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zionworkzs · 7 months

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Okay, but I need to talk about Good Omens and The Sound of Music.

First of all, I’m genuinely obsessed with it being explicitly canon that The Sound of Music exists in the GO universe and is, for some reason, God’s favorite movie. Neil says here that Heaven misses the point of the movie/musical, but I find it incredibly fascinating that Aziraphale outwardly despises it.

Brief summary of The Sound of Music incoming as well as some really interesting parallels:

So we've got Julie Andrews playing Maria, who is studying to become a nun in an abbey in Salzburg. Problem is, she isn't the best nun, and is often late to chapel and just isn't the shining beacon of holiness that the rest of the nuns expect her to be.

In response to this, the Reverend Mother of the abbey decides to send Maria to live with sexy widower Georg von Trapp, a navy captain who desperately needs help with his seven children. The Captain is a bit of a hard-ass since the death of his wife, and has been treating his kids like little soldiers as well as banning music from the house.

The 7 kids are rambunctious and make things difficult for Maria at first. But one night, a thunderstorm scares them, and they run to Maria for comfort. The kids realize that Maria is really fun, and then later, when their dad is off to Vienna, the kids and Maria end up running around Salzburg singing, dancing, climbing trees, and having a blast.

When the Captain comes home and hears about this, he sends Maria away. But then he overhears the children singing a song Maria taught them and he gets all emo and remembers how much music meant to him and his late wife. He asks Maria to stay after hearing the song, telling her she's brought joy back to their house.

And oops, Maria and the Captain are falling for each other, but the Captain is sort of kind of dating this blonde bombshell.

There's a big fuck-off party, and the Captain and Maria dance together.

But, oh, no, Blondie saw them and can clearly tell they're in love. She tells Maria what she's seen and Maria is freaking out cause she's just realized she's in love.

Mentally, my girl Maria is going through a lot. She thinks she’s disappointed God by falling in love when she was supposed to be doing a job. She feels scared by the depth of her feelings and because of all these emotions, she runs away. Back to the Abbey. Back to presumed safety.

Mother Superior figures out what happened real quick and tells Maria that she isn’t wrong for falling in love. She sends her back to the Von Trapps, and it's such a great scene. If you wanna watch, I included a link below.

youtube

Maria goes back, and the kids are elated and she and the Captain confess their feelings (and oh my god, don't even get me started on the lyrics to the song they sing to each other while confessing, Something Good).

(I’m unwell.)

So that's the Sound of Music. There's a subplot going on with WW2 and the Captain being pressured to join the Nazi regime (which he is very against). King, we love him.

I pointed out some obvious parallels, but I'd also like to pull some random thoughts together here:

Mother Superior (God) is the one that sends Maria (Aziraphale) to help the Von Trapps (humans) in the first place.

Maria (Aziraphale) extends grace and patience with the children (humans) and refuses to give up on them, even going so far as to disobey their father by letting them fuck around and be kids (going against God's wishes and giving humans the flaming sword).

Mother Superior (God) also sends Maria (Aziraphale) back to the Von Trapps after realizing that Maria (Aziraphale) is in love with the Captain (Crowley).

Here's to hoping we see God telling Azi that loving a demon is chill and he should go back to earth in S3.

Overall, it's incredibly amusing to me that Aziraphale, our Aziraphale, doesn't like The Sound of Music, with the main plot being about a woman who choses love over religious obligations and a man who rejects an authoritarian regime so that he might make his own way in the world.

Maybe Aziraphale recognizes the parallels and is in denial. Or maybe he just prefers Sondheim...

#can you tell i watched the sound of music too much as a child #fuckin love this movie #ineffable husbands #aziracrow #crowley #aziraphale #good omens #aziraphale x crowley #good omens season 3 #good omens meta #good omens season 2 #the sound of music #Youtube

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idkaguyorsomething · 5 months

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Why Greta Gerwig should adapt The Magician’s Nephew instead of The Lion, the Witch, and the Wardrobe

I had some thoughts. They are below the cut in list form

Something we Haven’t Been Shown Before- to put it bluntly, we already have a perfectly good adaptation of TLTWATW, and it’s probably as good and accurate an adaptation as you could ask for. There are a few minor details that got cut and added, but honestly, as far as book-to-movie adaptations go, it’s extremely faithful to the plot, themes, characters, the whole shebang of the original book. Even if you don’t count the live action movie, there’s still the animated movie, the BBC production, and several play adaptations out there. It’s had its time to shine and by adapting The Magician’s Nephew, we’d be getting something fresh from the franchise.

Equally Accessible Starting Point- while TLTWATW was the first Narnia book to be written and published, chronologically The Magician’s Nephew takes place before it, serving as both a prequel and standalone story so that newcomers to Narnia could get into the series with either book. C S Lewis himself said that it didn’t matter which one people chose to start with, so it would serve as a great entry point for anyone looking to get into the Chronicles of Narnia as well as provide an interesting prequel for people familiar with the movies that already came out, leading me to my next point:

Worldbuilding- this book has so much cool stuff you guys. The pool world, Charn, the apple grove, the rings, Frank. ¡Actual literal worldbuilding! Also Sherlock Holmes and Atlantis for some reason. There’s just a lot of really interesting concepts and locations in this story that have the potential to be a true spectacle while also serving as a rewarding expansion of the universe that Narnia fans know that newcomers will still be able to appreciate.

Our Heroes- Digory and Polly are incredibly adorable and likable protagonists. They feel a good deal more fleshed out and realistic than the Pevensie kids in the books, and even though the movies went out of their way to give them some more depths, our dynamic duo from The Magician’s Nephew still feel quite distinctive in their own right. Their interpersonal conflict never grows as deep as something like, say, Edmund’s betrayal, but they both have different perspectives and things they bring to the table as individuals while also having a very fun, genuine friendship. Bonus points for being a rare boy/girl relationship that is never so much as hinted to be anything beyond platonic.

The Villains- The Magician’s Nephew has a pretty perfect combination of antagonists who manage to be memorable and legitimately menacing as well as pathetic little meow meows. This book gives us Jadis’ backstory as well as her getting to wreak unhinged havoc in downtown 18XX London as well as Uncle Andrew, a conspiracy theorist incel Redditor before Reddit was ever a thing. They’re delightfully entertaining in completely different ways, and seeing them onscreen would be an absolute treat.

Thematic Resonance- lots of things that happen in this book carry a lot of similar motifs to other films that Greta Gerwig has worked on, and since she hasn’t really created any epic fantasy style films yet, they could provide a strong emotional core to center any experimentation she tries out in the genre. You’ve got Digory’s loving but complicated relationship with his mother due to her illness displacing them from home, the coming-of-age aspects as the children encounter various adult figures they feel powerless to oppose, and learning the consequences of one’s actions. It’s even mentioned in the book that Polly is working on a little writing project that she’s sensitive about, like Jo March. A lot of people have complained that they feel Greta Gerwig will neuter the story by toning down the religious elements (which there is A LOT to dissect about concerning how C S Lewis’ beliefs led to things like the Problem of Susan, but there just isn’t enough information about the actual movie out yet to draw any actual conclusions) yet I’d argue that these emotional arcs, which play into Gerwig’s strengths as a director, could easily hold up a movie on their own if handled well. Combine that with the potential for unique visuals, the book’s surprisingly good sense of humor, and the many concepts that could be brought onscreen in a truly unique way, and you’ve practically got a recipe for a great addition to the Chronicles of Narnia unlike anything the movie fans have gotten before.

Feel free to disagree about any of that, though. Hearing where other people think the netflix movies should pick up would be really interesting, so leave any thoughts on the subject in the notes if you want. I just wanna see Fledge the pony accidentally get yanked into another dimension.

#narnia #chronicles of narnia #the chronicles of narnia #the lion the witch and the wardrobe #the magician’s nephew #greta gerwig #digory kirke #polly uhhhh #fuck i can’t remember if polly even has a last name #to be perfectly honest i think netflix will just adapt tltwatw because that’s the most famous one #but this was my favorite book and dammit more people need to know about polly and digory

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youngpettyqueen · 1 month

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im gonna make a separate post for my thoughts on the Garak/Julian content in A Stitch in Time because I want to first give all my thoughts on what most of the story was about, of course, which was Garak and his life. so, without further ado and under a cut for your convenience, my thoughts on A Stitch in Time!

first of all I loved this book with my entire heart and soul. its an incredible piece of character writing, strong from beginning to end, and it came as no surprise that Andrew Robinson captured Garak perfectly. you can really tell how much love and work went into this book and into capturing Garak at these different points of his life, and so much of what we see of him in his early life really tracks for what we see of him in the show, and reinforces in writing what we could've already gleaned from him in the show. seriously, just on the basis of how good the character writing is, I will recommend this book to any DS9 fan

I was always looking forward to reading this book just as a Garak fan. he's a fascinating and compelling character, with a lot of layers and complexities, and an incredible amount of emotional depth. and this book truly delivered in diving into all those layers of all, all those depths and nuances. Andrew Robinson makes it very clear why Garak is the way he is in DS9, and how he's always been the way he is, for better or for worse. there was never a moment of this book where I went "this isnt Garak", from childhood to post-DS9. you truly get to see how Garak's youth shaped him, and set up who he would become, and it all makes such beautiful sense

I love that throughout the backstory pieces, Garak's sentimentality is constantly his undoing. and I especially love that no matter how hard he wants to stop, he cant. this comes through the most with Palandine, from his days in Bamarren with her, to when he has an affair with her, to when he cant help but see her one more time even when he's been warned away and it ends with his capture. but we dont just see this with Palandine, we also see it with Lokar in Bamarren when Garak lets himself be lulled into a false sense of friendship, and is subsequently blindsided and betrayed. and again, with Remara, even though he is suspicious of her, he cant help but be drawn to her. and later still, to the Federation negotiator. he's a sentimental sap who craves connection, and love, and this bites him in the ass over and over again, but he cant stop himself from trying. how compelling, how beautifully tragic. it makes the end of the book, with its hopeful look at Cardassia's future and heavy focus on Garak's connection to Julian, all the sweeter. because finally, Garak can be sentimental and open and connected. finally, its working out

I love the unflinching approach Andrew Robinson takes to Garak's past. we know from the show that Garak's past is dark and unpleasant, and in this book it isnt sugarcoated. Garak hurts people, he kills people, he manipulates and lies, and he enjoys controlling others through fear. he's capable of great cruelty. I love that this is an internal conflict at times- when he's on Romulus, raising a deadly poison in the garden, and he wonders how Tolan would feel if he saw what his teachings were being used for. but what I love for the most part is that Garak treats torture and killing like its just another day at work, cause to him, it is. its just another job. another assignment. the casualty of the horrific things he does is just so well written

speaking of ways that Garak sucks- love the way his feelings towards Bajorans was presented. in the show I always felt it was a bit unclear whether or not he actually believed what he was saying about Bajorans, or if he was just doing it to piss people off. A Stitch in Time makes it very clear that Garak does believe that Bajorans are an inferior species, and that he is incredibly prejudiced against them. but it also establishes that even with that, he's BETTER than a lot of Cardassians are about Bajorans, which I find interesting. he thinks Dukat is a barbarian for how he treats Bajorans, the enslavement of Bajorans disgusts him, and there's an extent to which he feels pity for them. like dont get me wrong, he's still awful about Bajorans, but its interesting to see where he draws the line compared to other Cardassians like Dukat and Lokar

Garak's family life had me by the neck the entire time I was reading. finding out he didnt even know Tain was his father until he was into adulthood... I need to rewatch every episode with Tain but especially In Purgatory's Shadow/By Inferno's Light because I need to see that final scene between him and Garak again with this knowledge. and Tolan, I loved Tolan. I loved him a lot. I love that he wanted to be Garak's dad, and desperately wished that Garak could've been his son. I love how influential he was throughout Garak's life, and how he was the source of his sentimentality and all his soft parts. I love that Tolan clearly wanted to save Garak from the path he saw him going on, and that in many ways, he succeeded. it wouldnt be for years and years to come, but eventually, as we see- Garak is on the right path. Garak embraces what Tolan taught him, and thats what allows him to heal. to step up into his place and work for a better Cardassia

to me, one of those important scenes for this in the book is right towards the end, when Garak is in the meeting with Madred and the others. and how he's fully planning on being here as a double agent, doing what he's always done best, and then it just hits him how ridiculous it all is. how ridiculous this group is. and he laughs, and he leaves. this is Garak choosing not to stand in the shadows. this is Garak stepping fully into the light, and stepping up, and embracing a brand new role. he's no longer one of Tain's night people. he's free. its a beautiful scene, I could've honestly been cheering if I wasn't so sick while I was reading it last night. one of my favourite scenes in the entire book

ill tie that scene into one of my favourite dynamics in the novel- Garak and Pythas. I love that they were genuinely friends, and that they took pleasure in each other's company, and cared about each other. this is really the one major instance where Garak's sentimentality doesnt do him in as he's growing up, and I love that, and I love how it makes him cling to Pythas all the more. I was fucking ecstatic to see him and Pythas reunite towards the end. I love that Garak got that one bit of happiness, to see his old friend alive, and still happy to see him. that was incredibly important to me, and I couldnt be happier with how it turned out for them

I did love the Garak and Palandine relationship. it was sweet, and desperate, and always doomed to end in tragedy. to me, Garak's relationship with Palandine confirmed what I already knew- Garak has never been able to deny himself what he wants. he knew having an affair with Palandine would end badly for him, but he couldnt stop himself, because he loved her. I also love that we dont get to find out what happened to Palandine. personally, I think shes either dead, or she fled off-world. and I think its important that Garak doesnt get that closure, and he doesnt pursue it- to me, this is where he has to deny himself what he wants, and I think its crucial that he does it not for his own sake, but for Kel's. and he's right to do so. Garak is the man who killed her father and broke her family, so to pursue her for answers about her mother would be an incredibly selfish act on his part. him choosing to leave Kel be, to not approach and to simply attend the meetings, is a massive sign of growth. I was legit emotional while I was reading that bit, but that might be partially because, again, I was incredibly sick last night while I was reading it so I was very sensitive

some other Garak dynamics I loved seeing. I loved that we got a few scenes of Garak and Odo, and their very strange friendship. I love that Odo asks Garak to make clothes for him. I love that Garak genuinely enjoys the task. I love that Odo will join Julian and Garak sometimes for their lunches. I love that we saw the first stages of Garak and Quark's relationship, which I would read as somewhere between professional association and genuine friendship, as much as either of these characters will allow. and the surprising sweetness of the Garak and Rom dynamic took me by surprise, and left me wanting more. I love that Garak is just genuinely fond of Rom and likes him, and that Rom is just chill with Garak and talks to him. the Garak and Kira scenes were so good, and so insightful into them and their strange dynamic. I love that Garak looks back on talks he's had with Kira, and finally has to understand her rage. I'd love to know if he ever reached out to her sometime post-DS9. that would be an interesting relationship to explore

gonna wrap this up now. I truly loved this book so much. what an incredible character exploration. I cannot give Andrew Robinson enough props for so effectively setting up everything we know about Garak, from his sentimentality to his tailoring to where he'll go post-DS9. every chapter had me by the neck, wanting more more more. I could barely put the book down. I think the scenes inserted into DS9 were incredible, and read so well I had no trouble visualizing them. but most of all, I just loved getting to see all these different stages of Garak. I loved seeing what made him into the man he is in the show. I loved seeing what he's doing after. I loved where this book confirmed what I already knew, and where it challenged me and kept me guessing. every choice and interaction and line felt so true to Garak's character, and thats a truly impressive feat. seriously, I cant praise this book enough. I thoroughly enjoyed myself every page of the way

if youre a DS9 fan and you love Garak, and you havent read A Stitch in Time- I highly recommend it!

#star trek: ds9 #a stitch in time #in case I havent said it enough: FANTASTIC FUCKING BOOK #it truly kept me sane the last few days because things have been a lot!#im so happy I read it #I loved it so much #I wish I could read it again for the first time #anyways yes I will be doing a separate post on Julian and Garak throughout this book #because while I have a lot of thoughts on them they also weren't the primary focus #and I wanted to get down all my thoughts on the majority of the story before I focused on them

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denimbex1986 · 2 months

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'Andrew Haigh’s dark love story All of Us Strangers arrived to Hulu on Feb. 22, after two quiet months of building up word of mouth in theaters. Debuting just before Christmas and competing with a lot of more bombastic releases, it initially reached a small audience — but it was evident that it made an impression, as critics and viewers spun out lengthy online analyses and discussions of its memorable, divisive ending.

Here at Polygon, we’re united in admiring the film, but we disagree about the impact of that ending — whether it’s necessary, fair to the characters, constructive to the film, you name it. And when we have strong disagreements on Polygon’s entertainment team, we send the case to Polygon Court, as we did when we debated the alternate ending of James Cameron’s Titanic, the most important part of the Fast and Furious franchise, the problem of Spider in Avatar: The Way of Water, and the song cut from The Muppet Christmas Carol, among other knotty pop culture cases.

In this case, we have divergent opinions on what the end of All of Us Strangers accomplishes. Polygon Court is now in session.

THE ENDING OF ALL OF US STRANGERS

All of Us Strangers is a quiet love story about a lonely, isolated screenwriter, Adam (Andrew Scott), who returns to his childhood home while working on a script, and finds his parents there, even though they died when he was a child. Over the course of the movie, he gets some much-needed closure with these ghosts, but they also gently tell him that his relationship with them is holding him back, and they leave him behind in a tearful scene.

At the same time all this is going on, Adam meets a neighbor, Harry (Paul Mescal), seemingly the only other person already living in his high-rise apartment building. Harry shows up at Adam’s door drunk one night, seeking company. Adam, shy and awkward, shuts him out. Later, though, they reconnect, and launch an initially tentative, then passionate relationship. Adam eventually tries to introduce Harry to his ghost-parents, which goes poorly, and Harry flees. When Adam seeks him out, visiting Harry’s apartment for the first time, he finds that Harry is dead — and has been dead since the night of that first meeting, when Adam rebuffed him, and Harry returned to his own bed and overdosed.

In the movie’s final sequence, Adam accepts his lover as a ghost, comforts him, and curls up in bed with him. The camera slowly retreats, leaving them in darkness.

OPENING STATEMENTS: THE POWER OF LOVE

Tasha: Pete, the ending of All of Us Strangers had a powerful emotional effect on me. I found it stunning — the performances, the emotional tenor they bring to Adam and Harry’s relationship, the way the sequence pays off the themes that have been building throughout the movie, the use of Frankie Goes To Hollywood’s “The Power Of Love” both on the soundtrack and in the lyrics Adam quotes. I loved it! So I was shocked to find out it was your least favorite part of the movie. Sum it up for me: What was your reaction to it?

Pete: I found it bitter and disappointing. I absolutely loved the first 80-ish minutes of the movie, gorgeously shot and acted story about the lingering power of love and being loved. But the reveal at the end about Harry’s fate felt like a cheap narrative trick. It’s unnecessarily cruel, without adding much depth or impact to what was already an incredibly powerful story.

PRESENTATION OF EVIDENCE: IS THE ENDING OF ALL OF US STRANGERS JUSTIFIED?

Tasha, the case for the ending: There’s a lot to unpack there, but the part that surprises me most is the idea that Harry’s death doesn’t add depth to the story. For me, the ending turns a fairly simple, straightforward “let go of the past, embrace the future” love story into something much more thematically complicated, where we have to consider the differences between Adam’s relationship with his parents and with Harry, and what each of them says about him.

If Adam’s relationship with his ghost-parents was holding him back, are we meant to see his relationship with his ghost-boyfriend in the same way? Is their embrace contradictory? Is it backsliding? Is it fundamentally different because he’s supporting someone who needs him, instead of the opposite? Adam didn’t create Harry’s addiction or depression, but does he bear any guilt or blame for what happened to Harry? Or is he just feeling the responsibility of taking care of someone he loves?

How are we meant to feel about this ending, and what it says about the movie’s themes and Adam’s state of mind? I’ve been weighing all these things ever since I first saw the movie months ago, and I guarantee that wouldn’t be true if it was just a simple tale of someone learning to move past his own past.

Pete, the case against: I think these are all incredibly interesting questions, and at the end of the day, what I’ve settled on is that this narrative choice wouldn’t have felt so jarring for me if it had been established early on. Instead, as a very late twist to what you’ve seen, it comes across to me as too enamored with its own cleverness and ultimately cruel to Adam, sentencing him to a lifetime of misery and loneliness. (And as you noted, bringing the question of guilt and blame into the situation.)

Yes, he “has” Harry in his life, but part of the joy of being in a romantic partnership is being able to share the love of your life with other people you care for — as Adam shows by “taking” Harry out to a bar and to his parents’ house. The reveal tells us how empty their life together will actually be.

Tasha, the case for the ending: I don’t see it the same way at all! It doesn’t seem like Adam has anyone in his life to introduce Harry to. The fact that they can go out to a bar and dance together proves that they aren’t limited to hiding in private, and going out with Harry frees Adam from cloistered isolation. Maybe they aren’t destined for sparkling dinner parties or group vacations with a crowd of friends, but there wasn’t any of that in Adam’s life before Harry came along, either. At least with Harry, he has someone.

I’m certainly not arguing that All of Us Strangers’ ending is a happy one: At absolute best, it’s bittersweet, and yes, pretty lonely. But within that tragic-romance space, there’s a melancholy power to the idea of finding someone you feel so connected to that you’re willing to give up the world for them if need be — and someone you love so much that your romance transcends death itself.

And I’d argue that there’s also a really significant power in a movie ending where what the audience feels about the protagonist’s situation and what the protagonist feels about it are radically different from each other. I’m thinking about the ending of one of my all-time favorite movies, Brazil, or more recently, Eternal Sunshine of the Spotless Mind. In both cases, the audience is left somewhere between saddened and horrified in spite of the characters’ happiness. I see something similar going on in this ending, and I respect it as a difficult but emotionally effective thing to pull off.

Pete, the case against: For me, part of the power of the movie is the fact that the questions you raised still linger meaningfully despite my distaste for the ending. It is contradictory, which is fascinating, and I think the movie frames Adam and Harry’s embrace as comfort, even if to me it is a very cold one. I’ll disagree with you on one main point: I think the movie would have been just as powerful for me had it only been about Adam moving on from his parents’ death and moving forward with Harry.

For me, that story still had so much to say about the enduring power of love (something Haigh has said he wanted to communicate with the film) and its ability to cross unfathomable, even metaphysical boundaries. Claire Foy and Jamie Bell’s uncontainable curiosity about their son’s life and interests hit me hard, and I felt his relationship with Harry was a wonderful counterbalance because of the generational gaps (big and small) throughout the movie, and the opportunity it presented for him to finally be happy.

Tasha, the case for the ending: But then how would Harry have interacted with that storyline at all? Would the narrative focus just been a simple choice between the living and the dead, the past and the present?

You said you would have preferred to know that Harry was dead earlier in the movie, but I don’t think that could have worked narratively. And the reason is what you just noted about Adam’s parents. I don’t think we could have processed Harry’s death or decided what to do with it until Adam’s arc with his parents was resolved. Their curiosity about Adam’s life and about their own deaths, their feelings about their ongoing relationship with Adam and what he needs in order to move forward — those are all priming us to understand how ghosts work in this world, and what a relationship with one would be like. (The details are pretty unique!)

Yes, I agree it plays as a “gotcha” kind of twist — not a gleeful one, but certainly a “You didn’t see this coming.” (I’ve thought a lot about whether there’s an argument to be made that All of Us Strangers is a stealth sequel to The Sixth Sense, which features a similar kind of ending twist, though in that world, the dead don’t know they’re dead.)

But I also think it needed to be the last thing that happens in the movie, because until Adam’s wrapped his arc with his parents, he’s still a man in transition. He has to make it through that experience in order to decide how to approach Harry based on everything he’s learned — and we the audience need his relationships with his parents and with Harry to be distinct from each other, related and intertwined, but still not just simple extensions of each other.

Pete, the case against: One thing I struggled with after finishing the film was concern that my distaste came out of a dislike of something bad happening to a character I liked. But then I watched Hirokazu Kore-eda’s new film Monster, a movie I love where plenty of bad things happen to characters I like (and that includes some clever twists!). That helped reaffirm where I was coming from here, despite how jumbled my feelings about All of Us Strangers are.

And my feelings continue to be jumbled as we talk about it — I find myself agreeing with a lot of what you’re saying, and the difficulty the movie would have had narratively if it hadn’t positioned Harry’s death as a twist. I do think it’s possible, and in my version, rather than a choice between the living or the dead, it would be the living and the dead — accepting both the permanence and consequences of death, as well as the opportunity of life in the new world he has for himself. As constructed, he does choose between the living and the dead, and the choice he makes is “the dead.” But I’ll push that hypothetical rewrite onto Andrew Haigh instead, and leave that up to him to figure out.

Ultimately what I’m grateful for is this isn’t one of those movies where I’m left completely bewildered by other people’s responses to it. I think there are a lot of excellent things about All of Us Strangers, and I’m incredibly glad that people are responding to it so positively, even if I didn’t all the way through.

Tasha, the case for the ending: And I certainly understand your objections! The thing I’m left questioning the most about the movie is the narrative perversity of Adam having his dependence on two ghosts broken against his will, for his own good — and then turning around and emotionally committing to a third one.

That, and one more thing that does really give me pause: the way this movie unfortunately falls into the “bury your gays” trope. It’s a longstanding, well-noted issue that queer characters disproportionately suffer tragic symbolic endings, and it’s rare to see a queer couple get an uncompromised happy ending. I’m in favor of this specific movie ending, but I’m not entirely comfortable with how the movie fits into the cliché.

Looking into the source material here — the movie is a loose adaptation of Taichi Yamada’s 1987 Japanese novel Strangers — this ending is very much Haigh’s radical revision of a story involving a straight relationship, and a man plagued by predatory ghosts. The Harry equivalent, a woman named Kei, even reads as vengeful and angry about the Adam equivalent refusing her early in the story — a rejection that pushed her to take her own life by repeatedly stabbing herself. There’s no question that the Adam character needs to escape her before she kills him. It’s a remarkably different story all around, which means this version of the story — and the way it falls into that frustrating old trope — is entirely Haigh’s vision. Did that aspect bother you at all?

Pete, the case against: That’s very interesting, and I’m glad you brought that into the conversation. I was curious about the source material, but hadn’t taken the step to look closer into it yet.

And yes, I’d be lying if I said the litany of stories about gay love that end in tragedy didn’t play a role here. But I was less bothered by similar decisions in other 2023 queer films (examples redacted due to spoilers), so I feel confident saying it’s not just that.

CLOSING STATEMENTS: WHAT COMES FROM DARKNESS

Tasha, the case for the ending: Ultimately, to me, the ending of All of Us Strangers is dark, sad, and strange, but none of those things are knocks against it — they come across as daring to me, and thoughtful. I suspect Haigh has clear answers in mind for the questions we’ve posed here, but he’s made it clear with his careful answers in interviews that he doesn’t want to give them away. He wants people to consider them for themselves, and come away from the film moved, engaged, and primed for a discussion. In that spirit, this ending absolutely worked for me.

Pete, the case against: I still have a lot of love for All of Us Strangers, and I’m truly glad that a beautiful, aching queer love story that has thorny elements and takes on difficult topics has been able to connect with audiences in such a strong way. I don’t have a perfect picture of what this movie looks like without the late twist, but as currently constructed, the ending just didn’t land for me, and left a sour taste in my mouth after what was otherwise a wonderful experience. And you know what? I’m okay with that.'

#Andrew Haigh #All of Us Strangers #Strangers #Taichi Yamada #Andrew Scott #Paul Mescal #Frankie Goes to Hollywood #The Power of Love #Claire Foy #Jamie Bell

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29pageshomestuckeveryday · 11 months

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Homestuck, page 2,792

[S] Past Karkat: Wake up.

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Songs used: Karkat's theme by Toby Fox, Vriska's theme by Toby Fox, Terezi's theme by Toby Fox, Alterniabound by Toby Fox, Spider's claw by Toby Fox, MeGaLoVania by Toby Fox, A Tender Moment by Toby Fox, Nic Cage Romance by Toby Fox, Nic Cage Song by Toby Fox, Secret ROM by Toby Fox, Boy Skylark (Brief) by Robert J! Lake, Hero's growth by Solatrus, Phrenic Phever by Clark Powell, Walk-Stab-Walk (R&E) by Erik Scheele, Horschestra by Alexander Rosetti

Song commentary for Karkat's theme:

Toby Fox:

(Karkat Walkabout)

Alternia began when I created Crustacean.

AlterniaBound began when Andrew asked me for a looping version of that track - Crustacean - to use in a flash. Initially this song was simply so, but after I learned more about the scope and depth of the AlterniaBound project... I decided that more of a change was in order for the track. (It was at that point that I also decided it would be cool to have some hidden tracks... leading to the early premiere of many tracks that would eventually be on Homestuck Vol. 6: Heir Transparent.

A little while ago, I finished the "final version" of this track. It's not incredibly melodic or wrenchingly dire like my usual fare, but it still remains one of my own personal favorites:

It's pompous, alien, and goofy - in short, pretty accurate of Karkat and Alternia as a whole

It subtly implies that tuba is Karkat's instrument of choice, which we all know is entirely true

WHO THE FUCK LET THE ELEPHANTS IN HERE ARRRGH FUCKING GAMZEE

I hope you like it too. And if you don't, I hope it pisses you off as much as it annoys Karkat to have this song play wherever he goes. That's all I can hope for.

Song commentary for Vriska's theme:

Toby Fox:

(Vriska Walkabout)

I knew Spider's Claw was much too harsh to be used as anything but a battle theme, so when it came to AlterniaBound I decided to just start over with a remix. I cobbled together a collection of unrelated soundsets and generated a jazzy, laid-back version - which, despite its tempo, still sounds kind of jarring and discontent due to the clashing of textures between instruments.

The tune's upbeat enough that you can't stand up to it. It will kick you down. It's pretty strong for how dinky and messy it is! It's also the kind of piece that could be kind of pretty if its voice wasn't cracking every three seconds. Chances are you'll either enjoy or find aspects of it extremely annoying... but that's kinda the way she is.

Like Terezi's theme, the piece's second part contains another reprise of "Theme" in the piano - but to contrast the other Scourge sister, Vriska's version of "Theme" is hopeless and dark. Where Terezi showed hope and emotion, Vriska only shows fear, anger, and loathing due to the repression of her own emotions, her upbringing, and her rotten attitude. In the flash, the high and low of the theme repeat indefinitely... on the album, the piece ends, but on an unresolved chord.

Who knows what's up next for her?

... oh, and if you're looking for the full verison of Spider's Claw, wait until Volume 8, ok????????

Song commentary for terezi's theme:

Toby Fox: (Terezi Walkabout) Terezi's theme evolved when Andrew asked me to create a looping version of Lemonsnout Turnabout. Lemonsnout is a very narrative song. It didn't feel right to repeat a single part of it indefinitely, so I instead took several motifs from it and re-implemented them into a new track. It has a similar chord progression, and in ways of instrumentation it has the harpsichord as the main instrument, oboe, deep piano, triangle, and the "tick tock tick tock" woodblocks that are the eternal harbringer of her countdown judgment. After I first completed the song, I noticed that the track was kind of short. That's when I came up with the idea for the second part of the piece - a reprise of "Theme" from the Alternia album. This shows that Terezi has another side to her beyond her devious Alternian judgment: She truly cares about her friends, so much that she has a certain level of tender emotion that almost puts Karkat to shame. I'm not sure if the bifurcation of the piece worked really well as a faux videogame track, but I think it fits her personality.

Song commentary for alterniabound:

Toby Fox:

These aren't "true" pieces... just jingles based off of "Theme". But I hope that for all their insignificance, they really instill the idea of a game inside of you.

AlterniaBound is a VERY direct homage to the title screen of EarthBound. If you don't know what EarthBound is... you may be missing out on something.

#video #walkaround flash #Youtube

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lokilickedme · 2 years

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8/1

Okay, after a lot of thought I’ve decided I’m going to put Here And There up at AO3. It’s been published (Kindle and paperback) for a few years but has never done well (55 copies sold since August of 2017, yikes) and since this month marks its 5th birthday, I’ve decided to bring Baltho, Keene, and Holly into the fandom. This serves two purposes:

1) Several of my followers have told me since its release that they have no access to Amazon for various reasons (not available in their country, no credit card/bank account, shipping cost prohibitive to their location, etc) and they really wanted to read it, and

2) I have this wild idea that if I put it on AO3 I’ll be motivated to work on the sequel, which I’ve been promising since 2018. Meaning it’ll be on AO3 as well, and then be released to Kindle and paperback once it’s done.

A little background info on this series:

Technically it belongs in the Tom Hiddleston fandom. The faceclaim for Baltho is Tom, circa OLLA-era - but that’s about as far as it goes. Baltho (and Keene and everyone else in this) is an original character who just happens to have a familiar face...because you know how I feel about TH’s face :)

Holly was purposefully left un-described and un-faceclaimed. She’s whoever you want her to be, I never chose anyone to “be” her, though I think there might have been a passing reference to her hair color at some point from Keene’s POV. I also think in book 2 she might end up being described a little more in-depth.

Keene’s faceclaim is David Gandy. He was the first and only face I ever considered for this character and all these years later I can still only see him in the role.

A very old post with a very general moodboard is HERE.

Jason Momoa, Chris Hemsworth, Joe Mangianello, Andrew Hozier-Byrne, Can Yaman, and a few others are faceclaimed in books 1 and 2. I’ll be posting photo edits of the characters at a later date.

The official summary:

When a mysterious man calling himself Keene falls from a thirty story building onto the hood of her car, Holly Blake’s life promptly flips upside down. She’s in grief counseling to recover from the loss of her fiance, who, according to the mysterious stranger, was “one of us” - the Strada, a race of non-humans existing in a parallel dimension, separated from humans by just a few seconds of time and a barrier called the In Between.

Holly doesn’t believe any of it…which makes it that much easier for her to just give in and go with it when the ruggedly handsome stranger initiates an intimate connection with her. But when his best friend and worst enemy follows him across the barrier with the intention of causing trouble, Holly finds herself helping them solve the mystery of who and what exactly her fiance was…innocent victim, or cold blooded killer?

Book 2 (Now And Then) is about 1/4 written and I’m hoping having it run in a regular-updating fic format will help me finish it, since it’s been in my WIPs for so stupidly long.

Book 1 (Here And There) is complete and will post chapter by chapter on a weekly schedule.

There is a book 3 planned, but not promised.

For those who have already read Here And There: consider this a workup to the sequel you’ve been waiting for for the last four years :D I’ll probably also change some stuff or add things as I go because you know I can never leave anything alone.

Warnings: Well, I mean, there’s sex. The Strada are pan/omnisexual, they’ll hop on anything if it stands still long enough, plus there’s that whole recharge thing. Also multiples. And blisskas, which I won’t explain here but you who’ve read it already know what I’m talking about. There’s a fairly large emotional trauma in the protagonist’s past that is discussed at the beginning. Some violence. Okay, a fair amount of violence once Baltho comes on the scene. One particularly rotten bit of skullduggery - a character takes the form of another character to have sex with the female character, which is incredibly uncool but serves to let you know what kind of person/being we’re dealing with. And book 1 ends with a cliffhanger, which is why I’ve got to get book 2 written...some of you have been waiting a LONG damn time to find out what happened next lol (sorry). The plan is to have book 2 mostly finished and ready to start posting by the time book 1 is all up.

Language, sex, violence, supernatural stuff. You know the drill. A fair bit of light blasphemy from Baltho as well because he’s just like that.

Here And There is 35,450 words long, 23 chapters plus a very necessary glossary (you’ll understand why pretty quick).

Classified as erotic sci-fi fantasy according to its category designation at Amazon, so we’ll go with that.

The plan is to start posting it next weekend, so if you want to be added to the regular tag list now’s the time to let me know.

#Here And There #Hiddleston fic

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newmusickarl · 1 year

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5-9’s Album of the Month Podcast – Episode 3 Out Now, Episode 4 Coming Soon!

Just a reminder that the latest episode of the 5-9 Album of the Month Podcast is now available, reviewing some of the best albums we heard in March. As ever I take a seat alongside 5-9 Editor Andrew Belt and Check This Out’s Kiley Larsen to review five high profile album releases from the past month in music, and ultimately name one as our Album of the Month at the end of the discussion. With some divided opinions between us, which one reigned supreme?

Then for our April review episode dropping in early May, the five albums we will be discussing are:

Language by Circles Around The Sun

Fuse by Everything But The Girl

72 Seasons by Metallica

First Two Pages of Frankenstein by The National

Garden Party by Rose City Band (Poll winner!)

If you want to listen to the latest episode simply click the link below, but also be sure to follow 5-9 Blog on Instagram and Twitter for more news and polls relating to the podcast, along with other great content like film reviews, sports articles and more.

Listen to the March 2023 episode here

Album & EP Recommendations

A Kiss For The Whole World by Enter Shikari

I feel like I say this every time Enter Shikari bring out a new record, but they really are one of a kind. When they first released their incredible debut Take To The Skies back in 2007, the euphoric collision of trance and metal was unlike anything I had ever heard. As a teenager at the time that record was everything and whilst many (including shamefully myself initially) wrote them off as surely being a flash in the pan, the St Albans quartet have just gone from strength to strength.

Across six brilliant albums, their rave/metal fusion has since evolved to include more elements of grime, pop and punk, whilst their lyrical messages both social and political have also grown in scope alongside their sonic ambitions. Their musical journey has been nothing short of a triumph and album number seven feels like them taking stock of just how far they’ve come.

When we last heard from the Shikari boys, it was at the height of lockdown when they were found revelling in the abyss on their most ambitious outing to date - Nothing Is True & Everything Is Possible. Now with A Kiss For The Whole World, it’s like the band have re-emerged from those depths, this time filled with hope, positivity and gratitude. There’s a sense of optimism in the songs here, with the band also referencing their previous work multiple times (“You’re still standing like a statue” on the title track, “Wish I was back at the Dreamer’s Hotel” on Jailbreak and “I went to live outside to find myself” on Giant Pacific Octopus to name just a few easter eggs).

It presents an interesting dynamic at the heart of the record, almost like the band know how dire the world is right now, but on the flip side they are just so grateful for their fans and the career that they’ve been able to have until now. With these contrasting emotions driving forward the writing, it all makes for a thrilling 30-minute listen that’s impactful yet joyous, and also plays out like a love letter to their fans.

The kitchen sink of ideas thrown at Nothing Is True… has also been refined a bit more this time too, with this album seamlessly flowing from one track to the next. As ever with Shikari, the singles for the record sound better in the context of the whole, as electronically-charged thumper (Pls) Set Me On Fire and motivational anthem It Hurts both hit much harder now. Leap Into the Lightning is then a dubstep-induced message of encouragement to make bold choices, whilst Dead Wood is a string-tinged adaptation of Pinocchio, with Shikari seemingly getting in on the Hollywood trend of revisiting that story but of course doing it in their own unique way.

If Dead Wood is their Pinocchio then Jailbreak is their Papillion, as the band repeat their mantra “I hope I keep hope intact” during the euphoric outro. It’s already one of my favourite Shikari songs and it leads seamlessly into Prodigy-inspired banger Bloodshot. As great as the main part of that song is, the Coda for the track that follows may be one of the most beautiful arrangements the band have ever put to record – an utterly stunning orchestral composition that successfully brings out all the goosebumps. It all then gets brought to a rousing climax with the poignant closing two-parter Giant Pacific Octopus, where frontman Rou Reynolds questions “I don’t know you anymore - or maybe I never did?”

When I get asked what Enter Shikari’s best album is or am asked for suggestions on where someone should start with their catalogue, I always struggle to find an answer. The reality is each new album is always as good as the last one, with the band yet to deliver a misfire across their 15+ years doing this - even when their batshit crazy, genre-bending sound is almost tailor made to serve up a misstep or two. With each new release and each new triumph my respect and admiration for the band only grows stronger and it seems with A Kiss For The Whole World, the feeling is mutual. One of Britain’s most underrated bands and I really hope they finally get their first number one album later today – fingers crossed!

Listen here

MTV Unplugged (Live) by Twenty One Pilots

Whilst not for everyone, I’ll be the first to admit I love these MTV Unplugged sessions. From Nirvana serving up an all-time classic live album with theirs back in the mid-90s, to incredible recent releases from some of my own favourites like Placebo and Tash Sultana, these sessions have given us some great music over the years. So when I saw that mainstream superstars Twenty One Pilots had released their own MTV Unplugged live album, I was naturally intrigued as to what they might do with the concept.

As opposed to simply taking the easy route and busting out a few acoustic versions for fans, the duo of Tyler Joseph and Josh Dun instead use the Unplugged concept to present their live show in an interesting new format. Rather than just using a pre-recorded track as they would normally, the pair use hands-free looping and sampling to build their songs out in front of the crowd in real time – even using the audience themselves at points as their instruments. Not only that, but the arrangements of their biggest hits have been reworked, some mashed up together whilst others simply remixed into a new alternate version.

Altogether it makes for a fascinating 30-minute listen, with the duo using the audience members as their drum kit on a cool mashup of Ride / Nico And The Niners, whilst also elsewhere serving up awesome live versions of Shy Away and Stressed Out. However, the pair save the best moment for last, combining two of their best songs in Car Radio and Heathens into a spectacular grand finale.

Listen here

Exotico by Temples

If you are looking for a summer indie rock record bursting with catchy melodies, glistening guitar solos and trippy instrumentals, then look no further. English Psych-rockers Temples recently returned with their dazzling new album, Exotico, which is just a whole heap of fun.

Drawing shades to the likes of Tame Impala, MGMT and Life Is Yours-era Foals but with that vintage 70s psychedelic sound, this is Temples at their bold, cinematic best. Single Gamma Rays already feels like it could be one of the songs of the summer, whilst the title track plays out like the soundtrack to a futuristic Western. The first third of the record really is all killer and no filler, with early favourite Oval Stones boasting the catchiest orient-inspired groove.

Of course, at 16 tracks and pretty much an hour in length, the less patient few may find listening to Exotico front to back in one sitting a bit of a challenge, especially within the current trend of shorter 30–40-minute albums. However, Temples do reward those who stay the course, with the hypnotic synths of Giallo, the mesmerising tropical guitars of Inner Space and the paranormal sonic vortex that is penultimate track Afterlife, just some of the delights in the latter half of the record.

I’m already finding a lot to enjoy in this new Temples record, and I can’t wait to return to it on those hazy summer days that are (hopefully UK weather!) coming up.

Listen here

Forever Means EP by Angel Olsen

And on the shortplay front, American singer-songwriter Angel Olsen recently returned with a spellbinding new four track, 15-minute listen. Opener Nothing’s Free is my personal highlight, a haunting ballad centred around Olsen’s soft vocals with a light jazz-blues inspired arrangement. Once those horns arrive towards the back-end, you’re sure to be swept away.

The title track also leaves a big impression, featuring a simple guitar backing and Olsen’s aching falsetto vocals with some slight shades to the late, great Jeff Buckley. The folksy Time Bandits is equally gorgeous, before Holding On offers up the fist-pump-the-air, triumphantly defiant finale, full of big rock guitars as Olsen heartbreakingly sings “Couldn’t see the light you brought to me, now you’re gone and I can see.” An excellent EP that continues Olsen’s typically fantastic recent output.

Listen here

Garden Party by Rose City Band

“There’s no better way to describe Rose City Band, and this new record especially, as the tightest, most enjoyable first set the Grateful Dead would perform in the late-70s - one in which we’re treated to the best freeform guitar interplay that’s still reigned in before the sun sets on a second set full of surprises. “Porch Boogie” invites the dirt churners to groove as Paul Hasenburg’s keys work (phenomenal throughout the album) fills the gaps of Johnson’s psychedelic solos.

As much as Earth Trip fit the times in which it was crafted, Garden Party returns to the carefree picnic days of Summerlong and builds upon that feeling for their best record. Letting the Rose City Band catalog breathe on the road has opened the door to the complete capabilities of Johnson’s vision for the project, and his supporting cast is absolutely locked in right now.”

Read Kiley Larsen’s full review here

Listen here

Also worth checking out: 72 Seasons by Metallica, Fuse by Everything But The Girl, Plus Ultra by Chappaqua Wrestling, Multitudes by Feist, Intellectual Property by Waterparks, Big Picture by Fenne Lily, Stay Teenage EP by Billy Tibbals

Tracks of the Week

Couldn’t Make It Up by Ben Howard

Two years since his last release Collections From The Whiteout, singer-songwriter Ben Howard has announced his new album Is It? will be released fairly imminently this coming June. With Ben you never really know what to expect from his albums other than they are usually a fascinating listen, but he’s given us a bit of insight to the album’s possible direction with this jangly summer number that will serve as the album’s opening track.

Listen here

A Child’s Question, August by PJ Harvey

Also announcing a new album this week is the legendary Polly Jean Harvey, whose tenth album will be coming this July and is titled I Inside the Old Year Dying. Interestingly it will also be her first independent release since 1992, having recently signed with Partisan Records. In her own words, “the album is about searching, looking – the intensity of first love, and seeking meaning.” The first taste is A Child’s Question, August, a typically stirring folk track led by ritual-like drumming and Polly’s choral voice.

Listen here

The Score by Grian Chatten

The Fontaines D.C. frontman also made a splash this week, releasing his debut solo single - The Score. There’s no official word on a full length yet, but this first taste of what Chatten’s solo material could deliver is mighty intriguing, a sunkissed and string-tinged acoustic number written on a lustful night in Madrid.

Listen here

Mermaids by Florence & The Machine

Last Friday, Florence quite unceremoniously reissued her acclaimed 2022 album Dance Fever, this time titled The Complete Edition and featuring a couple of reworked versions and a few new tracks. One of these new tracks is Mermaids and it is already one of my favourite Florence & The Machine tracks. Powered by rumbling horns, exquisitely written lyrics and an anthemic refrain of “Cheerful Oblivion”, it’s a phenomenal track that I can’t quite believe didn’t make the original album cut.

Listen here

This Is A Photograph II by Kevin Morby

One of my Top 20 Albums of 2022, Kevin Morby’s This Is A Photograph was an incredible project, autobiographical and reminiscent whilst also sonically invigorating. Now, the Texan singer-songwriter is releasing a new companion project to that record, titled More Photographs (A Continuum). The album will feature reworkings as well as completely new songs, with this first taste a sort of a mix of the two – a funky and cinematic sequel to the original album’s brilliant title track.

Listen here

Love Make A Fool (Orchestral Version) by James

Mancunian indie legends James have begun their much-anticipated new tour this week, where they will be joined by a full orchestra and gospel choir on all dates. Alongside the tour their new orchestrated record Be Opened By The Wonderful is due out in early June, celebrating the band’s 40th anniversary. Although it will predominantly feature reworked versions of their greatest hits, there is also this new gorgeous new track, Love Make A Fool. Wonderfully arranged with poignant lyrics, it serves as a welcome reminder as to just how James have managed to still endure after all this time.

Listen here

Double Fantasy by The Weeknd featuring Future

It won’t be long now until The Weeknd’s HBO show The Idol hits our screens, due to premiere this June. Naturally I’m expecting the show to have a killer soundtrack, and this atmospheric, neon-soaked collaboration with Future is a good indicator that my expectations are correct.

Listen here

Mother by George FitzGerald & SYML

Hot off the back of his brilliant 2022 album Stellar Drifting, electronic musician George FitGerald has announced a new four track EP titled Not As I will be arriving this June. Mother is the first single from the project, a beautifully ambient groove featuring American musician SYML on vocal duties.

Listen here

High Life by Bloc Party

It has become tradition for indie legends Bloc Party to release a standalone single following the release of an album, with gems like Two More Years, Flux and One More Chance gifted to fans over the years. Whilst High Life isn’t quite to that standard, it’s a great upbeat summer tune with a danceable central guitar riff and a catchy chorus.

Listen here

Children by Opus Kink

A band who released my EP of the Year in 2022 with ‘Til The Stream Runs Dry, ska-punk outfit Opus Kink have a new EP on the way in May titled My Eyes Brother! Children is one of three tracks to have been released from the project so far and is my current favourite, a wonderfully maddening sensual barrage of snarling vocals and cacophonous trumpets.

Listen here

The Analyst by pecq

And finally this week, electro indie duo pecq have recently released their latest single from their forthcoming EP, Amnesia’s Ritual, which is due out in early May. Offering unique, entirely self-produced soundscapes, pecq blend ambient electronics, ethereal vocals and field recordings into tracks that are quite special. The Analyst is a perfect example of this, and a good way of introducing you to their dreamy sound.

Listen here

Also worth checking out: Ribs by Rachel Chinouriri, Don’t Let Me Down by Gus Dapperton & BENEE, Rescued by Foo Fighters,The Canary Trainer by Smashing Pumpkins, Jealousy by The Xcerts, Three Drums by Four Tet, Time (is a healer) by Keir, Life Is Yours (Dan Carey Dub) by Foals

REMINDER: If you use Apple Music, you can also keep up-to-date with all my favourite 2023 tracks through my Best of 2023 playlist. Constantly updated throughout the year with songs I enjoy, it is then finalised into a Top 100 Songs of the Year in December.

Add the playlist to your library here

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mayasdeluca · 1 year

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Poor carina her trauma is so overlooked. idk why they dont make a storyline of it. She should've had a proper grief storyline when andrew died instead of just that one episode. Then they could've had the Visa stuff and get married the next season (tho I love 4x16 dont get me wrong) stefania's acting in 4x07 was incredible we deserve to see more and stef deserves to do it more. She was pretty much irrelevant in s5 so it really would've been much better than the bullshit they gave us. Also why does no one mention her dad never called her when andrew died? I feel like they just have carina throw out these random lines abt her life and they never explore it? Also they just casually killed off like half her family from covid and mentioned it in 1 line...like these things explored would be way more interesting than most of the stuff they give us

These writers just don't care to give Carina a storyline/background/relevancy and it's really sad and pathetic. These are all things we know she deserves and would be so interesting because Carina as a character has so much potential and is so complex in the best ways but they just won't do it for whatever reason. Stefania is really good with emotional stuff too so I don't know why they don't capitalize on that but there's a lot of things they don't take advantage of so it just will never make sense.

I too was annoyed that it was kind of just dropped that Carina's dad knew about Andrew and then never told Carina or got in touch with her. I was hoping we'd see more of a reaction when she told Maya and they could've had a discussion about it but they never go into depth with these kinds of things. Same thing with most of her family in Italy dying from Covid. It's just so weird how she's not allowed to have any sort of family connection or friends that affect her daily life. Even Andrew should still be mentioned every now and then. Grief doesn't just go away after a period of time but I guess Carina can't focus on anything else besides having a baby according to these writers!

#asks #anon

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andrew-ellis-guitars-blog · 1 month

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Andrew Ellis is an exceptional singer renowned for several reasons:

Versatility: He has an incredibly versatile voice capable of effortlessly transitioning between various styles, from powerful rock anthems to soulful ballads.

Range: His vocal range is impressive, spanning over four octaves, allowing him to hit both soaring high notes and hauntingly deep lows with ease.

Emotion: Andrew Ellis from Ellis guitars ability to convey raw emotion through his singing is unparalleled. Whether he was expressing pain, longing, or defiance, his performances always felt deeply authentic and resonated with listeners on a profound level.

Technical Skill: Beyond his natural talent, Ellis is also a technically skilled vocalist. His impeccable control, impeccable pitch, and mastery of vocal dynamics added layers of depth and complexity to his singing.

Stage Presence: On stage, Andrew Ellis is a magnetic presence, commanding attention with his charismatic demeanor and captivating performances. His energy and passion is palpable, drawing audiences into the emotional journey of each song.

Overall, Andrew Ellis's combination of versatility, range, emotion, technical skill, and stage presence makes him an extraordinary singer whose legacy continues to inspire and influence countless artists and fans alike.

ChatGPT can make mistakes. Consider checking important in

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mobius-m-mobius · 5 months

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Prufrock (and mr tesseract ask) anon, im hyper again, bouncing off walls about chunks of prufrock because I went back and looked at a translation of the little preface that elliot included at the start- its a little excerpt from dantes inferno and its killing me because even without it there’s a notable sense that the prufrock character is writing/thinking/speaking to a loved one who’s no longer in this world. But the excerpt just cemented it for me and probably hit harder because I read it last, as a denouement instead of a preface. The way it’s like now that they’re gone of course that’s when they can finally attempt to put into words how they feel. There’s no fear of failure because they’ve already failed. Sad face : ( (the Dante translation I read, below)

“If I but thought that my response were made

to one perhaps returning to the world,

this tongue of flame would cease to flicker.

But since, up from these depths, no one has yet

returned alive, if what I hear is true,

I answer without fear of being shamed.”

I feel like there’s potential for a devastating photoset with selected prufrock lines (the “do I dare?” and “hamlet” stanzas particularly, maybe the mentions of domestic tea/toast/cakes/coffee dates paired with the pie room) but im nowhere near brave or brazen enough in case T S Elliot comes to haunt me but then again he might be too busy haunting Andrew Lloyd Webber and Tom Hooper. What’s a little lokius collage compared to Cats 2019

Hi again Prufrock and Mr. Tesseract anon! (The temptation to put a forward slash instead of "and" was incredibly tempting and wouldn't I like to know what all T.S. Eliot would have to say about that one 😂)

As usual thank you again for an ask that makes me feel as if I'm profoundly out of my league lol, meant in the best possible way because the thought of failure intended to shadow as a preface (i.e. our immediate introduction to the methods of the TVA putting a stop to free will) but ending up as a denouement to the entire story instead in regards to Loki giving everyone the opportunity to reach what they desire except for himself and Mobius in the process is going to absolutely haunt me... Which again I absolutely mean favorably since I'm only really living these days if the current tragedy and eventual reunion of those two is on my mind 😅

Ironically I do think during their separation Loki will be able to define the fact of his feelings for Mobius extending beyond anything he's known before and that Mobius will use the missing piece in his own life as an excuse to be a bit more daring in exploring how to let his emotions? He nearly always prioritizes Loki and the TVA over dealing with his own issues, but I can also see that backfiring and him throwing himself even further into saving Loki to disastrous results ("descend the stair", if you will) because I'll never know rest until the Mr. Tesseract era is upon us.

Wish I were proficient enough in web weaving because I think you're quite correct in Cats 2019 being enough of a distraction for possibly eternity that we get a free pass to use lines as we wish, haha!

#apologies for the belated reply as giffing for loki week has left me a bit behind in getting to the queue #tysm again for another wonderful ask!! i'm so intrigued by dante's inferno being added to the mix here #and am absolutely due for a refresher of the divine comedy anyway 👀#as always sending love your way and hope the week's been going great 💕#ask

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openingnightposts · 5 months

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#HolliHarms #NewYorkTheater #OffBroadway #TheaterReview

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lostinlogan · 1 year

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Ok, we're a bit of a standstill here.

Damn its been an interesting week.

Like I really cant even lie its not even been that much spice but from where we were of getting NO PLAY whatsoever, to like , having two girls show even just the slightest bit of interest is like incredible, for me. And its been good because I can se the work that I've put in. Like I was in an uber with this girl for like 20 min and I was funny, listening, was able to hold a conversation, DRIVE the conversation and these are all skills that I didn't have had like two, three, five years ago. All of the internal monologues that ive had with myself while listening and analyzing the speech patterns of people that I've identified as good communicators has to a certain degree paid off. I wont share too many details here but I recently joined this group that meets once a week. I've been goign for about 4 weeks but my friend that i know from outside of the group joined this week for the first time and while they were talking to another member of the group I guess i cam up intheir conversation and I received a compliment about my openness and personality from a group member. Like my reputation has preceded me in a positive way which is BIG jump from just like being another no-name in the background. So I was a little proud of that.

So again, two women, in the same week have showed an interest in me, the problem now is that I'm not really sure if I want them, not even want them but want the weight of a girlfriend. This is the problem with like learning and growing and becoming a better communicator as a man its that understanding the weight of being a good boyfriend or even friend for that matter like actually is. I know what it takes to be a good partner and it take s a lot of work and communication and I"m not sure that's something I want to do right now. Or maybe its not something I want to do for these two women, I'm not sure.

My dilemma is that yes, I want to have a physical and emotional relationship but I don't really want to put in the work to make that happen, partly because I'm really happy with my own personal growth right now and don't want to mess that up but also because I don't see myself long term with either of these people and it feels wrong to like put on the good guy act when I know deep down there's really no weight behind it.I don't really have good long term intentions. But like is that so wrong??

I want like a friendly hookup. I want to find friends really but partners that I respect and care for but also am able to hook up with? i think that is actually normal and fine but the problem is ME, I AM BOYFRIEND MATERIAL BUT I WANT TO BE A SLUT. How do I become a slut without falling into the male manipulator andrew tate mold? Like in the Uber i was telling this girl about my job and what I don=, personally I donthtink its that impressive but Its good money and more than a lot of other people make and like.. her eyes just like up, like she had just found the one and I don't like the feeling of being projected on like that. And she was cool and fun and had a good personality but if that's where this relationship is heading then I do not want any parts of that.

LOL, my brand is earnest good guy because I think that's what comes naturally to me and its something I enjoy. Listening to the stories and perspectives of women has actually been such an enriching experience and has added such a depth of color to my own life. And in the partner that I find, i want to continue to do that but I just don't want the be center of those stories. Sometimes I find myself on the peripheries of peoples life and I tend to like it there, or I've become just become accustomed to it; rearguards its a place that I feel comfortable in.

OK but will say, I've been working on he body, been in the gym, getting the diet (almost) entirely locked in and that been rewarding in itself but i think it will help me get to my goal of reaching the hookup culture that everyone else is talking about. Like if I can get in physical shape get to what i consider to be sexy, then I fell like all the other stuff is true , but i feel like people will start projecting Slut instead of steady, hallmark boyfriend. But yes, your mom will love me and I will love her back.

#chicago #dating #long reads #relationship advice

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sambills · 1 year

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Why You Should Listen and Download to A.R. Rehman Songs?

If you’re looking for an inspiring and creative musician, one of the best options would be A.R. Rehman. Whether you’re a die-hard fan or just getting to know his music, there are plenty of reasons why you should listen to this iconic singer. From his impressive career and awards to incredible performances and amazing music, below are four reasons why you should listen to A.R. Rehman.

Who is A.R. Rehman?

A.R. Rehman is a world-renowned musician, composer, and producer who has been creating hit songs and film scores for over three decades. Born in Chennai, India, Rehman began his musical career as a child prodigy, playing the piano and violin.

He went on to study Western classical music at the Trinity College of Music in London and later became one of the most sought-after film composers in India, working on over 100 films. Rehman's unique style combines traditional Indian music with Western music, resulting in a sound that is both fresh and familiar. His songs have won numerous awards, including an Academy Award for his work on the film "Slumdog Millionaire."

In addition to his work in film, Rehman has also released several solo albums and produced several chart-topping hits. If you're looking for some new music to add to your collection, look no further than A.R. Rehman. You can do so by visiting downloadlagu321.vin and downloading some of his greatest hits.

Why You Should Listen to A.R. Rehman?

If you’re not familiar with A.R. Rahman, then you’re missing out on one of the most talented and successful musicians of our time. Rahman is an Indian composer, singer, and music producer who has won numerous awards for his work in film and music. There are many reasons why you should consider listening and downloading songs by A.R. Rahman. Here are a few:

Talent and versatility: Rahman is a highly talented and versatile musician, and his music spans a wide range of genres, including classical, rock, pop, and electronic. This makes him an excellent choice for anyone looking for a diverse range of music.

Award-winning composer: Rahman has won numerous awards for his work, including two Academy Awards, two Grammy Awards, and a BAFTA. This is a testament to the quality and impact of his music.

Cultural significance: Rahman's music often incorporates elements of Indian classical music and other traditional styles, making it an excellent way to learn about and appreciate different cultures.

Emotional depth: Rahman's music is known for its emotional depth and ability to connect with listeners. Whether you're looking for music to lift you up or help you relax, Rahman's music is sure to have something that resonates with you.

Wide appeal: Rahman's music has a wide appeal and is loved by people of all ages and backgrounds. Whether you're a fan of classical music or more into pop and rock, you'll likely find something you enjoy in Rahman's music.

His music is truly unique. Rahman combines traditional Indian instrumentation with modern beats and melodies to create a sound that is both fresh and timeless.

He is an incredible musician – not only is he a talented composer, but he also plays several instruments himself, including the piano, guitar, and flute.

He has worked with some of the biggest names in the music industry, including Andrew Lloyd Webber, Mick Jagger, and Will Smith.

He is a philanthropist – through the A.R. Rahman Foundation, he provides education and assistance to underprivileged children in India.

In short, if you're looking for high-quality, diverse, and emotionally powerful music, you should definitely consider listening and downloading songs by A.R. Rahman.

The Best Songs by A.R. Rehman

Here are four of the best songs by A.R. Rehman you should listen to.

"Chotti Si Aasha" from "Roja"

Mani Ratnam's hit movie "Roja" in 1992 introduced the world to Rahman, a composer who would change the way modern Indian music sounds. When it came out, this soundtrack got a lot of praise, and in 2005, Time Magazine named it one of the 10 best soundtracks of all time.

"Chaiyya Chaiyya" from "Dil Se"

This romantic thriller from 1998 brought together Ratnam's filmmaking talent and Rahman's musical skill. Rahman won yet another Filmfare Award for Best Musical Director for his soulful melodies, and the song "Chaiyya Chaiyya" won both music and dance awards for its train dance, which was choreographed by Farah Khan.

"O Rey Chhori" from "Lagaan"

This cricket-themed drama from 2001, directed by Ashutosh Gowariker, won national and international praise for both the movie and Rahman's music. At the time, many critics said that Rahman's "Lagaan" soundtrack was one of his best works to date. It makes sense that 3.5 million copies of the album were sold in one year.

"Rang De Basanti" from "Rang De Basanti"

The variety of Rahman's music for this drama from 2006 was the only thing that could top the ensemble cast. This great soundtrack has songs for everyone, from the soulful "Khoon Chala" and "Tu Bin Bataye" to the upbeat "Rang De Basanti" and "Roobaroo."

Also, it's interesting that the title track of "Rang De Basanti" was used for a flash mob at the Chhatrapati Shivaji train station to honour the victims of the November 11 attacks in Mumbai.

Conclusion

A.R. Rehman is an amazing artist, who has endless talent and creativity when it comes to creating music. Not only that, but you can be sure that his tunes will make you feel something special every time you press play.

His incredible range of genres, combined with his masterful production work makes him a standout in the music industry today. With so many reasons to listen to A.R. Rehman’s music, why wait? Take some time out of your day and immerse yourself in the magic that this artist creates.

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wonderfulworldofmichaelford · 2 years

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Michael in the Mainstream - Spider-Man: No Way Home

I’ve basically grown up with Spider-Man. I watched the original Raimi films with my dad, I saw both of the Webb films and did not particularly care for them, and I’ve seen Spidey’s appearances in the MCU. No matter the ups and downs, though, there is one thing that has always stayed true: Spider-Man is my favorite hero, and all of the actors have always done a fine job at breathing life into him. Tobey Maguire had that awkward dorkiness to his Peter that made him endearing, and Andrew Garfield had that playful “never shuts up” energy while in the suit. Holland is a bit of a mix of both and does a solid job himself. The point is, I love Spider-Man, and even at his Amazing Spider-Man 2-est I can still find something to love.

No Way Home is a film all about that love. This film embraces every bit of the Spider-Man lore so far, every single movie across three separate takes on the character, and brings it all together into the ultimate, amazing, spectacular experience that is one of the most ambitious crossover events of all time. This is a film that honors Spider-Man’s legacy, paints him an interesting future, and manages to fix so many of the problems with every other iteration of Spider-Man in film that it’s mind-boggling. Be warned, there’s mild spoilers in this review because it is impossible to talk about this film without them... but it is stuff I’m sure you can easily guess anyway. Still, fair warning!

This is definitely Tom Holland’s best performance yet. He gets to be awkward, charming, a hero bearing the weight of the world on his shoulders, a young man haunted by terrible traumas that he has to shoulder as he grapples with doing the right thing… In this film, more than any of his other outings, he feels like Spider-Man for the first time. And with the way this movie ends, that may be the point. These first three MCU films come off as a prolonged origin story for the Peter we all know and love, and in this movie Holland shows us that he can be that Peter and not just a Tony Stark fanboy.

The supporting cast is also fantastic here, though there are a few weak spots. Obviously Ned is not one of them, as he continues to be as great as he’s always been, and MJ continues being a great character as she was in Far From Home. Doctor Strange also isn’t the issue, and he easily could have been if he was allowed to be a mentor to Peter; however, the film uses him sparingly, mostly to set up the plot, provide some conflict in the middle, and then help resolve it, leaving the mentoring to go to a couple other characters who work much better as guides for Peter’s development. Surprisingly Aunt May is not either; she’s sort of been relegated to minor roles in all her appearances where her sex appeal is played up and Marisa Tomei doesn’t really get to show off her skills. Here, she gets a bit of an expanded role and basically sets Peter on the right path for the plot a few times, acting as a bit of an emotional core and guide until a shocking moment at the midpoint. It’s pretty impressive even if she still isn’t the strongest character. There’s also a really nice cameo from a certain blind lawyer who manages to completely clear Peter of criminal charges in regards to Mysterio’s death, which manages to be a highlight of the film despite being incredibly brief.

The weak spots here really are Happy and, shockingly, J. Jonah Jameson. Happy is just absolutely sidelined throughout the film and is hugely ineffective; by the end his life is effectively ruined and he didn’t really get to help at all, which really sucks. Good ol’ JJJ is played with gusto by J.K. Simmons as always, the man’s definitely still got it, but he’s a bit of a flat antagonistic character who seemingly just exists to kick Spidey while he’s down, with none of the emotional depth the Raimi iteration of the character had. I don’t think it’s bad per se, but I hope they expand on him in the future.

Now onto the villains! Spider-Man movies in the past have always struggled with juggling multiple villains, so there was obviously a fear that would happen here when there are five villains showing up. Thankfully, the movie knows which villain is the main threat and gives each one something. It sort of helps that the villains, while an antagonizing force in the story, are sort of side effects of the main problem of the plot (which is the bungled spell), and they come across more as a cherry on top. At any rate, each of them gets some great moments to shine: Doc Ock gets the bridge scene that was shown in the trailers, Electro gets a fight when he first appears which has Sandman helping stop him, and Lizard… Well, Lizard honestly gets the short end of the stick, but he does get some cool moments in the final battle. There is a problem where some of these guys feel a little underutilized, particularly Lizard and Sandman. This mostly comes from restrictions due to COVID, with Rhys Ifans and Thomas Haden Church only able to reprise via voice acting and so not getting the same physical presence as the others, but Sandman still manages to feel pretty in line with his persona at the end of Spider-Man 3 while Lizard gets to be mildly funny by going from his more tragic and complex nature in his film to a cartoonish lizard man with a posh British accent who seems overly enthusiastic about turning everyone into lizards. This is the closest we’ll probably ever get to seeing the Marvel villain Sauron adapted, so I’ll take it.

Electro and Doc Ock manage to get a bit more spotlight, and it’s great seeing Ock go through a turn and become an ally, because Alfred Molina is such a charming man and Otto in Spider-Man 2 was a good guy at heart anyway. It’s very deserved and satisfying here. Electro, meanwhile, gets to be an actual fun character here, with all the dopiness of his debut gone and replaced with some snarky cynicism courtesy of Jamie Foxx. They actaully make fun of the electric eel thing multiple times, and when the big final battle rolls around Electro gets to be the massive threat and the fun antagonist he deserved to be. It’s really great seeing Foxx in a truly great Spider-Man movie for once. Hell, it’s great to see everyone! Alfred Molina, Church, Ifans, all of them put in good work here. But there is one villain I’ve neglected to mention, mostly because he’s the most important of all, and the true big bad of the film: The Green Goblin.

Gobby is, as in the comics and the Raimi film, Spider-Man’s most evil and deadly foe, and no man could possibly put in a better turn as Osborn than Willem Dafoe. Dafoe manages to pull off the terrified old man grappling with an evil split personality that is Norman and the terrifying, cackling madman that is the Goblin just as well as he did back in Raimi’s first Spider-Man movie all those years ago, and honestly? He may actually be better. You see, it seems that they listened to Weird Al’s “Ode to a Superhero” and agreed with the line about how dumb the Goblin mask is and how “He’s scarier without it on,” because Dafoe gets to put his absolutely insane facial acting to work here when he shifts into Goblin mode. And yes, Dafoe is utterly terrifying without the mask, no doubt about it. He was always great, but now he truly gets to shine like never before, and cements himself as perhaps the greatest villain in the MCU with his actions here.

And now, time to talk about the worst-kept secret in Marvel history: Tobey Maguire and Andrew Garfield reprising their roles as their respective takes on Peter Parker. It’s actually amazing, but their appearances don’t overtake the film and outshine Holland, but they actually manage to complement him very well, acting as mentors and surrogate brothers to help teach him what it truly means to be a Spider-Man. Equally amazing is how they get a substantial amount of screentime, appearing as major players in the third act and sticking around until almost the very end. I don’t think I need to say that Tobey’s still got it; he’s just as endearingly awkward as ever before, as if he just stepped out of the Raimi films and into this one, and they actually managed to up his snark a bit. What I would like to highlight is how Andrew Garfield finally gets to prove he might be the very best Peter ever with how adorably dorky and self-loathing he is. This man really shows he has the true essence of Peter down pat, and I can’t believe it, but I actually want to see an Amazing Spider-Man 3 with him in it. He deserves it, like I always knew he did. Man just needed the right script and the right plot to shine, and boy does he ever get to here.

The plot does hinge on some stupidity on the part of Peter and Strange, but honestly there’s nothing too egregiously awful. It moves at a pretty solid pace, maybe a bit fast in the beginning but it soon finds its groove and keeps moving along steadily right until the end. The action manages to be really varied and creative, with all sorts of fun Spidey antics, and the characters never act overwhelmingly stupid or out-of-character. Yes, it all does end up feeling like a massive fix fix that addresses the problems of every single film Spider-Man and works to rectify them, but if you’re a fan of these films and these characters, who cares? Are you going to complain Holland’s finally free of his Stark connections and gets to really be Spider-Man? Are you upset Garfield gets to redeem himself? Are you mad that Tobey gets to be snarky and worked things out with MJ?

This movie is honestly just a dream come true. I always joked that I wanted the MCU to adapt One More Day, because if they could adapt Civil War and make it suck less surely they could do the same with Spider-Man’s worst story ever. And this movie really is essentially that, but more than that this is what One More Day could have and should have been: A massive change to Spidey’s status quo that brings him back to basics in a good way. MCU!Peter is in a spot where he can truly grow and embrace the Spider-Man mantle, and it has me very excited for the future. This is probably my favorite Spider-Man movie ever, and if you’ve grown up with Spider-Man like I have it might end up being yours too. This is definitely one of the few Marvel movies to break away from superhero fatigue as of late, so if you just want a really great superhero movie this is it. I’m not holding my breath that we’ll ever get a superhero spectacle on this level again, but at least I feel a bit safe in saying that Spidey’s looking forward to some great adventures going forward.

Fingers crossed they try and do the Clone Saga next!

#Michael in the Mainstream #review #movie review #Spider-Man: No Way Home #No Way Home #Spider-Man #Tom Holland #Andrew Garfield #Tobey Maguire #Alfred Molina #Jamie Foxx #Willem Dafoe #superhero movie #superhero #MCU #Marvel #Sony #Crossover

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denimbex1986 · 2 months

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'The first outstanding award of the year goes to a film that will not leave anyone indifferent and which, in an inexplicable way, has left BAFTA empty-handed. we talk about unknown ,we are all strangers), a (very free) adaptation of the novel by taiichi yamada Topic Strangers,

It is an emotional and poetic film running for 105 minutes with a brilliant combination of dramatic, romantic and fantastic elements that has the ability to engage the audience and take them where the story wants.

We’re not denying the obvious: the less you know about this movie before you head to the theater, the better. So we’re going to provide you with a thin layer of information that preserves the story’s plot twists that are worth exploring without spoiling it for you.

unknown Introduces us to Adam, a lonely man who tries to overcome his past by confronting him through a blank page. He is a screenwriter and tries to write about his family while watching the days pass by in his apartment.

One day, the building’s fire alarm goes off and he has to leave for safety reasons. However, one of his neighbors decided to stay at the house. Shortly after, he arrives at her doorstep with the idea of accompanying her.

Adam, very jealous of his privacy and still trying to deal with his ghosts, chooses to decline Harry’s offer, but soon regrets this decision.

everything that happens unknown It is relevant and everything we hear is also relevant. This is one of those movies that most intelligently plays with the playlist of musical themes to provide essential information about the characters, what happens to them and how they relate to each other.,

Initially, this is a very frustrating film as you are not at all clear about the nature of the relationship between Adam and his parents nor do you know what the outcome of his meeting with Harry will be. However, if you remove yourself from the images and allow the story to unfold before you, you become completely captivated by a story of great emotional power.

One of its great strengths is the support of the cinematographic language: we see the life of the protagonist, live with him, even when it becomes more dreamy and abstract. Both the staging and composition help in this sense, having been taken care of with real care.

but like a movie unknown It couldn’t stand without great performances and the four main performances are incredible: Andrew Scott and Paul Mescal display chemistry from the first moment and Claire Foy and Jamie Bell deliver throughout, giving their characters immense sensitivity and multiple layers through which to develop.

unknown This is not an easy movie: it requires attention and you have to be engaged as its premise develops, but it’s one of those that stays with you when you leave the movie theater because it’s an aside. From one side to the other and it’s impossible not to fall in love with the characters that populate it and identify with their vulnerabilities and feelings of loneliness and self-destruction.

In short it is, One of those beautiful and devastating films that endures over time: She knows when to be subtle, when to be obvious and always uses the most beautiful picture that grabs you and doesn’t let you go till the end. It’s everything you could want from a great movie: it surprises you, it shocks you, it challenges you, it excites you and it fills you with emotion. This is a movie.

Evaluation:

Magnetic and forceful: The Unknown rolls over you like a steamroller and manages to be genuinely and radically moving. It does almost everything well: the soundtrack, the performances, the staging, the editing,… all based on a story with brutal emotional depth.

The best:

The soundtrack, the lyricism of the images and how well the emotional charge of the story is presented. There are ten explanations.

Worst:

The beginning is very jarring: the story takes you wherever it wants and you have to be patient to see the “master plan” of the script.'

#All of Us Strangers #Andrew Scott #Paul Mescal #Claire Foy #Jamie Bell #BAFTA #Strangers #Taichi Yamada

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