#watched the eras movie and it reminded me of an old piece ive been working on

[hockybish]

whadya think of this?

[mariailoveyou-guerin]

they was having a Nolan marathon at the cinemas today N I cant believe he got me crying about the gays again plz they fit every me trope blonde x dark hair he fell first and he fell harder, them only been willing to risk their lives for each other or the world! fcvk u tenet Nolan

Nolan really has me crying about mf Neil and his protagonist boyfriend again in the mf year of 2023 when movie came out 2 years ago now in time it didn’t deserve to come out bc it didnt get the respect it deserved thanks to this stupid pandemic ruined it for us and me N my chance

If ever getting tenet 2 imagine Nolan waited and released tenet now the love and hype it would’ve gotten the same love and hype Oppenheimer is getting bc people can actually go to the cinemas now unlike during when tenet was released in era of a world pandemic which ruined it for

them and the blockbuster the cult following it will get some day soon but should’ve gotten from the first day it was released as it’s the greatest Nolan movie the script is insane deserved Oscar nominations for everything effects acting script the whole lot I’m so mad now being

reminded of what tenet could’ve gotten but didn’t get thanks to the pandemic and racism and stupid people not getting movies! I’m so 😡 it deserves so much better then what it got so much better so did all the actors they were amazing the movie was brilliant phenomenal incredible

like Neil like to say what’s happened has happened anyways tenet 2 Neil who’s also a protagonist and that’s what I think tenet 2 is about! Plz I need tenet 2 about how Neil feel in love with the protagonist which he wasnt supposed to mission wise yet he did from the start the joy

the mf love in his face when he saw the protagonist for the first time him remembering what he likes doesn’t plz he was always jealous about kat! asking if the protagonist was gonna go see her or watch over her from afar, plz they was crying for god sake him giving his piece of

most dangerous weapon to him just so he could go back to keep saving the protagonist because to him that’s more important! Fock you Nolan I’m not gonna watch Oppenheimer out of spite for making me feel this way again and again now I’m 2023 and until I get tenet 2 with Neil being

protagonist which people will love and call it his best work his best movie but as long as we get Neil and protagonist I don’t care as long it’s Pattison and John David! Please god I’m begging I need it now hope I get in 2-3 years which is Nolan script an filming new movie window

I did not just see people shipping Neil and Ives it’s always yt girls doing the most they didn’t even interact except at the last scene or the one scene when he called them please be for real like we get y’all obsessed and always pushing two white males together but stop especially here when Neil only knows and cares about the protagonist also I didn’t see protagonist x Neil not top most romantic real canon Nolan ship even tho it was the most real canon ship but ofc the one that top is a yt mlm ship and ofc article was written by a yt woman who said the movie tenet was Nolan most disappointing cold films yeah she’s insane she’s never watched a movie in her life let alone Nolan movie ever because then she would know this is Nolan greatest or top2-3 greatest movies he’s ever made and she clearly sounds like a yet woman who can’t understand epic good storytelling and plots sad really like please she can’t be for real ofc she said they cuz the lead wasn’t a yt man she finds attractive but a black man like who’s surprised shocked not me same old bullshitt always happening thanks to yt woman who are obsessed with yt mlm ship to a fetishising degree and only care about movies series anything especially ships if it includes 2 yt men

[vanillann]

within the vision (bucky barnes x f.reader)

a/n: i’m going to be naming each chapter based on a sitcom from that time era, cause i can!! also i’m so glad everyone liked the prologue!!

warning: WANDAVISION SPOILERS, swearing, suggestive language, talks of past trauma, AU

word count: 1.9k

within the vision masterlist

Chapter 1: Born Yesterday 

“Do you remember everything we just went over?”

I rolled my eyes, snapping the silver bracelet on my wrist, the little charm would be normal to anyone else but Bucky and I knew the content.

“No, I forgot everything,” I turned to Tony, smiling sarcastically when he frowned.

“We should have given you up for adoption,” Tony titled his head, the tiniest smile on his lips and he played with the technology again.

The room felt packed with people, Tony and Bruce running around the technology, Bucky and I waiting beside two beds that were shoved beside Wanda’s, and Steve and Sam leaned against the wall trying to tell me to stop with this plan.

“We don’t know what could happen,” Steve repeated again, his arms crossed as Tony gave Bucky his bracelet, thicker than mine but still normal enough to not have anyone question it.

We had taken extra steps to ensure our safety as nobody knew exactly where we were going.

“You both need to get out as soon as the mission's over,” Bruce nodded, to both of us. His finger danced across the different screen, Tony and himself were the only ones who understood it.

“I was planning on going on a walk before I came back.” Bruce rolled his eyes, but gave me a hint of a smile. He understood my defense mechanism, one of the few people who never got mad when I couldn’t be completely serious. One plus for anger management classes.

“I regret doing this already,” Bucky spoke under his breath, looking up to Sam who gave a fake thumbs up.

“If it comes down to it, leave Bucky,” he responded, earning a thumbs up from me.

“I hate both of you.”

Bucky and I both laid in our own bed, our combat gear already on as we laid back slightly, Tony taking Bucky's side while Bruce came to mine.

“We’re going to first hook you to this machine to keep track of your vitals,” I said nothing, watching Bruce shove the IV in my arm and playing with the machine a bit to make sure everything was okay.

“Next, on the count of three you’ll press the button on the bracelet. Remember you need to keep your mind focused on Wanda for this to work,” Tony continues with his run on sentence, only stopping once Bucky and I both nodded once.

I felt the chill suddenly run up my body, suddenly nervous to just hind out in my best friend's mind. Especially since she had always been younger than me, I felt weirdly awkward now.

“Are you both sure about this?”

I saw Bucky nodded slightly from the bed beside me, suddenly all eyes on me. I felt myself shift in the bed, avoiding eye contact.

“(Y/N)?”

“I’m fine, I just need a second,” I spoke after Steve, smiling at his worried glares but said nothing else of it.

You were doing this for her own good, you were helping her. This wasn’t you reading her diary after teasing about her crush, this was her turning into herself not knowing we were waiting for her.

“I’m good,” I laid down on the bed, not looking at anyone as my other hand searched for the button. I wasn’t going to mess this up cause I couldn’t find a button.

“Okay, remember to stay safe and think about Wanda.”

I nodded lightly, trying my best to zone in on Wanda while Tony’s count down filled the room.

“One.”

I thought back to young Wanda and Pietro trying to hide my shoes before one of my first dates when I was 14.

“Two.”

Wanda giggling in my room at the compound when Steve went on a manhunt for me because I was late for practice.

“Three.”

I felt my finger smash the button, thinking of Wanda’s face as she held off Thanos with Vision life in her hand. I thought of her tearful face as she gave me one last glance before everything blew up before my body was smashed against the nearby tree.

The weird feeling around me gave me a stomach ache. The feeling of falling when you were about to sleep almost, but my eyes refused to open as the wind rushed past me. I wanted to panic, to pull myself from whatever I walked into, but I simply couldn’t.

I couldn't sense anyone around me, my body was all alone falling and I couldn’t stop it. I was a controlled person, I enjoyed control and suddenly that word didn’t even exist anymore.

Then it stopped, the falling was gone and my eyes were pushed open. My body was moved differently, pushed against something. When I slowly moved around I noticed the slight dusk of the sky.

“(Y/N)?” My name whispered filled the same space I sat in, I looked around trying to get my brain to focus on one thing. I felt something cold against my wrist cause me to jump, pushing harder into the rough back.

I looked down, Bucky's face laid under whatever I was sitting on. I looked up, noticing the windows and the steering wheel slightly ahead of me. I took in the leather under my fingers, seeing there wasn’t a door handle in the back and how low the roof was.

But that didn't worry me, what worried me was I couldn’t make out any other colors besides black, white, and grey. I looked to Bucky, hoping to see the light pale skin on his face but was met with white, almost like a white crayon that had been run in black dust lightly.

“Where the hell are we?”

“Wanda’s head, I thought this was your plan,” Bucky slowly sat up from the floor of the backseat, I had luckily ended up on the actual seat. I looked out, hoping to see the colors of the sky but I was met with the same grey color.

“Can you see color?”

“Can’t say I do,” Bucky rubbed his arm, slowly moving to sit in the same space I had made for him on the seat.

I finally looked around the rest of the area, noticing the row of houses and other such things. The trees and bushes reminded me of the old movie Steve would make us watch, looking like something out of a sitcom.

“What are you wearing?”

I frowned as I looked at Bucky, his eyes held confusion as he looked me up and down once. I looked down at myself, shocked to find myself in a dress, definitely not my combat gear. The material was dark, I couldn’t tell more, and a fake belt was sowed into the thick fabric.

“I haven’t seen one of those in awhile,” Bucky picked up a piece of the dress at the end, rubbing the material between his fingers when I slapped it from his wands. That when I heard it, laughing. Not like you told a funny joke laughing, like a sitcom laugh.

I pointed to Bucky, my eyes wide as I waited for who knew what. When I saw Bucky slowly look up at me from the place he looked at my dress I knew he heard it. That's when I noticed the suit he was wearing, specifically an older looking arm suit. I looked back around the car, spotting the matching hat to the suit on the dash of the car. I didn’t say anything, slowly reaching up to grab it when I saw a door open.

A lady with dark hair and bright smiles walked out, held a hand slightly in the air if she were to hold a cigarette but no smoke came out. She was talking to someone, whoever was in the house. Suddenly I watched the owner lean out slightly, my jaw going slack as I saw Wanda’s bright smile hides behind loopy curls.

“Doll-”

“Don’t call me that,” I spoke softly, doing my best to keep the facade up but I was so shocked, Wanda was lightly pushing the woman out the house, almost as if begging her to leave with a little laugh. She looked the same, only dressed up similar to me.

“You’re going to want to see this,” he tugged on my dress, my hand slapping it away again but he yanked hard. He sent me flying to the back seat of the car. my side pushed into his with a loud oof.

I heard that stupid sitcom laugh again, trying to push it to the make of my mind as I pushed away from Bucky. I hit him in the side with the hat I had managed to take back with me, my mouth wide open to yell but Bucky shoved something in my face.

I could spot the coke logo from miles away, only it wasn’t the saem logo I had always remembered. The bottles were glass and the writing looked much more vintage. That when I noticed Bucky tapping on a part of the label, my eyes reading over the information their.

Expiration date: July 6th, 1953

“1953?” I looked around the neighborhood again, suddenly realizing the vintage cars that were parked along the streets and the dress that hung off my frame.

“How?”

“I don't hear you asking how we ended up in the wrong decade,” My voice was stern as he spoke, watching the dark haired lady finally leave Wanda’s porch and go to her own house close by.

“Not the time,” Bucky finally sat up slightly, watching the lady walk in her house.

“When is the time then? Maybe the 70s or do you wanna wait til the 90s,” I snapped, looking over my shoulder with a pout. His face was so close to me, I finally noticed his once long hair was cut short.

He looked like he had in those photos of Steve and himself, back from the 40s.

“Well, what do we do know?” Bucky looked at me, his nose almost hitting mine when he turned but I had slightly moved back.

“I guess blend it?” I shrugged, hearing that stupid sitcom laugh that I wanted ro punch in the face.

“How do you suppose we do that?”

I looked around the neighborhood, smiling when I noticed the house across from Wanda’s had a large “FOR SALE” sign standing in the front yard.

“Break into that house and act like we belong here,” I smirked, ignoring Bucky as I slowly climbed into the front seat of the car. I heard Bucky yell out about me kicking him but I didn’t care as I made it to the driver seat, pushing open the door.

“For your information, I do belong here,” were the last words I heard from Bucky before I closed the door, smiling over at the house and trying to keep my voice low to not attract wandering eyes. I stood in the same place for a second, suddenly my view changed from house to concrete. I felt a little bump on my backside and frown when I heard Bucky laugh.

“Should’ve held the door,” I noticed his combat boots beside my face. Normally I would have bought him down with me but I decided it would bring too much attention and simply pushed myself from the ground.

“I hate you,” I frowned, slamming my foot into the road when I heard that stupid laugh sound around me again.

“Okay okay,” Bucky held out two arms from me, trying his best to calm me down but it wasn’t any use, I simply pointed to the sign, turning back to look at Bucky with a serious look in my eye.

“We are stealing that sign and moving to that house.”

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<prologue - chapter 2>

[atthevogue]

“Tony de Peltrie” (1985)

The basics: Wikipedia

Opened: A landmark piece of computer animation, the Canadian short was part of the 19th Annual Tournee of Animation anthology that showed at the Vogue Theater in March and April of 1986.

Also on the bill: At least one Saturday in April, it was programmed in the 9:00 slot after Chris Marker’s Akira Kurosawa documentary A.K. and Woody Allen’s Sleeper, and before a midnight showing of Night of the Living Dead, which sounds to me like a very good eight-hour day at the movies. Otherwise, you could have had a less perfect day seeing it play after Haskell Wexler’s forgotten Nicaragua war movie Latino and the equally forgotten Gene Hackman/Ann-Margaret romantic drama Twice in a Lifetime.

What did the paper say? ★★★1/2 from the Courier-Journal film critic Dudley Saunders. Saunders described the Tournee as “a specialized event that shows signs of moving into the movie mainstream,” correctly presaging the renaissance in feature-length animation in the 1990s generally and Pixar specifically, whose Luxo, Jr. short was released that same year. Of Tony, Saunders singles it out as “one of the most technologically advanced,” and that it featured “some delightful music from Marie Bastien.” He then throws his hands up: "Computers were used in this Canadian entry. Don’t ask how.” Saunders was long-time film critic for the C-J’s afternoon counterpart, the Louisville Times, throughout the 1960s, ‘70s and ‘80s. In the late 1980s, he would co-found Louisville’s free alternative weekly, the Louisville Eccentric Observer.

What was I doing? I was six and hypothetically could have seen an unrated animation festival, though I'd have been a little bit too young to have fully appreciated it. Although, who knows, I’m sure I was watching four hours of cartoons a day at the time, so maybe my taste was really catholic.

How do I see it in 2018? It’s on YouTube.

A four-hour-a-day diet of cartoons was probably on the lower end for most of my peers. I grew up during what I believe is commonly known as the Garbage Age of Animation, which you can trace roughly from The Aristocrats in 1970 to The Little Mermaid (or The Simpsons) in 1989. The quantity of animation was high, and the quality was low. Those twenty years were a wasteland for Disney, and even though I have fond memories of a lot of those movies, like The Black Cauldron, they’re a pretty bleak bunch compared to what was sitting in those legendary Disney vaults, waiting patiently to be released on home video.

Other than low-quality Disney releases, the 1980s were highlighted mostly by the post-’70s crap was being churned out of the Hanna-Barbera laboratories. Either that, or nutrition-free Saturday morning toy commercials like The Smurfs and G.I. Joe. Of course there’s also Don Bluth, whose work is kind of brilliant, but whose odd feature-length movies seem very out-of-step with the times. Don Bluth movies seem now like baroque Disney alternatives for weird, dispossessed kids who didn’t yet realize they were weird and dispossessed. (Something like The Secret of NIMH is like Jodorowsky compared to, say, 101 Dalmatians.) Most of the bright spots of those years were produced under the patronage of the saint of 1980s suburbia, Steven Spielberg. An American Tale or Tiny Toon Adventures aren’t regarded today as auteurist masterpieces of animation (or are they?), but they were really smart and imaginative if you were nine years old. Still, the idea that cartoons might be sophisticated enough to be enjoyed by non-stoned adults was probably very alien concept in 1985.

In the midst of all of this, though, scattered throughout the world were a bunch of programmers and animators working out the next regime. Within ten years of Tony de Peltrie, Pixar’s Toy Story would be the first feature-length CGI animated movie, and within another ten years, traditional hand-drawn animation, at least for blockbuster commercial purposes, would be effectively dead. That went for both kids and their parents. Animation, like comic books, would take on a new sophistication and levels of respectability in the coming decades.

I love it when you read an old newspaper review with the benefit of hindsight, and find that the critic has gotten it right in predicting how things may play out in years to come. That’s why I was excited to read in Saunders’ review of the Tournee that he suspected animation as an artform was showing “signs of moving into the movie mainstream.” His sense of confusion (or wonder, or some combination) at the computer-generated aspects is charming in retrospect, too.

Tony de Peltrie is a landmark in computer-generated animation, but its lineage doesn’t really travel through the Pixar line at all (even though John Lassetter himself served on the award panel for the film festival where it was first shown, and predicted it’d be regarded as a landmark piece of animation). The children of the 1970s and ‘80s grew up to revere the golden era of Pixar movies as adults, and the general consensus is that not only are they great technical accomplishments, but works of great emotional resonance.

As much of an outlier as it makes me: I just don’t know. I haven’t really thought so. I think most Pixar movies are really, really sappy in the most obvious way possible. The oldest ones look to me as creaky as all those rotoscoped Ralph Bakshi cartoons of the ‘70s. Which is fine, technology is one thing -- most silent movies look pretty creaky, too -- but the underlying of armature of refined Disney sap that supports the whole structure strains to the point of collapse after a time or two.

Film critic Emily Yoshida said it best on Twitter: she noted, when Incredibles 2 came out, she’d recently re-watched the first Incredibles and was shocked at how crude it looked. "The technoligization of animation will not do individual works favors over time,” she wrote. “The wet hair effect in INCREDIBLES, which I remember everyone being so excited about, felt like holding a first generation iPod. Which is how these movies have trained people to watch them on a visual level...as technology.” There’s something here that I think Yoshida is alluding to about Pixar movies that is very Silicon Valley-ish in the way they’re consumed, almost as status symbols, or as luxury products. This is true nearly across all sectors of the tech industry now, but it’s particularly evident with animation.

One of my favorite movie events of the year is when the Landmark theaters here in Minneapolis play the Oscar-nominated animated shorts at the beginning of the year. Every year, it’s the same: you’ll get a collection of fascinating experiments from all over the world, some digitally rendered, some hand-drawn. They don’t always work, and some of them are really bad, but there’s always such a breadth of styles, emotions and narratives that I’m always engaged and delighted. They remind you that, in animation, you can do anything you want. You can go anywhere, try everything, show anything a person can imagine. Seeing the animated shorts every year, more than anything else, gets me so excited about what movies can be.

And then, in the middle of the program, there’s invariably some big gooey, sentimental mush from Pixar. Not all of them are bad, and some are quite nicely done, but for the most part, it’s cute anthropomorphized animals or objects or kids placed in cute, emotionally manipulative situations. I usually go refill my Diet Coke or take a bathroom break during the Pixar sequence.

Yeah, yeah, I know. What kind of monster hates Pixar? 

I don’t hate Pixar, and I like most of the pre-Cars 2 features just fine. The best parts of Toy Story and Up and Wall-E are as good as people say they are. But when you take the reputation that Pixar has had for innovation and developing exciting new filmmaking technology in the past 25 years, and compare it to the reality, there’s an enormous gap. And it drives me nuts, because if this is supposed to be the best American animation has to offer in terms of innovation and emotional engagement, it's not very inspiring. Especially placed alongside the sorts of animated shorts that come out of independent studios elsewhere in the U.S., or Japan, or France, or Canada. 

Which brings us to Tony de Peltrie, created in Montreal by four French-Canadian animators, and supported in part by the National Film Board of Canada, who would continue to nurture and support animation projects in Canada through the twenty-first century. A huge part of the enjoyment -- and for me, there was an enormous amount of enjoyment in watching Tony de Peltrie -- is seeing this entirely new way of telling stories and conveying images appear in front of you for the first time. Maybe it’s because I have clear memories of a world without contemporary CGI, but I still find this enormous sense of wonder in what’s happening as Tony is onscreen. I still remember very clearly seeing the early landmarks of computer-aided graphics, and being almost overwhelmed with a sense of awe -- Tron, Star Trek IV, Jurassic Park. Tony feels a bit like that, even after so many superior technical accomplishments that followed.

Tony de Peltrie doesn’t have much of a plot. A washed-up French-Canadian entertainer recounts his past glories as he sits at the piano and plays, and then slowly dissolves over a few minutes into an amorphous, impressionistic void. (Part of the joke, I think, is using such cutting-edge technology to tell the story of a white leather shoe-clad artist whose work has become very unfashionable by the 1980s.) It’s really just a monologue. The content could be conveyed using a live actor, or traditional hand-drawn animation.  

But Tony looks so odd, just sitting on the edge of the Uncanny Valley, dangling those white leather shoes into the void. Part of the appeal is that, while Tony’s monologue is so human and delivered in such an off-the-cuff way, you’re appreciating the challenge of having the technology match the humanity. Tony’s chin and eyes and fingers are exaggerated, like a caricature, but there’s such a sense of warmth underneath the chilliness of the computer-rendered surfaces. Though it’s wistful and charming, you wouldn’t necessarily call it a landmark in storytelling -- again, it’s just a monologue, and not an unfamiliar one -- but it is a technological landmark in showing that the computer animation could be used to humane ends. It’d be just as easy to make Tony fly through space or kill robots or whatever else. But instead, you get an old, well-worn story that slowly eases out of the ordinary into the surreal, and happens so gradually you lose yourself in a sort of trance.

As Yoshida wrote, technoligization of animation doesn’t do individual works favors over time. To that end, something like Tony can’t be de-coupled from its impressive but outdated graphics. These landmarks tend to be more admired than watched -- to the extent that it’s remembered at all, it’s as a piece of technology, and not as a piece of craft or storytelling.

Still, Tony is the ancestor of every badly rendered straight-to-Netflix animated talking-animals feature cluttering up your queue, but he’s also the ancestor of any experiment that tries to apply computer-generated imagery to ways of storytelling. In that sense, he has as much in common with Emily in World of Tomorrow as he does with Boss Baby, a common ancestor to any computer-generated human-like figure with a story. When Tony dissolves into silver fragments at the end of the short, it’s as if those pieces flew out into the world, through the copper wires that connect the world’s animation studios and personal computers, and are now present everywhere. He’s like a ghost that haunts the present. I feel that watching it now, and I imagine audiences sitting at the Vogue in 1986 might have felt a stirring of something similar.