednesday, deserves as much love as Emma Myers)

Iman Vellani-(Ms Marvel/Kamala Khan herself, deserves to have a thriving career and be as big like Tom Holland)

Ayo Edebiri-(2023 was a big year for her, hopefully it continues and she's not overlooked or overshadowed by her white co-stars in The Bear)

Savannah Smith-(Carried the gossip girl reboot, she deserves to have as much recognition as Leighton and Blake did after the original Gossip Girl series)

Madison Reyes-(Julie and the Phantoms deserved better than to be cancelled after one season and with a cliffhanger. Let her star in a musical and or disney film)

Simone Ashley-(One of the main leads in Bridgerton yet Phoebe and Nicola have more upcoming projects than her in Hollywood)

Charithra Chandran

Arsema Thomas

India Amarteifio

Madeleine Madden-(Carried season 2 of The Wheel of Time and if you watched the whole season, you'll understand why)

Moses Ingram-(Did not deserve the hate over the Obi Wan Kenobi series)

Minnie Mills-(She deserved to appear in season 2 of The Summer I Turned Pretty)

Amrit Kaur

Alyah Chanelle Scott-(it's frustrating that both the main leading ladies of color are overshadowed by Renee Rapp and Pauline, who's related to Timothy)

Letitia Wright-(Pretty jarring how she's been in plenty of mcu projects yet it's easy to count the number of roles she's been in outside the mcu, and has been acting since 2011, longer than Florence Pugh, Anya Taylor Joy and Millie Bobby Brown. Wright has even acted as long as Sophie Turner and Maisie Williams and they've been in more projects than her)

Yasmin Finney-(She's done both Heartstopper and Doctor Who)

Imani Lewis-(First Kill deserved better than being cancelled after one season. Let her do more horror and supernatural themed

Leah Jeffries-(Deserves all the support especially once the Percy Jackson series comes out)

Auli'i Cravahlo

Erin Kellyman-(After the Han Solo film, The Falcon and the Winter Soldier and Willow, let her appear in more sci-fi and action blockbusters)

Sadly, tumblr has a 30 limit on adding gifs. I definitely missed so many on the list. Anyone is welcome to add more to the list. All of these talented actresses deserve all the love, appreciation and more opportunities and roles

I might do a part 2 which will include male actors

[allovesthings]

I think Nightwing really kinda has a villain problem, I was thinking adaptations and which of his villains would make a good one in a movie and I got a few but not a lot actually that are just his.

Blockbuster is the first one that comes to mind that is his completely.

You could also take Deathstroke, he is a Titan's villain with a special interest for Dick and he has been an antagonist in his solo before.

He has other villains but they are not great, And would need to be remade for the movie to have more substance (Raptor could be a good one actually).

There are other options though: like take a Batman villain who he has a lot of history with and adapt that coughTwo-Facecough but I feel like Nightwing needs to be established and have that history with the world and the villain before they do that.

They could take one of the batman Rogue created during the DickBats period like Professor Pig or Flamengo. They did it in the comics when Damian came.

The suggestion I am going to make next is a controversial one...They could make the court of Owls... His instead of Batman ? I don't know how I feel about this one,I'm kinda torn because on one hand, I don't really like the Court of Owls in general as villains for reasons but I don't know, maybe it could be interesting in live-action and Dick is extremely important to the Court of Owl storyline in the comics and they are kinda as much his villains as Batman in the comics.

Maybe Owlman could be a Nightwing villain ? Considering the relationship he has with his Earth's Dick Grayson in the comics, the weird attachment he has to our Dick because of that and the parallel/contrast between Bruce and Thomas ?

[j23r23]

Profanities!

Tangerine x Reader

Inspired through a post from @little-miss-dilf-lover. I hope this is okey!

First time writing! First time posting!

Tangerine and I were a mismatched pair of friends, bonded through Lemon, our shared love of books and our work of specializing in discreetly resolving... problems.

I, with my impeccable manners, refined speech, and knack for crossword puzzles, was the yin to Tan's yang - a boisterous, devil-may-care spirit who could make anyone laugh with his quick wit and infectious charm.

We sat at a table in a bustling café, the air alive with the aroma of freshly brewed coffee and the almost sickening sweet smell of pastries and desserts. Which Lemon was eyeing at in the glass case at the counter, all the while talking to the waitress about Thomas and his peculiar friends. Tangerine was sitting across from me, one leg leisurely on top of the other while he was typing away on his phone. Meanwhile I sipped my earl grey, enjoying the moment of tranquility amidst the chaos of our lives and trying to figure out what 11 words down for a two word, 2022 Blockbuster could be.

But tranquility was not in the cards when the scalding tea burned my tongue, prompting an uncharacteristic outburst of a loud “FUCK!” The word echoed trough the café as I slammed down the cup, accidentally breaking it in the process and letting out another delightful “Fuck!” again.

Tan's eyebrows shot up in surprise, his playful grin widening into a mischievous smirk. "Well, well, well, look who's joining the dark side," he teased, sitting up in his chair, and putting his phone away in his breast pocket.

My cheeks flushed pink as I chuckled nervously. "I know, I know, it's a rare occurrence," I admitted a little sheepish feeling the weight of his playful scrutiny. "But, come on, Tan, don't act like you're not impressed," I countered, mustering up some bravado despite my embarrassment.

Tan shook his head, feigning disappointment. "Impressed? More like shocked. I didn't know I was sitting across from a, wait, what did you call me the other day, a vulgarian! No, it was a cursing connoisseur!" he retorted, his tone dripping with sarcasm.

I rolled my eyes, unable to resist the urge to tease him back. “Oh, please I’ll leave the cussing to the experts!”

Tan grinned, leaning forward with a twinkle in his eye. “Ah, but where’s the fun in that? You’ve got to live a little, spice things up.” he countered, his tone teasing.

I raised an eyebrow, a smirk playing at the corner of my lips. “Spice things up, huh? And here I thought I was doing just fine with my tea and crossword puzzle,” I quipped, enjoying where this was going.

And just for a short moment I could see Tangerine stare darkening and I could see this little glint in his eyes.

Wait, was that…. lust?!

I feel a rush of heat as Tan licks his lips, a subtle gesture that sends a shiver down my spine. It's so fleeting, I almost miss it, but the effect it has on me is undeniable. A tingling sensation creeps up my legs, setting my nerves on fire. We're locked in a silent standoff, both wondering who will make the next move.

Then, out of nowhere, Lemon appears beside me, pulling us back to reality. "Hey, are you up for some Sticky Toffee Pudding? Because I got some right here." he questions, looking at us expectantly.

My heart sinks as I whisper a silent fuck under my breath, my mind racing to reposition myself, my crossword puzzle now forgotten. Tan clears his throat, adjusting his tie “Na mate, I’m good,” while getting up he takes out his pack of cigarettes “I’ll be outside for a smoke”

Lemon, God bless him. Though hes a genius at reading other people he is oblivious to the situation and doesn’t notice the change in our demeanor and sits down at the table with a shrug.

I watch Tangerine as he exits the café and taking out his matches to light his cigarette inhaling his first puff of smoke. When he catches me staring, we lock eyes once more, the intensity palpable. Holding up our little staring contest I tell Lemon “You know what Lem, some Sticky Toffee Pudding sounds actually quite delicious.”

I can't help but playfully tease Tan, pursing my lips and lightly biting down into the sweet, rich and sticky cake, knowing it'll catch his attention. And catch it, it does. His eyes stay glued to mine, his Adam's apple bobbing nervously as he struggles to tear himself away. He stares as as the sweet treat coats my lips in sugar. His cigarette falls to the ground, forgotten, as he mouths a word, I can't hear but can easily decipher from his lips.

"Fuck."

And in that moment, while licking my lips clean. I knew the tension between us was far from over.

[studentfilmyoulying]

can u feed me another brim fanfic😭 I love brim too much

It took a while, but absolutely :3 bc same tbh

~~~~~~~~~~~~~~~~~~~~~

Ship: Brim (Brian Thomas x Tim Wright

Length: ~700 Words

Trigger warnings: none

~~~~~~~~~~~~~~~~~~~~~

Brian pulled up to the Blockbuster, Tim in the passenger seat; the sun was starting to set and warm colors washed over everything. He starts to get out of the car and realizes Tim isn't following suit. 

"C'mon Tim, you gotta help pick out a movie for tonight," he reached over and casually brushed Tim's hair out of his eyes, doing his best to ignore how this made the other man blush. 

"Brian, I told you, I'm not going in with all this makeup on my face. I don't know why Kralie even bothers; his camera is too shitty to pick it up anyways," Tim huffed. 

"Oh, please, you can barely tell, and plus, it looks good on you. It highlights your masculine features and those sexy as fuck sideburns," Brian comments sarcastically before bursting into laughter as his friend flipped him off and rolled his eyes. 

"You know you love them, Bri. Alright, fine, I'll go in, but if I get hate-crimed for being a man wearing makeup in Alabama, it's on you." 

Brian stifled his laughter as they both got out and went into the Blockbuster. They walked straight to the VHS section as neither of them had a DVD player yet, and Tim claims it "looks more authentic," whatever that means. He immediately picks up some 80s dark fantasy film with barely clothed women on the front and shows it to Tim, waggling his brows at him suggestively. He responds by smacking him on the back of his head (on him tippy toes) and keeps looking. 

"What're you in the mood for tonight?" 

Tim scans the shelves before picking one up, "How about My Little Pony—A Very Minty Christmas, eh? Seems like a real thriller." 

"I hate you," Brian says as he tries not to draw too much attention to them with his raucous laughter. He picks up one they haven't seen before and suggests it. "How about this one? Looks interesting," 

"I'm down; let's go pick out some snacks." Tim then heads over to the snack area, where he grabs a box of Muddy Bears, Snowcaps, and Cookie Dough Bites. Brian grabs a box of popcorn, and they go checkout. Once they finish, they pile back into Brian's car and head over to his place for a movie night. 

~ 

They get to Brian's place as the sky tints the front lawn purple with the setting sun. After getting inside, the two men easily slip into their usual roles. Tim prepares the popcorn and snacks; Brian sets up the movie and makes the living room cozy. It just became routine to them after awhile, and it was easier this way. 

Popcorn popped, and movie started, they cuddled up together on the couch with a blanket thrown over their laps. As if knowing the movie was about to begin, the sun finished it's descent to the horizon and it was now dark outside, setting the mood perfectly. 

The title screen came up; "The Forgotten" appeared on screen as Tim leans in to rest his head against Brian. The taller man returns the gesture by grabbing Tim's hand under the blanket and giving it a gentle squeeze. 

~ 

As quickly as it began, it was over. Brian disentangled himself from Tim, much to the others disappointment, and turned the lights on. 

"I'm still not sure if that was supposed to be God or aliens in the sky." 

""I'm gonna go with Aliens; why would God do experiments on people?" Brian responds as he sits back down. 

"I mean, why wouldn't he?" Almost as soon as Brian was situated on the couch, Tim got all over him again. 

He rolled his eyes at the sassy remark and kissed the top of Tim's head, making the other man wriggle in place like an overly-excited puppy. 

Tim continues, "I think it was God, and if God ever took away my memories of you, fuck, I'd challenge God to give you back too. Julianne Moore had the right idea. I'd be so lost and empty if I ever forgot you." 

"Well, thankfully," Brian begins, "that will never. Ever. Ever. Ever. Ever. Happen," and with each "ever," Brian peppered Tim's face with kisses, ending with a big smooch right on his lips. 

~~~~~~~~~~~~~~~~~~~~

AAAAA I had such a good time writing this!! It's so nostalgic and cozy! pls send more requests/asks :3

[vicontheinternet]

Batfamily fanfic recs

Duke Thomas

Keep Your Head, Your Backbone, and Your Heart by MrMich (word count: 54,578/chapters: 6/complete

The last thing that Duke expected on what was supposed to be just a regular patrol was being suddenly thrown five years into the past, coming face to face with a darker, more violent Batman than the one he knew, a broken family, and a Tim who was a foot shorter than Duke, and not even Robin yet.

A silent shadow flitted past him, just barely visible on the cave walls. He went rigid, tracking the shadow in the corner of his vision.

And then he dropped to the floor, just in time, as a familiar black gloved fist passed overhead. He just barely missed being hit by the punishing blow that would have landed right on his temple for a sure concussion if he hadn’t dodged.

“Batman?” Duke yelled. He somersaulted forward, just barely avoiding another strike. “B, what are you doing?!”

“Who are you,” came the growled response. A shiver crawled down Duke’s spine at the grim hostility in Batman’s voice that promised violence, and something tightened in the back of his throat.

Tim Drake

Liminal Space by Calamityjim (word count: 77,186/chapters: 17/complete)

Bruce's habit of collecting strays is not limited by dimension.

Or

When Young Justice Batman comes across an angsty, seemingly abandoned by his Batman Tim Drake, he decides to step up to the plate and parent the crap out of him.

Ten cents richer by Ms_trickster

(Word count: 13,493/Chapters: one shot)

You either die a hero, or you live long enough to see yourself become the villain.

That’s how the saying goes. Take enough punches from the universe and eventually it becomes harder and harder to pop back up, to see the worth in fighting back, to stop yourself from turning around and delivering some punches of your own.

Tim never wanted to become the villain—

“Appendicitis,” Tim breathed in disbelief. “Are you fucking kidding me?”

—but he’d be lying if he said he wasn’t tempted to burn the world to ashes when shit like this kept happening to him.

Dick grayson

making gold out of it (read all the tags/word count: 7,601/one-shot)

Dick talks himself back down on the bathroom floor, clinical and detached.

(For someone whose primary skill is manipulating his body, it’s not very often that he feels connected to it.)

Or, five years after Blockbuster, Dick begins teetering on the ledge of processing what Catalina did to him.

Stephanie brown

DON'T YOU CRY, DRY YOUR EYES. (Word count: 4,842/one-shot)

After inhaling her food before Bruce's even halfway through his vanilla milkshake, Stephanie seems to have sobered up a little. She's looking less green, and more like she's trying to develop x-ray vision and look into Bruce's soul.

Or maybe she's still drunk, because she very suddenly and very bluntly tells him, "I used to wish you were my dad," drowning her chips into a little pot of ketchup.

Bruce pauses. He slowly drops the chicken nugget he was about to put in his mouth — since now is probably not the time to complain about how the nuggets are a little dry today.

(Bruce Wayne is not Stephanie Brown's father, not at all.)

Gen (two or more bats)

THIS ISN'T PUNISHMENT (I LOVE YOU). (Word count:2,250/ one-shot/ jason & bruce)

It's not."

Jason swallows thickly, "What?"

"My parents death is not the worst thing to ever happen to me," Bruce reiterates, as calm as Jason has ever seen him, eerily indifferent to the topic. But it's his eyes that remind Jason of the situation at hand, the way they're wide and glassy, pale blue eyes screaming for the words to stop.

They don't stop; "Losing you," Bruce continues, unblinking to Jason's expression of absolute horror, "Is the worst thing to ever happen to me."

Pain should not be quantifiable. It's with sinking hatred and pity, does Jason realise, guilt shouldn't be measurable either.

(Batman is hit with truth serum, Jason reacts to the consequences.)

The Neighborhood Watch by AlexaAffect (word count: 8,565/Chapter(s):1/gen

A knock on his door roused him from his vigilance, strong and steady.

Jason tucked a crutch beneath his arm, pushing himself up off the couch. In his other hand he carried the gun; his finger poised on the trigger. Bruce’s gun safety rules bounced around in his head, mingling with his father’s from years earlier.

Keep your finger off the trigger unless you intend to shoot.

Jason didn’t intend to miss.

Another knock; more frantic this time than before.

He had half a mind to yell. The curses died in his throat. The list of people who knew his safe house was short. He was leaving nothing up to chance. He leaned forward, pressing the gun against the door, and checked the peephole.

Dick.

Immediate relief.

Or alternatively; The Joker escapes Arkham and due to a broken leg, Jason can do nothing about it. Luckily, he doesn't have to wait alone.

[transmutationisms]

Her first task: assemble a team of development executives to rummage through Mattel’s toy chest and identify I.P. that could be fodder for Hollywood studios. Mattel would help match properties with writers, actors, and directors; studios would provide all the funding. The brands, and audiences’ familiarity with them, were their own form of currency. Brenner told me, “In the world we’re living in, I.P. is king. Pre-awareness is so important.”

[...]

The gamble now looks like a smart one. The hyper-saturated trailers for “Barbie” have sparked endless memes, and interest in the film’s aesthetic sensibility, which mimics the look of Mattel play sets, is so intense that the hashtag #Barbiecore trended on TikTok for months. The movie, which opens in mid-July, is tracking to be one of the blockbusters of the summer. Meanwhile, Mattel has amassed a long slate of other projects. Daniel Kaluuya, for example, has agreed to produce a feature about Barney, the purple dinosaur. Thirteen more films have been publicly announced, including movies about He-Man and Polly Pocket; forty-five are in development. (Some of the projects have an ouroboros quality. Tom Hanks is supposed to star in “Major Matt Mason,” which will be based on an astronaut action figure that has been largely forgotten, except for the fact that it helped inspire Buzz Lightyear—one of the protagonists of Pixar’s “Toy Story” franchise.)

Barber told me that Mattel had figured out how to “engage with filmmakers in a friendly way.” Gerwig, meanwhile, was looking to move beyond the small-scale dramas she was known for. “Greta and I have been very consciously constructing a career,” Barber explained. “Her ambition is to be not the biggest woman director but a big studio director. And Barbie was a piece of I.P. that was resonant to her.”

[...]

Talk turned to a few recent pitches that had surprised the team. “Somebody just asked me about Bass Fishin’, which is, like, a toy fishing rod,” Bassin said. The pitch was for an “intense sports drama about this cheating scandal in competitive fishing”—an attempt, it seemed to me, to Trojan-horse a story that the writer actually wanted to tell into a conceit that might be green-lighted.

After the meeting, McKeon told me that it was possible to incorporate complex characters and emotions into toy-based properties, though not every brand could support mature themes. “Thomas the Tank Engine isn’t going on a bender with his friends,” he said. But “Major Matt Mason” could be reimagined as a “Close Encounters of the Third Kind”-esque drama for adults: “It’s prestige-y and asks really pointed questions about life and our place in the universe.” He went on, “Our top priority is to make really good movies—movies that matter, and that make a cultural footprint. Our second priority is to make sure that we do no disservice to the brands.”

found this article helpful in contextualising the medium piece that’s been circulating on here

[danthepest]

oh hey, now that I can post 30 images instead of 10, guess I'm redoing my DC characters collections. Anyway, here's the Batman villains from the DC Animated Universe.

The Joker - First comic appearance in Batman v1 #1 (1940).

Harley Quinn - First appearance in Batman: Harley Quinn (1999)

Two-Face - First comic appearance in Detective Comics v1 #66 (1942).

Killer Croc - First comic appearance in Batman v1 #357 (1984).

The Riddler - First comic appearance in Detective Comics v1 #140 (1948).

Bane - First appearance in Batman: Vengeance of Bane #1 (1993)

The Scarecrow - First comic appearance in World’s Finest Comics #3 (1941).

The Penguin - First comic appearance in Detective Comics v1 #58 (1941).

Poison Ivy - First comic appearance in Batman v1 #181 (1966).

Mr. Freeze - First appearance in Batman v1 #121 (1959).

Ra’s al Ghul - First appearance in Batman v1 #232 (1971).

Talia al Ghul - First appearance in Detective Comics v1 #411 (1971).

Ubu - First appearance in Batman v1 #232 (1971).

Rupert Thorne - first appearance in Detective Comics v1 #469 (1977).

The Ventriloquist - First appearance in Detective Comics v1 #583 (1988).

Firefly - First appearance in Detective Comics v1 #184 (1952).

Clayface - First appearance in Detective Comics v1 #298 (1961).

The Mad Hatter - First appearance in Batman v1 #49 (1948).

Thomas Blake - First appearance in Detective Comics v1 #311 (1963).

Man-Bat - First appearance in Detective Comics v1 #400 (1970).

Blockbuster - First appearance in Detective Comics v1 #345 (1965).

Deadshot - First appearance in Batman v1 #59 (1950).

Hugo Strange - First appearance in Detective Comics v1 #36 (1940).

KGBeast - First appearance in Batman v1 #417 (1988).

Hellhound - First appearance in Catwoman v2 Annual #2 (1995).

Lock-Up - First appearance in Robin v2 #24 (1996).

Gork - First appearance in Detective Comics v1 #480 (1978).

Copperhead - First appearance in The Brave & the Bold v1 #78 (1968).

Electrocutioner - First appearance in Batman v1 #331 (1981).

Joe Chill - First appearance in Detective Comics v1 #33 (1939).

[dweemeister]

Whenever you feel alone, just remember that those kings will always be there to guide you. And so will I.

Born to a turbulent family on a Mississippi farm, James Earl Jones passed away today. He was ninety-three years old. Abandoned by his parents as a child and raised by a racist grandmother (although he later reconciled with his actor father and performed alongside him as an adult), the trauma of his childhood developed into a stutter that followed him through his primary school years – sometimes, his stutter was so debilitating, he could not speak at all. In high school, Jones found in an English teacher someone who found in him a talent for written expression, and encouraged him to write and recite poetry in class. He overcame his stutter by graduation, although the effects of it carried over for the remainder of his life.

Jones' most accomplished roles may have been on the Broadway stage, where he won three Tonys (twice winning Best Actor in a Play for originating the lead roles in 1969's The Great White Hope by Howard Sackler and 1987's Fences by August Wilson) and was considered one of the best Shakespearean actors of his time.

But his contributions to cinema left an impact on audiences, too. Jones received an Honorary Academy Award alongside makeup artist Dick Smith (1972's The Godfather, 1984's Amadeus) in 2011. From the end of Hollywood's Golden Age to the dawn of the summer Hollywood blockbuster in the 1970s to the present, Jones' presence – and his basso profundo voice – could scarcely be ignored. Though he could not sing like Paul Robeson nor had the looks of Sidney Poitier, his presence and command put him in league of both of his acting predecessors.

Ten of the films James Earl Jones appeared in, whether in-person or voice acting, follow (left-right, descending):

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) – directed by Stanley Kubrick; also starring Peter Sellers, George C. Scott, Sterling Hayden, Keenan Wynn, and Slim Pickens

The Great White Hope (1970) – directed by Martin Ritt; also starring Jane Alexander, Chester Morris, Hal Holbrook Beah Richards, and Moses Gunn

Star Wars saga (1977-2019; A New Hope pictured) – multiple directors, as the voice of Darth Vader, also starring Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing, Alec Guinness, Billy Dee Williams, Anthony Daniels, David Prowse, Kenny Baker, Peter Mayhew, and Frank Oz

Claudine (1974) – directed by John Berry; also starring Diahann Carroll, Lawrence Hilton-Jacobs, and Tamu Blackwell

Conan the Barbarian (1982) – directed by John Milius; also starring Arnold Schwarzenegger, Sandahl Bergman, Ben Davidson, Cassandra Gaviola, Gerry Lopez, Mako, Valerie Quennessen, William Smith, and Max von Sydow

Coming to America series (1988 and 2021; original pictured) – multiple directors; also starring Eddie Murphy, Arsenio Hall, John Amos, Madge Sinclair, Shari Headley, Jermaine Fowler, Leslie Jones, Tracy Morgan, and KiKi Layne

The Hunt for Red October (1990) – directed by John McTiernan; also starring Sean Connery, Alec Baldwin, Scott Glenn, and Sam Neill

The Sandlot (1993) – directed by David Mickey Evans; also staring Tom Guiry, Mike Vitar, Patrick Renna, Chauncey Leopardi, Marty York, Brandon Adams, Grant Gelt, Shane Obedzinski, Victor DiMattia, Denis Leary, and Karen Allen

The Lion King (1994) – directed by Roger Allers and Rob Minkoff, as the voice of Mufasa; also starring Jonathan Taylor Thomas, Matthew Broderick, Jeremy Irons, Moira Kelly, Niketa Calame, Ernie Sabella, Nathan Lane, and Robert Guillaume, Rowan Atkinson, Whoopi Goldberg, Cheech Marin, Jim Cummings, and Madge Sinclair

Field of Dreams (1989) – directed by Phil Alden Robinson; also starring Kevin Costner, Amy Madigan, Ray Liotta, and Burt Lancaster

[denimbex1986]

'If Peaky Blinders made the Irish actor a household name, will Christopher Nolan’s nuclear blockbuster send him into the stratosphere? He talks about extreme weight loss, hating school and why his next character won’t be a smoker.

Cillian Murphy is struggling with what he can and can’t say about his title role in Oppenheimer, the latest Christopher Nolan epic, such is the secrecy surrounding this film. Murphy is under “strict instructions” not to talk about the content. Which is awkward when you’ve flown to his home in Ireland to interview him specifically about playing the physicist who oversaw the creation of the atomic bomb, later detonated over Hiroshima and Nagasaki. It’s not clear who issued these instructions. Nolan? The studio? The US government? All I know is that as well as Murphy being gagged by hefty NDAs, I am not allowed to see it (“bit unfortunate”, he concedes).

So, yes, here we sit in an empty upstairs room of a restaurant near his house in Monkstown, Dublin, working out how to do this. The room is dark, the sun shining through a solitary Velux lighting his features like a Géricault. The only background noise is the low hum of a wine refrigerator. Murphy loathes interviews, looks visibly tortured at points. But he relaxes when I ask if he’s pleased with Oppenheimer. “I am, yeah,” he says. “I don’t like watching myself – it’s like, ‘Oh, fucking hell’ – but it’s an extraordinary piece of work. Very provocative and powerful. It feels sometimes like a biopic, sometimes like a thriller, sometimes like a horror. It’s going to knock people out,” he adds. “What [Nolan] does with film, it fucks you up a little bit.”

Nolan wouldn’t disagree. The director recently told Wired magazine that some of those who’d seen it were left “absolutely devastated … they can’t speak”. Which sounds like a bad thing, but is related perhaps to the thought of the 214,000 Japanese people, overwhelmingly civilians, who lost their lives when the bombs were dropped. Kai Bird, the historian who co-authored American Prometheus, the 2008 biography of J Robert Oppenheimer upon which the film is based, said he was still “emotionally recovering” from seeing the film, clarifying that it was “a stunning artistic achievement”.

Murphy’s portrayal is said to be astonishing (“Oscar-worthy” is the buzz). This is not unbelievable. While Hollywood might not know him as a leading man, this quietly intense actor has long been celebrated in the UK and Ireland, most notably for his nine-year stint as Tommy Shelby in Peaky Blinders. When he first appeared on our screens, looking like a renaissance painting of Saint Sebastian – chiselled head contrasting with translucent blue eyes – it was impossible not to be distracted. He appeared first on stage in Enda Walsh’s Disco Pigs, then the screen adaptation. Then 28 Days Later; Intermission; Ken Loach’s The Wind That Shakes the Barley. Previous collaborations with Nolan include the Dark Knight trilogy, Inception and Dunkirk, “significant milestones in my career,” he says, adding that Nolan “might be the perfect director”.

It was Nolan’s wife, the producer Emma Thomas, who called Murphy one afternoon at the home he shares with his wife, artist Yvonne McGuinness, and two teenage sons. Nolan doesn’t actually have a telephone, or an email, or computer for that matter: “He’s the most analogue individual you could possibly encounter.” So, Emma said Chris would like a word and passed the receiver, then the director came on the line. “Cillian, I’d love you to play the lead in this new thing,” he said. Murphy tries to recreate his response to this news. “I was lost for words. But thrilled. Like beyond thrilled.” It is characteristic of Murphy that the modulation of his voice barely changes as he expresses this. He was so stunned, he had to sit down. “Your mind explodes.”

In the absence of the three-hour feature, I scrutinise Oppenheimer’s three-minute trailer. It’s a rush of snapshots against the crackling of a Geiger counter. There’s Murphy, short back and sides, lifting 1940s eye goggles; blue and red atoms coming at him fast; orange light; white light; blackout; silence. Massive explosion against the backdrop of space. Overlaid is Murphy’s narration, “We’re in a race against the Nazis / and I know what it means / if the Nazis have a bomb.” There’s Matt Damon looking porky as army general Leslie Groves, director of the Manhattan Project: “They have a 12-month head start.” Murphy, pointing with cigarette: “18.”

He has put back on some of the weight he lost for the part, I’m relieved to see; his skin isn’t quite so taut over his skull and there are freckles over those eagle-wing cheekbones. He was determined to nail the scientist’s silhouette “with the porkpie hat and the pipe”, testing himself to see how little he could eat. “You become competitive with yourself a little bit which is not healthy. I don’t advise it.” He won’t say how many kilograms he lost, or what food the nutritionist told him to cut out. NDA? “Ach, no. I don’t want it to be, ‘Cillian lost x weight for the part’.”

Then again, the hurtling speed at which Nolan worked, crisscrossing the US, made it easy to skip meals. Murphy began to forget about food in the same way he began to forget about sleep. “It’s like you’re on this fucking train that’s just bombing. It’s bang, bang, bang, bang. You sleep for a few hours, get up, bang it again. I was running on crazy energy; I went over a threshold to where I was not worrying about food or anything. I was so in it, a state of hyper …” he gropes for the word, “hyper something. But it was good because the character was like that. He never ate.” Oppenheimer subsisted on little more than Chesterfield cigarettes and double-strength martinis, rims dipped in lime. “Cigarettes and pipes. He would alternate between the two. That’s what did for him in the end,” Murphy adds, a nod to the scientist’s death from cancer in 1967. “I’ve smoked so many fake cigarettes for Peaky and this. My next character will not be a smoker. They can’t be good for you. Even herbal cigarettes have health warnings now.”

I raise method acting and Murphy tilts his head and frowns. “Method acting is a sort of … No,” he says, firm but with a half smile. Oppenheimer had many defining characteristics, not least walking on the balls of his feet and a vocal tic that sounded like nim-nim-nim, but Murphy didn’t want to do an impression. Nolan was obsessed with the Brillo-texture hair, so they spent “a long time working on hair”. And the voice. The real question for Murphy was what combination – ambition, madness, delusion, deep hatred of the Nazi regime? – allowed this theoretical physicist to agree to an experiment he knew could obliterate humankind. “He was dancing between the raindrops morally. He was complex, contradictory, polymathic; incredibly attractive intellectually and charismatic, but,” he decides, “ultimately unknowable.

“Listen, it’s not like a spoiler,” he says, checking himself before he leans in, “but there are incidents in his early life that were quite worrying; very erratic.” They are in the film and the book, he steers. I suspect he is referring to Oppenheimer’s postgrad at Cambridge in 1926, when he placed a poisoned apple on the desk of a tutor towards whom he harboured complicated feelings of inadequacy and jealousy. Arguably, this was attempted murder. But Oppenheimer’s rich New York parents rushed in to bundle him into psychoanalysis. He was diagnosed with “dementia praecox”, a term describing symptoms associated with schizophrenia.

Murphy likes these complex characters; they’re his meat. People that don’t necessarily follow the – yawn – traditional transformative arc of storytelling. Not villains, exactly (although he’s played a few, including Scarecrow in Dark Knight and Jackson Rippner in Red Eye): “Villains are good if they’re well written, but if it’s one note or a trope, then they are dull.” He likes a script to stretch leisurely into all corners of the human condition, “all the shades”. At the same time, you have to understand his exceptional ability to portray interiority, physically manifesting intense human emotion without a word, radiating fierce, consuming energy. Which he does today, actually, when I stray off track.

Although Nolan is usually, shall we say, antiseptic in his approach to romance, Oppenheimer represents a significant shift. He told Wired the love story aspect “is as strong as I’ve ever done”. It features prolonged full nudity for Murphy and Florence Pugh, who plays Oppenheimer’s ex-fiancee, as well as sex, and there are complicated scenes with Emily Blunt, who plays his wife, “that were pretty heavy”. Murphy turns coy: “I’m under strict instructions not to give away anything.”

He asks if I’ve heard of chemistry tests. “They put two actors in a room to see if there’s any spark, and have all the producers and director at a table watching. I don’t know what metric they use, and it seems so outrageously silly, but sometimes you get a chemistry and nobody knows why.” This is a roundabout way of saying his scenes with Blunt and Pugh conjure this magic. His established bond with Blunt (they co-starred in A Quiet Place II) meant “the audience gets something for free”, he says. “You can be immediately vulnerable and open, and try stuff. There were moments where I remember saying, ‘I couldn’t have done that if it wasn’t with you.’”

Murphy, 47, grew up the eldest of four in Cork. His father was a civil servant, his mother a French teacher. They were a middle-class family, musical; his father “can pick up any instrument”, his brother played piano, and they regularly got stuck into “traditional Irish sessions”. Bookshelves were stuffed with literature, the radio often on, the “shitty” TV set not so much. Home life was busy but his parents taught him French and Irish, and sent him to an all-boys academic, rugby-playing private school. “I got all the education” he says, drily.

The story of how much he disliked the Presentation Brothers College, the hard-drinking masculine emphasis, how he found solace playing guitar in a band, is much rehearsed and he says today he doesn’t want “to slag the school off. I hear it’s great now.” Something about this experience seems nonetheless unsettling. He had one friend, who is still his best friend, “so I wasn’t, like, an outcast”. He played rugby for the first couple of years, but abandoned it “because everyone was all of a sudden towering over me.” Was it an unhappy time? He shifts. “It was OK. I was a bit of a messer, like I’d get in trouble and say nothing. It wasn’t the ideal school for me.”

He enrolled in and dropped out of a law degree at University College Cork, which created some friction with his parents (when I ask if his own sons will go to university in Dublin, he says, “Whatever they want”). He continued with the band, his first creative love but the one that got away. When they were offered a contract with Acid Jazz records, he turned it down for a number of reasons, he says, crucially that he didn’t feel good enough. He still writes and plays at home but, no, you won’t be hearing any of his recordings, ever, he says.

It’s a funny thing talking to Murphy. He’s at once garrulous (on the craft, or literature, or ideas) and reticent (pretty much anything else). I sense in previous interviews that he skates over issues close to his heart – such as the expression of emotion in Ireland and the need to teach empathy in schools. But when I try to drill in to these topics, get to the root, he clams shut, emitting energy like a nuclear reactor.

Later, in a different context, he will tell me a truth: “I’m stubborn and lacking in confidence, which is a terrible combination. I don’t want to put anything out that I don’t think is excellent.�� But he clearly hates the pantomime of publicity, asking why I am returning to certain topics and repeating lines I’ve read elsewhere. I can almost see him at home with its views towards the Irish Sea, complaining to his wife as they tuck into supper: “Another one, asking the same fucking questions.”

If he could get out of going to Cannes, of standing on red carpets, dressed as is his habit for a funeral, hair shellacked, hands in pockets; if he could turn his back on the coloured-foam mics thrust in his face, he would. He really would. No, it dawns on him now, there’s something even worse than the red carpet; there’s the talkshow rounds. The very word “talkshow” comes out of him like a pain from his ribcage, as if the parcelling out of amuse-bouche anecdotes, offering them up to the forced laughter of that false god of show business, the studio audience, is in itself the most cheapening experience known to mankind.

“I do them because you’re contractually obliged to. I just endure them. I’ve always found it difficult. I’ve said this so many, many times.” Then there’s the double wince of realising that, yes, he’s done it again. He’s laid into the industry that feeds him. His hands raise slowly in surrender. “I want to just caveat this by saying, I’m so privileged. I’m so happy to be doing what I love. I’m really lucky. But I don’t enjoy the personality side of being an actor. I don’t understand why I should be entertaining and scintillating on a talkshow. I don’t know why all of a sudden that’s expected of me. Why?”

There’s an awkward silence. I say that he reminds me of Naomi Osaka, the tennis player who refused to talk to journalists after the French Open in 2021. He says he feels “100%” sympathy with her, “because why should she have to perform?” Then he relents. “But I get it. I get it’s a kind of ecosystem where the film feeds the publicity which feeds the talkshows which goes back and feeds the film, so, like, that’s how it works. I suppose I’m just not good at it. At interviews, at this stuff,” he gestures at me. He says after he leaves me today he’ll be going down the stairs thinking of all the things he’s said and worrying it’s come across all wrong. “Do you know what Sam Beckett said? ‘I have no views to inter.’ I love that. That should be the interview.”

We return to his art, the tension falls away and he’s back to his charming self, charged air evaporating. Since Oppenheimer, he’s also wrapped Small Things Like These, an adaptation of Claire Keegan’s brilliant novella set in 1985 in a small Irish town on the edge of which is a convent and “laundry”. Murphy is a huge fan of Keegan. He remembers reading her 2010 novel Foster on a train and having to pull his hoodie over his face because he was crying so hard. Anyway, he’d wanted to work with the Peaky Blinders director Tim Mielants and they were throwing ideas around in his sitting room when Murphy’s wife suggested Small Things. “No, there’s no way,” Murphy said. “That’s going to be gone already.” But when he called the agent, he found it was available. “I went, ‘No, you’ve got to be fucking kidding.’” Murphy pitched the idea to Matt Damon, who has set up a studio with Ben Affleck. “From there it all just happened really quickly.”

Murphy plays Bill Furlong who, funnily enough, is a man of few words. Keegan’s light-touch writing is everything he loves in art – the sense that you are not being bashed over the head by an idea. That’s how he tries to act, he adds. “I’m always trying to cut lines in scenes, because I feel like you can transmit it. Like when you see a person on a train thinking, or driving a car, and you are purely observing someone and feeling the energy that is vibrating from them. That’s the sort of acting I love. In a lot of film and television, they want to cut those bits to go to the action. I like films that pose the big questions and then leave it to the audience.” Perhaps this is at the heart of his reticence in interviews? That he doesn’t feel the need to explain.

He still finds it “nuts” that the last of the Magdalene laundries closed in 1996, that it was illegal to buy condoms in Ireland until 1985, that divorce was made legal only in 1996. He remembers vividly thousands of people still going to see moving statues in Cork when he was growing up. “Crazy. But, like, how far the country has come since then, we’re so socially advanced now compared with where we were. But you must look back. And art is a better way of doing that than reading all these reports [into the laundries].” (Afterwards, he emails me: “The nation is actually dealing with an unresolved collective trauma. Who knows how long this will take to heal, but I feel strongly that art, film and literature can help with that process. It’s a kinder and gentler sort of therapy. I hope that our movie can help with that in its own little way.”)

Because he’s a nice man, because he doesn’t want me to feel bad about our encounter, and because he’s generous and hospitable, Murphy finishes by telling me some of the best places to visit in Ireland. He and his family are staying here for the summer. They’ve had it with air travel and his home town of Cork is only a couple of hours away. He supplies me with other recommendations: a great book he’s just read, Brian, by Jeremy Cooper, oh, and there’s the Francis Bacon studio exhibition I should catch on my way out.

But before I go, what has he learned from playing Oppenheimer? Foremost, he says, that scientists think differently. He knew this already from playing physicist Robert Capa in Danny Boyle’s Sunshine (2007) and hanging out in Cern, home of the Large Hadron Collider in Geneva, for research. “I had dinner with all these geniuses. I’ll never understand quantum mechanics, but I was interested in what science does to their perspective.” He sought their opinions on subjects that matter – love, politics, our place in the universe, “infinity, or whatever the fuck. Because they have a completely different way of taking in information than we do. I remember one scientist saying, ‘I don’t believe in love. It’s a biological phenomenon, the exchange of hormones between the female and the male. That’s all. Love is a nonsense.’” Murphy taps the table with his hand. “I couldn’t go along with that, obviously.”

[julietcpulet]

Thomas Brodie-Sangster deserves an award for his acting in The Artful Dodger. I’ve seen actors give less performances in blockbuster films than he gave to an 8 episode Hulu show, this guy deserves some credit for such a nuanced, comical, heart-wrenching portrayal.