#also to be clear i have never seen that movie who knows maybe the cinematography sucked idk. but still. that's insane | Explore Tumblr Posts and Blogs

reidandweep · 4 years

Text

Stitching

Spencer Reid x Reader (female)

A/N- Much like Adam Driver, I have been a huge fan of Matthew Gray Gubler and criminal minds for years. With quarantine, I decided to re-watch the show from the beginning and I had some inspiration. My writing tends to take a while but if you have any requests or idea for Spencer Reid, please send them my way.

Word Count- 6286 words

Warning- Angst, mentions of violence and torture, fluff, tears, and the usual criminal minds details.

If you prick us do we not bleed? If you tickle us do we not laugh? If you poison us do we not die? And if you wrong us shall we not revenge? -William Shakespeare.

QUANTICO, VIRGINIA

“Good morning my lover and friends. As of 8:45 am, yesterday morning, four bodies have been found across the Washington State area. Locations confirmed to be Pomeroy, Baker City, Salem, and Mill Creek. All victims were very similar in physical appearance; Caucasian, red hair, brown eyes, approximately 5ft 4’.”

Garcia swiped her tablet to display family photographs of the victims on the screen. The team watched, in the debriefing room, as they scanned through their own tablets; reading through the details. Spencer’s eyes flittered over the images as his fingers scanned across the words in his paper file; still adamant on not working with technology like the rest of his team.

“What about the cause of death? How were they found?”

Garcia shivered at Rossi’s question.

“It’s not a pretty image. Each victim was dismembered at the elbows, knees, neck, and stomach. Further cuts were made vertically down the stomach and across the face, arms, and legs. Not deep enough to cut through bone, but deep enough to bleed out. Where the unsub cut our victims, he then sewed them back together.”

Emily looked up at Garcia.

“Are you saying the lacerations were made before the victim’s died?”

“Precisely. Each autopsy report came back the same with the cause of death pointing to the direction of blood loss; specifically, from the throat.”

The team looked at the new images before them. Multiple pictures appeared on the screen, showing the bodies of the victims. The pictures showing the women laid out in the same pose, thick thread holding together the pieces of their corpses. All had their eyes closed, except one.

“Garcia, the last victim, zoom into her face.”

Garcia did as Spencer asked.

“Her eyes are closed.”

Spencer nodded, glancing towards JJ as she spoke.

“Meaning that he felt remorse for this murder.”

Derek scrolled through the pictures on his tablet.

“The other three victim’s eyes are open, indicating that he wanted them to look. To watch what he was doing, whatever it may have been.”

Spencer looked across the table at the questioning faces.

“So, what changed between the third and the fourth victim?”

Hotch stood from his seat, indicating the others to grab their belonging.

“We can discuss further on jet. Wheels up in thirty.”

WASHINGTON STATE

Being greeted by the local police department in Clagstone, Spencer and the team began their investigation into the murders. Spencer did not know what it was, but the stitching on the bodies felt familiar. Like he had seen them before.

Looking up from his files, Spencer watched as Derek walked into the room, ending a call with who he could only presume to be Garcia.

“Garcia has just completed background checks on our latest victim. Lily Trent visited local film screenings at the Southview Centre religiously, to watch horror movies in particular. Seems like the girl loved anything horror and Halloween; according to her roommate and her computer history. It seems that are other victims did also.”

Spencer stood from his seat and walked towards the whiteboard at the back of the room. Writing down the details Derek stated, his brain began to filter through the relevant information needed.

“Halloween is ranked the ninth most celebrated holiday in the world. With different interpretations of the holiday occurring according to country and culture. Wearing costumes at Halloween did not even become an occurrence until 1585, with the first instance recorded in Scotland.”

Derek chuckled at Reid’s excitement. He knew the boy loved Halloween.

“Well it all looks like they were pretty huge fans of the holiday and horror films. Maybe our unsub was too.”

Spencer looked down at the photos in his hand, scanning his memory for any correlation.

“Maybe, it’s not just horror, but a particular film. If all the victims were presented in a certain way, maybe the unsub is trying to replicate what happened to a character in a particular film.”

Derek crossed his arms over his chest.

“I’ll call Garcia to search through all the victims search history to see if any particular horror films come up in each one. Do you know of any films that the unsub could have replicated?”

Spencer shook his head.

“I can collate his actions to hundreds of films but, the method of torture and look of the victims, I can’t think of one horror feature that pinpoints all that the unsub has done.”

A thought unexpectedly popped into Spencer’s mind. Derek cocked his head at the sudden halt from the resident genius.

“But I know someone who might.”

UNIVERSITY OF WASHINGTON

“The importance of genre in film alters many of the other aspects. The characters and their narrative arcs, the music score, cinematography, the edit, and so much more. Sometimes genre even dictates the director who signs onto the project. Dennis Dugan would not have a directing career if Adam Sandler stopped making comedy movies. Because that is what he directs. He doesn’t direct comedies; he directs Adam Sandler comedies. Which, in my opinion, are a whole genre on their own.”

The class chuckled.

“Genre plays a part in everyday life. Sometimes, your day will be led by romance, or grief, or action. There may be drama, or comedy, or even silence.”

The class looked on in concentration as Y/N walked across the floor. If someone who did not attend the college walked past the classroom, they could’ve presumed that she was a student. She looked young enough.

“It controls the way the characters talk, act, and move. How the plot thickens and pushes forward and…”

The doors at the back of the auditorium opened. Y/N looked up at the sound of the intrusion to see figures that she could not recognise, and one that she did.

Clearing her throat, she continued.

“And how it even ends. We shall leave it at that today. What I want you to do in the meantime is research a genre in particular and come up with examples that counteract the stereotypes that have been enforced upon the genre itself. Hand it in to your professor first thing Monday morning. Thank you.”

Y/N watched as the students collected their things and filtered out of the room. The figures waiting till she was only left before they walked down the steps.

Coming to a stop in front of her desk, Y/N crossed her arms and waited. Spencer stepped forward with a crooked smile on his face.

“Hi Y/N.”

Y/N couldn’t help but giggle.

“Long time no see stranger.”

Spencer’s cheeks burned at Y/N’s words. The team shared looks between them at the unfamiliar display. They had seen Spencer blush at people before, but not for a long time.

Spencer cleared his throat, preparing himself to act professional.

“This is Dr Y/F/N Y/L/N. Y/N travels across the country to guest speak at different universities on her topic at hand. She specialises in film studies, more importantly the focus of characters and genres. If I can’t connect the unsub’s actions to a film, Y/N most definitely can.”

Y/N smiled at Spencer’s praise.

“Nice to meet you all. So, what are you here to talk to me about Doc? Obviously, you’re here on a case and if you are asking for my help, I’m guessing it’s going to be pretty gruesome.”

Spencer blushed at the nickname; caught off guard by the word slipping of her tongue.

Sending a raised look towards Reid, Hotch began to explain why they were there.

“Were looking into a case of connected murders. All victims were found to have been mutilated and tortured in the same way. As well as showing resemblances in their physical appearances. With research, we’ve found that each victim was particularly fond of horror films and Halloween. We would just like for you to take a look and see if you could recognise if the ways in which they were harmed stemmed from a film in particular.”

Y/N nodded her head.

“Of course, anything to help.”

She reached for the files from Spencer’s hands, ignoring the tablet pushed in her direction by JJ.

“Sorry, I prefer to use paper. I only really use technology for my lectures or to watch films if they cannot be purchased in physical form.”

Derek smirked, shooting looks to his team, as his eyes landed on Spencer. He never thought he would meet a technophobe like Reid.

Y/N scanned through the pictures and documents, looking in detail at the lacerations at hand. She identified the similarities between the victims, as her mind swirled through the images and characters from the films, she knew held similarities.

“What were the names of all the victims?”

Emily looked towards the woman.

“That information is classified.”

Y/N did not blink at her abrasiveness.

“Were any of them called Sally?”

The team looked perplexed at her question.

“No. Why that name in particular?”

Y/N continued to scan the pages as Rossi questioned her.

“Because the unsub isn’t replicating anything from a horror movie. The unsub is replicating the physical appearance and staging of a character from an animated movie. A Disney one to be more specific.”

A light bulb flickered in Spencer’s mind as he stared at Y/N in realisation. The hair colours. The stitches. It made sense now.

“The Nightmare Before Christmas.”

LOCAL POLICE DEPARTMENT

“The Nightmare Before Christmas is a 1993 American stop-motion animated musical Halloween-Christmas fantasy film directed by Henry Selick and produced and conceived by Tim Burton. It became a cult classic during the early 2000s with orchestral concerts occurring every year to celebrate the spectacle of the film.”

Spencer indicated for JJ to change the monitor as he and Y/N stood in front of the team to explain the information.

“Originally, the story began as a poem written by Tim Burton. Both narratives follow the protagonist, Jack Skellington, into his journey to Christmastown, and how he tries to make Christmas his own. The character in question that your unsub is replicating is the love interest of our protagonist. Created by Dr Finkelstein, Sally is a ragdoll-esque character whose body is covered with stitches to keep her together. The form in which all the women were found is identical to this scene in the movie.”

The screen changes to show the scene in question; paused at the precise moment to prover her point.

“All red haired, all Caucasian, all eerily the same. The stitches are exactly the same and the pose in which they are in the pictures are also.”

“We now know which film our unsub is mimicking, but how can we produce a distinguished profile of our unsub? All we can say is that between his third and fourth victim, he suddenly began to feel remorseful of his crimes.”

Y/N looked towards Spencer, waiting for him to speak as he knew more details about the case.

“Garcia checked into the victim’s computer histories and found that all four victims attended a horror convention in the Washington state area over the course of the past month. The convention in particular runs every other weekend, focusing on different horror films to highlight. However, they always make an exception for one film; The Nightmare Before Christmas. Whilst reviewing receipts for the tickets, they were all brought through the convention’s website, which is run by its board of organisation every year. Up until recently, the board has held the same members.”

Derek tapped on his tablet to the convention’s website.

“Last month, the website released details stating that a distinguish member was no longer part of the board due to unforeseen circumstances.”

It suddenly dawned on Y/N who Derek was talking about.

“Dean Faulkner.”

Spencer whipped around towards Y/N.

All eyes laid on her as her breath increased.

“You know him?”

Y/N nodded at Hotch.

“I guest spoke at a panel with him a few years back at a separate university. We were both there, amongst others, to talk about the works of a genre that are expertise were in. I was there to basically provide loose ends for what they could not answer. Dean’s specialised area was horror. The whole time he spoke about what he described as the true villains of horror and of the world.”

Y/N gulped, her mouth going dry.

“Women.”

The wheels began to turn in the team’s heads.

Spencer stepped closer towards Y/N in assurance, seeing that her thoughts were becoming overwhelmed. He quickly stepped back after he realised what he had done.

“He went on a raging tangent about the damsel in distress and the final girl. Going on and on and on about how women are weak and would never be the last one standing if faced against the monsters in real life. How they manipulated the men and made the monsters seem worse than they truly were. The only time he spoke positively about women was when we finally calmed him down and, during a Q&A session, a student asked him who the perfect horror movie character was. He said Sally because she was forgiving and would do anything for Jack; even if that meant falling apart and being sewn back together. I tried to justify that the film does not necessarily fall into the genre of horror. But he rebutted saying that it most definitely did, because of the fact that Jack’s dream did not come true.”

The room was silent for a second, taking in the information.

Suddenly, Y/N grasped the pen from Spencer’s hands. Her finger scribbling across the whiteboard.

“I need to know the names of the victims. Get Penelope on the phone and tell me the names.”

The team shocked at her erratic movements, sat in silence.

“Do you want to capture this guy?”

Spencer licked his lips and repeated the victim’s names.

“Susanna Cole, Alice Dawes, Liberty May, and Lily Trent.”

Y/N swiftly wrote the names on the boards. Each name below the other. Underneath the last name she wrote the letter Y.

“Can you ask Penelope to track any females with the first name beginning with Y who have purchased a ticket to the next convention?”

Derek quickly began to type to her. The rest of the team looking on in disbelief.

“There were twenty-three purchases, but with cross referencing with the similarities in the other victims, one matched. Her name is Yasmine Driver.”

Y/N wrote the name on the board. Circling all the first letters of each name, it became clear there was another connection with the victims.

“Their initials spell Sally.”

Y/N nodded at JJ’s disbelief.

“Reid, when is the next convention being held?”

Spencer diverted his attention to Emily.

“Their schedule every two weeks, so that would make it… tomorrow.”

The team swiftly moved into action.

“JJ bring together the police force for a debrief. Derek and Rossi, go to the convention centre and question the board about Dean. Ask them how often he visited and if they have any knowledge of the victims visits to the convention. Spencer and Emily, contact Penelope for Faulkner’s address. Once you have visited the home, if he is there, bring him in. We’re going to try and catch him before he gets close to his goal. I will locate Yasmine and bring her to the station for safety. We don’t know how far he is going to go and what the end goal of his fantasy is. But we are going to stop him.”

The team swiftly did as they were told, leaving the room with only Spencer and Y/N behind. Just before the door shot, Hotch leaned back in.

“Thank you, Dr Y/L/N, for all your help. If possible, could you stay here with JJ and look through the documents? You know this guy more than we do, so any more information that comes to mind, please let us know.”

Y/N and Spencer watched as Hotch left the room, the door shutting behind him.

As the silence engulfed them, Y/N and Spencer were hyper aware that they were now alone and had been for the first time in weeks.

Spencer swiftly walked towards Y/N and embraced her in a tight hold. Wrapping her arms around the slender man, Y/N breathed in his scent.

“I’ve missed you.”

Y/N chuckled at Spencer’s muffled words, as his head rested on top of her own. Pulling back, Y/N slowly released Spencer, letting her hands drop to her sides.

“I’ve missed you too Doc. We can catch up later, I will be waiting right here. Now, go and save the girl.”

Spencer chuckled at her words but did as Y/N said. Throwing her a smile, Spencer quickly walked out the room, leaving Y/N behind.

Y/N sat in the room, looking over the files as the time passed, waiting to see Spencer return with the rest of the team. A knock on the door startled her from her search.

Looking up at the door, Y/N saw JJ walk into the room with two cups of coffee in her hands. JJ outstretched the one hand, placing the cup in front of Y/N, as she took a seat and began to sip at her own.

“I didn’t know how many sugars you took so I estimated.”

Y/N smiled at the woman’s kindness.

“Thank you. Have you heard anything from the others?”

JJ sat up in her seat as she watched Y/N look over the documents. Her fingers moving across the pages ever so quickly. Her hand that wasn’t tapped continuously on the table in a rhythm.

“Spencer and Emily located Faulkner’s home, but it was vacant. They’re looking around the premises for clues for where he may be; as we speak. Hotch and Derek just called saying they are on their way down with Yasmine now.”

Y/N nodded at her words. Glad to hear that the girl was safe, but the main priority now would be to locate Faulkner. She wanted to truly help them, before anyone else could get hurt.

JJ grabbed her tablet and began to search through the files for any missed out information. Silence befell across the pair, until JJ could not help but ask what they had all been dying to know.

“How did you and Spencer meet?”

Y/N had been waiting for the question. She had seen the looks the team had shared throughout the day. The questioning gazes towards the pair.

“Spencer and I were both guests speaking at the University of California a few months ago. He must have finished his lecture early as he was wondering the halls when he came across the class I was teaching. I was stood on the desk, encouraging the students to do the same. Spencer thought I was a student causing trouble whilst the professor had left the room. He ran in sprouting facts about the percentage of people who fall and severely hurt themselves whilst standing on tables. Telling me that I should get down before he reports me to my professor.”

JJ chuckled at Y/N’s story.

“Sounds like Spence alright.”

Y/N giggled in agreement. As she spoke, Y/N couldn’t help but smile at the memory of their first encounter. JJ noticed the smile on the woman’s face. She knew what that smile meant.

“So, I told him that he better stay there to catch me, just in case I fell, as I was trying to teach my students about the importance of character actions, and how doing something as simple as standing on a desk can amplify the tone of the scene. Like in the film Dead Poet’s Society. Spencer finally realised that I was also a guest speaker and he actually stood there for the next 40 minutes of my lecture. I didn’t need to stand on the desk that long, but I wanted to see if he would stay. Once the lecture had finished, he apologised for jumping to conclusions. I apologised for making him wait for 40 minutes in case I fell. He told me I didn’t make him wait; he chose to. We’ve been in contact ever since.”

Just as Y/N finished her story, the door to the conference room opened once more. Looking towards the door, Y/N watched as Hotch entered, followed by Yasmine. The young woman looked scared, but unharmed.

Y/N stood from her seat, unsure of what to do as Hotch insisted for Yasmine to take a seat.

“Do you want me to leave?”

Hotch nodded his head.

“We shouldn’t be long. The rest of the team are outside in the bullpen. You can go ahead and join them. JJ and I will take it from here.”

Y/N nodded her head, leaving the room. She watched as Hotch and JJ questioned spoke to Yasmine through the glass, before she turned and walked down the corridor to find Spencer and his friends.

Turning the corner, Y/N failed to stop herself before bumping into a tall figure. Looking up to apologise, her eyes suddenly widened at the familiar face. Before a sound could leave her lips, a blunt force knocked her out cold.

Spencer and the team discussed where Faulkner could be when Hotch strode into the bull pen.

“How did it go?”

Hotch walked towards his team, ready to answer Derek’s question.

“It seems that Faulkner had been stalking the victims for some time. Yasmine detailed seeing him turn up at the conventions, even though he was no longer allowed. She had previously complained about his behaviour to the board before his dismissal. Stating that Faulkner had sexually harassed her. Rossi, did anyone at the convention mention anything about Faulkner that we don’t know?”

“It seems that Yasmine wasn’t the only one. The other board members went into detail about why he was fired. It turned out that all of our victims, including Yasmine, had filed lawsuits against Faulkner for sexual harassment. The charges were ultimately dropped and never recorded to keep the convention’s reputation clear. But they fired Faulkner and banned him from being able to attend any further conventions. Taking away the Nightmare Before Christmas dedicated stand was just a coincidence. They felt that the convention needed something new as they had been celebrating the film for over eight years.”

Just as Hotch was about to declare what the next step would be in finding Faulkner, JJ burst through the ball pen.

“Guys, you have to come quick.”

The team, in shock, watched as JJ ran back towards the conference room. All quickly on her heels. Entering the room, she took control of the laptop, streaming the image to the projector.

Spencer could no longer breathe as he looked at the image on the screen.

“Y/N.”

The screen showed Y/N tied to a chair and bent forward; clearly in pain. Her surroundings empty and dark.

Suddenly a voice was heard.

“I sense there's something in the wind. That seems like tragedy's at hand isn’t there Dr Y/F/N Y/L/N.”

The team watched in horror as Dean Faulkner yanked Y/N’s head back, her body letting out a strangled cry at the pain caused by his actions.

Spencer felt sick, he felt like he was watching himself when Tobias Hankel had held him captive.

“Emily, call Garcia to track his location. We don’t have much time.”

Emily did as Hotch told her to. Talking as quickly as she could on the phone.

“She can’t track it; he’s re-routing the IP address every thirty seconds.”

“She needs to track it. She needs to find her now!”

They all jumped at Spencer’s outburst, watching as tears filled his vision and his hands began to shake.

“Spencer, you need to calm down, we are going to find her. He can’t have taken her far.”

Spencer took in Derek’s words. Taking a breath, he looked back at the screen as he tried to distinguish any recognisable features of where she may be.

Faulkner moved his face to rest against Y/N’s hair, smelling the tresses. She tried to pull away only for him to yank her back again.

“Why did you kill them Dean?”

Faulkner let go of Y/N’s hair. Walking to her side, he grabbed her face in a vicious grip. Yanking her to look at him.

“Why? They ruined my life, everything I ever worked hard for. You all did.”

Y/N looked at him in confusion.

“I did nothing to you.”

Y/N’s breath increased at the vicious look he sent her way. Her eyes flickered to the camera, knowing that Faulkner was streaming what was happening to Spencer and his team. She had to find a way to tell them where she was.

“You made them question my authority. My position. My integrity as a member of the board. You ruined my reputation by belittling me in California.”.

“That’s because you know nothing about horror Dean. You think you know everything about it, but you don’t.”

Spencer couldn’t believe what he was hearing. Why was Y/N taunting him?

“Garcia’s looking to see if there’s any abandoned properties around the area that he could have taken her to.”

Spencer didn’t even acknowledge Emily’s words.

Faulkner reeled back at Y/N’s taunt.

“I know everything there is to know about horror. I’ve seen it all. I’ve lived it. I’ve created it. Ask me anything about it, I know the right answers.”

“But you don’t. You have an idea of horror, your own idea, that is wrong. You believe that women are the reason you lost your job and became the monster that you are. But they’re not. The reason you’re a monster is because of your sick and twisted fantasies. You made those girls feel small and weak, didn’t you?”

“Shut the fuck up.”

The team watched in apprehension.

“Garcia, the location, we need it now.”

Rossi looked between the screen and the phone in Derek’s hand.

“I can get the area he’s holding her, but not the specific building. The whole town is basically abandoned. She could be anywhere from a shop to a house.”

“Keep looking.”

Spencer chewed on his lips. He had to think rationally. If the unsub was upset about the changes and losing his job, what could have been the last straw?

“Derek what was the film they replaced Nightmare Before Christmas with at the convention.”

Derek and Spencer shared a look.

“Cabin in the Woods.”

Spencer ran across the rooms to the files at hand.

“In the location that Garcia has tracked her too, there are three cabins, all within a walking distance of the other.”

The team began to rush out the room, transferring the livestream to a tablet so they could monitor Faulkner and Y/N.

“You’re weak Dean. You’re just like all the horror movie villains. Ghostface, pinhead, jigsaw, all of them. You feed of fear and feeling in control. But the only thing you have in common with them is that you’re not going to win.”

Faulkner scream in rage. Pulling Y/N’s head back, he punched her in the jaw. Striding to the camera, he pushed his face to the lens.

“The party’s over!”

Spencer watched in horror as the feed went off.

“Hotch we have to hurry!”

Hotch sped up the car. Quickly arriving to the location, the team split up into pairs, taking a cabin each to inspect. Hotch and Derek, Rossi and JJ, and Spencer and Emily veered off to their targeted locations. Spencer followed Emily, trying to stay calm, as he slowly walked into the cabin to find it empty, when suddenly a gun shot was heard. Looking in the direction, the pair ran to the cabin that Derek and Hotch had been assigned. The rest of the team already there, looking into the cabin in shock.

“No, no, no, no. Y/N.”

Spencer pushed in front of them, tears pooling in his eyes as he a waited to see the horror before him. He looked in disbelief as Y/N stood from her position on the floor, the gun dropping from her hand as they shook. Faulkner laid a few feet away, in a pool of blood, no longer breathing.

Y/N looked towards the team. Raising her shaking hands towards Spencer.

“I didn’t want to kill him but he was going to shoot whoever walked through the door.”

Spencer rushed forward, grabbing her in a bone crushing hug. His hands stroking her hair as he soother her cries. Leading her out of the cabin, he allowed his team to sort out the rest as he continued to calm Y/N down.

The movement of the team were a blur as ambulances and police cars came. Taking them to the hospital as they sat in the waiting room as Y/N was checked over.

Spencer sat in the waiting room, his leg bouncing up and down with nerves.

Derek excused himself from the groups conversation as he went and sat next to Spencer. Clapping him on the back, Derek squeezed Spencer’s shoulder in re-assurance.

“She’s going to be fine pretty boy.”

“Physically, she has a concussion, bruising along her jawline, and needs stitches on her forehead. Mentally, I don’t know how she is going to handle this. When I suggested asking for her help in the case, I didn’t presume the risk of her being hurt. I should have.”

“Spencer, listen to me. We would have done everything to make sure she lived okay. She not only saved herself but she also helped save Yasmine and this team. Any one of us could have been shot if she had not thought fast and got the gun out of his hands. You know, better than anyone, how to help her deal with this.”

Spencer took in Derek’s words, nodding his head in appreciation, as he leaned against his friend in a comforting hug.

“Probably wasn’t the ideal way to introduce your girlfriend to the team though.”

Spencer stuttered at Derek’s teasing.

“We’re profilers Spencer. We’ve all noticed how you’ve been happier these past few months and seeing how persistent you were for us to consult Y/N, it gave us all an idea why. Seeing you together only confirmed our suspicions. So, how long has pretty boy had his pretty girl?”

Spencer chuckled at Derek’s words. Ringing his hands together as he spoke to Derek.

“Tomorrow is actually our six-month anniversary. She was going to be flying back today so we could celebrate; unless I got called on a case.”

“We can still celebrate.”

Spencer looked up as Y/N walked through the waiting room, fresh stitches on her forehead and an ice pack resting in her hands.

“The nurse said that there was no internal damage. That my body will just be sore for a few weeks. My concussion is light, so I am alright to travel home.”

The team gathered around to check on her. But her eyes could not leave Spencer’s as he rose from his seat. Spencer walked forward slowly, his eyes never leaving hers. Carefully he cupped her face in his hands, and to the surprise of Y/N and his team, Spencer bowed his head and placed a careful kiss on Y/N’s lips. Slow, protective, and full of love.

Pulling back, Spencer wrapped his arms around her as he looked at the beaming smiles of his teammates. Y/N couldn’t help the blush across her cheeks or the giggle that followed. Soon, everyone was chuckling at the pair.

“I would like to thank you Y/N. From the entire team. Your actions saved a young woman’s life, and what could have been one of our own.”

Y/N smiled in appreciation at Rossi’s words.

“You’re Spencer’s family. I would do it all again if I had to.”

“Statistically speaking, around 2,000 people a day are reported missing in the US. Approximately, 600 of those would be reported or considered kidnappings. It is highly unlikely for you to be put in a situation like that again.”

Y/N looked up at her boyfriend.

“I never thought I would say this, but your talk about me being kidnapped again is really attractive.”

The team laughed at the girl’s statement, seeing Spencer become physically embarrassed.

“Just to inform everyone, the jet will be ready to depart in forty-five minutes. As I was informed that today you would have been heading home, Y/N we have sent for your belongings to be collected; you can fly back with us.”

Spencer smiled at Hotch in gratitude, the older man knowing he would have only worried if she had flown home alone.

“Thank you, Mr Hotchner.”

Hotch let out a brief smile.

“Call me Hotch. Your part of Spencer’s life, that means your part of this family.”

BAU JET

It had been an exhausting few days for the team, and it showed, as they all were sporadically asleep throughout the jet. Silence encompassed the steel capsule, with only the sound of sleep filled breaths being heard.

Y/N laid fast asleep, with her head on Spencer’s shoulder, as the boy genius sat up wide awake. Looking down at the woman next to him, all Spencer could imagine was what could have happened if they weren’t quick enough. How many days he would have lost with her. All the things he wanted to tell her.

As though she could sense his deep thoughts, Y/N slowly awoke, rubbing her eyes as a yawn escaped her mouth. Blinking her eyes rapidly, she waited till she was fully conscious before she spoke.

“What time is it Doc?”

Spencer jostled out of his thoughts to check the watch on his wrist.

“It’s 2:36 am. You’ve been asleep for approximately 3 hours and 22 minutes.”

Y/N quickly sat up in her seat, wide awake.

Spencer turned towards her in worry, wondering what had made her so alert.

“What wrong? Are you feeling nauseous? Do you need some painkillers, as your due to have…”

Y/N grabbed Spencer’s face and placed her lips flush against his own. Their mouths moved in unison, as Spencer’s own hands moved to circle around her waist, bringing their bodies as close as they could be in the small space they had. They hadn’t kissed since the hospital, and before then it had been weeks. Spencer never realised until then, how much he truly missed her touch, her taste, her as a whole.

Coming to a point where they both lacked breathe, the pair pulled apart. Their eyes fluttering open as Y/N’s hands caressed Spencer’s face. Her one hand travelled to his hair, feeling the tresses that had grown since she had last seen him. She looked at him in a way no one had before. Spencer shared the same expression.

“Happy six-month anniversary Spencer. I love you.”

Spencer looked at Y/N in disbelief.

“Before you start spouting of facts about transference and how I am probably only saying this because you saved my life, you’re wrong. Because then I would be telling Hotch and Morgan the same thing.”

Spencer couldn’t help the watery smile that graced his face. For the second time in the past day, his eyes filled with tears. But this time, they were good.

“I’ve known I have loved you for a long time. For five months actually. I knew I loved you when we made pizza in your apartment and we ended up burning it, so we ordered one instead.”

Spencer laughed at the memory. It was the first time Spencer had initiated their make out. He had watched her cooking, in his apartment, and he had never found her more attractive than he did seeing her in his home.

“I knew that whilst you were spouting of facts about the invention of the pizza that I loved you and that I could listen to you forever. I love you Spencer.”

Spencer pulled Y/N closer to him as he rested his forehead against her own. The pair basked in each other’s presence.

“Past surveys show that men wait just 88 days to say those three little words to their partner for the first time, and 39 percent say them within the first month. Women, on the other hand, take an average 134 days. You knew after 31 days that you loved me. I knew after our first date that the way I felt when I was with you is a feeling that I could not even describe with my vast vocabulary. I knew after 8 days that the way I felt was stronger than liking you and that was a frightening thought. But its scarier to think what could have happened to you yesterday. That I could have lost you without you ever knowing. I made that mistake before. I will never make it again. I love you too.”

Y/N couldn’t help the smile and giggle that overtook her. Spencer, feeling high of the serotonin that was coursing through his body, couldn’t help his laugh either. Soon the pair were a giggling mess, unaware of the team who had all begun to awaken whilst the pair were talking.

The team congregated to the back of the jet, allowing the couple to stay in their own bubble.

“It’s been a long time since we’ve seen him truly happy.”

The group nodded at Emily’s words.

JJ smiled as she watched her best friend rattle of the possible movies that he and his girlfriend could spend their anniversary watching as she recovered. Her smile growing even wider at Y/N’s enthusiasm to watch the film’s in their original language. None of them could miss the look of adoration beaming between the pair.

“Yeah, it really has.”

Being deeply loved by someone gives you strength, while loving someone deeply gives you courage. -Lao Tzu

A/N- It isn’t the best but I really enjoyed writing this one.

#spencer reid imagine #spencer reid #criminal minds #spencer reid x reader #criminal minds imagine #matthew gray gubler #matthew gray gubler imagine #matthew gray gubler x reader #criminal minds x reader #spencer reid imagines

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mostlymovieswithmax · 3 years

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Movies I watched in May

Sadly, I kind of skipped writing a post for April. It was a mad month with so much going on: lots of emails sent and lots of stress. I started a new job so I’m getting to grips with that... and even then, I still watched a bunch of movies. But this is about what I watched in May and, yeah… still a bunch. So if you’re looking to get into some other movies - possibly some you’ve thought about watching but didn’t know what they were like, or maybe like the look of something you’ve never heard of - then this may help! So here’s every film I watched from the 1st to the 31st of May 2021 Tenet (2020) - 8/10 This was my third time watching Christopher Nolan’s most Christopher Nolan movie ever and it makes no sense but I still love it. The spectacle of it all is truly like nothing I’ve ever seen. I had also watched it four days prior to this watch also, only this time I had enabled audio description for the visually impaired, thinking it would make it funny… It didn’t.

Nomadland (2020) - 6/10 Chloé Zhao’s new movie got a lot of awards attention. Everyone was hyped for this and when it got put out on Disney+ I was eager to see what all the fuss was about. Seeing these real nomads certainly gave the film an authenticity, along with McDormand’s ever-praisable acting. But generally I found it quite underwhelming and lacking a lot in its pacing. Nomadland surely has its moments of captivating cinematography and enticing commentary on the culture of these people, but it felt like it went on forever without any kind of forward direction or goal. The Prince of Egypt (1998) - 6/10 I reviewed this on my podcast, The Sunday Movie Marathon. For what it is, it’s pretty fun but nowhere near as good as some of the best DreamWorks movies.

Chinatown (1974) - 8/10 What a fantastic and wonderfully unpredictable mystery crime film! I regret to say I’ve not seen many Jack Nicholson performances but he steals the show. Despite Polanski’s infamy, it’d be a lie to claim this wasn’t truly masterful. Howl’s Moving Castle (2004) - 8/10 Admittedly I was half asleep as I curled up on the sofa to watch this again on a whim. I watched this with someone who demanded the dubbed version over the subtitled version and while I objected heavily, I knew I’d seen the movie before so it didn’t matter too much. That person also fell asleep about 20 minutes in, so how pointless an argument it was. Howl’s Moving Castle boasts superb animation, the likes of which I’ve only come to expect of Miyazaki. The story is so unique and the colours are absolutely gorgeous. This may not be my favourite from the legendary director but there’s no denying its splendour.

Bāhubali: The Beginning (2015) - 3/10 The next morning I watched some absolute trash. This crazy, over the top Indian movie is hilarious and I could perhaps recommend it if it weren’t so long. That being said, Bāhubali was not a dumpster fire; it has a lot of good-looking visual effects and it’s easy to see the ambition for this epic story, it just doesn’t come together. There’s fun to be had with how the main character is basically the strongest man in the world and yet still comes across as just a lucky dumbass, along with all the dancing that makes no sense but is still entertaining to watch. Seven Samurai (1954) - 10/10 If it wasn’t obvious already, Seven Samurai is a masterpiece. I reviewed this on The Sunday Movie Marathon podcast, so more thoughts can be found there. Red Road (2006) - 6/10 Another recommendation on episode 30 of the podcast. Red Road really captures the authentic British working class experience. Before Sunrise (1995) - 10/10 One of the best romances put to film. The first in Richard Linklater’s Before Trilogy is undoubtedly my favourite, despite its counterparts being almost equally as good. It tells the story of a young couple travelling through Europe, who happen to meet on a train and spend the day together. It is gloriously shot on location in Vienna and features some of the most interesting dialogue I’ve ever seen put to film. Heartbreakingly beautiful.

Tokyo Story (1953) - 9/10 This Japanese classic - along with being visually and sonically masterful - is a lot about appreciating the people in your life and taking the time to show them that you love them. It’s about knowing it’s never too late to rekindle old relationships if you truly want to, which is something I’ve been able to relate to in recent years. It broke my heart in two. Tokyo Story will make you want to call your mother. Before Sunset (2004) - 10/10 Almost a decade after Sunrise, Sunset carries a sombre yet relieving feeling. Again, the performances from Julie Delpy and Ethan Hawke take me away, evoking nostalgic feelings as they stroll through the contemporary Parisian streets. There is no regret in me for buying the Criterion blu-ray boxset for this trilogy. Before Midnight (2013) - 10/10 Here, Linklater cements this trilogy as one of the best in film history. It’s certainly not the ending I expected, yet it’s an ending I appreciate endlessly. Because it doesn’t really end. Midnight shows the troubling times of a strained relationship; one that has endured so long and despite initially feeling almost dreamlike in how idealistically that first encounter was portrayed, the cracks appear as the film forces you to come to terms with the fact that fairy-tale romances just don’t exist. Relationships require effort and sacrifice and sometimes the ones that truly work are those that endure through all the rough patches to emerge stronger. The Holy Mountain (1973) - 10/10 Jodorowsky’s masterpiece is absolute insanity. I talked more about it on The Sunday Movie Marathon podcast.

The Grand Budapest Hotel (2014) - 10/10 Another watch for Grand Budapest because I bought the Criterion blu-ray. As unalterably perfect as ever. Blue Jay (2016) - 6/10 Rather good up to a point. My co-hosts and I did not agree on how good this movie was, which is a discussion you can listen to on my podcast. Shadow and Bone: The Afterparty (2021) - 3/10 For what it’s worth, I really enjoyed the first season of Shadow and Bone, which is why I wanted to see what ‘The Afterparty’ was about. This could have been a lot better and much less annoying if all those terrible comedians weren’t hosting and telling bad jokes. I don’t want to see Fortune Feimster attempt to tell a joke about oiling her body as the cast of the show sit awkwardly in their homes over Zoom. If it had simply been a half hour, 45 minute chat with the cast and crew about how they made the show and their thoughts on it, a lot of embarrassment and time-wasting could have been spared. Wadjda (2012) - 6/10 Another recommendation discussed at length on The Sunday Movie Marathon. Wadjda was pretty interesting from a cultural perspective but largely familiar in terms of story structure.

Freddy Got Fingered (2001) - 2/10 A truly terrible movie with maybe one or two scenes that stop it from being a complete catastrophe. Tom Green tried to create something that almost holds a middle finger to everyone who watches it and to some that could be a fun experience, but to me it just came across as utterly irritating. It’s simply a bunch of scenes threaded together with an incredibly loose plot. He wears the skin of a dead deer, smacks a disabled woman over and over again on the legs to turn her on, and he swings a newborn baby around a hospital room by its umbilical cord (that part was actually pretty funny). I cannot believe I watched this again, although I think I repressed a lot of it since having seen it for the first time around five years ago. The Twilight Saga: Breaking Dawn - Part 1 - (2011) I have to say, these movies seem to get better with each instalment. They’re still not very good though. That being said, I’m amazed at how many times I’ve watched each of the Twilight movies at this point. This time around, I watched Breaking Dawn - Part 1 with a YMS commentary track on YouTube and that made the experience a lot more entertaining. Otherwise, this film is super dumb but pretty entertaining. I would recommend watching these movies with friends. Solaris (1972) - 8/10 Andrei Tarkovsky’s grand sci-fi epic about the emotional crises of a crew on the space station orbiting the fictional planet Solaris is much as strange and creepy as you might expect from the master Russian auter. I had wanted to watch this for a while so I bought the Criterion blu-ray and it’s just stunning. It’s clear to see the 2001: A Space Odyssey inspiration but Solaris is quite a different beast entirely. Jaws (1975) - 4/10 I really tried to get into this classic movie, but Jaws exhibits basically everything I don’t like about Steven Spielberg’s directing. For sure, the effects are crazily good but the story itself is poorly handled and largely uninteresting. It was just a massive slog to get through.

Darkman (1990) - 6/10 Sam Raimi’s superhero movie is so much fun, albeit massively stupid. Further discussion on Darkman can be found on episode 32 of The Sunday Movie Marathon podcast. Darkman II: The Return of Durant (1995) - 1/10 Abysmal. I forgot the movie as I watched it. This was part of a marathon my friends and I did for episode 32 of our podcast. Darkman III: Die Darkman Die (1996) - 1/10 Perhaps this trilogy is not so great after all. Only marginally better than Darkman II but still pretty terrible. More thoughts on episode 32 of my podcast. F For Fake (1973) - 8/10 Rewatching this proved to be a worthwhile decision. Albeit slightly boring, there’s no denying how crazy the story of this documentary about art forgers is. The standout however, is the director himself. Orson Welles makes a lot of this film about himself and how hot his girlfriend is and it is hilarious.

The Mitchells vs. The Machines (2021) - 4/10 More style over substance, Sony’s new animated adventure wants so much to be in trend with the current internet culture but it simply doesn’t understand what it’s emulating. There’s a nyan cat reference, for crying out loud. For every joke that works, there are about ten more that do not and were it not for the wonderful animation, it simply wouldn’t be getting so much praise. Taxi Driver (1976) - 10/10 The first movie I’ve seen in a cinema since 2020 and damn it was good to be back! I’ve already reviewed Taxi Driver in my March wrap-up but seeing it in the cinema was a real treat. Irreversible (2002) - 8/10 One of the most viscerally horrendous experiences I’ve ever had while watching a movie. I cannot believe a friend of mine gave me the DVD to watch. More thoughts on episode 32 of The Sunday Movie Marathon podcast. Don’t watch it with the family. The Golden Compass (2007) - 1/10 I had no recollection of this being as bad as it is. The Golden Compass is the definition of a factory mandated movie. Nothing it does on its own is worth any kind of merit. I would say, if you wanted an experience like what this tries to communicate, a better option by far is the BBC series, His Dark Materials. More of my thoughts can be found in the review I wrote on Letterboxd.

Antichrist (2009) - 8/10 Lars von Trier is nothing if not provocative and I can understand why someone would not like Antichrist, but I enjoyed it quite a lot. After watching it, I wrote a slightly disjointed summary of my interpretations of this highly metaphorical movie in the group chat, so fair warning for a bit of spoilers and graphic descriptions: It's like, the patriarchy, man! Oppression! Men are the rational thinkers with big brains and the women just cry and be emotional. So she's seen as crazy when she's smashing his cock and driving a drill through his leg to keep him weighted down. Like, how does he like it, ya know? So then she mutilates herself like she did with him and now they're both wounded, but the animals crowd around her (and the crow that he couldn't kill because it's Mother nature, not Father nature, duh). Then he kills her, even though she could've killed him loads of times but didn't. So it's like "haha big win for the man who was subjected to such horrific torture. Victory!" And then all the women with no faces come out of the woods because it's like a constant cycle. Manchester By The Sea (2016) - 6/10 Great performances in this super sad movie. I can’t say I got too much out of it though. Roar (1981) - 9/10 Watching Roar again was still as terrifying an experience as the first time. If you want to watch something that’s loose on plot with poor acting but with real big cats getting in the way of production and physically attacking people, look no further. This is the scariest movie I’ve ever seen because it’s all basically real. Cannot recommend it enough. Eyes Without A Face (1960) - 8/10 I’m glad I checked this old French movie out again. There’s a lot to marvel at in so many aspects, what with the premise itself - a mad surgeon taking the faces from unsuspecting women and transplanting them onto another - being incredibly unique for the time. Short, sweet and entertaining!

Se7en (1995) - 10/10 The first in a David Fincher marathon we did for The Sunday Movie Marathon, episode 33. Zodiac (2007) - 10/10 Second in the marathon, as it was getting late, we decided to watch half that evening and the last half on the following evening. Zodiac is a brilliant movie and you can hear more of my thoughts on the podcast (though I apologise; my audio is not the best in this episode). Gone Girl (2014) - 10/10 My favourite Fincher movie. More insights into this masterpiece in episode 33 of the podcast. Friends: The Reunion (2021) - 6/10 It was heartwarming to see the old actors for this great show together again. I talked about the Friends reunion film at length in episode 33 of my podcast.

Wolfwalkers (2020) - 10/10 I reviewed this in an earlier post but would like to reiterate just how wonderful Wolfwalkers is. If you get the chance, please see it in the cinema. I couldn’t stop crying from how beautiful it was. Raya and The Last Dragon (2021) - 6/10 After watching Wolfwalkers, I decided I didn’t want to go home. So I had lunch in town and booked a ticket for Disney’s Raya and The Last Dragon. A child was coughing directly behind me the entire time. Again, I reviewed this in an earlier post but generally it was decent but I have so many problems with the execution. The Princess Bride (1987) - 9/10 Clearly I underrated this the last time I watched it. The Princess Bride is warm and hilarious with some delightfully memorable characters. A real classic!

The Invisible Kid (1988) - 1/10 About as good as you’d expect a movie with that name to be, The Invisible Kid was a pick for The Sunday Movie Marathon podcast, the discussion for which you can listen to in episode 34. Babel (2006) - 9/10 The same night that I watched The Invisible Kid, I watched a masterful and dour drama from the director of Birdman and The Revenant. Babel calls back to an earlier movie of Iñárritu’s, called Amores Perros and as I was informed while we watched this for the podcast, it turns out Babel is part of a trilogy alongside the aforementioned film. More thoughts in episode 34 of the podcast. Snake Eyes (1998) - 1/10 After feeling thoroughly emotionally wiped out after Babel, we immediately watched another recommendation for the podcast: Snake Eyes, starring Nicolas Cage. This was a truly underwhelming experience and for more of a breakdown into what makes this movie so bad, you can listen to us talk about it on the podcast.

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musclesandhammering · 3 years

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Loki (2021) Positivity from an Anti

Ok so all of my mutuals know I’m extremely anti-Loki (2021), anti-sylki, and anti-sylvie. But at a certain point, even we antis get tired of all the negativity. So! Here’s some Loki series commentary in the opposite direction! This is a list of all the things about the show that I loved :)

Also adding a disclaimer that all of this is just my opinion and some of my fellow antis (or even people who liked the show) might disagree, and that’s fine! I’ve been planning this post for awhile. I always say in my other posts that I don’t entirely hate the show and I wanted to be a little more specific about what I think are its good aspects. Feel free to leave your thoughts!

• Mobius is a gem (Owen Wilson owns my whole heart) and his relationship with Loki is so so great. He’s not one-dimensional at all, he has conflicted loyalty and is morally complex, and he has the tragic backstory- which makes him a perfect choice for eventually becoming Loki’s first genuine friend.

• The casting was really really great. Lots of women and people of color. Most of the female actresses (as well as the males) are over 30, which isn’t very common and is fantastic!

• Superb acting all around. I can’t think of a single scene where the actors under or oversold it.

• Beautiful set design, incredible cgi, and gorgeous cinematography overall. It looked more like a movie than a tv show, which is really good.

• Kang being the big bad was a huge plus for me. Johnathan Majors was perfect in the role, his vibes were immaculate, and I was honestly pretty worried that the man behind the curtain would end up being another Loki variant, which imo would’ve been boring and predictable and counter-productive, so it was a big relief when that didn’t happen.

• I like that it sets up a bunch of future marvel movies, rather than being contained to its own little world. It gives it more importance and (hopefully) will encourage writers to not just toss Loki’s character aside in future projects.

• All the Loki variants were delightful. All of them except Sylvie. Kid Loki has my heart. Boastful Loki is a fashion icon. Alligator Loki is a savage. President Loki is the superior variant. Classic Loki became my fav character in less than half an episode.

• It showed some more variety in Loki’s magic. A lot of his powers we’ve seen before, but it feels like they were portrayed a bit more blatantly in the show. The energy blasts, the telekinesis, the teleportation… Outstanding.

• It also implied that Loki has the potential to be waaaay more powerful than he knows he is right now, which? Yes.

• Some of the quotes- and the themes behind them- are just profound as hell. Such as:

“I think we’re stronger than we realise.”

“It’s never too late to change.”

“You can be whoever you wanna be, even someone good.”

“We’re Lokis. We survive. It’s what we do.”

“Loki, God of Outcasts.”

“The universe wants to break free, that’s why it manifests chaos.”

• Technically Loki was Marvel’s first canon lgbt (bi) character, which is a win. His genderfluidity is also technically canon, even if it wasn’t really acknowledged on-screen.

• There were a lot of throwback references to Thor 1, Avengers, and Thor The Dark World. Which I loved.

• Sylvie’s so pretty. Her hair and makeup and costume were all perfect.

• Big fan of Loki finally getting Laevateinn.

• Sufficiently slutty imagery, courtesy of a female director (Loki in a collar, kneeling to Sif, President Loki looking down into the bunker, the hair flips)

• The music was Excellent Wonderful and Superb.

• I love that Loki being a good singer is now canon.

• I love that Asgardians having their own language is now canon (even if it’s basically just Icelandic).

• I also love that they disproved all of those “Loki was a shy nerdy wallflower pre-canon” theories in Episode 3. The drinking/eating/singing scene was fun, if a bit wacky.

• There’s a million different reasons why Loki does what he does, especially in regards to the New York attack (I’m literally writing a huge meta on them), but somehow I never considered that Loki being desperate for control was one of them. It makes a lot of sense, and I always love getting new insights into his motivations.

• I love that Loki finally outright acknowledged that he doesn’t enjoy hurting people. We Been Knew™️ but it’s still nice to hear it out loud from his own mouth.

• The TVA outfit wasn’t as hideous as some people make it out to be. It could’ve been A Look, even. You know, if he’d just accessorised a little better. And kept the jacket on. And not gotten sweaty. And not gotten dirty. And maybe had at least one other costume change… But it had potential, though!!

• Even though I despise the Obvious One, I did actually like some of the other romance crumbs they tossed us (sifki, Loki x the flight attendant).

• The whole DB Cooper thing was iconic idc idc.

• Loki’s hyper sort of overly excited puppy attitude in episode 2 was actually pretty refreshing and funny (for awhile). And now I can headcanon him as adhd, yeehaw.

• “We’re all villains here.” That quote was iconic, my favourite one in the show. And the entire theme that it summarised was really great as well. When you think about it, every single main character in this series has been the villain at one point or another. I mean, I know all marvel characters do bad things etc, but none of the Heroes are ever narratively categorised as Bad. This show did just that with all of them, though. . Loki was framed as the psychopath that attacked New York. Sylvie was framed as the murderous fugitive. The TVA/Ravonna/Mobius were framed as the murderous fascists. Kang was framed as the crazy totalitarian. It’s made clear that all the Loki variants were the villains of their stories.

However, every single main character in the series is also framed as the Hero at a certain point. Loki is framed as the main protagonist who throws a wrench in the TVA’s dastardly plans. Sylvie is framed as the persevering freedom fighter who wants to take down the fascists. The TVA/Mobius/Ravonna are framed as the ones who maintain order for the greater good. Kang is framed as the weird but ultimately benevolent wise man who’s just trying to prevent something worse from happening. The Loki variants are framed as generous allies who befriend the main character and help him on his journey.

Everyone in this equation is openly acknowledged by the narrative to be morally corrupt, but not entirely morally bankrupt. There are no Straightforward Hero Figures (like the Avengers) in this entire scenario at all, and that makes for a super interesting dynamic that marvel has never done before. So yes: “We’re all villains here.” But also: “No one bad is ever truly bad, and no one good is ever truly good.” I loved that.

• Even if it wasn’t really enough imo, I still treasure the crumbs we got of Loki being competent and capable (him putting the collar on B-15, him figuring out Sylvie’s hiding place, him teaching himself to enchant on the fly while fighting a giant cloud beast of eldritch proportions).

• I love that B-15 was the one who stepped in and saved the day in Episode 4, when we all thought it was gonna be Mobius. What a queen.

• Marvel usually has a bit of a problem with creating compelling and memorable side characters. But aside from Sylvie, I genuinely got attached to every single character in this show. Like Casey, C-20? I was seriously emotionally invested in them and they were only in like 2 episodes. Wtf.

• Introducing the TVA storyline in the Loki series specifically was a really good move. I’m not saying they executed it well, just that it had a ton of potential. A lot of people have wondered why marvel even thought to put those two (the TVA and Loki) together, when they had literally nothing to do with each other, nothing in common, and essentially no connection at all. But when you think about it, it’s a really interesting twist on both of those stories. Forcing the embodiment of destructive chaos and the pillar of rigid order to interact could make for some seriously entertaining and compelling television. And as far as meshing these two completely unrelated entities together goes, I thought they did it pretty well- at least just the bare bones of the story (loki being arrested by the TVA and being one of their most common variants).

So that’s it! If you guys (fellow antis) wanna add stuff you liked, feel free. If anyone wants to discuss (or debate) my list, feel free to do that too!

#loki series 2021 #loki laufeyson #anti sylvie #loki meta #loki odinson #loki #loki series

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aliveandfullofjoy · 3 years

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So I was reading about the first Oscars ceremony, and it had a division between Outstanding Picture and Best Unique & Artistic Film, where Unique & Artistic was apparently meant to be an equal to Outstanding Picture but dedicated more for prestige artistic works. The next year, the two categories became one from then on, and Outstanding Picture was the only top prize. (If any of that is wrong, blame wikipedia.)

If the split had remained, and there was a more commercial-y movie top prize and a prestige art top prize, what are some notable movies that suddenly pick up wins?

okay wait........ this is a brilliant question and i am ashamed to say i’ve never really given it much thought until now.

idk if you’ve seen wings and sunrise but they’re both pretty great and they do represent wildly different kinds of filmmaking. while it’s safe to say Wings is the more commercial film, it has great craftsmanship behind it and it very clearly created the template for accessible, capital-i Important, and well-made best picture winners to come.

and, full transparency, sunrise is one of my, like, top 15 favorite movies, so i’m hella biased, but that movie is a gorgeous and strange and thrilling piece of work. the title “unique and artistic film” is impossibly vague, but watching sunrise makes it very, very clear that it fits that bill for that category. and while we’ll, of course, never know what might have happened if that category had continued, it’s tempting to think that all the winners in unique and artistic film would be of sunrise’s calibre, but knowing the oscars... that’s clearly a fantasy, lol. while sunrise is a wildly inventive and artistic film, it’s important to remember that it was fully on the academy’s radar -- janet gaynor won best actress in part for her performance in the film, and it also won best cinematography. so while it’s tempting to think the academy would always recognize a truly unique and artistic achievement every year, in all likelihood, they probably wouldn’t stray too far from the movies that were already on their radar.

so for this thought experiment!!

it’s probably safe to assume every best picture winner has to go in one of the two categories. there are only a handful of winners that stick out as maybe missing out on the big win in this new system, but only a handful.

so uh. this is way more than you asked but i got hooked. here’s what i think might have happened if the two best picture categories had stuck around. as i was working through the years, it became clear to me that, unfortunately, in a lot of years, the unique and artistic film would likely end up going to the more overtly “prestigious” films, such as the song of bernadette or the life of emile zola, while their far better and more commercially viable rivals (casablanca for bernadette, the awful truth for zola) would win outstanding picture. the actual best picture winners have an asterisk next to them. what’s also interesting to consider is the importance of the best director category: most of the time, a split in picture and director will tell you what’s clearly the runner-up. those years, usually, give you a good sense of how the two awards would shake out.

Outstanding Picture / Unique and Artistic Film

1929: The Broadway Melody*; The Divine Lady

1930: The Big House; All Quiet on the Western Front*

1931: Cimarron*; Morocco

1932: Grand Hotel*; Bad Girl

1933: Little Women; Cavalcade*

1934: It Happened One Night*; One Night of Love

1935: The Informer; A Midsummer Night’s Dream (** this is one of the few years i think the actual BP winner, Mutiny on the Bounty, would miss out; The Informer was clearly the runner-up for BP with wins in director, actor, and screenplay, while Midsummer was seen as THE artistic triumph of the year, and with its historic write-in cinematography win, there was clearly a lot of passion for it)

1936: Mr. Deeds Goes to Town; The Great Ziegfeld*

1937: The Awful Truth; The Life of Emile Zola*

1938: You Can’t Take It With You*; Snow White and the Seven Dwarfs or Grand Illusion (** this one’s tough... Grand Illusion made history as the first non-english movie nominated for BP, and it clearly had a lot of support, but Snow White was such a monumental moment in Hollywood, and the academy clearly acknowledged that with its honorary award)

1939: Gone with the Wind*; The Wizard of Oz (** this is one of the first years with a clear runaway favorite for best picture, which makes guessing the way the other award would go very difficult! i’m leaning towards Oz purely because of its technical achievements, but i’m not confident about that choice at all.)

1940: Rebecca*; The Grapes of Wrath

1941: How Green Was My Valley*; Citizen Kane

1942: Yankee Doodle Dandy; Mrs. Miniver*

1943: Casablanca*; The Song of Bernadette

1944: Going My Way*; Wilson

1945: The Bells of St. Mary’s; The Lost Weekend*

1946: The Best Years of Our Lives*; Henry V

1947: Gentleman’s Agreement*; A Double Life

1948: The Treasure of the Sierra Madre; Hamlet*

1949: All the King’s Men*; The Heiress

1950: All About Eve*; Sunset Boulevard

1951: A Place in the Sun; An American in Paris*

1952: The Greatest Show on Earth*; The Quiet Man

1953: Roman Holiday; From Here to Eternity*

1954: The Country Girl; On the Waterfront*

1955: Marty*; Picnic

1956: Around the World in 80 Days*; Giant

1957: Peyton Place; The Bridge on the River Kwai

1958: The Defiant Ones; Gigi*

1959: The Diary of Anne Frank; Ben-Hur*

1960: Elmer Gantry; The Apartment*

1961: West Side Story*; Judgment at Nuremberg

1962: To Kill a Mockingbird; Lawrence of Arabia*

1963: Tom Jones*; 8½

1964: Mary Poppins; My Fair Lady*

1965: The Sound of Music*; Doctor Zhivago

1966: A Man for All Seasons*; Who’s Afraid of Virginia Woolf?

1967: In the Heat of the Night*; The Graduate

1968: Oliver!*; 2001: A Space Odyssey

1969: Midnight Cowboy; Z

1970: Airport; Patton*

1971: The French Connection*; The Last Picture Show

1972: The Godfather; Cabaret

1973: The Sting*; The Exorcist

1974: Chinatown; The Godfather, Part II

1975: Jaws; One Flew Over the Cuckoo’s Nest*

1976: Rocky*; Network

1977: Star Wars; Annie Hall*

1978: Coming Home; The Deer Hunter*

1979: Kramer vs. Kramer*; All That Jazz

1980: Ordinary People*; Raging Bull

1981: Chariots of Fire*; Reds

1982: E.T. the Extra-Terrestrial; Gandhi*

1983: Terms of Endearment*; Fanny and Alexander

1984: Amadeus*; The Killing Fields

1985: Out of Africa*; Ran

1986: Platoon*; Blue Velvet

1987: Moonstruck; The Last Emperor*

1988: Rain Man*; Who Framed Roger Rabbit

1989: Driving Miss Daisy*; Born on the Fourth of July

1990: Ghost; Dances with Wolves*

1991: The Silence of the Lambs*; JFK

1992: Unforgiven*; Howards End

1993: Schindler’s List*; The Piano

1994: Forrest Gump*; Three Colors: Red

1995: Braveheart*; Toy Story

1996: Jerry Maguire; The English Patient*

1997: Titanic*; L.A. Confidential

1998: Shakespeare in Love*; Saving Private Ryan

1999: The Cider House Rules; American Beauty*

2000: Traffic; Crouching Tiger, Hidden Dragon (** this is another year where i think the actual BP winner, Gladiator, might have missed out. it was a tight three-way race going into oscar night, and if there were two BP awards, i think this consensus might have settled, leaving Gladiator to go home with just actor and some tech awards.)

2001: A Beautiful Mind*; Mulholland Drive

2002: Chicago*; The Pianist

2003: Mystic River; The Lord of the Rings: The Return of the King*

2004: Million Dollar Baby*; The Aviator

2005: Crash*; Brokeback Mountain

2006: The Departed*; Babel

2007: No Country for Old Men*; The Diving Bell and the Butterfly

2008: The Dark Knight; Slumdog Millionaire*

2009: The Hurt Locker*; Avatar

2010: The King’s Speech*; The Social Network

2011: The Artist*; The Tree of Life

2012: Argo*; Life of Pi

2013: 12 Years a Slave*; Gravity

2014: Birdman*; Boyhood

2015: Spotlight*; The Revenant

2016: La La Land; Moonlight*

2017: Three Billboards Outside Ebbing, Missouri; The Shape of Water*

2018: Black Panther; Roma (** again, i think Green Book gets bumped out in this scenario, i think Black Panther is precisely the kind of movie that benefits from an award that’s seemingly more ~populist~ while Roma easily snags the unique & artistic prize)

2019: 1917; Parasite*

2020: The Father; Nomadland*

but of course i have no idea at all, and most of these are just my gut reactions lol. what a fun question!

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t-lostinworlds · 4 years

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The Devil All The Time: A Review That No One Asked For

Well, I don’t know why I’ve been putting this off but here I am 48 hours later. Though the fact that I’m still thinking about the movie two days later is proof how long it stays with you right after you watch it. By all means, I’m not an expert reviewer aha so this maybe all over the place but: It is a good movie. It wasn’t perfect of course, the flow could’ve been a tad bit better, and the narrator threw me off sometimes, a few missing bits in terms of the characters but it’s still good nonetheless. I do want to point out that the movie wasn’t as dark and brutal as how the book went. It wasn’t a graphic or gore as I’d expected it because some critics did overplay it. So, if you’ve read the book, the movie will come off as a much lighter tone. Also, if you watched GoT, then you’ll be fine with the gore. But with that said, there are still triggering scenes so people should still be mindful when watching. A couple of changes but that’s a given with every book adaptation but there were a few that I thought was better in the movie than in the book, which I will get more into in a sec because I’ll try and keep this other half spoiler free.

The visuals, the cinematography, it was beautiful. I loved how everything looked on screen, scenery, colors, lighting, the whole lot. The music and the little added touches of sound effects was just so spot on that you just feel more on edge as the movie goes, like little ticks here and there. Now, the cast, whew. Nobody fell short with their performance. Some might have smaller screen times than others but still, nobody was lackluster or pushed to the side and they gave their best with the material they were given. Although, I may be biased but from what I’ve been seeing around I think we can all agree that Tom Holland struck out the most (I’ll gush about him more under the cut aha).

Long babbling short, I loved it. Right after I finished watching, it truly did feel like I went running lol, like I got so into it that those last few moments (or every intense scene for that matter) that it had me at the edge of my seat. But I also wanted to watch it again soon after. It may not be for everyone’s taste, although I am interested to see what the people who haven’t read the book thought of it because I do see how it can come off confusing in some parts. I already knew what was going to happen and some background on why it happened so it was easy for me to fill in the missing pieces. But with that said, it’s still a good adaptation and it stayed as true as it can get to the books. 8.5/10 would recommend watching, with caution of course.

a more detailed (specific scenes, characters, actors performance, and more) rambling below the cut aka spoilers ahead!!

I’m going to start off with Willard Russell who was played so well by Bill Skarsgård. I haven’t seen anything else of his before but he was so good in this movie. His interaction with Haley Bennett's character Charlotte was different from the book but I'm not mad on how it played out in the movie either. It was a cute and a little awkward interaction which was all good. Charlotte is exactly how I thought of her, a sweet, beautiful, caring lady and Haley played her just as well. Especially with the scene where she and Arvin were singing together, that was just the sweetest thing.

But back to Willard (Bill) and all his interaction with little Arvin (who was also so great btw), it was just damn. For one, in the truck after he beat the living daylights out of those men, that switch of him being out of breath and angry and him teaching Arvin about those bullies and finding the right time and him saying, "there's a lot of no good sons of b*tches out there." to when Arvin asked him if it was more than a hundred and he chuckled as if he didn't almost just killed a man? And then suddenly he was back to this loving father who cares so much about his family and would anything to protect and defend them (sounds familiar right? Apple doesn't fall far from the tree.) Although I will say that Willard is a much horrible person in the book than he was in the film. The prayer log could've gotten more… bloody and gross as time passed by. And the thing with Jack Russell (Arvin's dog, who wasn't actually a jack russell but oh well), they changed it so that he was with them longer so it did have more weight if you put it that way since Arvin has grown to love Jack, so killing him off screen was still going to be heart breaking. But in the book, it was a stray dog that wandered into their place and Arvin fed him, named him but on the same day, as soon as Willard got home he shot the dog right in front of Arvin. Now that would've been much crueler and could've showed just how far gone Willard is with his whole "faith" and how desperate he was on saving his wife who he's so in love with but damn, the things love can make people do. Or, they could've added the part where Willard killed the lawyer and poured his blood on the prayer log because that for me was a turning point in the book where I went, Willard has lost his freakin mind with the sacrifices. They did show the lawyer in the movie that's why I was a bit confused when it didn't happen but you can't cram anymore into a 2-hour movie. To conclude, this movie made me want to watch more of Bill for sure, but I'm too scared to watch IT (im a coward) so looking forward to what he does in the future.

Next I want to talk about are Helen, Roy and Theodore. Mia Wasikowska was great. She had so little screen time but whenever you see her on screen she just embodies Helen so well. Helen didn't have much to do in the book either aside from the fact that she was supposed to marry Willard and then didn't because Willard went off with Charlotte and Helen went to marry Roy which was kind of the starting to point as to why everything in their life has gone to hell, and then be a sweet mother to Lenora. But besides that, Mia gave her best and served the character well in my opinion. Theodore on the other hand could've done so so much more. Given that he was the driving force that made Roy kill Helen. If ever I haven't read the book, it would’ve look rather random how suddenly he wanted to try resurrection. Roy and Theodore's relationship could've been explained more, specifically Theo's feelings because that was why he pushed Roy to do it. Now, Harry Melling as Roy Laferty was great. The scene with the spiders and then the emotions you see in his face and his eyes when he tried to resurrect Helen? Remarkable. The slow realization that it wasn't working, the shift on his face was so clear and that momene where it crosses his mind that he just killed his wife it was just, Dudley Dursley who? Though his death came earlier than I expected, and they changed quite a lot and it felt so random how he just left Theo in the car and went on a hitchhike when in the book, Theo died first that's why Roy decided to try and go back to his daughter. But his death scene was still intense, and the fact that his last word was Lenora? His daughter? Amazing.

So, now we see Carl and Sandy Henderson, who showed immediately how crazy they were when they killed Roy (who wasn't their first kill but). Both Riley Keough and Jason Clarke were fantastic, and they really did bring the uneasiness so well on screen. And I love how you can actually see how Sandy change from the first time we see her to the last, like it looked like Sandy was played by two different actresses so huge props to Riley for smashing that role from innocent sweet girl to this troubled serial killer. Although I wished their story was showed better, more so Carl than Sandy because out of the two, Carl was much, much sicker in the head than Sandy. He was the one who'd constantly look at those horrible photos and do…stuff, which was so sooo gross to read I feel sick just thinking about it. But Jason Clarke did a great job at portraying Carl's creepiness as much as he could, like I couldn't bear looking at him on screen without grimacing.

Lee Bodecker. Sebastian Stan did a great job a making him insufferable that's for sure. I always love how the moment Lee is on screen Seb is just gone. He just never failed to feel like this weird and corrupt cop or sheriff. Although I will say, his and Sandy's relationship could've been showed better because I have seen where people didn't realize they were siblings until the end. But I do like how you see that Lee doesn't really care that much for Sandy, I mean he does, but not as much. His mind has always been about being re-elected and having these stories about Sandy won't make him look good does it? Though his emotions in the end when he was in that car with Sandy was really spot on.

Emma and Earskell, I won't really dive into much because there's really isn't much to say than they were both great. They both made Arvin and Lenora feel like they do have a family and that they weren't alone, like they just came off as kind people on screen. But gosh Emma, that woman deserves a proper vacation for everything that she's went through. But Lenora, oh gosh, her story and how it ended was the most painful to read and watch. She was just a sweet innocent girl who got bullied and she deserved none of that. Eliza Scanlen was just wow. I loved her in Little Women, loved her even more on here as well. And her chemistry with Arvin (Tom) in the movie was just amazing, like they bounced of each other so well and you can see with just one look how much she admires Arvin. But the last scene where you can see her face, that split moment when she paused and then slowly smiled as she thought how her grandma won't be ashamed, and that she will take care of her baby and give it the life that it deserves but then she slipped and that made the scene even more heart wrenching. Let me tell, I screamed "Nooooo!" when I read it in the book and I screamed just as loud when I saw it on screen despite already knowing how it ends.

That f*cking rev. tergaryen what's his face. I couldn’t stand him in the book couldn’t stand him just as much in the movie which says a lot on how great of an actor Robert Pattison is. Each time he's on screen I emotionally and physically just can't stand him. Mind you I watched all his scenes with the Reaster girl and his wife with a proper scowl and kept looking away. But his scene with Lenora in the car I was peeking through my fingers because I can't sit and watch it fully because it was just so disgusting to watch. Robert Pattison played him so well that even his voice was just so creepy like dude, shut up. And when he was manipulating Lenora, rambling about his freakin delusions? Ugh I really wanted to punch the screen, big kudos to Rob for bringing that disgusting character to life. And well, I'll say he did get what he deserved in the end so.

Last but definitely not the least, Tom Holland as Arvin Russell. Gosh, where do I even start with this lad? This boy has range I can tell you that. I'm going to be talking so much about him so haha sorry but he was just amazing and I need to point out so many things. First scene was his birthday, and you can see how he seemed like just a normal, happy boy celebrating with the people the he loves but the moment Uncle Earskell handed the gun and mentioned that it was his father, his whole mood changes, his whole face fell and the look in Tom's EYES, his eyes does so much to portray his emotions and goodness he's so freakin amazing at switching from one emotion to another in so little time. To be honest, Arvin in the book is much more cold and harsh, even when it's towards Lenora and his Grandma. Hell, he makes sly digs at Lenora in the book which is more of a way to make her see how cruel the world is, sorta a tough love kinda of thing. He's just not that affectionate, with how he grew up, it's a given.

But Tom brought so much more depth to the character that even I didn't see as much while reading the book. Which is why people are so drawn to him, it makes him easier to sympathize and like in the movie, all because Tom added even more layers (i need my onion emoji dammit). I mean, Arvin is complex as is in the book, a lot colder for sure, but with how Tom portrayed him you just get to think so much more on what could possibly be going on in Arvin's head. You can just see all sorts of emotions the character goes through, from being rash, to angry, to hatred, to fear, to sadness, to vulnerability and these emotions happen so close to each other that the switch is just incredibly impressive. When he charged towards those bullies to protect Lenora? This is where you can see that when he's filled with rage, he sometimes doesn't think things through. It was three against one with guys much bigger than him, it was obvious he was never going to win but he still did so anyway because he loved Lenora, he'd do anything to protect and avenge her, why? It's what his father taught him. It's what he saw when he was a kid, that no matter if it’s a violent act, he'll do it for the people that he loves. Like i said in the beginning, the apple doesn’t fall far from the tree.

There so much like father like son moments in this film, which didn't even come off forced because I've seen in an interview where Bill and Tom read their lines together despite not having a scene together and oh did it pay off because you can see a little bit of the Willard you see on the first bit of the movie in Arvin all throughout, which is again, a testament to how great these actors are. Also, Tom's scenes together with Eliza are just wow. It's incredible how much they contrast each other but still be connected in a way, like Lenora is this sweet innocent girl who's kind hearted and is willing to forgive her father for whatever he could've done while Arvin, gosh, every mention of his father his face always falls stoic and it's so amazing to see Tom play that emotion so well with so little movement like a clench of his jaw or his eyes. Their relationship was just so wholesome. Even with that scene in the meat shop where Arvin was teasing his grandma, it was such a sweet moment to see that side of him because in the book, the interaction was just plain he said, she said which I interpreted as being nothing more than a casual conversation but in the movie it was more light-hearted which is so interesting given the a few moments later, you see Arvin's rage again and he was already in fight mode when that preacher insulted Emma's cooking (which was a so not okay that freakin imbecile) which again, slowly opens the doors to how far Arvin will go for the sake of protecting and avenging the ones he love. Also, the fact that they changed who found Lenora's body to Arvin instead of Earskell was far better. My heart freakin broke for that boy when he was screaming as he tried to keep her up in hopes that he could still save her. Thomas Stanley Holland man, that scene was just wow, it was a lot to take in. But that change only added as to how he was going to handle the preacher later in the movie.

What did impress me the most was the quick switch Tom makes with his emotions. First off, that moment with those bullies. He was relentless with how he handled them, just full on anger and hatred like when he beat those boys best believe I kept flinching because it looked painful as hell. And then he says, "I'll kill you." (with that thunder sound which was a really nice touch), and this is where you just see how he's someone you shouldn't mess with who can potentially do so much more damage (which he does). But the moment he gets in his car and closes the door? You see nothing but a kid who's downright scared of what he just did, he knew it was somewhat wrong, like he couldn't actually believe he did that in the first place but as he'd said, he did it because had to and felt like it was the only way, which is again, a callback to what he saw with his father with them 'bullies,' it drilled on him how that's the only way. But my goodness the way his hand shook, his breathing, the fear in his eyes, and then when he wiped the blood on his hand then that flashback with Willard? Yes yes yes, another like father like son moment.

It's the same thing with the way he handled the preacher, it was much more different in the book but I liked this version better. There's just something poetic about it being in the church all while Arvin confessed the preacher's sins for him, it was just amazing writing. But the way his hands shook when he was standing the first time he enters? Like he could’ve done it right then and there but he can't because he's scared. I mean the way his voice was breaking with that sinner line (which was so funny how they made it seem so badass in the trailer) he was trying to get himself together, like the way he was breathing so shakily shows his nerves and his fear. But as he reiterated all the disgusting things the preacher did, you see that rage bubble inside him, you see him slowly grow more confident because his fear was now replaced by anger. And once that his rage was at full capacity, the moment they started talking about Lenora? (Tom and Rob's exchange was amazing btw) He was able to shoot him down with one hand, shaking gone all because he was angry. But as soon as he's dead and the anger subsides, the fear is so quick to consume him, you see it the moment he sits down. And again with his eyes you see it all in his eyes, just Tom Frickin Holland everybody. That exchange was easily the best one.

As for his interaction with Carl and Sandy, his expressions in the back seat as he slowly realizes what was going to happen to him, it was just amazing. This is where you see more of Arvin actually being smart, he's a bit rash and compulsive sure but he is definitely smart. But now, you don't see his anger because he doesn't know this people, the only thing he knows is that they were trying to kill him. So notice how he shot Carl with two hands this time? and how he was shaking exactly as he pulled the trigger? Same with Sandy? Compare that to how he handled the preacher. Also his fear when he thought he got shot? The utter panic was just, though he did puke in the book which would've showed just how much he didn't like what he just did and how he felt so wrong. Same with his interaction with Lee, he knows how asses his situation and damn, I don’t know if its sheer dumb luck or this boy just got incredible aim, I mean he's practiced in the books and he's gotten good but you don't see it in the movie though. But still the same, you see more of him being regretful which just shows how complex he is as a character. And Tom showed all these emotions so freakin well without saying much at all. You just see it, which shows just how talented he is.

Everything somewhat came full circle in the end, he buried Jack's bones which what he's been wanting ever since. And he also buried the gun, which was somewhat him saying how he's had somewhat a closure with his father and that he's putting it all in the pass. And then we end the movie with him trying not to fall asleep which honestly what it felt like after watching the movie. I needed a breather. That last shot was so calming though it does make you wonder where he goes on from here.

My goodness I could go on and on about Tom's performance and I definitely missed so much more but I feel like this is long enough lmao. Also feel like i’ve missed a few moments in the movie as well. Now I hope people will see what good of an actor he is and to show that he's more than just playing Peter Parker. Right, that's enough. I'm going to say how many words in total this was but, it's a lot.

And that is it for The Devil All the Time. A very good movie, would want to watch again but damn, I feel like I need a nap because what a movie indeed.

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brave-clarice · 3 years

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“Clarice” Liveblog: Episode 3

Maybe Wednesday is just destined to be my watch night? At any rate, here are some more comically late hot takes for you all.

I really do not like that Clarice’s Bureau-mandated therapist is recurring character, nor do I like the way these scenes are framed.

And the name of this episode is “Are You Alright?” which...oop.

“He was a marshal.” Good to know that the sheriff BS she gave Mr. Cult Leader was made up after all.

This is a little thing, but enough with the boring monochromatic button-ups on Clarice! Where’s my girl who hides copies of Vogue under her mattress??

I don’t love this constant-flashback thing one bit.

To be 100% clear, if I haven’t been already, it’s not that I want Clarice’s mental health to be ignored. I just don’t think this is the best or most in-character way to address it.

Also: Clarice Starling is not defined by her trauma.

“Buffalo Bill...a wound I believe will never heal unless you open up about it.” Honestly?

Thanks, I hate it!

I hate to even bring up the NBC show.....but this scene is reminding me, intensely and unpleasantly, of that.

That show made Will Graham way too unstable and mentally ill as it is...and Clarice’s character is a hell of a lot stronger than book!Will, never mind NBC!Will. So having Clarice hallucinate and lash out in similar ways feels really OOC.

“Maybe your perceptions aren’t as solid as you think.” Yay, gaslighting. As if Clarice doesn’t face enough obstacles in the books.

I’ve always interpreted Ardelia as a bit of a neat freak, so that was a nice scene with the boxes!

Were most politicians wearing American flag pins in the early 90s? That feels way too modern. (iirc it became the “norm” only after 9/11.)

“Imagine someone field-dressing one of [your daughters] like a deer.” I’m getting strong and very unwelcome NBC vibes again. Stop it, show!

More gaslighting, but this time from the suspect.

“Well, I’m Army, so I’m actually a good shot.” For some reason this feels like shade at ex-Marine John Brigham even though he doesn’t exist in this show, and I’m offended on his behalf.

Speaking of, when is Clarice’s sharpshooting talent going to come up??

Krendler’s supporting Clarice? Saying she has a good idea???? WHO IS THIS GUY?!

The implication here is that...the president will fire AG Martin over bad press...? Or what?

What I’m getting from this: this Krendler is just some guy who hapens to have the same name, not the infamous King Scumbag we know and love to hate. (And those clothes...1993, where are you?!?)

Ardelia called her “Starling”! Though it was tongue-in-cheek.

“I’m aware I have the palate of an eight-year-old.” Somewhere, Hannibal is dying inside. (Hmm...wasn’t she about eight when her father was killed?)

This line/delivery was super cute!

But being unable to cook doesn’t necessarily mean you have unsophisticated tastes...

Is Catherine going to have any kind of personality? Beyond “is traumatized”?

And where is Catherine’s cat???

“It’s from the 50s.” “I’m from the 50s! ...I still work.” Cuuute.

Her sheepish little smile when the Baltimore cop tells her they’re “big fans” of hers...I would die for this girl, folks.

Hey, remember phone books?! And a nice nod to Ardelia being the bookish one of the pair.

Another homage to Silence’s cinematography (but this time she’s the reflection).

Krendler’s back in Asshole Boss mode again. Make up your minds.

Thanks, I still hate it!

Okay, yes Clarice has a temper! And she does act “impulsively” re: Krendler in Hannibal...at the END of her by-then failed career. But a fledgling female agent who’s already viewed as a kind of “loose cannon” could NOT afford to chuck a mug full of coffee at her boss (with whom she’s already butting heads/struggling to coexist) when she’s upset! Very unprofessional and unlike Clarice.

“You think I’m the one who wants to play politics?” In Hannibal, Krendler wants to run for Congress, so...yeah, I do.

Krendler wouldn’t be wrong to send Clarice home after that, tbh.

“He thinks I’m the weak link.” “You might be.” *angry noises*

Busting through doors while armed: Just Clarice Things

Krendler telling Clarice she was right...his characterization’s giving me whiplash.

Catherine’s not an actual character so far, and it’s sad.

Glad they’re acknowledging that AG Martin’s “field-dressing” comments were incredibly bad.

“I think I have some memories I need to look at...but not with you.” Oh! Oh! I know who she’s going to look at them with! ;)

“You’re trying to gaslight me, sir.” Not sure they would’ve used that term as commonly in the early 90s, though Clarice has a therapy license, so maybe?

But also: yes! CALL! HIM! OUT!

“I wish you luck finding someone who’s better at it than I am.” *shrieks* That is a Hannibal reference, and I’ll fight anyone who says it isn’t.

I’ve liked all these episodes more than my nit-picking might suggest, I swear. I enjoyed the middle half hour or so of this one a lot! It’s got a few charming little funny moments that I particularly appreciated.

That said... This was, as a whole, probably Rebecca Breeds’ weakest showing to date (through no fault of her own). And I’m getting a little antsy about (lack of) character development. I’m on board with exploring Ardelia and Catherine Martin in greater depth...but Ruth Martin, too--even Krendler? And seemingly at the expense of Clarice’s own character?

What do the non-book readers in the audience really know about Clarice so far beyond what’s shown in Silence? (Some early interviews emphasized that the film didn’t have time to delve into Clarice’s character intimately. What has the show done to remedy that so far...?) She likes junk food, she has a brother...I can’t think of much else off the top of my head. Not to be a broken record, but there’s more to Clarice than childhood trauma. More than her career. If this show is genuinely about her--well, by episode 3 and 4, it’s high time for them to start exploring who she is beyond those things.

Clarice is a sharpshooter who competes and wins. She’s a runner. She loves horses and muscle cars. She has a therapy license. She graduated at the top of her large undergraduate class. She’s interested in fashion (though she probably doesn’t let on about that to many people). I haven’t seen any of that so far, and it’s beginning to make me sad.

They also need to end the “Clarice is mentally/emotionally unstable and sometimes even hallucinates” subplot right now!

I’m dropping all my expectations for this Paul Krendler. They won’t commit to making him as intolerable and awful as he was in the books. Instead, we have an OC with a canonical name. Fine. But that choice is going to be awkward if the show goes forward and they, by some miracle, get rights to Hannibal’s character...

If Catherine Martin’s sticking around, I hope to God they give her a personality. Of course she’s suffering, and no, I don’t want them to belittle that--but right now, she’s coming across as a one-dimensional caricature of a victim rather than as a sympathetic real person.

And finally...where is my 90s aesthetic?! It’s one of the elements that I was most excited about, yet it’s barely present. Some of the tech and the cars look right. A lot of the clothes and hairstyles, though, leave much to be desired. (Clarice’s wardrobe is especially boring/disappointing so far. I was looking forward to an improvement on Jodie’s movie costumes! Clarice doesn’t have to dress just like Dana Scully--but at least Scully always looked straight out of 199x.) And there are little anachronistic things that take me right out of the early 90s.

I didn’t hate it. I didn’t love it. It wasn’t as exciting or as full of novel/film allusions as the first two (I guess they can’t all be). It also felt unfocused when it came to the characters, ultimately developing almost none of them, including the heroine. This is the episode I think I’m least likely to rewatch of the first three.

I’m hoping for better from #4!

#Clarice Starling #clarice #cbs clarice #rebecca breeds #media [cbs show]#actor [rebecca breeds]

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juneviews · 3 years

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axelle judges non bl shows > Bad Genius

shitty summary: lin, the best student at her high school, ends up the leader of an exam cheating group which escalates to international grounds.

where to watch: dramacool

grade: 8,5/10

pros:

- the acting was really amazing, everyone was great! especially considering it was some actors’ first acting gig!

- since the show obviously had more time than the movie, the character development was much better (not that it was lacking in the movie either.) I feel like they did a good job taking already existing characters and giving them a new depth.

- the romantic relationships were also better, with not only bank & lin’s feelings for each other being a lot more obvious, but pat & grace’s relationship, which was barely explored in the movie, got a lot more build up and I did like them a lot.

- I felt like the social inequities & the message about it was made much more clearly & eloquently in this series. even though it was already made clear in the movie, the series takes it up a notch & truly passes an important yet terrible message about thai society that I feel is very relevant with the wage gap present in that country. for me that would really be an added point for the series.

- the cinematography is just as great as the movie, very blockbuster-y but still very enjoyable.

- the story (which is the same as the movie) is really amazing and it was a pleasure to follow it for a second time lol

cons:

- I didn’t like the ending. I know it really does align with the buddhist ideas of repentance & forgiveness and all that but it really felt like an anti-climactic ending to the series which had a lot of insane scenarios. also to compare with the movie, that one has a much stronger ending while also being more open-ended. I get that that ending couldn’t be the same one since it happens earlier in the series but still, I feel like they could’ve done better.

- as this is an adaptation of a movie which is probably my favorite thai movie, I must bring this up: this show doesn’t bring that much added value from the original movie. like yes the characters & relationships have more depth which I like, but they spread the movie’s plot over the first 9 episodes and then only the last three are new. coincidentally it’s those last three episodes I liked the least. so I don’t necessarily know if someone who’s already seen the movie should watch the series, but also I wouldn’t recommend that someone watch the series before the movie bc it will completely spoil the original movie as well. so for me this falls in the category of good remakes, but it doesn’t change the fact that it was a bit pointless & just like all remakes, it feels like a cashgrab to me.

would I rewatch it: maybe in a few years

Overall I really liked this series, but I know that I would’ve enjoyed it even more if I hadn’t seen the movie first. But I also love the movie so it’s not like I want people not watching it so they can watch the series. Basically, this series’ biggest flaw is its existence: as a remake, it can never fully be its own work and will always live in the shadow of comparison. Which is why I despise remakes in the first place. I would recommend the show, but I think you need to take that into account before giving it a chance.

#bad genius the series #bypiningbisexuals #axelle judges non bl shows #if it was an original show it would probably at least be a 9/10 ngl

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0ciestiel0 · 4 years

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Buddie Appreciation/Ted Talk

Buddie Appreciation

This is going to be extremely long, basically a novel. For Real, this is loooong. I have tried my best to organize what we have for Buck and Eddie’s relationship and the building up that has been done and give some theories/explanations for our Buddie moments. I don’t necessarily mean that in the totally romantic sense as they aren’t actually a couple as of now, but I discuss why Buddie is a ship and why it is a valid ship and what it seems like the writers are doing. I cover all of seasons 1-3.I have posted everything before the updates sections before, but this is the complete seasons 1-3. Without further ado,

Welcome To My Ted Talk

So obviously Buck and Eddie are close. Buck calls him his best friend in Searchers. They didn’t start out that way, however.

Buck was jealous of Eddie. Not just because he was a new hot guy who was in his turf and he felt threatened with that whole hot firefighter calendar but of how easily the team accepted Eddie into their ranks. Buck had to fight and earn a place and respect but Eddie just walked in and had it. It stung and you could see it in Bucks facial expressions and overall attitude.

However, that animosity quickly subsided the minute he and Eddie share an intense call. He sees that Eddie has experience and skill. Eddie offers him to have his back and Buck offers the same. But Eddie acknowledges Buck’s skill. He tells him he’s good under pressure. He offers verbal praise which I think is something Buck kinda craves. He seems to need that verbal validation. He must not have had that unconditional love growing up, at least from his parents and Maddie left for school and then got married and had her own set of problems. But Eddie gave that validation. That was a very quick progression to friends but not necessarily unreasonable given Buck’s personality.

They slowly bond over their time being partnered in the field. Buck spends the most time with Chris out of anyone else on the team. Buck helps Eddie out, giving him rides, going to see Santa, getting Eddie Carla, and who knows what else we haven’t seen. The lady elf even thought they were a couple and Chris was their son. Buck obviously cares about Chris. He loves spending time with him. When Eddie brings him to the station Buck was already informing Bobby and getting the necessary permissions. And he was Playing with him on the fire pole with Eddie. Maddie even picks up on their closeness by teasing him about having boy-crush on Eddie.

Eddie talked to Buck about his relationship with Shannon. Buck was the one to take Eddie to the school to make sure Chris was ok and to pick him up, after the earthquake.

There was a lot of this trust built up and then Eddie emphasizes it when he drops Chris off with Buck before the tsunami. He drops by Bucks unannounced, clearly having a key to his place. Like it’s normal for Eddie to just show up without warning. I bet only Maddie would have a key besides Eddie. He gets Buck out of bed, not caring about his personal space. He says Chris is spending time with His Buck today. He’s Chris’s Buck. And maybe Eddie’s too. We don’t really know Eddie’s full meaning behind those words. We’ve never seen Eddie leave Chris with anyone but his family or Carla prior to this. He has a very overprotective nature with Chris. He wouldn’t even trust Shannon with him when she first came back.

And with Shannon is the first time we see Eddie get kind of angry at all. This is important for later. Chris has been the only thing that Eddie expresses lots of emotion for, aside from from his anger at Shannon which is still about Chris.

Then we have the tsunami episodes. And Eddie was happy to show everyone the selfies Buck was sending. He didn’t even seem worried that Buck and Chris were out that day. He likely assumed they were at the movies but still. He trusted Buck. And after Cap said that Buck still has them even if he doesn’t know it Eddie has that look of like ohhhhhh. And boom. Christopher basically becomes Bucks therapy.

And after. That scene at the end of Searchers. Where Eddie tells Buck there’s no one is this world he trusts more with his son than Buck, that’s intense. That’s meaningful. Parents just don’t say that to anyone, friends included. He also said Buck loved Christopher enough to never stop trying. Also an important thing to note. And Buck needed to hear that. Buck needs verbal affirmations it seems. He needs to hear that Eddie and Chris are still going to be a part of his life. That Eddie doesn’t hate him. That Chris doesn’t hate him.

Now to this whole lawsuit non-sense. After the tsunami Buck was cut off from his team. Even Eddie and Chris it seemed. Chris was having nightmares but Eddie didn’t go to Buck for it. It didn’t seem like anyone came around Buck much. And then he comes to find out Lena has taken his locker, his place as Eddie’s field partner. They taped over his name. Eddie is clearly spending time with her. It was all too much for Buck after the loss of no one coming around and he did something stupid. He filed the lawsuit. All he wanted was to get back with his 118 family. Including Eddie and Chris. I think the thought of losing Eddie as his best friend hurt him the most. He didn’t mean to cut of ties with Chris. He never wanted to hurt his family, especially Chris. He just wanted to feel like he belonged again. Like he hadn’t lost his family.

But he did act rashly. And Eddie took his rash decisions the hardest. Which came out at the grocery store. His whole speech was I couldn’t call you. I couldn’t reach out to you. It may have started with Chris misses you but it led to I need you why didn’t you consider that. It also made clear how much Buck means to Eddie. How much Eddie considers Buck a parental figure to Chris. The only other time Eddie got emotional was with Shannon. He felt betrayed when she left. When she left Chris. And it seems like Eddie had very similar feelings here. Like he and Buck had built this relationship and that relationship included Chris and then Buck just up and leaves. It’s like he stopped trying. If he loved Chris so much why would he have done this. To Eddie that felt like a Shannon betrayal all over again and he snapped. Which makes his grocery store outburst make so much more sense. And I think Chim was clearly picking up on just how intense this outburst from Eddie really was.

And It wasn’t just that he couldn’t talk to Buck either but that was certainly part of it. Buck was obviously Eddie’s first choice to bail him out of jail. He said to Lena he couldn’t call the team, he couldn’t call Buck. He separated Buck from the team. Like Buck was more to him than just a colleague or work friend. That he can trust Buck when he can’t trust anyone else. Buck obviously means a lot to Eddie. He even looked ready to deck Buck before the car accident in the parking lot happened. And what happens next? Eddie goes and does illegal street fighting. And Buck? He looked crushed when he heard that Eddie and Chris are hurting. I bet that’s exactly why he gave up on the lawsuit. He didn’t want millions. He wanted his family. He was wondering where Eddie was at the rage room. Just wait until Buck finds out about that. I have a feeling he will be the one to pull Eddie back from this spiral that he’s on.

Updates:

First thing I’d like to add into this is how the directors/writers add in these very…romantic tropey things with Buck and Eddie. Like how they set up shots for example. During Eddie’s ceremony when he’s finally like not a probationary firefighter and Chris is walking his helmet up the aisle and they have in frame: Eddie’s Abuela, Christopher coming up the middle, and Buck. And let’s take a min to look at Buck’s face as he sees Chris walking to his dad. It’s the face you’d expect a proud mom to have. But anyway. The fact they put Buck and Eddie’s Abuela in the same shot like that seems intentional and seems meaningful. Because Chris and his Abuela are two very important people to Eddie. And they have now included Buck into that moment. Giving us the impression Buck is as important to Eddie as his son (well almost, No One will be more important than Chris to Eddie but you know what I mean) and his Abuela.

Also, During Buck’s welcome back party we see Cap push Eddie, who was looking already ready to pounce, right to Buck to get the first hug. Everyone else waits while Eddie gets to greet his best friend first. And give him a very not bro-like hug. This kind of setup is also something we normally see with romantic partners. The love interest being the first to greet or hug or whatever.

Then we have that shot when Buck finally confronts Eddie for ghosting him when he comes back to the station. When they are standing apart Buck to the left Eddie to the right. It’s a very couple dynamic cinematography. Then after all is said and done, Eddie is still lying to Buck. He won’t meet Buck’s eyes. Like he knows if he makes eye contact Buck will push to find out what Eddie’s been secretly up to. And he knows he’d probably tell him. He tends to do that with Buck. He didn’t exactly want to talk about his relationship with Shannon when they took Chris to see Santa but it happened anyway. He talks to Buck. And Eddie currently doesn’t want to talk.

Next we have Buck and Eddie having dinner together at Bucks place with Christopher. We never see Eddie having dinner or hanging out like that with the other fire fam. Maybe as a group sometimes but never alone. And Eddie, once again, seems perfectly comfortable in Bucks place. we’ve seen he has a key when he showed up to get Buck out of bed pre-tsunami. And now we see him taking plates to the sink like he’s done that a million times before. He didn’t need to ask Buck what he wanted him to do.

And then we have that conversation in the kitchen. While Eddie does seem to have forgiven Buck, for real this time, Buck can’t seem to forgive himself. He apologizes for like the hundredth time. And Eddie is honestly shocked. He thought Buck knew things were good. But to Buck things weren’t. He still felt awful. He never meant to hurt his basically family like that. I think this is an interesting parallel here back to Shannon. She wanted Eddie to forgive her but she never really apologized. Not really. Eddie said he CAN forgive her. But wasn’t sure if he could trust her. He said he forgave Buck. No can, no maybe words. I think a lot of that has to do with their approach’s. Buck went out of his way to show Eddie he was sorry. He verbally said it multiple times. Eddie saw his remorse. He saw how much Buck was hurting just by the thought of hurting him and Christopher. That’s why Eddie thought they were past it. And why Buck didn’t. Buck seems pretty insecure with the people in his life. Like if they don’t tell him straight out what’s up he will worry. I don’t think Eddie’s the only one who feels like he’s not enough. I think Bucks love language thingy would be words of affirmation. He needed to hear Eddie tell him they were past it. To see Eddie really had forgiven him. And once they do get past it they are back to their weird flirty but not flirty thing they do. ([i](I mean did we all see Buck saunter over to Eddie with hands on his belt telling him he could take him?? Like that was a flirty way to say that, Buck))

And I think it says a lot that Eddie says his kind of therapy is just being with Buck and Chris. Buck does seem to be a grounding point for Eddie. Saying that out loud to Buck I think was important too because like I mentioned above Buck needs to hear things. Hearing that tells Buck that Eddie loves spending time with him. With his son. Basically like it’s his ideal day. It makes him happy.

And then we have the Christmas episode. Eddie invites Hen and Denny over to build gingerbread houses with Chris. But he also invites Buck. Hen points that out. All three of the boys. Buck, Chris, and Denny. Eddie knows how much Buck means to Chris. But I also think on some level he’s moral support for Eddie since he just told Hen that Chris was mad at him or upset really because he had to work on Christmas. And then Chris asks, His Buck, if he can spend Christmas with him. Like if he can’t have his dad he can have his Buck. Which is saying something right there. He knew he was going to be with his Abuela and his aunt but he still asked Buck. Buck obviously has a special place in Chris’s life for him to feel that way. To ask that kind of question knowing the alternative choice. But of course they both work and Eddie and Buck look heartbroken when Buck has to tell that to Chris. Let’s not overlook the face Eddie makes when he watches them make the gingerbread houses. Eddie looks so…happy when he looks over to Buck helping the kids. He doesn’t really look at other people that way.

Then at the station during the dinner, Buck is sitting next to Chris. Or more like Chris gets to sit next to both his dad and his Buck. They group Buck with the Diaz family a lot during this part. When Buck gives Chris his gift, it’s Chris, Buck, Eddie, and his Abuela off to the side. During dinner they sit like a family. During the fire fam photo Buck stands next to Eddie and the Diaz clan. When they return to the station to find all their family there the look on Bucks face is pure joy as he sees Eddie see Chris. And as he watched Eddie rush to Chris. Buck to doesn’t really make that face for other people. He made a similar face when Chris walked Eddie’s helmet up to Eddie after his probation status was up.

The writers and directors are intentionally making Buck look like part of Eddie’s family. They started this in season two but it’s increased since then. The way they film the shots, the way they write the dialogue, and the way the actors act the parts all add up to a very romantic/family centered relationship.

[c]It makes me wonder how much is implied off screen between Buck and Eddie. Like how much time does Buck really spend with the two, how much co-parenting are we not seeing. Because Chris isn’t attached to anyone else from the fire fam like he is Buck. It must mean Buck spends quite a bit of time with them. Kids don’t just get attached like that otherwise.

Episode 11 of season 3. So they start off giving us an odd look between Buck and Eddie on being asked if they are single. Was that necessary? Why did they look at each other? Are they setting up a not single scenario? In all honesty I feel like it’s too late to give us a love interest for either of them this far into a season for it to be a serious love interest.

Then we have Maddie scolding Buck for not bringing a gift to Eddie’s house. He didn’t need Maddie to “save him from himself”. Buck knows when to bring gifts, he’s done so at least twice before. Like with Bobby and Athena’s Christmas thing he brought like wine and eggnog. So he didn’t bring a gift because he was being forgetful or rude he did it because he doesn’t feel like a guest in Eddie’s house. Because Eddie has made him feel this way. Eddie wants him to feel that way. So when he says this is Eddie’s house, he’s not really a guest, both he and Eddie mean that.

Eddie also gives Buck and Chris that really soft but huge smile he only gives them while Buck was playing with Chris on the couch with Albert. And Buck hovers next to Albert and Chris as everyone is getting dinner, like he needs to supervise.

Episode 12 of season 3. Now this episode was stressful for many Buddie shippers I’m sure. But we are not yet to the famous line of Dante “Abandon all hope ye who enter here”.

Yes, Eddie does flirt with that teacher. But Eddie is still human and the pretty girl kinda flirted with him. And sometimes there is a “mistake” relationship before the real romance happens. Many late season love interests don’t end up staying on tv shows. They are a stepping stone almost. If she does stay at all or more like if they continue to pursue this or if Eddie leaves it. Who knows where they were going with this, it could be a thing or it could end at flirting. Although I do fail to see how they could possibly build to something as good and developed with a new love interest as they have with Buck and Eddie. The foundation has basically been built for them already and they would literally have to start from the ground up with someone new to make this any sort of believable. Not just some nice, cute, woman thrown into either of their lives.

Eddie did apologize to her but some of the things she said make me wonder if they are hinting to Eddie’s future Buck feelings. Like her whole “There’s also some value in learning that… you don’t like horses.” Could that mean she picked up on something Eddie hasn’t? Or foreshadowing? Writers do dirty tricks like that. And I’d personally like to believe they wouldn’t set up Eddie with someone we the audience haven’t had anytime to get to know. He’s not that kind of guy from what we know. He’s had like one relationship. And even when he was separated (before she died) from Shannon he didn’t date?? So why would he just jump into something with this teacher whom we and he know nothing about??

Buck’s teasing Eddie while they got that woman unstuck from a window also seemed a little jealous maybe? Not to say he’s jealous Eddie has a date and he doesn’t but jealous he’s not the date even if Buck doesn’t totally realize that’s why he’s jealous. A stretch perhaps but why did he need to bring it up right then. Plus Eddie looked like “hey, I didn’t tell you that to mock me” kind of face. Like shocked Buck said that. And if Bobby’s face was anything to go by that was something he only had told Buck about because Bobby looked very shocked and confused, and clearly knew nothing of that situation Eddie had gotten himself in. Buck blurting that out seemed a little...out of place, is all I’m saying. Was he maybe a little relieved he may never talk to her again outside of school necessities? But Eddie apologizes anyway soo...

And we can’t forget about the poker game at Maddie’s and how Buck was not at all offended that he would get set up with a man but that his sister said she wouldn’t do that to Josh. Plus I think Buck isn’t really looking to date. I know he said all those things but since when has Buck ever had trouble getting a date if he wanted to. I was getting the vibe that Buck just isn’t actively looking. That he’s kind of ok with where he’s at right now.

We also can’t ignore how Eddie clearly vents to Buck. Not only about Chris but his terrible flirting and snippy behavior. And Buck also puts things into a better perspective for Eddie. He doesn’t just offer up some weak moral support, he offers actual constructive advice. He trusts Buck. Yes, that comes with being his best friend but when you pair that with all the other romantic subtext you get that close bond that Eddie likely isn’t going to get with someone else. (Cute English teacher I’m looking at you). And he also trusts Buck with Chris. He trusts Buck’s advice even though he’s not a parent himself. More than he trusts anyone else according to Eddie. And they are at Buck’s place. Alone. No Chris? That was clearly a hangout so Eddie could vent and talk out his feelings. Plus Buck uses baseball as a stepping stone for his point. He knows Eddie likes it. And they only just brought baseball up last episode. But we know Buck pays attention to small details. Did Buck actually read that book in the hospital? Or did he research people who were different but found ways to succeed before Eddie came over? Also, Eddie knew who the player was so he probably knew some of the details of his interesting story. But he let Buck explain.

And ok. When Eddie is talking to Chris he tells him things he told Buck in regards to Chris. He told his son to never stop trying. He told Buck he knows he loves Chris enough to never stop trying. He also tells Chris that next time he wants to try something they will try it together. And that just happens to also mean with Buck. That was likely Buck’s idea, just like with Carla, and Christmas. Buck doesn’t hesitate with Chris, if he can do something for him he’s going to get it done. He puts so much effort into being there for Chris, for making sure Chris is ok, he already loves Eddie’s son so much and the tsunami only bonded them more.

And the most heartwarming scene of the episode? Eddie and Buck surprising Chris with the special skateboard while Carla films the whole thing. They way Eddie and Buck look while they both spend time with Chris is just so domestic and comfortable and sweet. They feel like a family. They look like a family. They act like a family. Buck and Eddie are so in sync with each other. They only look at each other that way. Eddie’s flirty eyes are still different than the “heart” eyes he gives to Buck and his son. It’s a look so far that is exclusively reserved for them.

There’s also a lot of this parallel of it being pointed out that Buck is single but then they cut to him, Eddie, and Chris as a family unit. Maddie and Chim seem to think they don’t have a kid but oh they have Buck, but Buck has been coparenting with Eddie for a while now and knows more about raising a kid than Maddie or Chim.

And the episode title, Fools, leaves a lot of questions too. The episode Eddie happens to flirt happens to be titled fools? The fools were not limited to the calls they received. Our fire fam is not immune.

Now on to Eddie Begins. Let’s start with the big moment. With Buck breaking down when the rig collapsed trapping Eddie. He screamed his name, began to try digging for Eddie, has to be pulled away by Bobby where he breaks down and cries. And then everyone, Bobby, Hen, Chim, and I assume a guy (who works with those digging rigs?) has to reassure him that no, no one thinks Eddie is dead. And that no one has given up. Buck even suggest to dig by hand. It was the same level of panic he had when he was separated from Chris during the tsunami. When Maddie was missing. It’s his, my family is in danger panic.

Now I know Buck would be worried about anyone he cares about. But he’s never been that overwhelmed with emotion for anyone except Maddie. Someone he finds especially close and dear to him. He hasn’t responded that way to the others the way he responds to Eddie. It’s like the thought of losing Eddie truly broke him.

And then when Eddie is losing consciousness he thinks about Chris, Buck, and the fire fam. But there’s a lot of moments he brings back that are just him Buck and Chris. That relationship with Buck and Chris is important to him. And the look of pure relief and joy on Bucks face when Eddie is okay, is that look he reserves for Chris.

We also had Buck looking at Eddie with the same level of anticipation of his answer to Chris asking him to be part of his show and tell that Chris had. And his level of comfort with Eddie just coming right up like he’s part of that family. And he just takes Eddie’s medal like no big deal. And Eddie let him.

And how they set up the scene where Eddie reunited with the team very much reminds me of when Buck was trying to tell Eddie he lost Chris in the tsunami and then Chris shows up behind him. Everyone was trying to keep Buck calm, make plan to find Eddie, and then there he is. They start with buck’s face. Show his emotion as he realizes Eddie’s not dead. Then we see Buck, and the others rush to him. As buck supports Eddie, we see the look of relief on his face. The look of joy/love at Eddie being ok.

Also, Buck asks the same questions as a nine year old. Just a fun fact not sure what to do with that yet.

[c]The One That Got Away

Let’s just start with Eddie’s sass when Buck says he wants to do something reckless.

I would like to point out how out of character it was for Buck to not go to Eddie’s for Chris’s sleepover. Eddie invited him outright. Even after he declined and everyone else had date night Buck could have showed up at Eddie’s. I understand that they wanted Buck alone at the bar to point out how alone Buck feels but I think they should have picked a different excuse for Eddie. And maybe this is showcasing Buck doesn’t feel like he’s part of Eddie’s “people” but Eddie clearly thinks of him as his people or he wouldn’t have invited him to his plans. Plus, Chris loves Buck so much. He was who he wanted to spend Christmas with when his dad had to work.

And can we talk about how Buck looks pointedly at Eddie when they talk about not losing touch as a fire fam. Buck’s eyes go straight back to Eddie. Every time he says that won’t happen to us or it better not. It’s once again a subtle point to how important they are to each other.

I guess this episode does point out that Buck has self esteem issues. That even when being blatantly offering an open door Buck doesn’t feel like he’s welcome. But that could all change with a simple conversation. A simple talk with Eddie. And hell it could start with Eddie telling Buck he understands what it’s like to be left behind. Shannon left him. Without warning. He knows. They could talk. It would honestly probably be good for both of them. Buck obviously has a big heart and what he did for Red was sweet. But he also took it too seriously as that’s his future but that’s simple not the case and someone seriously who isn’t Maddie, and probably Eddie, needs to tell him so.

This episode opened the door for Abby’s return and I honestly hope it brings us closure for Buck so he can move on. So he can maybe have that talk with Eddie. So Eddie and Buck can heal together.

The finale parts of season 3.

There are two finale eps this season. The first part isn’t too Buck or Eddie focused but we have a few moments we can talk about.

First up is the moment in the fire truck as Buck is giving hot air ballon facts and when Eddie asks where he heard that from and asks Maddie, then Buck goes no someone else. I was a bit surprised at his reluctance to tell Eddie. Eddie is the only person there who doesn’t know Abby personally. He only knows what Buck or the team has told him. He has no first hand bias. It felt like he doesn’t want Eddie to perhaps judge him or pick up on he’s still got some hang ups when it comes to Abby. But Eddie is his best friend and relationships are certainly something they talk about with each other and not the rest of the team. Eddie in particular. Not to mention Eddie’s suspicious eyebrows. He probably knew exactly who Buck was avoiding talking about.

And then we have the scene with Hen and Karen and Hen saying she doesn’t want to invite tons of people for the “dinner” with Chim because of cost. Well if Hen brings Karen, Chim brings Maddie, Maddie invites Buck (probably out sibling loyalty), Buck invites Eddie. And then Bobby and Athena have to get invited. This was set up in such a way that couples were grouped together with the exception of Maddie and Buck but she has that sister love of inclusion thing with him. That’s more subtext. More tropes.

Now part two. The first big interaction with Buck and Eddie would be when Eddie is bringing up summer camp with the fire fam. Eddie doesn’t seem too worried about letting him go but Buck seems to have all kinds of concerns. None of the others voiced any concerns or challenges Eddie’s decision to let him go. But Buck does. Acting more like an overprotective parent than a friend. And when he says what if he gets homesick felt like it had two meanings, much like when Eddie said/yelled at Buck in the grocery store. For Eddie when he yelled Chris misses you, there was an undertone of, I miss you. For Buck, what if he gets homesick, felt like what if I miss him? The added snark of sounds like child labor adds to that feeling. Like he’s just trying to find fault with this summer camp idea. Of course Buck wants Chris to have a good time but I think his worrying goes a bit deeper than seeing Chris as his best friends kid even if he doesn’t realize it. And of course we have another frustrated Bobby eye roll at Buck’s words. Like he knows Buck is being ridiculous but isn’t going to actually tell him so and that he probably sees it what Buck doesn’t. The looks Bobby has been giving Buck and Eddie this season have been wonderful overall, just saying.

Then when have when Eddie and Abby and talking and Buck shows up. Eddie notices the change in Buck’s demeanor. And his shocked face throughout the encounter is priceless. And after they rescue Sam, Eddie asks Buck if he is ok. He gives him the chance to tell Eddie he’s not ok by asking him directly which Eddie doesn’t do too often. His concern for Buck is obvious but he doesn’t push. He is trusting Buck for the time being that he will at least be ok enough to work and maybe Eddie understands better than anyone that focusing on the job is what he needs at that moment.

Next we have Buck wanting to do something reckless to save both Abby’s fiancé and the other person. Buck is adamant and fighting with Bobby. That’s normal. Buck challenges Bobby quite a bit when it comes to reckless decisions. What is unusual in this case is Eddie stepping in. Yelling at Buck to stop. He says this as Buck brings up the fire truck that crushed his leg. Almost like that was too much for Eddie. He had to watch that happen to Buck and was there when the truck came off him. He doesn’t want to risk his partners life. Normally Eddie is the one to jump into reckless situations with him but this time he didn’t, he tried to talk Buck down and out of the idea. Obviously that didn’t work. And Eddie doesn’t raise his voice often. Shannon and Buck are really the only people he has yelled at. He didn’t even really yell at Chris’s teacher, it was a sort of raised voice and he was angry but he didn’t outright yell. I think that means something or speaks to the level of closeness Buck and Eddie share. That the only two people he ever yells at are his son’s mother and Buck. The show puts a lot of parallels between Buck and Shannon and that can’t be for nothing.

And then May’s party. Not only was it adorable, it was very Buddie subtext heavy. First let’s talk about how each couple was shown taking pics together and then Buck and Eddie. They are, once again, paired like a couple. Taking many goofy photos with each other and then with Chris. Buck even taking many solo pictures with Christopher. No one else does that. Buck also seems to be helping Eddie keep an eye on Chris. They were even standing next to each other during the beginning of the party. He’s the one who helps him write a message for May. While keeping a general eye on other people’s kids is ok Buck goes above and beyond for Chris. More than what friends typically do. I would need to see more evidence one way or the other but Chris also says love Christopher in cards addressed to both Buck and Eddie and I wonder if Chris would do that for the other members of the fire fam or just Buck. They really played up Buck and Eddie and Chris being a family at the end of this episode.

Season 4

Alone Together

The only really note worthy moment to happen was Buck talking to his therapist about telling people how he really feels. That could mean a lot of things, like maybe stop people pleasing all the time or actually tell people when he’s feeling something that’s not happy things. Or it could mean having a talk with someone with an adorable son about feelings you may have that are totally not platonic.

Future Tense

We get our first real Buddie moments of season 4 in future tense. Specifically with Buck and Chris pranking Eddie. Eddie did always strike me the type to be a slight technophobe so it was hilarious. But back to the Buddie.

When Chris and Buck are playing video games and Eddie says “we’re taking an internet break” only for Chris to ask to go play games at Buck’s place, forcing Buck to look at Eddie. Eddie gives him that crossed arms you better have my back look. And Buck obviously compiles. It’s very good cop/bad cop parenting dynamics if I’ve ever saw them. It’s also very domestic. Like a couple where one is sorta still new to the whole parenting and rules thing. Much like Bobby was with Athena’s kids at first. He didn’t want to be the bad guy right away and usually deferred to Athena. That’s kind of where Buck and Eddie are at and they aren’t even a (canon) couple.

Then we have the actual prank. When Eddie opens the box with the coffee maker. Chris is right away on the phone with Buck. So either Buck is on speed dial or Chris knows his number. Either way that’s important. If Eddie has him on speed dial, and Chris knows the speed dial number, it only emphasizes how important Buck is in their lives. If Chris knows the number that’s also telling on his importance as most kids don’t memorize phone numbers easily, and only memorize important ones.

And final point of this episode, is the look on Buck’s face after Eddie hangs up. It’s the same look we have seen Buck make after talking with Abby, the first real love he’s had. That can’t be totally a coincidence that Buck makes that face with Eddie then? Why was it necessary to make that same face that seems to only be with someone he has feelings for previously?

The Crossover with Lone Star

First thing, both Eddie and Buck seemed a little disappointed it wasn’t going to just be them for the Texas trip. Then Buck seemed rather jealous when Eddie wasn’t going to be with him in the field. And seemed rather ruffled that Eddie didn’t seem to share his distress.

It also seemed weird that Eddie and Marjan were so almost flirty? Eddie doesn’t flirt well even when he’s trying. I wondered if he bonded with her so much, insta following, the selfie, and all, to get her to follow Buck back. He subtly hyped Buck multiple times, telling her he’s not so bad and that he helped with Chris’s skateboard.

Then we have TK assuming Buck was flirting with him, Buck looking confused but not immediately reacting negatively, and Eddie showing up right after. Nothing is an accident in film. Eddie showing up is either a subtle nod to future stuff or continuing the aid of the Buddie Baiting. Plus why was that scene even necessary at all? Having TK think Buck is flirting is a deliberate scene. Yes it does add to TK’s story by finally admitting he and Carlos are serious, but they didn’t need Buck to do that. And if it’s more Buddie Baiting it’s dumb but if it’s not then it’s another way to slowly build up to Buck and/or Eddie coming to terms with not being straight and having feelings.

The conclusion here?

Buck and Eddie definitely have an established relationship. Maybe it’s not romantic, at least yet (I can hope), but Buck has become a parental figure in Christopher’s life, regardless. And Eddie doesn’t let that happen with just anyone. And hell, they have more actual chemistry than most actual tv couples. I’m always a bit surprised when people say they don’t see how anyone could think Buck and Eddie should be a couple or how they look like a couple. You don’t have to ship them but saying you can’t even see why people do? Confuses me, Because they show is really hitting us hard with romantic tv tropes. Like you can have male friendships without romantic subtext. Like Jake and Charles from Brooklyn 99 or Shawn and Gus from Psych or JD and Turk from Scrubs. No one ships these friends seriously because there is no romantic subtext or tropes.

If this is just slow burn, like say Booth and Bones were on Bones then fine. I get it. All these little moments were just part of the build up and that’s fine. Booth and Bones took like six seasons before they became a couple. And they dated other people while still having those underlying feelings for each other. I would be ok if this is the route Buddie is taking.

However, if these tropes go nowhere and Buddie doesn’t develop, then this show is probably going to take the title for best queerbaiting show on network television.

And in all honesty I want Eddie to have someone who loves his son as much as he does because his son is his world. And who loves him too. And Buck already does that. And Chris loves Buck. And I want Buck to have that family that loves him because family is clearly something important to Buck and something he may not have had growing up. And he has that with Eddie and Chris. They could easily be each other’s happiness. They made something wonderful, it didn’t just fall into their laps.

If you have made it this far...

Thank You for coming to my Ted Talk and we will see you again once season four airs for more!!

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charliejrogers · 3 years

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Under the Skin (2014) - Review

For a lot of science fiction movies, I find myself enjoying the ideas of the film more than I think I actually enjoyed the film. It’s what I’ll refer to as the Annihilation-syndrome, named after the 2018 movie that I found to be an absolute bore while also being an exceedingly intellectually stimulating discussion about the nature of cancer, mutation, and biology in general. The film I am reviewing now, 2014’s Under the Skin, honestly is nowhere near as unenjoyable as Annihilation, but I mention the film because I think much of this review will focus on the really interesting ideas this movie brought up which might make you think I thought this is a masterpiece. It’s not. It’s good, very good even, but not as good as its theme and ideas.

A lot of my restrained enthusiasm has to do with the fact that the film is purposefully cryptic and full of esoteric imagery. While there are spoken parts, I don’t think much would be lost if we couldn’t hear what was being said. That is to say, the dialogue doesn’t do much to make sense of what we are seeing displayed on screen.In fact, there are large sections of characters interacting without any dialogue, yet everything is understood.

To its credit, what we are seeing is largely very beautiful from a cinematography point of view. Much of the film takes place in the city of Edinbugh, Scotland and it captures well the urban grit of the city and how our protganoist fits well within that urban environment. The way the red lights of Edinburgh’s traffic lighst cast a foreboding, menacing band over the protagonist’s eyes as she drives about town on the hunt for men to ensnare in her trap shows that this dangerous character is right at home in the anonymity of the city.

The protagonist is played by Scarlett Johansson, who spends most of the film alternating between being the pinnacle of seduction in the eyes of the heterosexual male gaze and being a lifeless void. That’s because Johansson plays an alien (I think) or at the very least a humanoid being who seems to have the sole purpose of finding lonely men, taking them back to her lair, and trapping them in a sunken-place-like void where ultimately everything but their skin is extracted from them. I’ll henceforth refer to this character simply as “the humanoid” with she/her pronouns for clarity. We never learn the humanoid’s motivations, but we know that she’s not acting alone. She’s supported in her ventures by a (presumably) humanoid motorcycle gang who also double as agents who will clean up her messes.

At the beginning of the film, the humanoid appears to have no free will or consciousness. When she comes across her first dead body, she is more interested with the ant crawling along the body than the woman who used to inhabit that body. She simply steals that woman’s clothes, and begins acting out what seems like a pre-designed course for finding and trapping men. As soon as she has completed an interaction with a human, all of the emotion drains straight out of her face. Johansson’s face takes on a scary lifelessness on par with Billy Skarsgård’s Pennywise the clown from the It movies. There’s a scene where the humanoid, in the process of attracting a new victim, stumbles across an infant that has been abandoned at the beach and is screaming out. Perhaps the director is toying with audiences’ biases that the humanoid, appearing as she does as a human woman, will “naturally” want to reach out and save this baby. That she doesn’t seems to signal to the highest degree that this “woman” is no woman at all, but a cold, merciless something else.

Yet, somehow, by the end of this movie, I found all my sympathies lying entirely with this decidedly inhuman killing machine who makes her living preying on people just like me. This is because something happens that changes the humanoid about midway through the movie. Up to that point, it would be easy to classify the film as a feminist revenge fantasy, where men’s penchant for objectifying women and their aggressive desire to “conquer” women is met with a dish that is served so very coldly. It’s oddly satisfying to watch men who will blindly get into a car with a complete stranger and follow her into a creepy house just because they want to fuck her, end up being exposed as little more than skin around a bag of meat.

But then the humanoid comes across a man whose face deviates greatly from the norm due to some unnamed medical condition. It very much resembles the face of the protagonist from The Elephant Man. He is out an a walk at night to the grocery store. The humanoid doesn’t see him like the rest of the world does. She doesn’t understand how insensitive her genuine question about why he shops at night might be to him. In a darkly ironic sense, she’s the first person in his life to truly see him as a man and not a hideous monster. He has none of the arrogant sexual bravado like the humanoid’s prior victims. He’s sexually innocent, a virgin. When she offers to take him back to her place, he doesn’t take pride in any successful conquest. We see that he’s pinching himself just to prove that he’s not dreaming. It’s a heartbreaking sequence. Whereas we may have been on board, at least symbolically, with the humanoid’s cool takedown of the patriarchy, this particular abduction flips the script. Our sympathies lie more with the man than the “woman.”

Why he doesn’t succumb to the same fate as the other men is not clear. Notably, he’s the first we’ve seen that isn’t fully erect despite the humanoid ardent attempts at seduction. Secondly, he’s like the first to take some stock of the fact that he’s been lured into some black void from another dimension. He obviously finds Johansson attractive, but it’s almost like he is more amazed by what is happening, his penis “disarmed” so to speak, compared to those who came before him who were “armed” to conquer. And in lacking their sexual aggression, he was deemed to have a “lighter”, purer heart, preventing him from sinking into the deep of her trap.

This seems to change the humanoid. It’s as if she questions her whole purpose in life up to that point. Maybe all those men who had come before were as gentle as sweet as this one. Or maybe she yearns to be more than a monster.

Previously we had seen the humanoid stare at women from her car in much the same she looked at men, yet we never see her take women as a victim. It’s more like she was curious by these creatures, like she didn’t know they would be there. She shows the same curiosity towards her own body. She stares at it, hugs her curves. Just after her encounter with the man with the dysmorphic face, she looks long at her face in the mirror and then at a fly stuck to a window. It’s as if she’s looking at how she looks to others (humanoid) compared to what she really is (more like a bug, an alien). As the film goes on, it’s almost as if she’s trying to convince herself the skin is not a farce, that it’s really her, that she’s real, and that there’s nothing else under the skin. There’s an ironic beauty in the dysmorphic man wanting to be seen for what’s on the inside where she wants to be seen for her outside.

We subsequently see the humanoid undergo something of a coming-of-age as she flees into the more rural surroundings of the bogs of Scotland, presumably to avoid her motorcycle-driving allies who don’t want her to veer off course. The camera work in this part of the film highlights her as a stranger in this strange land, with her hot pink sweater standing in stark contrast to the drab Scottish milieu. And truly from the rocky/pebbly beach below the impossibly high bluffs at the ocean to the Mars-like desert shrubbery of the bogs, Scotland has never made Earth look so alien. Yet it’s in this foreign land, far from the trappings of the dirty city that the humanoid experiences the pleasure of being a human, or more specifically being a woman. For a few days she is even one man’s princess, and I think it confuses her so much that she enjoys it.

The genius of this film is the way it makes you forget that the humanoid isn’t actually human. In the latter half of the movie we celebrate her cautious steps towards humanity. There is a love scene that is among the most intimate I’ve seen filmed. Yet, we also fear for her and feel sorry for her when her fantasy comes crashing down and it is revealed to her and to us that her initial approach to men proves was much more appropriate.

This is a slow film that rewards patience, but ultimately it doesn’t do much to excite. There are abstract sequences of light and color accompanied by discordant sounds of chanting that seem straight out of the Jupiter sequence from 2001: A Space Odyssey. These do little more than confuse, and sometimes bore. And even if the lack of excitement is deliberate (perhaps intended to deconstruct female seduction) that doesn’t make it anymore enjoyable. Still, it is a beautifully shot picture that provides a stunning condemnation of our male dominated society. It would manage to make even the most bitter-hearted viewer feel sympathy for a humanoid who just a half-hour ago was on a cold-blooded murder streak. Still, even if it doesn’t introduce any hard-hitting questions about humanity like the best sci-fi, in the end it revels in a different dominant theme of sci-fi: no matter the monster man meets, man is always the ultimate monster.

*** (Three out of four stars)

#under the skin #scarlett johansson

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365days365movies · 3 years

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February 20, 2021: An Affair to Remember (Review)

This movie was wonderful!

And I have many positive things to say about it, I promise, but...It’s possible that Nora Ephron was right, because I was never brought to tears by this movie. At all.

Look, obviously Sleepless in Seattle isn’t technically correct, since the running joke about this movie runs on a dated gender-based set of perceptions about the movie-going experience. You know, women like romances, and men like guns, that kinda shit. But I do like romances, and this one was great! But...I don’t know if it was as amazing as I was expecting.

I DID like the movie, to be clear! Look, I’ll prove it. I’ll go through, category-by-category, and try to fully disseminate my feelings on it. In others, yeah, time for the Review! Check out the Recap here and here beforehand if you’re curious!

Review

Cast and Acting: 8/10

From the very beginning, I knew that Cary Grant would appear on this list at some point. One of the classic Hollywood heartthrobs and major leading men, he was basically a romance movie dynamo. Bringing Up Baby, The Philadelphia Story, His Girl Friday, Arsenic and Old Lace, Charade, North by Northwest, and of course this film are just some of the few classic films that he’s known for, and 4 of those are romances. I’ve seen half of those films, and one of them is gonna pop up in a few days. But how was he here? To be honest...he’s Cary Grant. Suave, cool, charming, handsome, and a smooth-talker with a romantic soft side. That’s most Cary Grant characters, really.

How about Deborah Kerr? Well, I don’t know her as well, but she definitely played a typical role of the time as well. She was good, though! She was definitely good in the role, no argument there. She had her somewhat over-the-top moments, but nothing too crazy. Most prominently, though, is their chemistry, which is gorgeous. Unsurprisingly, a pairing with Grant definitely generated some great chemistry, and my biggest complaint with the film might be the fact that we essentially lose that at the halfway point, almost entirely. So, yeah, that is an issue for me. What about the supporting cast? Mostly fine, although basically all of the kid actors were...well, 1950s kid actors, to be frank.

Plot and Writing: 7/10

A lot of the power of the actors in this movie comes from the writing, and it’s a bit melodramatic, sure...but it’s also some damn good writing in other instances. The movie is based off of a 1939 film, written and directed by the same person, Leo McCarey. He also brought in Delmer Daves and Donald Ogden Stewart. Which is ironic, when you really think about it. A movie that Sleepless associated with women almost religiously, and it was almost entirely written by men. I say almost becaue the story was developed by McCarey and Mildred Cram. But that was for the original film, Love Affair, so this film wasn’t really written or developed by her. Anyway, the writing was good! The plot...basically lost its momentum right in the middle, after the car accident. I feel like there could’ve been a way to improve it, because a lot of it is...not great.

Directing and Cinematography: 9/10

But the direction and cinematography? Damn, Leo McCarey and Milton Krasner! This film’s camerawork is stellar, as is the shot construction. It gets a little dodgier in the latter half sometimes, but it’s still pretty great most of the time. Some impressive shots scattered all throughout, and it’s worth a high score!

Production and Art Design: 9/10

Production and art design is great, too! Kerr gets to wear some iconic outfits, the cruise ship is pretty memorable, as is the little French village, and there are some iconic looks in the movie. Is it the most memorable? Eh, Cary Grant looks like Cary Grant, so no. But still, this also deserves a high score!

Music and Editing: 8/10

This is good...although not very diverse. The title song plays about 4 times in the film in one capacity or another, which is...a lot. It’s a lot, not gonna lie. It’s a great song, and Nat King Cole did a cover of it that I really like, so there are some points there, but I also probably won’t add this to my playlist, even the NKC version. Sacrilege, I know. The rest of the score, composed by Hugo Friedhofer, is still quite lovely, and reflects classic Hollywood tones. And again, it is quite good, and it’s definitely a fitting score for this movie.

I think an 82% is pretty good!

Look, this movie is sappy as hell, and it kinda drops off for me after the halfway point, but it is still a sweet movie. Real talk, this is the kind of movie I’d recommend to my mom, because I think she’d like it. My Dad...eh, probably not, it’s not funny enough for his tastes.

However, I will say, this does make me want to go to the Empire State Building with the GF. We’re gonna go back to the city one of these days, so who knows? Maybe I’ll figure out some cinetourism and we’ll go up there, be all romantic and shit. But anyway, that was interesting! Cool to see a movie starring one of the classic movie hearththrobs. Let’s see, we’ve got a Grant...how about a Bogart? OOH, and a Hepburn!

February 21, 2021: The African Queen (1951)

#an affair to remember #leo mccarey #cary grant #nickie ferrante #deborah kerr #terry mckay #richard denning #neva patterson #cathleen nesbitt #romance february #romance movie #user365 #365 movie challenge #365 movies 365 days #365 Days 365 Movies #365 movies a year #usergina #useranais #filmgifs

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popwasabi · 4 years

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“The Matrix Reloaded” deserves a re-watch in 2020

Here’s a burning hot take for, y’all; “The Matrix Reloaded” is not bad actually!

In fact, it’s more than not bad, it’s actually pretty good and perhaps a bit misunderstood by the fans.

Now, I’m not here to tell you it’s the best Matrix film. That honor will remain always and forever with the first movie, as it remains not just one of the best action films of all-time but one of the best science fiction films ever, period. It’s a classic and simply one of my all-time favorite films.

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(Not to mention turned me into a Rage Against The Machine fan.)

But somehow, over the course of my lifetime, you know what movie I have watched exponentially more than “The Matrix?” The fucking “Matrix Reloaded!”

I used to think maybe it was an ironic infatuation. To a certain extent, I think it still is, as its overly indulgent action, bad lines at times, cringey new characters, and over the top moments can make it about as comical as many so bad it’s good movies. But growing up time can change perceptions, sometimes for the better, and can help you see things in new ways that you didn’t before and “The Matrix Reloaded,” especially this year, was one of them for me.

(My plans vs 2020)

I could defend the much controversial sequel by going in on its ambitious action film-making (the car chase is still my all-time favorite in any movie), pulse-pounding score, or its eye-popping cinematography that, honestly, holds up even to today’s standards but I think these are all things that even the film’s detractors generally agree on.

No, I’m going to defend this film by talking about its most controversial scene: The Architect room.

I can hear the groans already and I don’t blame you. I found this scene preposterous and mightily confusing when I first saw it.

“The One is actually a part of the Machines’ system?? WTF!?”

(I remember having a similar feeling after playing Mass Effect 3...)

To be fair, its set up is a bit muddled, given the clunky script and pacing issues of the movie but when you start thinking about the message more deeply, given current events, and its relation to the real world it hits about as hard and fits as neatly as the first film’s more positive message.

The first Matrix film has a pretty dark setup, obviously. Neo finds out that he’s a part of gigantic computer program meant to create the illusion of free will for humanity while they are quite literally eaten for power by the Machines like cattle. Of course, Neo discovers he’s more than just another human connected to The Matrix but a prophesized messiah who has the ability to combat the system beyond its considerable control. By the end of the film he fulfills his destiny by becoming The One and beginning a new revolution against the Machines that control the human race.

(And looking fucking cool and totally 90s while doing it!)

It’s a pretty positive and uplifting story when you really break it down. It shows the viewer the lengths at which power tries to maintain its control and the Machines are a worthy avatar for this metaphor, but it also shows that power can be fought against when someone begins to empower themselves. When Neo says he will “show you a world where anything is possible” at the end its an earned moment of catharsis for not just him but the audience as well. We begin to start to believe in hope and beating the system too.

“The Matrix Reloaded” however goes several steps further showing that power can maintain its control in far more nefarious ways. Throughout the film Neo is told about the illusion of control and choice by characters like The Oracle and the, admittedly cringey, Merovingian. It feels strange at first because Neo is supposedly someone who is above the system but you can tell there is sense of jadedness, with some optimism of course, when The Oracle explains his role in saving Zion, like someone who has seen someone try to do this before, and The Merovingian simply mocks him for being another in a long line of “predecessors” who is completely “out of control.”

But then Neo finally does get to the Architect after being led there by The Key Maker and it’s here he learns his true nature; that he is the sixth in a long line of previous “Ones” in the Matrix and a part of The Machine’s control. He is less a prophet and more just another cog in the machine meant to lead humanity in one direction over and over again in order to create an illusion of free will for the resistance, the same way The Matrix does its human cattle.

Neo was a part of their plan and had been from the start.

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(In case y’all need a refresher...)

There were tons of fans, including myself at one point, who couldn’t square with this strange narrative turn. Like Morpheus at the end of the film, there was refusal to believe it. It seemingly rewrote how one could view the first film and Neo’s role in it.

It changed the way a lot of people could see the positivity of the first film and understandably that could, and did, make a lot of people upset. Neo wasn’t sent to save humanity; he was there to keep them in line. It was like saying “actually Emperor Palpatine always wanted Luke Skywalker to blow up the Death Star.”

(I mean he does say this a lot though...)

But “The Matrix” was always about the lengths at which power works to maintain its control over the masses and “Reloaded” asks how can a corrupt and evil system be a part of the solution? How can it be reformed?

It can’t.

Way back in 2008, I cast my first vote as an eligible American for Barack Obama for president. Like many millennials at the time I found his mantra of “hope and change” sincere and uplifting and I truly felt the country was going to take a turn for the better the night he was inaugurated. For a moment it really did feel like things would be different after eight years of Bush.

Fast forward to 2011 however, and things changed dramatically for myself when I found out about the drones.

I’m aware of the fact that in leadership positions hard choices are made but after spending the previous decade vociferously calling out the Bush Administration for what they did in the Iraq and Afghanistan Wars this was a truly rude awakening for me. Combine this with finding out about him continuing Bush era tax cuts, re-upping the Patriot Act, the mass deportations, the major corporate donors, his mishandling of Flint, and The Standing Rock Crisis it became clear Obama was just as much a part of the machine as Bush was.

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(Also, no matter how much you hate Trump, DO NOT participate in the the gas-lighting of this man’s record...)

Now, I can already hear the pitchforks picking up and I’m not here to tell you that the Obama presidency didn’t have its moments or that it was worse than what we have now BUT this does not excuse what would be considered awful behavior by liberals under any conservative president.

Each Democratic presidency or nomination I’ve seen in my lifetime, from Clinton to Obama, has always touted themselves as a chance to “fix America” and bring “hope and change” to a largely corrupt system. But neither of these presidencies really changed much of what the previous conservative administrations did, in fact in some ways they got worse. Minimum wage hasn’t risen in over a decade, we still have the world’s largest prison population by far, the wealth gap has only INCREASED regardless of who held the White House, and need I remind some of you Black Lives Matter started under the Obama administration.

At some point the problem goes beyond just conservative stonewalling and political impasse. You can’t blame everything on Mitch McConnell (though a lot of it can too, admittedly). The system is behaving exactly as its supposed to because corrupt people hold power.

(They’re not laughing with you, they are laughing AT you...)

The extremely cynical Biden-Harris ticket we got going right now is being pitched, more or less, the same way as a "fight to fix everything terrible” that Trump has done. Look, I’m not going to tell you Trump hasn’t been terrible because that should be obvious to EVERYONE at this point, but when you have Wall Street goons actively cheering the announcement of the Democratic party nomination, a DNC that is running more conservative speakers in its first day than Latinx across the entire event, you have to wonder to yourself if they are really “The One.”

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(A reminder that “Never Trump” Republicans are not your friends either...)

Again, I’m not saying things can’t be “better” right now under a Democratic White House or that some communities would benefit greatly from a change in leadership BUT the bar is FUCKING LOW and the truth of the matter is people WILL be hurt under the next administration regardless of who it is and framing it as “privileged” to think otherwise is actually quite privileged itself.

There are people who can’t wait for medicare for all. There are people who can’t wait for sentencing and prison reform. There are people who cannot survive another wave of US imperialism overseas.

We are being guided to the same predetermined destination that The Architect gives Neo and its what makes all this so aggravating for many.

“The Matrix Reloaded” shows Neo that he is simply another system of control for the afflicted masses but what makes the final moments of the film important is that he chooses to stop playing its game. When The Architect gives him the choice of the door that guarantees the “salvation” of the human race but in bonded servitude to the Machines and the door to make the supposed “selfish” decision to save Trinity from death but doom humanity to extinction, he does this fully expecting Neo to make the same choice every other One did before him did.

But Neo doesn’t, he goes through the door to save Trinity and for a chance to destroy the system in another way. Neo decides to break the cycle even if it might have catastrophic consequences. He challenges The Architect on whether he would be willing to allow Neo any chance at any other outcome and calls his bluff. It’s what makes him a hero and in a strange way gives “Reloaded” a positive ending as well.

(And again, just looking cool as hell while doing it.)

Now, with the way the next movie ends you could make the argument that the cycle continues and this theme gets contradicted but I would argue it’s a bit more ambiguous than that and with the fourth film supposedly on its way in the coming years there is a chance for a more conclusive and satisfying ending. This write-up is strictly arguing the message of the second film anyways.

What a viewer should get on further review of “The Matrix Reloaded” is that corrupt systems have more insidious ways of maintaining control than we may be able to accept. Wall Street goons wouldn’t allow a consistent formidable opposition party to run against them every year, it’s why they are deep in both red AND blue pockets. It’s why campaign financing is out of control. It’s why ultimately both wings of our government are pro-surveillance, pro-big money donors, pro-US exceptionalism/imperialism and the only real difference comes down to mostly minor minutia between the two to maintain their illusion of choice.

In the end to a certain extent, I still believe in the system, given that I donate money and support various leftist causes, progressive primary challenges, and reelections around the country in hopes they run a real left wing someday. However, each year, and frankly each month at the rate we’re going, I’ve grown more cynical about it. At best it is incremental change and at worst its ultimately empty power against the larger juggernaut of corrupt politics throughout our government.

(Me desperately trying to avoid the relentless bullshit of this year.)

“Reloaded” deposits that in order to break the cycle you have to make a choice not accounted for by the system. That in order to truly change anything, as silly and as obvious as it sounds, you have to do something different. Voting for people who better represent your beliefs much more fully and refusing to vote for ones who don’t is one way but as I stated in my “Black Sails” write-up the more active third option should never be off the table.

Changing the world shouldn’t come down to a false binary choice like the ones the Machines gave Neo at the end of “Reloaded.” And while, for the record, I’m not necessarily against people making the lesser of two evils choice again, people need to stop ignoring the ways in which corruption keeps its power and start having honest looks at those who call themselves “The One” who will make things right.

If this entire year hasn’t convinced you of that yet, I don’t know what will and the sooner we understand this the sooner we can start a real “revolution” in this country’s cynical politics.

Until then The Machines will continue to win...

*Me getting away from the liberal bullshit that will likely be tossed at me over this*

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ricky4479 · 4 years

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First, hello. A few facts about me: I'm German, currently still living in Germany, going to school, 10th grade and am somewhat interessted in history. As it is in Germany you can't be interessted in history without at least knowing more about World War 2 than the average person, although I believe that Germans tend to see the horror in it, yet still make jokes and laugh about it more than other nations. There also are a lot, and I mean a lot of movies about WW2 or set in WW2. One of these is my number 3 favorite movie, Inglorious Basterds. Now, when I first watched IB, I immediately (as so many of us probably) fell in love with SS-Colonel Hans Landa, whom I'll just be referring to as Hans from now on. I wondered about something everytime I watched him though and that was what exactly made him so terrifying? What makes our blood run cold the moment we hear this abstract, weird version of Für Elise, or at least this abstract song with the Für Elise beginning? What makes us feel as if we're in serious danger everytime Hans is on screen? It couldn't just be the uniform or his obvious Nazi typical mannerisms, no, otherwise we would have been just as scared of Gestapo Major Dieter Hellstrom and I don't know about you, but the more I watch IB, the more I think Dieter is just hilariously failing at trying to be like Hans.

So, what made Hans so different? Well, in my opinion you can already see that in the first scene.

Let's make one thing clear here, I'm a writer, I want to become a psychologist, I can't and won't talk about this in a cinematography kind of way, but rather on a people level. Also, I'm a theatre kid, so I'm gonna use some of the shit I learned in drama class and all in all this is just a lot of rambling and me fanboying over Nazi Daddy Landa, so don't take everything I say too seriously.

The first thing I want to briefly touch upon is the music. The iconic intro of Für Elise, a song that screams German and what is it followed by? Abstract, not at all fitting notes, making you feel uneasy because something isn't right at all. LaPadite and his daughter also show this perfectly. She sees the car driving their way, the music sets in, their erratic, nervous and you as the audience don't know why. You can guess why, a German song in the background, a movie set in WW2? This is going to be Nazis, no doubt, but you're still uneasy because something just doesn't seem right. Not one bit.

And then Hans arrives, open top car, showing that he's not at all scared about what he is doing. He tells his men he doesn't want to be disturbed and walks up to LaPadite, asking if this land belongs to the LaPadites, fully aware that of course it does, but still being polite, asking questions, introducing himself and shaking LaPadites hand. This handshake shows perfectly that from that moment on Hans has full control over the entire situation. Hans is the one initiating the handshake and he holds it. If you look closely you can see LaPadite trying to take his hand away, but Hans doesn't let him. He looks into LaPadites eyes, holding the stare, his hand still firmly gripping LaPadites. Hans politely asks if he could be invited in, a clear order disguised as a polite question and when LaPadite agrees and wants to walk off, Hans lays his hand on LaPadites upper arm, showing that he has a higher status than LaPadite, that he is in control and they both know it.

The next bit that just makes you hold your breath is when Hans meets LaPadites daughters, mesmerized by Charlottes beauty, her having blonde hair and blue eyes, the Arien norm the Nazis were so fascinated with. She is the only one he pays attention to, staring at her even after sitting down, his face devote of emotion, just an emtpy stare that you're unable to read. When another of the daughters was asked to get him a glass of wine, Hans gripped her arm, soft, yet clearly in a threatening way. We know he has power over everyone in that room, but we don't see him clearly abusing this power, we only see small motions like that and that makes us nervous, because we wait for the moment he snaps but it just doesn't happen.

When he tells LaPadite to sit down with him and tells him to send his girls outside, we see that this is Hans' stage. He decides who goes where when and you follow those orders.

Next Hans asks to switch the language to English because his French is exhausted and he would only embarrass himself if he kept on talking, but once you have seen the full scene, you know this was only so that he could have a full conversation with LaPadite without the Dreyfuses underneath the floorboards knowing too much and making a silent escape.

From here on it gets really clear that Hans doesn't accept a simple yes or no as an answer, or any answer that he deems as too vague. He asks LaPadite to „please tell me waht you've heard“ after asking him if he's familiar with who Hans is, reminding LaPadite of the monster that is sitting in front of him. He wants LaPadite to talk, to slip up and reveal himself so that Hans can get the job done with and leave.

Hans smiles when LaPadite tells him that his visit may be pleasant, but LaPadite doesn't know why Hans is there. Hans smiles because he knows LaPadite is lying and we know that Hans knows. That's a terrifying thought. We don't know how he knows, all we know is he does. Hans entire preperation happened off screen, we know exactly nothing about him except for the fact that he knows. That he has power and knows the secrets hanging heavy in the air.

He drags the entire process as long as he can, doing everything neat and tidy, getting LaPadite to talk, asking him questions, still accepting no vague answers. When LaPadite asked if he could smoke his pipe, Hans reacts in a sort of „don't be silly“ demeanor. As if he isn't the one in control of everything, but just a mere guest in LaPadites house out of pure friendliness from LaPadite.

Now, let's get to my favorite part of the scene, the rat speech. This entire speech is just so that we would agree with Hans. Makes us understand his position, maybe even feel sympathy for him. He says he loves his nickname „precisely because I've earned it.“, saying it as if he means „I worked hard for this“, trying to gather sympathy. „I don't consider the comparison an insult“ can be read as the typical „I'm not the bad guy here, I'm not like them, I don't have anything against Jews.“ and I'm pretty sure I am not the only one believes him with that, who believes him that he never had anything against Jews, but merely just followed the regime flooding the entirety of Europe. When he says he doesn't consider the comparison an insult, he puts a hand onto his chest, underlining this „it's not me who's the bad one“ meaning. He makes us agree with him through comparisons like the one between a rat and a squirrel, because it's true. He repeats certain aspects, making it clear that they are important, making us think about it and in the end agreeing. It's terrifying to realize how easy he can make you agree with something so atrocious. It's as if he gets into your head with complete ease.

I always felt as if the phrase „Because I'm aware of what tremendous feats human beings are capable of once they abandon dignity“ felt off. Just, not really fitting, but that's for another time. After smoking his ridiculous pipe, which, let's be honest here, was not intended to intimidate LaPadite further, but was probably just something Hans thought was fucking hilarious (it was) since Hans is someone with a sense of humor. A really dark and disturbed sense of humor, but he loves cracking jokes and this was one of them. Anyway, he emphasizes a lot on the word „dictates“. His job dictates that his men conduct a search. Hans doesn't want to do this but he has to. It's again this weird sense of sympathy we feel for him. When he talks about the irregularities and says that „rest assured there will be“ some, we have the last clue that we needed. Now it's obvious that Hans knows everything. He knows that the Dreyfuses are hiding beneath the floorboards, he knows LaPadite has been lying, he knows everything.

What he is doing now is disguising obvious threats as rewards, telling LaPadite that his family would be save if he told Hans everything Hans wanted to know, reminding him that his daughters were outside with Hans men and that with one word from Hans, they could be shot on the spot and by now not just LaPadite but also the audience know that Hans would indeed give them the order to kill the girls just to get the information he wants.

I believe that from here on it's very obvious why we're so scared of Hans, if you don't remember, go back and watch the scene again. Actually, go watch the entire movie, it's wonderful.

Now, this was just a short retelling of the first 20 minutes, a lot of the things I mentioned were repeated to enhance the feeling and of course I may be reading way too much into this, but honestly? I don't care. It was fun writing this, it was even more fun staring at frame for frame of those first 20 minutes for more than 2 days, talking to myself more than I talked to anyone else the entire past week, but I just love Hans on so many levels. Christoph Waltz acting is amazing, he is an amazing actor that deserves the two Oscars he won and even more and I hope we will see him in a lot more movies before having to part from him.

Please excuse any mistakes since it's fairly late, I'm dying on the inside (well, I'm already dead inside but you know what I mean), English isn't my mothertongue and all in all I'm just ranting as always.

Stay hydrated you wonderful human beings.

#hans landa #inglorious basterds #christoph waltz

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alwaysahiccupandastrid · 4 years

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what are your thoughts on the skeleton twins

Hi! I finished watching it last night but desperately needed sleep after because I knew I had things to do this morning, and I also wanted to process it (sometimes I have to take some time to process movies, other times I just word vomit about them).

This is kind of long but I’ll add a read more later when I have the chance!

Anyway; The Skeleton Twins...I really enjoyed it! I went in knowing absolutely nothing except that Bill Hader and Kristen Wiig were in it and playing twins, and I wasn’t sure what to expect. I think, given the two actors I mentioned, I was expecting pure comedy or something? But I was so blown away by the film and the performances they gave.

Obviously I love both Bill Hader and Kristen Wiig anyway but this movie really showed their serious acting chops. There were some funny moments too, of course, but they’re both really talented doing genres outside of comedy too, and it sometimes takes me aback when I see comedians do such a good job with non-comedic roles - then again, comedy is probably the hardest genre to pull off, and so it’s no wonder they’re both talented anyway. (I’m rambling, sorry!)

{below here I’m talking about themes related to mental health/suicide, and I can’t put a read more at the moment because I’m currently on my mobile - I will be putting a read more here when I get the chance later!}

I was so taken aback though because the film starts with Milo attempting to commit suicide and Maggie contemplating it, and I guess...it’s something I have struggled with, and so it really made my heart drop especially when I saw Milo in the bathtub and the water turn red. It doesn’t show him actually cutting but we all know what happened. Without going into too much detail, SH and mental illness is something I really struggle with, even though I’m slowly recovering these days - it never truly goes away though, you know it’s there even if you’ve gotten better and it’s something you learn to cope and deal with.

Honestly, I was sort of pleasantly surprised by how well the film portrayed mental illness and suicide with both the main characters. I felt at times I should have hated Maggie for cheating and lying to her husband but I also sort of empathized with her (not with the cheating, just the whole situation and being in a huge mess), and I think what made the film was the relationship between the two siblings because it’s so real and natural, especially if you consider the circumstances when they were younger. Their interactions as siblings was so believeable too, like sometimes you’ll watch movies with siblings and the siblings are all mushy or too at each other’s throats, and it’s unrealistic. They both feel so relatable and easy to connect to, though I suppose I am kind of more biased towards Bill’s character because he’s the reason I watched it (after seeing the clip of him dancing online - that was literally the only part I had seen before).

This is kind of dumb, but as I said, I thought they did a great job portraying depression and the aftermath of the suicide attempts? Like when Maggie was drowning herself and then panicked and tried to swim back up but couldn’t - I’ve heard stories of people who have survived jumping off of bridges or whatever, and they’ve said that after making that jump they instantly regretted it. I think that’s so accurate - it’s not glamourizing suicide either, like it would have been so easy to have her sink peacefully and be rescued without her wanting it and then realize what she’s doing but instead they showed the panic, the regret.

I think what especially caught my eye, however, was the fact that Milo was wearing bracelets on his wrists later in the film to hide his scars and like...? That is so relatable, that is something I do during the summer if it’s been one of those instances, I wear bracelets and wristbands and sometimes even tie a bandana around my wrist to hide it.

I don’t know if that’s just something I do/have done and I’m projecting, or if it’s because actual research/thought was put into it, but either way it was something that really stood out to me and made him more relatable?

I can’t remember the name of Milo’s ex teacher but he can get fucked for all I care. He took advantage and manipulated a teenage boy and I think that’s important to remember. It would be easy to just freak out because omg cute gay couple but to me I just saw it as a one-sided unhealthy relationship where one is manipulative and abusive to the other who feels like they need their love, and it’s kind of depressing - but then Milo basically says “fuck that” by the end, and it’s beautiful because it’s like he’s deciding “you know what, I deserve to be treated better” - and he does, he really does. Beforehand it felt (to me) like he allowed himself to be used and mistreated because he felt like that was the only way he could feel worthy, but then he grows and develops and I think that’s so important.

I think I should also briefly mention that the scene where Maggie tells Milo “maybe next time you should cut deeper” genuinely broke my heart for many reasons - because she’s so upset and her marriage is ruined and everything is a mess, so much so that she actually says that to him before immediately regretting it. And ofc I was so upset because that’s literally something your brain tells you when you’re depressed and suicidal/self harm, that maybe next time...yeah. You can see the flurry of emotions on his face as he processes what she said, like he’s in genuine disbelief that she - his own sister, his twin - said such a cruel and disgusting thing to him like that. It genuinely broke my heart to see, though I was glad they did eventually mend things between them.

Some other things I want to mention but don’t have the brain capacity to talk about properly because I’m exhausted and a dumbass:

The Marley and Me joke was so relatable omg, I read the more child friendly version when I was little but I had no idea the dog died and it broke my damn heart, so that little joke about Marley and Me was hilarious to me

Honestly I’m talking a lot about Bill Hader but I do truly adore Kristen Wiig too, like she’s probably one of the most diverse actresses who does all sorts of genres and projects - from voice acting to drama to SNL etc - and she’s incredible in this film.

Lance was a sweetheart and I feel sorry for him? Like he genuinely loved Maggie and was such a nice guy, and while some of the stuff he said wasn’t always helpful or correct, it came from a place of caring and that’s what matters. Also he was totally cool with his brother in law who he never met before coming and living in his house, and he even helped Milo get some work (even if said work WAS clearing brush away)

The scene where the twins go out and Bill Hader is dressed in drag is honestly a highlight of this movie

Actually the scene where he sees himself the first time in drag is also a highlight

The scene where the mother is making a long ass toast while everyone is waiting to drink their wine, and Maggie/Kristen Wiig just downs her glass before she’s finished is so relatable

Okay but there’s a scene where Milo goes to a gay bar looking for a lay and just...the night he goes, of course it’s fuckin “Dyke Night” (their words, not mine!) and then he comes home absolutely pissed and telling his sister and his brother in law that he just wanted “some c*ck”, omg I was laughing way too hard. Also let’s not forget that he said the two “lesbian ladies” he met were lovely and taught him to play darts, we love mlm and wlw solidarity!!

Well since we’ve already established I’m fucking trash for Bill Hader, let’s just include that moment where his character is shirtless (kinda) in bed

That scene where Maggie meets up with some woman she knew (in high school I think?) and that woman has a son, and the son is a little dick and the mom and the son are cussing at each other was a whole new level of hilarious I didn’t expect, like I was deadass expecting this chick to go on about how wonderful it is to be a mother even when he’s a dick to her, how it’s a great gift, but nope, she knows and even says he’s a fucking dick 😂

THE DENTIST OFFICE SCENE JESUS CHRIST I HAD TO PAUSE BECAUSE I WAS GENUINELY PISSING MYSELF WITH LAUGHTER?!

THAT DANCE SCENE AM I RIGHT, OMG, like he’s so cute and happy in that scene and then she joins in and it’s so dorky and fun??

I LOVE all the water imagery and shit, like maybe it’s just because I’m an absolute geek for swimming (it’s one of maybe three sports I don’t totally suck at??) and I love the cinematography underwater, whether it’s the skeleton key ring sinking or the scuba diving or Milo’s goldfish. So much wonderful cinematography and imagery!

This film has ultimately shown me that Wiig and Hader deserve Oscars and awards ASAP

Also this is just a general note to anyone reading, feel free to recommend movies to me anytime because I’m a cinephile and love getting to watch new films!

#the skeleton twins #kristen wiig #bill hader #asks #long post #will put a read more later!!

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goblins-riddles-or-frocks · 4 years

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Moffat Dracula Review

Plot Summary For People Who Don’t Want To Watch It:

Dracula corners Jonathan, Mina, and Sister Agatha Van Helsing in a secluded convent in Budapest following Jonathan’s escape from his castle. The castle sequence itself is explained in flashback as Jonathan recounts his experience, leading up to the realization that he himself had died during his stay there.

Realizing he’s now become some form of undead creature, he attempts to kill himself via a stake but is unsuccessful. Despairing at this, he invites Dracula inside the convent in exchange for a true death. Agatha and Mina are able to stay safe within a circle of sacramental bread but everyone else is massacred.

When Mina sees Dracula disguised as Jonathan approaching them, she invites him inside the circle. He of course reveals his identity immediately after. Agatha bargains her own life for Mina’s, so Dracula allows the other girl to go free.

Some time later, Dracula sets sail for England aboard the Demeter, a Russian ship with a strangely high number of wealthy passengers and a bluebeard’s cabin no one is allowed to enter. He quickly picks off the passengers one by one, meanwhile himself leading the effort to find the murderer onboard.

This culminates in the remaining passengers finally searching the ship— and the mysterious cabin which is revealed to have been hiding a sickly Sister Agatha inside. She explains that Dracula is a vampire and together with the passengers they attempt to kill him by setting him on fire. But it is unsuccessful. Agatha urges everyone to escape on lifeboats because she intends to blow up the ship with her and Dracula in it before it is able to reach England.

Dracula does not die but remains dormant under water. He reaches Whitby roughly 100 years later and is immediately captured by the Jonathan Harker foundation, lead by Agatha’s descendant Dr Zoe Van Helsing. He leaves captivity fairly quickly however with the help of Frank Renfield— a lawyer he hired over skype.

Zoe is revealed to be dying of cancer. Dracula offers her his blood to heal her but it doesn’t seem to work. It instead gives her a bond to communicate with her dead ancestor Agatha, which gives her more insight about the vampire.

Meanwhile, Dracula begins preying on Lucy Westenra, a young socialite. Despite leading a seemingly perfect life, she is wholly apathetic and disgruntled with her situation. She allows him to feed on her in exchange for the high a vampire’s bite can give her. He attempts to turn her into a vampire but she’s burned horribly once she’s cremated following her funeral.

Her death leads Zoe and Jack Seward to where Dracula has been staying. During their confrontation however Lucy returns, and after learning about her appearance, begs Jack to kill her, which he does.

Zoe asks Jack to leave so she may speak to Dracula alone. She surmises that all of Dracula’s weaknesses are actually ineffective. The only thing he fears is death, and humanity’s willingness to die, She then... resolves to sit down and die right there. But at the last moment Dracula drinks her cancerous blood which should in turn kill him... they make out while dying... The end?

If that sounds like it makes no sense, it’s because it doesn’t.

Final Thoughts:

The plot was nonsensical and the pacing was very poor and completely unstructured. The story itself bore little to no resemblance to Dracula at all, to the point where I wonder why they even bothered to keep the names.

Most of the characters were new, and the few that were ported over from the Stoker novel had hardly anything in common with their original versions, Dracula included.

Jonathan was the most in character of the bunch, if he was fairly more genre savvy while stuck in Dracula’s castle. Mina’s characterization seemed to be confined to a single flirtatious letter, an endless well of trust for Jonathan, and constant sobbing. She was more of a liability than anything else.

Agatha served the role of a genderbent Van Helsing, though her manner was entirely lifted from the Coppola film. This could’ve been very cool if they hadn’t randomly made her a nun without actually committing to it at all. She was not really portrayed as having any actual lived experience as a nun in the victorian era. And faith as a concept was only touched on for her to dismiss— hilariously casually given her position.

I think the actress’s performance was fairly decent, and she def grew on me in the second episode when she’s not actually in a convent to constantly remind us how dissonant of a nun she is. But it would’ve been nice if they would’ve either committed to actually making her a nun, (a legit vampire hunting nun could be so cool!) or just abandoning the concept altogether. Because the way it was presented just felt like window dressing.

Also I’m not normally averse to shipping Van Helsing/Dracula but having to genderbend one of the two just to do it is like... hm. Also the weird tension they had going on was very badly executed in general.

Speaking of Dracula, he had to be the weakest part of the show. He was written in the smuggest, most infuriating way possible. And it might have worked with another actor but this dude just did not have any gravitas or stage presence whatsoever. And it certainly was not helped by the fact that his costuming and makeup were so fucking lackluster.

Despite being the linchpin of the story, he had no goals nor any particular drive. He was just out there doing Stuff for Reasons and none of them were compelling. It seemed like he was just killing to kill and the writing was not good enough to actually carry any of the vague themes about how he’s looking for new brides (why?) how he’s searching for a The Perfect Fruit (what???) or anything at all really. He had no depth whatsoever beneath his stupid quips and self-satisfied demeanor.

There was an interesting implication that he needed to choose who he drinks carefully in order to maintain his own personality/sanity/sentience and that without blood he’d… apparently just become like any of the zombies we saw in the show. And that is such a cool concept! But it was not really explored, nor was it written all that well. Even though it could’ve been (and I think was maybe intended to be???) an excellent source of existential dread!

But yes, in general there was hardly any depth to this show. They played almost every possible card they could for shock value, and included many unnecessary and frankly underwhelming esoteric concepts that went nowhere. There was so much gore and random effects. We had zombies, vampire infants, and Dracula legit wearing people’s skins. The lore didn’t make any sense either, apparently people just… being unable to die despite their body’s so called death is a common occurrence? It wasn’t clear whether Dracula even had much control over who he changes and whether or not they become proper vampires. The entire thing just seemed poorly thought out.

There were a lot of easter eggs and references to previous Dracula adaptations (and even some unrelated vampire media). I definitely noticed nods to the Hammer Horror movies and the Lugosi film, which was fun. The biggest noticeable influence however would have to be the 1992 Coppola movie. I have never seen a show try so hard to be another movie lmao. They even went so far as to make a spiritual successor to the film’s main theme that’s about as close as you could probably get without actually licensing the music.

However, while the Coppola film at least had skill with regards to the costuming and cinematography to carry its aesthetic, this show simply did not. The costumes, the makeup, and the special effects were all lackluster. The set was nice enough but was not shot in a way to really leave much of an impression.

The first episode was abysmal— mainly due to Dracula’s awful performance (those disgusting fungus covered fake nails, that age makeup, that ACCENT) and the entire awkward af scene where he terrorizes a convent of nuns while naked and covered in blood. But it was at least so bad it was funny.

The second episode was the most tedious to me because it was less offensively awful so I couldn’t even enjoy the badness. There was definitely a sharp uptick of quality whenever Dracula was offscreen for any notable amount of time though. The passengers were rather boring but I liked the crewmen. And Agatha honestly killed it for the latter half.

The last episode was by far the worst and yet the most entertaining because they just stopped trying at that point.

Renfield was amazing and an absolute delight every time he was on screen. Dracula found him over skype for God’s sake, how can that not be fantastic? He actually utters the words “Dracula has rights,” and his argument somehow actually fucking works.

And even Dracula himself was far less insufferable with the shift in dynamics. By being forced to cope with the modern world, he could no longer act like such a smarmy, self-assured know it all. Seeing him freak the fuck out at the sight of helicopters was genuinely fun.

Lucy’s handling was misogynistic af though. It was bafflingly, needlessly awful. And the way she was vilified at the very end was appalling. They almost had an interesting deconstruction wrt her utter malaise for her life, and the implication that she actually resents her beauty. But then of course she gets burned alive, and then is treated horribly for it by the protagonists.

Even though it’s clear she has no idea what’s happened to her body, Zoe doesn’t even bother to explain it to her. She just makes her take a selfie of all things so she can see what she really looks like. It didn’t seem like the show had a shred of sympathy for her, because “oh, clearly she was a narcissistic bitch and she deserved what she got” or something like that??

The utter indifference everyone has to her death is baffling. It was an afterthought, that seemed like its only purpose for existing was yet again just shock value. The scene, after her death, immediately shifting the focus back to whatever weird personal rivalry that borders on sexual tension Agatha/Zoe and Dracula have going on.

But all in all, this adaptation had me baffled, frustrated, and cringing through most of it. It was unintentionally funny quite often and I honestly enjoyed it, but for all the wrong reasons. I highly recommend it to anyone who wants to melt their fucking brain.

#netflix dracula #netflix dracula spoilers #moffat dracula #bbc dracula #long post #I ramble sometimes #tldr: it was BAD #all the salt #this is 1800 words #*writer’s cap*

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