#and the script + john's performance backs this up | Explore Tumblr Posts and Blogs

m1ssunderstanding · 4 months

Text

Get Back Rewatch 55 Years On: Day One

So I know this has probably been overdone by lots of people on lots of years but I haven't done it yet and I want to so here goes: I'm going to rewatch get back with the days matched up and catalogue my thoughts as I watch.

We don't get to see George and John saying hi to each other, but I'm struck by how careful they are with Ringo when he comes in. "Hi Ringo, happy new year." From both of them, with full eye contact soft, sweet voices. I wonder if they're really wanting to be so gentle with him after what happened at the end of August. Not like walking on eggshells at all, but just very "we're working on doing better because we care about you."

While Paul's not there, John is giving George full attention, leaning in to him, facing him while they sing, and George seems to really love it

But then Paul shows up and you can tell before we even see him that he's arrived, because suddenly John's gaze is gone from George. His eyebrows shoot up, he chin-tilts, and (this sounds insane I know but it's what I just watched) his singing drastically improves. He's putting effort in, performing.

Paul sits down and the shy little grins and glances and inside jokes (at George's expense and hypocritical of John) ensue immediately.

Ringo's jacket. The black with the maroon velvet collar. It's very cool and it's very unique to him. I don't see the other three pulling it off the way he does. He just has effortless swagger. If the other three wore something like that they'd look like try-hards.

George's sassy little hair flip. "oh, you're recording our conversation?"

Meanwhile John and Paul are back at it like magnets I swear. Turned in to each other, talking gibberish, and strumming

George with the deadpan sass again. "Maybe we should just learn a few songs first." Lol he's so stone cold.

"Oh please believe me." "Yes I will." Come on. Do you ever stop? And then the silent communication when they screwed up. We don't see Paul's face but John makes such a cute "oops sorry" face and they keep going.

Paul's literally so bossy. I find it such a turn on, really, watching it. Just because it's him being a genius who has a vision and sucks at social skills. But if I were in that band and he wasn't letting me hit I'd literally hate him.

John's so delighted with Paul's "everybody's got a hard on... Except for me and my monkey." Because that's one of the ways he often expresses his love for Paul and Paul's giving it back to him here. So John's just "Oh he made a joke about my song. He's teasing me. He does like me."

Paul literally diggs John's part of IGAF so fucking hard though. Like as soon as John's singing, Paul can not be still. Can not. He just thinks John's so so clever (and to be fair he is)

Crazy eye fucking continues

Then Paul's off to talk big boy plans with the daddies for a minute. (would love to know who he waved at then sucked his finger) "Is this your place, Twickenham?" Okay. Feeling out a potential daddy's pockets. I see you.

Obsessed with Yoko's emerald bag and how she got her little boyfriend to wear the exact color of Henley. Ken was literally made to be Barbies accessory and he's doing such a great job matching her purse. She's so pretty and cool.

It cracks me up how extremely nonchalant Ringo is about Magic Christian. (I LOVE that movie. Ringo is so hot in it and it's anti-capitalist so it's a winner). Dennis O'Dell is all "the scripts are marvelous." And Ringo's just "yeah you told me." And then Dennis is like "I'll take up up and show you around these really great sets." Ringo: "yeah okay." It's almost like the other three have no chill so he has to have only chill to balance it out.

They really are so blunt with each other when they don't like something. "I don't dig that." "Scrap that." Which is good. If only they could've been blunt when they did like things too though. And I guess they were sometimes. Like John telling Paul to keep that lyric in Hey Jude. But I don't think they were half as open with their positive feelings about each other's work as they were the other way around and that's so sad to me.

Why does George single Paul out about the sandwiches? It's cute. I love it. But what is it? Is he particularly worried about Paul and food because Paul's picky? Is it just their relationship that they take care of each other in these simple ways because they can't take care of each other emotionally?

Fucking hell why does Paul literally flirt with everyone all the time? "No separation in there." "Rain or snow will do me." "Yeah, you're pretty right, Michael."

Pretty sure John was looking at the lyrics of TOU off that sheet that said "Another Quarrymen Original" at the bottom. I wonder what he thought of that. I wonder if it was there to signal him, and if so what was it signalling? "Hey this is about you."??

"Two of us Henry Cooper." Referencing a boxer in a song about him and John. Why? Because they're fighting?

#get back #the beatles #paul mccartney #ringo starr #john lennon #george harrison #Dennis Odell #mclennon #michael lindsay hogg

103 notes · View notes

topperscumslut · 11 months

Text

Flip the Script (NSFW)

Summary: Bill punishes you after you make him break character during a sketch

Time: roughly sometime from 2008-2010

Content/warning: smut, porn with a plot, unedited stoned writing, fingering, oral (fem receiving), spanking, vaginal sex, protected sex, choking, breast worshipping, brat kink, praise kink, begging kink, male moaning, public sex

Word Count: 1.8k

It was your favorite night of the week - Saturday night. It wasn’t that you had a crazy party to go to, well, not until after work at least. It was that you had the best job in the world, working for Saturday Night Live with your steady boyfriend Bill and your castmates who were like family to you. Tonight, you and John had something special planned.

Mulaney was always making Hader laugh by switching his lines in Weekend Update with Stefon, but this time John had let you take the reigns. You were newer to writing but he coached you through it, and with a little help from Andy Samberg, you had a sketch that was sure to send your boyfriend into hysterics.

You felt a little bad at first, you didn’t want to upset or embarrass Bill, but John reassured you he did it all the time and he wasn’t upset. He was right, you thought, and what should I be scared about? Even if Bill was mad, he would never hurt me… unless I wanted him to.

Now, it was finally the night of the show and you, John, and Andy, couldn’t contain your giggles about the switched lines you were unexpectedly springing onto Bill later tonight. You made your way over to your boyfriend’s makeup chair where he was getting ready for the show, already in his game show host character suit, and gave him a soft kiss on the cheek.

“Hey, love bug!” he wrapped you up in his arm, “I’m so excited to be performing the first sketch you’ve ever written tonight! That’s huge!”

You giggled at how enthusiastic Bill got over you, you really were extremely lucky. “I gotta admit, I do have a few little surprises planned…”

Bill’s eyes widen.

“You better not make me break up there!”

“Aww, whatcha gonna do about it Hader, punish me?”

This makes his eyes widen even more, before he collects himself and pulls you in closer, whispering in your ear.

“That’s exactly what I’ll do.”

You attempt to control the arousal now pooling between your legs from the rasp in his voice, and see how much you can get away with teasing him.

“Oh noooo, I’m so scared!” you chuckled, giving your lover a snarky wink.

“You’re scared? I have no idea what I’m gonna have to say out there!”

You roll your eyes with affection and place your hand on his neck, “babe, it’s not that bad, I swear. I love you, and I know you’re going to crush it.”

Bill plants a kiss on your cheek. “I love you too.”

The two of you pull yourselves together from the dishevel of the sexual tension, and continue getting ready for the night before exchanging a quick peck right before the start of the show.

After opening with one of your skits with Amy, Bill is up. John flashes you a mischievous grin and you feel your stomach churn from adrenaline.

Only a few seconds in, you’re getting the tiniest smile out of Bill, him shooting you a look as he sees his opening line is changed. By two minutes in, he can hardly keep it together as his lips grow into a goofy smile and he’s nearly doubling over with laughter.

You lock eyes with him as he starts to calm down from his laughing fit, mouthing “good boy,” which causes him to squirm in an attempt to fight back both the laughter and the sudden tent growing in his pants.

By the end of the sketch, you and John are laughing your asses off and Bill is red as a tomato, playfully flipping the two of you off as he walks backstage.

He takes you into his arms and places a chaste kiss on your lips, pinning your hands behind your back when you try to hold his face. “I don't know whether to be more proud of you for your writing or annoyed at you for embarrassing me.”

You kiss him back with a small laugh. “I’d stick with proud.”

He leans down and whispers in your ear, “let’s just hope you decide it’s worth it after tonight.”

Chills run down your spine in lust and anticipation as Bill kisses your cheek and walks away. The rest of the night goes by smoothly, act after act, just as planned. At the end of the show, you and the rest of the crew all join the stage to say your goodbyes, before gathering together to clock out and head to the cast after party.

Bill’s already teasing you in the back of the taxi, kissing your neck with his fingers in your hair, and rubbing his hands up and down your thighs.Your purple cocktail dress barely covers you, and your beloved boyfriend can’t keep his eyes off of your body.

When you make it to the nice Mexican restaurant the party is at, you greet the cast, hugging an already tipsy Kristen and fist bumping Andy. You and Bill go sit down with Seth and Jason and make small talk while waiting for your food after ordering. In the middle of the conversation, you feel Bill feel his way up your leg, making his way from your knee nearly to where your legs meet. He pretends to nod along to something Jason said, but then turns and nods to you to ask for consent, to which you nod back.

Before you know, Bill has his right hand in your panties, massaging your clit while you fight to hold back your moans.

“You doing ok, (Y/N)?” Seth asks.

“Y-yeah, just, a little, um buzzed.”

Bill laughs, shaking his head with affection, “my little lightweight.” He shoots you a devilish glance, knowing damn well the real reason isn’t the alcohol in your system.

Right as you start to speak up again, Bill gently sticks one finger inside of you, causing you to gasp. You collect yourself as quickly as possible, trying not to let on to what was happening under the table.

Bill suddenly stops, abruptly stepping up from the table, announcing he’s going to use the restroom, leaving you with the guys to pretend like nothing had happened. Within five minutes, the three of you had diverged, still waiting for your food, splitting apart and joking with your coworkers when you get a text from Bill.

Meet me in the closet by the kitchen.

You bite your cheek, exhilaration flooding your body. No one will notice if both of you are gone for a couple minutes, right? You excuse yourself, walking to the hallway and right past the bathrooms, over to a large closet across from the kitchen.

You open the door and Bill beckons you in, shirt already unbuttoned, before pulling you in for a passionate kiss.

“Did you think it was funny making me break out there, doll?” he asks, fingers brushing your chin. He kisses you again before you can answer.

Between heavy breaths, you try to talk some reason into things. “Bill, we can’t do this here, someone could catch us. What if our friends-“

“What? What if our friends what? You can make me break character on live television, but are scared of all our friends knowing what a good little slut you are for me?”

Your breath catches in your throat, unable to speak. Bill starts to kiss up and down your body and you surrender to the sensation as he engulfs his face in your breasts, slipping off your dress to expose you to his touch and sucking and licking them while praising you. Telling you what a good girl you are, what beautiful tits you have for him. He leaves dozens of hickeys on your chest before making his way down to your bikini line.

Bill starts to kiss around the bottom of your pelvis, making you whine and beg for him. He finally gives in, holding you up against the wall before removing your lacy panties and sticking his face between your legs. Your knees start to give out as you moan and gasp his name, Bill licking up and down your folds and sucking teasingly on your clit. He inserts two fingers into you, curling them around your g spot, before pulling out as he feels you start to clench.

“Damnit Bill!”

He chuckles a little and looks you up and down, “told you there’d be consequences.”

Bill starts to undress, throwing his clothes recklessly onto the floor. He pulls out and slides on a condom, before lifting you up onto the wall again and making you beg before sliding into you. He steadies himself by placing his hands above your head before starting to pump into you as a familiar Arctic Monkeys tune plays through the restaurant stereo.

“Holy fuck, Bill! Harder!”

At this point, you don’t really care who hears. All you care about is your desperate need to cum. Most of the cast is probably enjoying their dinner anyway, none the wiser to you and Bill being gone.

You gasp in pleasure and pain as Bill raises his hand and spanks you while thrusting in you. “Such a good little fucking brat. Taking it so well.”

You start to feel him throb inside of you and his dominant demeanor falls from his face as his head tilts back and his eyes roll back in pleasure, lip quivering. You can tell he’s getting close and clench your walls on him, eliciting a deep groan.

Bill’s speed increases as he muffles his moans into your neck, so close to release. You feel your orgasm approaching as well and dig your nails into his back as he pumps into you. You throw your head back, nearly hitting the wall before Bill’s hand secures you, as he fills you completely and the tingling pleasure overtakes your whole body. You swear you see stars as Bill pushes you over the edge, hand wrapped gently but firmly around your throat.

Bill reaches his high at the same time, pulling you into him for an intimate kiss, hands fondling your body. He pulls out of you before planting a kiss on the top of your head and helping you get dressed, adjusting the collar of his shirt as the two of you make your way back to the party.

“You did such a good job, babygirl,” he whispers to you with a kiss as you join the rest of the guests.

“(Y/N)!” Kristen calls to you. “Where the hell have you been? Your quesadilla is getting cold!” She gasps in surprise and amusement as her eyes draw to your neck and chest, noticing your hickeys.

“Damn, why do I never get that treatment when I make you break?” John chuckles.

Bill turns beet red again, laughing awkwardly with the group while helping you to your chair. After a long night of laughs, food, and drinks, you and Bill finally make it home, changing into your pajamas and holding each other until morning, excited to spend your day off together repeating the night before.

#bill hader #bill hader x reader #bill hader smut #bill hader fanfic #snl #saturday night live #smut #saturday night live after party #andy samberg #john mulaney

176 notes · View notes

ladyaislinn · 5 months

Text

Rufus on his performance as an amnesiac in "Dark City": "Obviously he (Murdoch) was going to be the center of the film, but he was going to be a blank pamphlet. I thought, 'Well, that's an interesting thing to play.' Someone who's basically a child, born into the world with an adult's instincts but without any of the experiences to back them up. You wouldn't know what your face looked like, you wouldn't know what face you pulled. You wouldn't know whether your name was John, Jack or Beelzebub. I thought that would be interesting."

On working in the dark all the time making "Dark City": "It was weird. I'd flown all the way from England to Australia to see the land of sun, sea and sand. I arrive and they lock me in this aircraft hangar at 6 in the morning and let me out at 7 at night. Then they lock me up again the next morning. I didn't see the daylight during the week for a very, very long time."

"When Alex first sent me the sketches for that set, I was more excited than I had been when I read the script. The Underworld was truly remarkable -- a little bit scary, very thrilling, and full of hundreds of bald people." buffalo news

To lead the ensemble, Proyas enlisted Rufus Sewell (Carrington, Cold Comfort Farm), whom Andrew Mason discovered during a trip to London when a friend suggested he see Sewell's latest play. "I was told he was the most exciting new actor coming out of England in years," says Mason. "I went to see him and thought he was extraordinary." After meeting with Alex Proyas and reading the script, Sewell accepted the role of John Murdoch, which was a departure from the kinds of film roles he has played to date.

"I never thought about being in a science fiction film before, normally, there's not much for an actor to do in a film like that, except to point at things and say, ëOh, look at the size of that!' or ëI've never seen one of those -- they've been extinct for 4,000 years!' But this is part film noir, part science fiction, part fairy tale, and it has really vibrant roles for actors."

"My character is on a quest to find out who he is. I've had experiences in my life when I thought I was on the edge of madness, and I drew on those experiences to play Murdoch."

in depth review DVD directors cut ▪ video (lousy qualitiy) ▪ video II ▪ Dark City - The Best Movie You Never Saw

#ladyaislinn #rufus #sewell #rufussewell rufus #rufussewell #ladyaislinn69 #dark city

66 notes · View notes

lime1991 · 5 months

Text

hold on i have to recraft my trolls age hc... i just learned there was a brozone website and on said site we have:

January 2nd 1999 is, maybe, Branch's birthday? And instead of being like "awesome im a big brother" Floyd just goes "thank god im not the baby anymore" after hes born.

Baby Branch's oldest message is this:

February 26th 1999. He's over a month old at this point, but the phrasing of "tonight's show" leads me to believe he was part of the band from literal birth (also why Floyd's first reaction to his birth is "thank you for saving me") and therefore this isnt his first show.

The last logins for all of the brothers is March 11th 1999

And just a day before, according to John Dory, new merch dropped

Soooo i think its safe to say around March 11th 1999 is when the band broke up after their ruined performance, which makes sense that it was also the last time any of them logged into the website. (though i think it would be sad and sweet if it showed branch had logged into it sometime recently but whatever)

So that brings me back around to the age thing.

The trollspedia page states Poppy is around 21-23, and I agree and am more inclined towards 22-23 personally. Seeing as Branch was born in January 1999, he'd be 24 in 2023. But the only thing that confuses me a little is Branch saying its been 20 years since the band broke up:

For 1999 to be 20 years ago, that would mean the movie takes place in 2019. And... honestly that's not too far off from 2023 so i don't mind that being the case, its always vague about what year its meant to be, a lot of animated movies are like this. Also i wanna bring up that the song Bridget and Poppy sing in the beginning (Good As Hell by Lizzo) came out in 2019, SO... its not impossible that the movie is meant to take place in 2019.

SO... with this all in mind... my new theory/headcanon:

As of 2019...

John Dory - 39 Bruce - 38 Clay - 33 Floyd - 28 Branch - 20

And as of 1999...

John Dory - 19 Spruce - 18 Clay - 13 Floyd - 8 Branch - 2 months

ALSO lets not forget the fact that troll age stages are different from humans', a 2 month old is singing and dancing in a boyband. They tend to mature past their actual age really quickly.

(i know these are country trolls, but the idea is still there. as soon as they pop out the egg, trolls are basically toddlers)

And I've tried to keep my theory compliant with what the wikia says (like how Clay's 1999 self is referred to as a teenager, therefore i made him 13) because i believe theyre mostly right. however. i also believe the movie takes place in 2019, not 2023. even if that wasnt the intention of dreamworks, they wrote in the script that its been 20 years since 1999... that can literally only be 2019 lol.

But if we want to imagine it takes place in 2023, heres age hcs for that too:

John Dory - 43 Bruce - 42 Clay - 37 Floyd - 32 Branch - 24

Btw this means, in my hc, Poppy is 19 in 2019 and 23 in 2023, as is implied in the wiki. Which makes sense to me, because Branch is obviously older than her by at least a year. With my hc that Bruce and JD are only a year apart (again, in compliance with the wikia that claims JD was a teenager in 1999 and therefore not 20 like i want him to be. and making the "heart throb" not a minor bc thats weird to me) the moment where Poppy calls JD the "old one" but later fawns over Bruce is made extra funny when the two of them are so close in age.

But i want to say for the millionth time so nobody gets confused bc of all these numbers: I THINK BAND TOGETHER TAKES PLACE IN 2019!!! not 2023. And don't even ask about how the first movie truly fits into this, I DONT KNOW, they definitely did not fully think through a trilogy in 2016. Some things are just a product of when they came out and thats ok.

#dreamworks trolls #trolls #trolls 3 #trolls band together #rant #not a negative rant but i tend to tag my big effing essays like that

87 notes · View notes

thefirsthogokage · 9 months

Text

So, the AMPTP basically said that the studios take too much risk to pay people anything for streaming shows. Here's John Rogers and David Slack responding to that.

(link to top of thread)

[Image ID: A tweet thread from John Rogers on July 23rd, 2023 that reads in its entirety:

Last time I had a failure - which was collateral damage in an argument between the studio and the network - I had to personally fire 200 people, they all were off payroll by that afternoon, and I was also out of a job. The executives all continued to get paid. So fuck off.

Actually, that’s not true. The failure after that one happened as collateral damage in one of the mergers, so it had nothing to do with the quality of the show. And I had to wait, forbidden to work, not earning a dime, as they shopped it for six months.

Also several of my writers were cheated of their expected salaries, some losing up to 75%, for reasons too complicated to explain here. Those executives, both studio and streamer, all kept their jobs. So double fuck off.

Actually no, my last failure was a show where after delivery the network made us wait *seven months … for a PASS*. Seven months where I was in first position, and again, was forbidden from working.

Do that was one pilot fee, cut in half with a partner, for a year and a half’s work counting development. Those executives, both studio and network, kept their jobs.

So *triple* fuck off.

Luckily I had my tiny sliver of back end from TRANSFORMERS - no, wait, no, because according to the Hollywood accounting while that movie grossed something like a billion dollars all in, it unfortunately wound up $36 million in the hole.

So QUADRUPLE fuck off.

If you’re dumb enough to take that AMPTP statement at face value, responsible adults should remove all the scissors from your home. You are the reason hair dryers have the “Do not use while sleeping” warning.

/End ID]

I believe that merger one was Leverage or The Librarians. Both were doing REALLY well before they got cancelled due to network shit, I know that much. So the network/studio one could be either of those as well. Probably Leverage?

(Link to top of thread)

[Image ID: A tweet thread from David Slack posted July 21st, 2023 that reads in its entirety:

The studios claim they shouldn’t have to share revenue for the success of the shows we make succeed because they assume all the risk.

Well.

To paraphrase a famous actor: There’s more than one type of risk, motherfucker.

While the studios and their new hedge fund besties may assume some modest financial risk, any losses just go on a balance sheet next to the C-suite’s golden parachutes.

The workers in this industry, on the other hand, risk a hell of a lot more than that.

Most working actors live with the constant uncertainty of never knowing where their next paycheck will come from or how long it will be between jobs. That’s risk.

If they work a second job, they often risk losing it every time they take time off for auditions or jobs.

Actors also generally have little control over the final product, so *every* role is a risk for them. Sure, it could be the hit that changes everything. But it could also be a flop that hurts their career for years. They become “the guy from that thing” and can’t get more work.

Under our old contract, writers put in untold hours of free work developing and rewriting pitches and scripts for features and TV. Much of this work is on spec. That’s a huge risk writers take on — yet the studios are happy to benefit from the upside without taking on any risk.

Writers, actors, crew, and directors also risk our personal relationships, spending long hours at work, frequently across the country or around the world. Our partners soldier on without us. Our kids miss us and we can only hope they’ll understand.

That’s a huge risk.

Stunt performers literally risk their lives for the shows we make. Productions and crews take every possible precaution to ensure their safety, but accidents still can and do happen.

You gonna try and tell us that’s not risk?

All of us risk our health and safety working insane hours to keep up with the schedules our bosses create. When was the last time David Zaslav or Bob Iger worked a Fraturday? Do they even know what one is?

In production, where 14, 15, and 16 hour days are common, people have died from falling asleep at the wheel driving to and from set.

And the studios have the fucking gall to say they’re taking all the risk?

We risk our finances, our families, our friendships, our futures, and sometimes our lives to make a product for you that you have no idea how to make yourselves.

All you risk is money.

And by the fucking way, we *know* you can afford to give us success-based pay — because you’ve been doing it for 83 YEARS.

Remember 1960? When both the WGA and SAG went on strike and won…

residuals for TV?

Residuals for TV *are* success-based pay. Great movies and TV shows re-ran more often, so the people who created and starred in them got more money as a reward for that success. It’s a great system that incentivized workers to bust their asses to make great shows.

And you know what happened to the entertainment industry in the 8 decades studios have been making these success-based payments?

IT THRIVED.

Studios made billions in revenue selling our product all around the world.

But now, the studios say they can’t afford it. They say it’s not “fair” for actors to ask for success-based pay because they don’t take on any risk.

That’s stupid.

It’s offensive.

And it’s a lie.

It’s shameful that the AMPTP and their studio bosses are trying to deny the workers who make their product a bonus for success that is time-tested and has 83 years of precedent.

And that they’re lying about it?

That’s just… uncivilized. #WGAStrong #SAGAFTRAStrong

/End ID]

The absolute fuckery of this statement that came from the AMPTP is that the studios thought this would gain them sympathy. They were wrong. They genuinely thought this was a good statement from them because they DO think they take all the risk because they can't see people who don't have their wealth as real people. They can't.

Wealth is a disease.

No one should make the kind of money these people make. It makes them so out of touch they think of themselves as gods among ants. They step on those ants? They don't notice. They don't care. They just keep moving forward to gain as much money as possible, even though they have no way to spend it.

Fuck the studios, a new system needs to be built around them so that they'll die.

#wga strike #sag aftra strike #wga strong #sag aftra strong #double strike 2023 #solidarity summer #fuck amptp #fuck the studios #john rogers #david slack

139 notes · View notes

youdontgofastenoughforme · 9 months

Text

Good Omens timeline (as of season 2), from Before the Beginning until the end of season 2:

- “Before the Beginning” — Aziraphale and Crowley meet for the first time.

- 9:13 a.m, Sunday, October 21, 4004 B.C — The creation of the universe (according to God).

- 4004 B.C, "just after the Beginning" — Eve and Adam eat an apple, and then Crowley and Aziraphale have their first on-screen interaction.

- Somewhere between 3070 and 3030 B.C (when Nefertiti was alive), Egypt — Aziraphale presumably impresses Nerfertiti with his magic skills, “You're talking to the Angel who fooled Nefertiti with a lone caraway seed and three cowrie shells.”

- 3004 B.C, Mesopotamia — Aziraphale and Crowley witness the events of Noah's Ark.

- 2500 B.C, the Land of Uz — Aziraphale and Crowley help Job and his family (A Companion to Owls minisode).

- 33 A.D, Golgotha — Aziraphale and Crowley see Jesus’ crucifixion.

- 41 A.D, Rome — Aziraphale and Crowley have oysters.

- 537 A.D., Kingdom of West Essex — Aziraphale and Crowley are knights in King Arthur’s time, and Crowley first suggests “the Arrangement”.

- Sometime in the 1500s (likely between 1503 and 1506 if wikipedia is to be believed), Leonardo Da Vinci’s Studio, Italy — ‘In which Crowley gets drunk with Leonardo Da Vinci’ and buys a sketch of the Mona Lisa for fifteen florins (cut scene from the script book).

- 1601, the Globe Theatre, London — Aziraphale and Crowley meet Shakespeare (who steals a line from Crowley that he uses in Antony and Cleopatra). Crowley also performs a miracle to make Hamlet popular.

- 1650 — The first (known) time that Aziraphale does the apology dance for Crowley.

- 1656, Lancashire, England — the last true witch in England, Agnes Nutter, is burnt by Witchfinder Major Thou-Shalt-Not-Commit-Adultry Pulsifer, who is killed in the process by Agnes’ forward-thinking.

- 1760, Monsieur Rossignol’s Night Classess — Aziraphale learns french the hard way.

- 1793, Paris — Crowley saves Aziraphale from prison during the French Revolution's Reign of Terror (and then they get crepes, as well as Aziraphale doing the apology dance for Crowley).

- 1800, the opening of Aziraphale’s bookshop in Soho — Gabriel and Sandalphon visit Aziraphale to promote him back in heaven. Crowley overhears this, and tricks Gabriel into having Aziraphale stay on earth in order to “thwart him” (cut scene from the script book).

- Sometime before 10th November, 1827, but likely after 1800 — a conman attempts to seduce Aziraphale into helping her “brother” with his debt. Some-point after, Aziraphale tells Crowley of the story over a glass of claret.

- ~A month before 10th November, 1827, Edinburgh, Scotland — Crowley and Aziraphale visit a graveyard with a statue of Gabriel and end up helping a body-snatcher, Crowley also prevents her from committing suicide which results in him being sucked into hell “And that, was the last I was to see of Crowley. For quite some time.” (The Resurrectionists minisode).

- 1859, Aziraphale’s bookshop, Soho — ‘In which Aziraphale almost sells a book’ before receiving a note delivered by a street urchin from Crowley reading ‘the usual place - C’ (cut scene from the script book).

- 1862, St. James Park, London — Crowley requests holy water from Aziraphale for assurance in case anything goes wrong.

- Sometime between 1889 and 1919 (the years Hoffman is alive) but likely around 1876 (the year the book, Modern Magic: A Practical Treatise on the Art of Conjuring is published, that Aziraphale has a signed copy of), England — Aziraphale receives magic lessons from Angelo John Lewis, pseudonym Professor Hoffman, ‘“Aha! Professor Hoffmann's modern magic. Ah, there you are. To Mr. Fell, that's me, a wonderful student” (written) Yours, the Hoff’

- 1941, London — Aziraphale gives prophecy books to some nazis for Hitler, in an attempt to arrest them, only they double-cross him as well. Crowley then comes to Aziraphale's rescue and gives him a lift home, stopping at the West End theatre on the way back . However, the nazis come back as zombies for hell to expose Aziraphale and Crowley’s arrangement, but Aziraphale’s magic thwarts them (Nazi Zombie Flesh Eaters minisode). At some point later on, Aziraphale does the apology dance for Crowley.

- 1967, Soho, London —Crowley arranges a heist (after having gone clothes shopping that morning) to steal holy water from a church with Lance Corporal Shadwell and others. Aziraphale thinks it’s too dangerous, so he gets Crowley holy water himself.

- 1970s, London — Crowley changes the design of the M25 to represent the symbol Odegra, which comes back to bite him later on (as most things do).

- ~2008, “Eleven Years Ago" — Hastur and Ligur deliver the Antichrist to Crowley, who gives it to The Chattering Order of St. Beryl. The Antichrist is then swapped with Deirdre and Arthur Young’s child, while their child, Warlock, goes with Thaddeus and Harriet Dowling. Trying to prevent Armageddon, Aziraphale and Crowley agree to help raise Warlock, the boy they assume is the Antichrist.

- ~2013, “Five Years Later - Six Years Before the End of the World” — Crowley disguises himself as Warlock's nanny, while Aziraphale disguises himself as the Dowlings' gardener.

- ~2019, “Six years later” — the chronological events of season 1 unfold, ending with Aziraphale and Crowley eating at the Ritz.

- Between 2019-2023 — Gabriel and Beelzebub routinely meet in the Resurrectionists pub, where they fall in love.

- ~2023 — the chronological events of season 2 unfold, ending with Aziraphale going up to Heaven and Crowley driving away from the bookshop to destinations unknown (his flat? out of london? out of the uk? out of the world?).

#good omens #good omens 2 #spoilers #go2 spoilers #ineffable husbands #good omens timeline #i need someone to stitch together all the scenes chronologically #asap #i just feel like it might make me feel better #(it probably wouldn’t)

109 notes · View notes

brf-rumortrackinganon · 1 year

Text

Bower's Revenge: Confirmed

Harry supported or endorsed Meghan's Vanity Fair article. (But we all knew that anyway because he didn’t dump her when it came out.)

"Contrary to Omid Scobie's assertion that Meghan wanted 'to tell the world "I'm in love" and did the 'interview with Harry's blessing,' Kashner arrived in the pouring rain at Meghan's home knowing that his interviewee was under strict orders from both Harry and Keleigh Thomas Morgan. Aware that Diana and Sarah Ferguson had destroyed themselves in interviews, Harry had ordered Meghan to maintain tight-lipped silence about sensitive subjects - Donald Trump, race, their relationship and especially himself. He was not to be mentioned." (p157)

Meghan is a kleptomaniac.

Bower writes that she took the shoes from the Reitman’s photoshoot. He also kinda dances around the possibility that she may have taken items from her time with the royals for future profit – whether hers or others’ – which the BRF knew about or suspected, hence why she never got any substantial loans from The Queen or William (for Diana's pieces).

Meghan hated her engagement ring from the word "yes" and has wanted to redesign it immediately. #noshitcaptainobvious

“Harry gave her a ring that he had commissioned, with two of Diana’s diamonds set in yellow Botswana gold. He was particularly proud of his design. Meghan did not conceal her excitement, even though she was secretly determined to have the ring redesigned as soon as possible.” (p156)

Meghan convinced Harry to go off his meds and stop therapy.

Bower confirms that Harry was in therapy or receiving mental health care that was working well before he met Meghan and that Meghan either convinced him to reconsider or introduced him to more holistic homeopathic remedies for his mental wellness.

Meghan cheated on Cory with Rory/other golf players.

“’I saw Rory McIlroy. I walked over and he was with Meghan Markle…’ By midnight, as the golfer and Meghan were photographed sitting close together, Fitzpatrick was hosting a party of 20. The following morning, McIlroy arrived at the Ringwood golf course 30 miles away to play in a new competition. Worse for wear after a hectic night, he fell back to 101st place. Nevertheless, he refused to sleep as usual near the golf course to be ready the following day. Instead he drove back to New York to see Meghan. His performance suffered. ‘I wasn’t quite on my game,’ he confessed. ‘I was enjoying myself.’” (p67)

“Asked by Cory Vitiello whether she was having a relationship with McIlroy, Meghan insisted their time together was innocent.” (p68) #birdsflyandmeghanlies

“Meghan left the hotel for dinner with Rory McIlroy at the upmarket restaurant Fade Street Social. She was spotted looking ‘smitten,’ gazing intently at McIlroy. ‘They sat beside each other looking very cozy and chatted all night,’ reported Alexandra Ryan in a newspaper gossip column. That was Meghan’s third night in Dublin. On a previous night John Fitzpatrick would describe his dinner with her, and later implied that she and McIlroy had secretly met. Meghan’s Irish friends assumed that she and McIlroy had also met unseen, earlier during her visit.” (p70)

Meghan wanted to be a sports WAG; Harry was a last option when the athletes weren’t interested.

Bower confirms that Meghan went after several athletes while dating Cory, including both Rory McIlroy and Ashley Cole.

Meghan wanted to be a TV chef/foodie so she hooked up with Cory to achieve legitimacy in that realm.

“…Nick Ede, a fixer paid by Sunshine Sachs to book her appearance at the TV gala, had also arranged for her to meet Jonathan Shalit, a successful and likeable TV agent. ‘I want to be a TV celebrity chef like Gordon Ramsay,’ Meghan told Shalit in his office. Or, she volunteered, she would be happy to appear in any other non-scripted TV show. Shalit was excited. She was charming, good-looking, and admired by the small audience for Suits. He was unaware that while Meghan liked eating good food, her cooking skills were limited. Other than blender-made vegetable soup her specialties were plain pasta, roast chicken, barbecued hamburgers and steak. The rest of her food was bought ready-made. Rather than cook, she imagined fronting a TV program to tour the world tasting food.” (p61)

Meghan demanded many versions of the banana bread for the Aussie block party from Admiral House’s kitchen team and passed it off the next day as her own bake.

See above.

Meghan doesn’t really have any Hollywood friends. They are all PR acquaintances with quid pro quo.

“Over the next few days, [Sam Kashner, the VF author] called those who Meghan had recommended as her friends. Serena Williams denied she was Meghan’s friend but just an acquaintance.” (p159)

Harry adopted Meghan’s American wokeism personality, which lost him all his friends.

Harry proposed LONG before the engagement was announced.

Bower writes that Harry proposed while the Queen was at Balmoral and before the Vanity Fair interview, which would’ve been sometime July 2017. They received the Queen’s formal approval for the engagement in late October 2017.

Which is a verrrrry different story than the one Harry tells in Spare…Harry says he proposed in October after getting the Queen’s approval and they announced it 2 weeks later.

Direct quotes from Bower in the inconsistencies post 4 posts back.

Harry and Meghan intended for the Sussex Royal charity to be profitable and pay for their lives.

Bower writes that how the foundation was organized went against Meghan’s intentions, which caused a tantrum because it removed her from the foundation’s direct oversight and leadership. Bower also alleges that Meghan was angry over not having any say in who the foundation’s appointed directors were.

Meghan is a fauxmanitarian, doesn’t really believe in supporting humanitarian causes altruistically.

Bower writes that Vanity Fair couldn’t confirm or substantiate the charity work Meghan claimed in the interview she did and therefore did not include her charity work in the article. The VF author agreed and supported this after Revenge was published.

Meghan never intended to be a part of the BRF, she always wanted to cut and run as soon as she could.

“Unwilling to grasp that she could not share the spotlight with the Queen, Meghan had accelerated her return to California.” (p380)

Meghan has and has had several aliases on social media.

Meghan schemed and entrapped Harry by preying on his emotional vulnerability.

“Since she had carefully researched Harry’s life, Meghan kenw exactly how to make him feel loved and appreciated. So long as she looked at him with intense affection and trust, she would not trigger his insecurity or paranoia. To reassure him that he was admired for himself she would tell him what he wanted to hear, especially about the importance of his ambitions and principles.” (p122)

Meghan pockets the donations to Archewell for herself.

Bower writes that the secrecy of Delaware’s laws for charities and foundations meant that owners/creators are in control of any money used, earned, received and that foundations/charities have no obligations to report any monies received. Bower also specifically says that they intended to use Archewell as their income.

Meghan cheated on Cory with Harry.

Bower says that Meghan was furious at Sunshine Sachs over the VF article printing that she met Harry in May 2016 and demanded they fix it. VF later issued a correction that the Sussexes met in July 2016.

Bower also says that Meghan broke up with Cory after spending time with Harry and “Two weeks later [from the bananagram IG photo on 3 July 2016] Harry secretly flew to Toronto. He stayed for about one week in the house of a friend of Meghan’s, probably Jessica Mulroney. With Cory still sharing her home, the situation for Meghan was tricky by manageable.” (p122)

Meghan manipulated Harry to release the KP statement by preying on his fears and anxiety of Diana being harassed / stalked to death by the paps.

“For her part Meghan knew by then that she was pushing a man eager for revenge against the media and his family. … Even more pertinently he blamed Diana’s death on the media. Feeling ‘deeply disappointed’ that he had been unable to protect his mother he eagerly declared war against his enemy – the newspapers – to protect Meghan. Nothing could be done without the assistance of his key aide, Jason Knauf. ... In order to pacify Meghan’s anger, Knauf agreed to issue a statement on Harry’s behalf damning the media for their description of Meghan. Harry dictated the sentiments for Knauf to fashion into a statement. Committing Knauf to a conundrum, Meghan demanded that the statement should reflect the parallel between her potential fate and Diana’s. Knauf suggested that over-dramatizing Meghan’s distress would backfire but Harry was adamant. If Meghan’s wish to be equated with Diana was not satisfied, insisted Harry, he would probably lose her. Knauf acquiesced.” (p135)

Meghan wanted a bigger, emerald tiara for the wedding.

“No member of Buckingham Palace’s staff is closer to the Queen than Angela Kelly…Kelly’s many duties included caring for the royal collection of tiaras. Invited to the palace’s secure room, Meghan alighted on a tiara sparkling with emeralds. Her choice was approved by Harry. Kelly suggested that its Russian origin made it unsuitable. Harry became angry.”

Also confirmed by Harry in Spare.

Meghan never wanted to do the Fiji market visit. She wanted to lay out at the hotel with Jess all day but was forced to keep the engagement. She bailed after 10 minutes for “security” purposes.

Bower writes that Meghan had some kind of falling out with UN Women and was angry that they were involved in the Fiji market or were supporting her visit.

It sounds like Meghan wanted the same UN Women gig that Emma Watson had and quit the partnership when it didn’t happen.

Meghan was emotionally / verbally abusive to Charlotte during bridesmaid dress fitting.

“[Meghan] was uninterested in royal tradition [girls wearing tights]. Her insistence was supported by Jessica Mulroney, present as an advisor and the mother of another bridesmaid, Ivy. Some would say that Meghan compared Ivy favorably against Charlotte. Others were surprised by Meghan’s close attachment to Mulroney.” (p189, iPhone version)

Meghan yelled at/bullied Cambridge staff.

“By then, Kate was irritated by complaints of Meghan bullying her staff.” (p189, iPhone version)

Harry and Meghan bungled Archie’s birth announcement to earn a profit from it.

“To build up Meghan’s profile in America, Oprah Winfrey and Gayle King had an exclusive agreement with Meghan to produce a glowing CBS TV documentary about her first year of marriage. It would be transmitted at peak time, soon after the birth of her baby. In exchange, Meghan guaranteed that no other TV network would get access to her or the child…Harry agreed that Buckingham Palace be given no choice. CBS would be given the exclusive rights to film the Queen being introduced to baby Archie.” (p262, iPhone version)

Charles fled Windsor after Philip’s funeral to avoid dealing with Harry.

“After [Philip’s funeral] service, eager for signs of reconciliation, the media seized on Kate’s maneuver to engineer a conversation between [William and Harry]. Cameras followed them as they walked up the hill towards the castle....The three princes spoke briefly before Charles drove to his cottage in the Brecon Beacons in Wales. William was handed the burden of rescuing the monarchy from the damage caused by his brother” (p.356-357, iPhone version)

Harry’s Home Office lawsuit will be used as an excuse to avoid the Jubilee and/or public acknowledgement of the Sussexes’ demotion.

“Although the Queen had invited Harry and Meghan to join the nation’s extravaganza [Platinum Jubilee], the couple appeared to seek reasons to avoid humiliation. As private citizens they could not expect to be invited on to the Buckingham Palace balcony or ride in the carriages. Isolated on the periphery, the image would undermine their royal status in America. To forge a valid excuse, Harry applied to the High Court in London for an order to compel the Metropolitan Police to provide protection for himself during his visit or allow him to pay for police protection. Predictably, his $400,000 case failed. As a private citizen harry was told he could not force the government to provide police protection.” (p371, iPhone version)

Harry to betray his family in memoirs.

“Most Britons could not understand Harry’s hostility towards his country and family…No one realized how his hostility had grown during his conversations with John Moehringer, the ghost-writer of his memoirs. To secure vast sales and recoup the huge advance, the publishers had encouraged Harry to criticize his family in the most extreme terms possible. Easily persuaded, Harry edge towards betraying his father, Camilla, the Cambridges and even the Queen. And then the deed was done. To earn out the publisher’s advance, nothing and no one had been sacrosanct.” (p.372, iPhone version)

And alllll of Spare.

Sussex children to be used for access / prominent placement at the jubilee.

Bower writes, “But festering was their fury that the Palace had refused all of their demands for a prominent role at the Jubilee in return for returning to Britain with their children.” (p379, iPhone version)

Secret Windsor meeting in April 2022 to discuss return for the jubilee.

“To achieve this goal [Harry and Meghan to appear on Buckingham Palace’s balcony with the Queen during Jubilee celebrations] Harry badgered the Queen’s resistant advisors. When this failed he asked the Queen if he could visit her in Windsor on his way to the Netherlands. To secure her agreement, Harry appeared to give the impression that the meeting would offer an ‘olive branch’ to ‘clear the air’…[It] was civilized but failed to resolve the fraught relations created by their Oprah Winfrey interview.” (p378, iPhone version)

#tom bower #revenge #confirmed #all the shade #and i oop #she took the blender for vegetable soup

203 notes · View notes

zombiegirldean · 13 days

Text

and THIS. scene from sin city which absolutely fascinates me. this is coming off Dean's post-crossroads deal compulsive sex marathon which is, like all dean's sexual escapades esp from the first few seasons, crazy performative and exaggerated to the degree where it reads like a parody of human sexuality more than actual desire. a sex worker tries to pick him up in a bar and they do their little dance routine about it, he responds in his typical hey-baby Dean way, flirting back, puffing himself up, but then she leans in close and says, You get a discount. Half off. THAT'S breaking script. His mask shatters. Any attraction he may have felt or performed vanishes. Dean's not a john, he doesn't pay for sex, because that's cheap, transactional, humiliating. he has REAL sex like a REAL man, isn't it obvious? What do I look like? Meaning, how dare you, I'm not like you, I would never stoop to your level. She stops. Her facade drops too. Honey, what do I look like? come ON, ofc she's working!! the whole conceit of the ep is they're in a town overrun by prostitution and alcoholism, shorthand 4 moral depravity, there are sex workers everywhere. It was ALWAYS pretense, it was ALWAYS gonna be cheap, and the point she's making is that Dean KNOWS that, because he already participated in it! He's in the sleaziest bar on the planet, talking to her! He only shuts her down because she ruined the suspension of disbelief! Bela Talbot 'you're no better than me'. this also explicitly positions dean's machismo as analogous to sex work and calls into question the authenticity of HIS gender performance as no less trite and over polished than hers. than later in the ep when he gets trapped with Casey:

you're no better than I am. you're trapped down here too. you see through me? well I see through you. takes one to know one. we're both sex objects, we're both playing pretend, and we're both screwed. bitch.

#supernatural #dean winchester #spn #sin city is such a good ep I literally cannot believe it.#the theatre of masculinityyyyy #also how this plays into his whole thing with Bela where he hates her so so much for being his mirror and always tearing down his pretenses #sorry to bi dean truthers but i dont think he like. enjoys having sex with women #ESPECIALLY meaningless sex like i think he actively hates it a lot of the time. which is so sad

22 notes · View notes

rhysdarbinizedarby · 1 month

Text

‘Night Court’ – ‘The Duke’s a Hazard’ Post-Mortem Interview with Rhys Darby

NIGHT COURT -- "The Duke's a Hazard" Episode 212 -- Pictured: Rhys Darby as Alistair -- (Photo by: Nicole Weingart/NBC)

Rhys Darby is an accomplished actor and comedian that has graced many a popular and iconic franchise with his many skills in both arenas, and this week… he graced another. For Rhys played Alistair, the refined love of one Donna ‘Gurgs’ Gurganous on this week’s episode of Night Court on NBC, and we had the distinct honor of sitting down with Rhys to discuss all things, Night Court.

John Betancourt: I would love to start off by getting to know what it was that attracted you to the character of Alistair?

Rhys Darby: Well, I know the show, Night Court, watched it as a kid with my mum, have fond memories, and she passed a while ago. So, I felt like “I've got to do this, I want to do this for mum, because we used to watch the show together back in the day.” And the character, I can easily fit into those shoes. It's someone who's a posh Duke, that is a little bit clueless, looks down their nose at people but needs to try to fit in and needs to learn how to be bit more human. So those are all those kinds of traits that I like playing, I find the comedy that comes from that character is well within my wheelhouse. So, I decided to do it.

John Betancourt: Something I’ve noticed about Night Court that I think is wonderful, is how the quirks of every guest star are fully fleshed out in every episode. How did you as an actor bring those to life and make them feel so real?

Rhys Darby: I think that's the key with comedy is, make it look realistic. Because as soon as -- you can kind of over accentuate things to a degree, but it's got to be believable. And when you go past that line of believability, you don't relate. And I think it's finding that right line and kind of swaying and playing on that line. And that's where you get the physical comedy. You know, people in general don't necessarily, aren't necessarily hilarious when they're doing something physical. Unless well, certainly when, unless it's done by accident, in which case you do that thing where you laugh at someone and then you go, “Oh, I shouldn't have.” But you know, it's one of the reasons America's Funniest Home Videos was such a huge hit. But it's kind of like trying to find a grounded, slightly grounded character that is also an open buffoon. And you've got to fit the tone right of the show. And once I started working with the cast, I’d already seen some episodes of the new Night Court. So, I knew what the what the vibe was. And it's always been silly. So, it's always been like, a touch out of touch of reality. And that's my favorite type of comedy. So, it was it was easy to fit in.

John Betancourt: Now you’ve spent a lot of your career working in single camera shows, but you have done multi-cam. What do you have to do as an actor to prepare for that kind of shift?

Rhys Darby: Yeah, I forgot a little bit because I've done multi-cam a few years ago, I forgot how many times the script changes. So, I’d turn up at the beginning of the week, and like, start learning the lines. And then the next day, it's changed, the next day it’s changed again. So, by halfway through the week, I was like “Right, forget the lines. Just concentrate on being funny.” (Laughter) And the other, the other part of it so yeah, so prep isn't a big one. It's really kind of like, the fun of nailing the two different parts of it, which are the prerecorded pieces, which I had fun, I was able to do some improv in, so the subway scene. And then, and then there was a couple of other scenes, but there's that side of it. And then there's the completely opposite side where you've got an audience and you're performing in front of a crowd.

So, it's the best of both worlds. And I kind of kind of forgot, I think I kind of forgot that some stuff is recorded. And I was like, “Okay, we've got to learn this like a play.” And you don't. So, on the night, you also get a few takes, you know, and the crowd loves it when you guys change it up, when the writers come in and go “Try this line. Try that line.” So, yeah there’s fun to be had. And I can see why multi-cams are still a thing because it's a real coming together of all of these different kinds of features, to including the audience, that are that are participating in and helping create the final product and making this classic American art form. So, I think it's cool.

John Betancourt: So, I have to ask, how much of that improv stayed in the final cut?

Rhys Darby: There were some pieces, yeah. There were some… I have to have another look at it. But definitely in the subway scene when I took my coat off, and it fell on the ground. And then I just said something about “That's gone, we have to burn it.” That was all made up. There was probably another little piece that I had with Dave Foley, when we're having the dinner table all sorted, we're having little cups of tea, when he came in. And then stylistically I just chose how I was going to walk and how I was going to look, give my looks to the actors. And I changed that up every time as well. So, there was for, for a show that you know, for multi-cam, that definitely don't allow too much improv, there was certainly… the director was open to letting me have a few, do a few extra “Darby Takes,” shall we say?

John Betancourt: Now something that has come up often in discussions with the Night Court cast, is how the live audience just offers a vibe or energy. I’m curious as to what it does for you as an actor?

Rhys Darby: Well, as a stand up, you know, I'm used to having an audience laugh at me. It helps with the timing, it helps… give you a slightly raised performance, because you can hear a whole bunch of people laughing. So, you're not… you're doing.. you're matching the right tone that is required for that show. So, you're not, you know, subtleties aren't really going to play. So, yeah, I think it's just fun to do. It's fun for anyone who hasn't done that kind of thing. It's a good discipline to have down, at least give them a try.

John Betancourt: So, I can hear it in your voice now, just how much you relished this experience, what did you enjoy the most about working on this episode?

Rhys Darby: I think just working with the cast, I think, you know, meeting John (Larroquette) and the rest of them and having them be a real sweet family and welcoming me as a guest onto the show, working with Dave Foley again, because I haven't worked with him for a long time. So, catching up with him. And just being on a show, that's a bit of an institution. You know, I think those are the those are all the highlights, and the fact that it was just filming down the road from my house. So very easy.

John Betancourt: Oh, I bet the short walk made it amazing.

Rhys Darby: I don't often, I don't often get that. Because I'm always, like, having to fly somewhere or go stay somewhere for a couple of months or whatever. So that convenience, plays a lot into actors, jobs, it doesn't always happen.

John Betancourt: Now, regarding the legacy of the show, why do you think Night Court continues to endure?

Rhys Darby: Well, a number of things, the writing, you know, John Larroquette’s performance. And I think that just the nature of the show. How every week, you're gonna get a different situation of people that are in court, for some reason, for the most stupid idea, stupid reasons. And the interplay between the characters and their lives. It's just simply said, it's just a really good setting for a sitcom.

John Betancourt: Last question I have for you today, what does it mean to you personally to now be part of this franchise?

Rhys Darby: It means a lot. Because I've done a lot of stuff in my career. And I've been lucky enough to be part of some pretty big franchises, some pretty cool legacies. And when it comes to comedy, this was one of them. So that's why it was a no brainer to take. And yeah, and seeing the final result, seeing how funny it was, I was like, “Good, nailed it! Next!” (Laughter)

This interview has been lightly edited and condensed for clarity.

Source: Nerds That Geek

#rhys darby #night court #nbc night court

22 notes · View notes

greensparty · 2 months

Text

Sam Mendes partners with Sony and Apple for Four Beatle Theatrical Movies

Today it was announced that Oscar-winning director Sam Mendes will be directing four movies about The Beatles, each one about the individual Fab Four: John Lennon, Paul McCartney, George Harrison, and Ringo Starr. Sir Paul, Sir Ringo and the estates of Lennon and Harrison have granted life rights and music rights to the scripted films. As a lifelong Beatle fanatic (I just named "Now and Then" my #1 Song of 2023 last week) this peaked my interest!

Mendes is a solid director. I was a big fan of American Beauty, Road to Perdition, Jarhead, Away We Go, 1917 and Empire of Light. So I'm confident he's going to do the right thing and not mess this up. There's been quite a few Beatle documentaries in recent years notably Peter Jackson's The Beatles: Get Back. But in terms of a scripted film about The Beatles' that's been easier said than done over the years. There have been a number of TV movies about the individual Beatles, but theatrically it's been few and far between. There's been loads of films inspired by The Beatles, i.e. Sgt. Peppers Lonely Hearts Club Band, Across the Universe, and Yesterday. One of the great films about Beatle-mania (not so much The Beatles themselves but the fans) was I Wanna Hold Your Hand. The best one about Lennon was Nowhere Boy, in which Aaron Johnson played Lennon as a teen. One of my favorites about The Beatles is Backbeat about their early days in Hamburg, mainly the relationship between Lennon (Ian Hart) and Stu Sutcliffe (Stephen Dorf). Paul, George and Pete Best were also portrayed in the film too, but very minor roles outside of the performances.

Bottom line: getting the life rights and music rights to The Beatles is a serious get, which is why is hasn't been done too often, done right, or they tried to do it without the music. I think if each movies is going to be each Beatles' story with their own POV of what happened that could really work, especially for a director like Mendes!

Oh and Mr. Mendes - if you need a consultant for any of these films, feel free to contact me!

The link above is the article from Deadline.

#same mendes #The beatles #movie news #film geek #music nerd #john lennon #paul mccartney #george harrison #ringo starr #nowhere boy #backbeat #i wanna hold your hand

23 notes · View notes

stellarred · 10 months

Text

CAUSE VS. CANON: Making the Case for Qcard

*Warning: May trigger some Qcard shippers*

I had an interesting conversation with a friend yesterday about loving certain dynamics in stories, like Star Trek's Qcard for example, and how nitpicker fans and shippers analyze the writers' work, the actors' performances, etc. to show that a dynamic/relationship is true/canon.

She insisted that if you look hard enough to find proof that a relationship between two characters is canon, or has validity, you will find it "*simply because you want it to be true, even if it's not.*" 😡😡😡

She called it "nitpicking for a cause."

As a devoted and longtime Qcard shipper, I bristled at her comment, and I proceeded to explain how writers intentionally weave dynamics into their scripts and stories through devices, including: parallels, such as STP S2's Q/Picard and Teresa/Rios, and through lines, such as STP S1: the butterfly motif, (Q)ueen cards, (Picard's unusual luck in surviving the explosion), which led to S2 Q's butterfly comments, the S2 trailer (Q)ueen card, The Sun/Q motif, Q, of course, and his lesson to Picard about opening himself up to love, so that he could be chosen by someone else to be loved in return. Then, in S3, we had Q's last minute return signaled by the Sun, and Picard allowing himself to love Jack and being accepted by Jack.

I also pointed out that Trek writers choose very specific words for actors to use at unusual times to indicate dynamics, too.

Ex: Picard (S2): I always filed Q as *unknowable.*

@porgthespacepenguin and @celestialholz both have meta-analyses on Qcard that beautifully prove Qcard as canon by the writers.

She still insisted at this point that I was nitpicking, intellectualizing dialogue, and over-analyzing all because I WANTED Qcard to be real.

Finally, I told her that writers, such as Cindy Appel, producers, like Akiva Goldsman, and Ron D. Moore, as well as actors Patrick Stewart and John de Lancie backed it up, too.

She then said, "Well, De Lancie was told to act a certain way and read the script."

I then pounced, saying that although actors follow scripts, they do have some agency in their performance. John de Lancie and Patrick Stewart both made deliberate choices in their portrayals, using certain types of body language, voice inflections, facial expressions that added credence to Qcard.

At this point, she gave up the fight and smartly so.

I mean for her or anyone else to suggest we Qcard shippers find those nuances/subtext/indications woven into a script and performance out of a desire or desperation for it to be canon irritates me.

My friend then asked me, "Why can't you just casually watch something, like Star Trek and enjoy it for what it is? Why all this analysis?"

It's a fair question.

I guess it's because while I can casually watch something and enjoy it at face value, other things, such as Qcard are like finding gold dust on the ground. You see gold on the surface, and it's great. You could make some money from selling that gold dust, sure.

But, if you dig just a bit deeper, you find a rich gold mine worth much more. Much more satisfying.

So, what do you think?

Was my friend correct in saying we Qcard shippers analyze and nitpick for The Cause?

Or, are we actually on to something?

#qcard #star trek q #q #john de lancie #patrick stewart #star trek tng #star trek #stp #debate #qcard is undeniable #casual viewer's pov

55 notes · View notes

homomenhommes · 27 days

Text

THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more … April 3

1895 – The libel trial instigated by Oscar Wilde begins, eventually resulting in his imprisonment on charges of homosexuality.

1924 – Marlon Brando, American actor born. (d.2004); Academy Award-winning American actor whose body of work spanned over half a century. Widely regarded as one of the most influential actors of modern time, Brando is best known for his roles as Stanley Kowalski in A Streetcar Named Desire and Terry Malloy in On The Waterfront, both directed by Elia Kazan in the early 1950s, but mostly for his Academy-Award winning performance as Vito Corleone in The Godfather. He also portrayed Colonel Walter Kurtz in Apocalypse Now, the latter two directed by Francis Ford Coppola in the 1970s. Brando was also an activist, lending his presence to many issues, including the American Civil Rights and the American Indian Movement. He was named the fourth Greatest Male Star of All Time by the American Film Institute.

Brando's sexuality has been a matter of debate. Not only did he have numerous affairs with women (such as actress Rita Moreno, who reportedly attempted suicide after they broke up), but he is also alleged to have enjoyed sex with men. In his 1976 biography The Only Contender by Gary Carey, Brando was quoted as saying, Homosexuality is so much in fashion it no longer makes news. Like a large number of men, I, too, have had homosexual experiences and I am not ashamed. I have never paid much attention to what people think about me.

He would appear to have had many such experiences and his name has been linked with many including Cary Grant, Rock Hudson, Farley Granger, Montgomery Clift, John Gielgud and James Dean.

Brando and Wally Cox

He also appears to have had a long-term relationship with fellow actor Wally Cox, who was also his best friend since their childhood days. Brando is quoted as saying: "If Wally had been a woman, I would have married him and we would have lived happily ever after."

After Cox died in 1973, Brando kept his ashes for 30 years; they were eventually scattered with his own. Cox's third wife only discovered he possessed them after reading an interview in TIME Magazine where Brando was quoted as saying: "I have Wally's ashes in my house. I talk to him all the time." She wanted to sue, but her lawyers would not accept the case.

Another alleged lover was the French actor Christian Marquand, after whom Brando named his son.

During the filming of Streetcar (1951), in the garden of Vivien Leigh's's mansion, David Niven discovered Brando and Laurence Olivier swimming in the pool. Olivier was kissing Brando. "I turned my back to them and went back inside to join Vivien. I'm sure she knew what was going on, but she made no mention of it. Nor did I. One must be sophisticated about such matters in life."

In a recent biography Brando Unzipped, Darwin Porter, (2006) details the alleged affairs with Grant, Hudson, and Granger. The book also features an alleged picture of Brando performing fellatio on a male lover. The validity of the photograph has yet to be substantiated.

James Dean And William Bast

1931 – William Bast was an American screenwriter and author living in Los Angeles. In addition to writing scripts for motion pictures and television, he is the author of two biographies of the screen actor James Dean.

Bast was born in Milwaukee, Wisconsin. When his family moved to Los Angeles, enrolled at UCLA, where he majored in Theater Arts, rooming with a fellow Theater Arts student from Indiana named James Dean. In 1952 he moved to New York to join Dean and pursue a career in radio and television. There, he initially worked in the Press Relations department at CBS and subsequently, in 1953, wrote his first scripts for the NBC television sitcom The Aldrich Family.

After the death of Dean in an automobile accident in 1955, Bast chronicled his five year relationship with the actor in James Dean: a Biography. After moving to London, Bast wrote The Myth Makers for Granada Television, a fictionalized drama inspired by Dean's funeral, which Bast perceived as grotesque and publicity-driven, with a shattering effect on Dean's rural-American family and his hometown of Fairmount, Indiana. In the United States, the script was produced again by NBC's Dupont Show of the Month and aired under the title The Movie Star.

In 1975, Bast produced and scripted James Dean: Portrait of a Friend for NBC, a movie for television based upon his first James Dean biography.

In 2006, Barricade Books (USA) published Surviving James Dean, a second, more candid book by Bast about his relationship with Dean; which featured material that Bast did not include in his earlier account due to personal trepidations and social mores of the 1950s. In Surviving James Dean Bast describes Dean in a compassionate light; how they met at UCLA, shared an apartment in Santa Monica, dated the same woman, and also had a sexual relationship. He also describes the events that happened to him after Dean's death, largely as a result of having written his first book.

In the late 1950s, Bast adapted Jean Giraudoux's play Tiger at the Gates for Granada Television, and wrote scripts for the BBC and Independent Television, including episodes of the classic series The Prisoner. Back in the States he wrote episodes for Combat!, Perry Mason, Ben Casey, The Outer Limits, Alfred Hitchcock Presents, Honey West, and Dr. Kildare, among other series.

He died on May 4, 2015 at the age of 84; he had Alzheimer's disease.He was partnered in work and life to Paul Huson, actor and author.

1942 – Tony DeBlase (d.2000), one of the great innovators and leaders of the leather community and creator of the Leather Pride Flag was born. Throughout his life Tony DeBlase contributed to the leather community in a variety of ways.

He used the two aliases of Fledermaus and Richard W. Krousher for his fictional work which focused on leather and S and M. Of his many awards "the one DeBlase said he treasured most was the coveted Caligula Award from Chicago Hellfire Club for service to Inferno". DeBlase joined the Chicago Hellfire Club shortly after its inception. "What's more, DeBlase was a major factor in the development of Inferno and in exporting the lessons learned and formulas tested there to other, less experienced SM clubs".

In 1969 DeBlase, a gay man, got married and moved to Chicago. He describes the situation, "I got married in [19]69. The woman had been my secretary while I was museum directory. She had polio as a child and was confined to a wheel chair. Told her I was gay. I loved her very much. We had several good years together"In 1982 he published a collection under his alias Fledermaus which have become “imitated classics of the genre”. He chose the name because of his work outside of leather and S&M. "Its a German word for bat. … Since I was doing my dissertation on bats, and the story was set in a German castle, it seemed like an appropriate name"

By 1986 DeBlase had divorced and he and his male partner moved to San Francisco and bought the Drummer family of magazines.

In 1989 in Chicago he presented a 'proposed' idea for a pride flag for the leather community, which was widely adopted. He presented the flag at International Mr. Leather. The flag was originally created by DeBlase because wanted a symbol for the community.

He died peacefully in Portland, Oregon, on July 21, 2000, after an extended illness, largely involving liver failure. He was survived by his lover of more than 24 years, Dr. Andrew Charles.

1955 – The American Civil Liberties Union announces it will defend Allen Ginsberg's book Howl against obscenity charges.

1959 – David Hyde Pierce is an American actor, best known for his role as psychiatrist Dr Niles Crane on the sitcom Frasier.

Pierce was born in Saratoga Springs, New York. He moved to New York City, where he worked several menial jobs (including selling ties at Bloomingdales and working as a security guard) while acting in the theatre during the late 1980s and early 1990s.

Pierce's first big television break came in the early 1990s in a sitcom that was cancelled after a brief run despite promising reviews. His career would soon, however, take off with a role on another sitcom. Because of his resemblance to Kelsey Grammer, the role of Niles Crane on the Cheers spin-off Frasier was created for him.

Pierce also acts in movies from time to time. He appeared alongside Meg Ryan in Sleepless in Seattle, with Jodie Foster in Little Man Tate and alongside Ewan McGregor in Down With Love. Pierce has a distinctive voice and, like his Frasier co-star Kelsey Grammer, is often called upon to provide voice work.

In 2005, he joined Tim Curry and others in the stage production of Spamalot. In August/September 2006, he starred in Curtains, winning him a 2007 Tony Award for Best Performance by a Leading Actor in a Musical.

Pierce's father and grandfather suffered from Alzheimer's Disease, resulting in him being very active in fighting for research into the disease. He is also a regular supporter of AIDS charities as well as gay and lesbian causes.

After years of media speculation about his sexuality, Pierce came out in 2007. Pierce's longtime life partner is TV writer/director/producer Brian Hargrove. He and Hargrove were married in California on October 24, 2008, just before Proposition 8 was adopted as law, banning same-sex marriages in the state. They live in New York and Los Angeles.

1963 – Colorado repeals its ban on voting by anyone convicted of sodomy.

12 notes · View notes

blackswaneuroparedux · 1 year

Photo

Butch: What happened to the old bank? It was beautiful. Guard: People kept robbing it. Butch: Small price to pay for beauty.

- William Goldman, Butch Cassidy and the Sundance Kid: Screenplay (1970)

In a brilliant William Goldman script peppered with memorable lines, the first exchange sets the tone of this classic Western movie. Butch looks around a bank at closing time, chatting with the security guard as he perhaps sizes up his next job.

“What happened to the old bank? It was beautiful.” “People kept robbing it.” “That’s a small price to pay for beauty.”

Right away, Goldman establishes Butch as a charismatic mouthpiece for the quip-ready screenwriter, contrasting nicely with the Sundance Kid, Robert Redford’s taciturn sharpshooter. But he’s also created two heroes who break the western mold, neither justice-seeking white-hats nor grizzled, sneering black-hats, and not as traditionally masculine as either party. Butch is a man who appreciates beauty and art, but doesn’t have the stomach for violence; it’s not until late in the film that we (and the Kid) discover that he’s never shot a man before and he looks sickened to have to do it. He’s a pleasure-seeker above all else: robbing banks and trains are his way to make an easy living and enjoy whatever sinful freedoms his vocation affords him.

Audiences in 1969 were all too happy to embrace the light, quippy irreverence of Butch Cassidy and the Sundance Kid after a turbulent summer, and Goldman, director George Roy Hill, and the two impossibly handsome stars made them feel cool for doing it. True Grit had performed well earlier in the year as a throwback to the genre’s past, giving John Wayne a proper victory lap, but Butch Cassidy was thoroughly modern, a star-making vehicle for Newman and Redford that reflected a need for the genre to turn the page and that feels as much of its time as it does authentic to Wyoming in the late 1890s. With Katherine Ross at the centre of a love triangle between friends, the film attempted to bring a French Jules and Jim vibe to the American mainstream, taking a lesson from the French new wave on how to revive old Hollywood craft.

It still works spectacularly well. There’s an alchemy up and down the production. Redford possesses easy charm, which parries so well with Newman’s smarts that the two would run it back again with Hill a few years later in The Sting.

The pop doodling of Burt Bacharach’s musical score is about as far from a traditional western score as possible, but it somehow meshes with the sepia sheen of Conrad Hall’s photography, which burnishes the legend of these two men while their story is still being told. And while Goldman’s screenplay dances on the edge of glib, it’s lively and sophisticated, with a strong theme about the capitalist forces that really tamed the Wild West.

Butch Cassidy and the Sundance Kid is such a rollicking good time that it takes a while to notice it’s about the end of the line for its heroes, whose celebrity is already widespread when the film opens and ultimately hastens their demise. “Your times is over and you’re gonna die bloody,” warns a sheriff, prophetically, in an early scene, and the film is mostly about Butch and Sundance getting chased out of America by hired guns and dying at the hands of the Bolivian army.

They’re mostly guilty of stealing from the wrong guy: EH Harriman, the railroad tycoon, spends more trying to catch them than they rob from his safes, but it’s an opportunity for a powerful man to send a message about who’s really in charge. Guys like Butch and Sundance can handle local lawmen and half-hearted posses, but they can’t fight progress. The EH Harrimans along with the the Rockefellers, JP Morgans, and the Carnegies and of the world - the original robber barons - would make certain of that.

#goldman #william goldman #quote #butch cassidy and the sundance kid #film #movie #cinema #hollywood #paul newman #robert redford #cowboys #western #america #wild west #society #culture #arts #capitalism

150 notes · View notes

freddieraimbow74 · 1 month

Text

𝐀 𝐉𝐨𝐡𝐧 𝐃𝐞𝐚𝐜𝐨𝐧 𝗦𝗼𝗹𝗼 𝐌𝐨𝐦𝐞𝐧𝐭.....

26 March 1986 - John Deacon recorded a track with ‘The Immortals’ called ‘No Turning Back’ for the movie ‘The Biggles Adventures In Time’

Here’s a wonderful interview:

Who's this geezer all topped up like one of those World War One aviator choppies? Why, it's that bass-playing wonder from Queen, John Deacon!

So why has he gone and posed in this blinking silly outfit then? Has the man gone stark, staring bonkers? No -- it's because he performs the main theme tune to the new movie Biggles, based on the gung-ho exploits of the fictional World War One fighter ace who shot down more Jerries than you or I have had hot dinners -- and still managed to keep a stiff upper lip of all times!

John's theme is called 'No Turning Back', and he performs it with a new group (specially formed for the occasion, fact fans!) called The Immortals, remarkable chiefly for the fact that the singer's name is Lenny Zakatek.

"This is strictly a one-off project," explains John, munching on a bag of peanuts. "It doesn't mean Queen are going to split up or anything."

So what does he think of the film, then?

There's a long pause.

"Ummmm...err...well...I don't think it's a terrific picture. Thing is, they've tried to update it by making Biggles fall through a hole in time and end up in the 20th Century, which is a bit silly. I mean, the poor bloke who's playing him spends the entire film looking bewildered."

John, along with the rest of Queen, has also been involved with the music for another upcoming film -- the multi-million dollar Highlander, directed by Russell Mulcahy (of Duran Duran's Arena fame), in which mystic immortal warlords cut each other's heads off. What did he think of that film?

"Ummmm...(another long pause)...that one wasn't too brilliant, either. See, it looks fabulous but...erm...the script's not too hot. Shame, really..."

Dearie me! Well, never mind these dodgy films, how are Queen getting on? Tell us about your plans for your gi-normous Wembley Stadium concert this summer.

"Oh...well, I can't really give too much away...mainly because I don't really know what's going to happen! It'll be jolly spectacular, though. You can bet on that! "

OK then...describe the other three in one sentence.

"Oh God...it's so hard...one sentence?

Freddie's got a nasty temper...I remember one time he lost it, he smashed a very large, ornate mirror over someone's head. Brian's very quiet and a really good gardener...Roger likes a laugh and a joke."

What about yourself, then?

"Oh...I'm terribly shy and nervous. When we did Live Aid I was too nervous of meeting Princess Di, so Spider, our roadie, met her in my place -- shook hands with her and everything! He's now the most famous roadie in the world. He's on a solo world tour at the moment!"

Well, Queen'll have a new LP out in the summer, and then they're going to take a nice long rest. What'll you do then, John?

"Oh God -- I'm so lazy. I'll probably make loads of plans, and then just sit around on my bottom all day long and do nothing."

Finally, are you a millionaire?

"Technically, yes -- we all are, I suppose. But I've always been accused of being a bit tight with money, so it hasn't particularly changed my lifestyle. I've got a nice house, a loving wife and a couple of kids -- that'll do me!"

Source: BIGGLES AND THE CASE OF THE SHY BASSIST; Interview by Stuart Husband (Jun 7 '86 )

**John Deacon did meet Princess Diana during the premier of the movie “Biggles” 22 May 1986 - See pictures below..

Here’s a clip of “No Turning Back”

https://youtu.be/ZwfgKKH6wQc

#freddie mercury #queen band #brian may #roger taylor #jhon deacon #musique #music #queen #original character #j’adore

11 notes · View notes

wonderfulworldofmichaelford · 8 months

Text

Is It Really That Bad?

Grease is a delightfully corny musical filled with 50s nostalgia (mostly the good kind) and helped shoot the careers of John Travolta and Olivia Newton John to new heights. There’s a little bit of values dissonance here and there, but considering when it was made and what decade it was about, it could honestly be a lot worse. It’s easily one of the most fun and enjoyable musicals ever made, and it should come as no surprise the Library of Congress deemed this film significant enough to add to the National Film Registry. Is it any surprise a film like this had a sequel?

Well, yeah, kind of. Paramount didn’t think the movie was going to be much more than a modest one-off hit when it came out despite the 50s nostalgia of the time, mainly due to the spectacular failure of Columbia’s musical adaptation of Lost Horizon being such a spectacular bomb. Why risk making musicals when it seems they’re on the way out, right? But then Grease unexpectedly became one of the biggest films of 1978, and the execs got little dollar signs in their eyes. Sequel time, baby!

One problem, though: None of the original cast was available. Or, I should say, none of the original cast you’d give a fuck about was available. Travolta and Newton-John were already off to bigger and better things, which is a shame since they were both interested before it took them forever to get a script. Only Didi Conn (Frenchy) and Eddie “Mandark” Deezen (Eugene) were coming back. And, look, I love Dexter’s Lab but that wasn’t going to be made for like twenty years or something, so Eddie wasn’t Travolta-levels of star power. Still, Paramount was dead set on turning Grease into a massive franchise. We’re talking spin-offs, sequels, a TV series, the works!

But then the screenwriter for the original died, and the original director went off to make The Blue Lagoon. Of course, they found great backups! The screenwriter is a Canadian comedian who wrote Airplane II (the less funny one) and the director was the choreographer of the original stage and film versions of Grease! How reassuring! And then basically all of the actors they actually wanted in this didn’t end up getting in. For the male lead they wanted Timothy Hutton, but when that didn’t work out they tested Andy Gibb… who failed. They then went with an unknown, Maxwell Caulfield, and casting an unknown is always a gamble. For the leading lady, Pat Benatar and Debbie Harry were considered before they ended up going with an unknown by the name of Michelle Pfeiffer. And guess what! Those two ended up hating each other.

Oh yeah and the final draft of the script was only finished midway through production, without Frenchy in it despite her actress being there, so they just tossed the scenes they’d filmed into the movie anyway.

The end result was savaged by critics and did not really make enough to warrant the massive franchise Paramount was hoping for. The careers of most of the actors involved were damaged pretty bad, especially Caulfield, though Pfeiffer managed to et out mostly unscathed. Overall, the film was just a mess that these days is relegated to lists of the worst sequels ever. Hell, unless you read lists like that you might be unaware this film even exists, because it’s relatively obscure.

Still, it does have its fans, including Andrew Garfield of all people. It’s something of a cult classic in some circles, so surely there’s something of value to be found here, right? Is Grease 2 really that bad?

THE GOOD

Michelle Pfeiffer is pretty in this.

...No. Really. That’s it.

THE BAD

This film’s biggest problem is just how overexaggerated everyone’s performances are. Like all of the dance numbers feature every single character mugging the camera and just making the most absurd faces and movements, like this is a live action cartoon. And look, I love goofy, campy silliness, but there’s a fine line between corny and trying way too hard and this is firmly in the latter camp. Every single number is just ruined by this insufferable desire to be silly.

The other biggest problem is the songs. All of them suck. All of them are also about sex, and that doubly sucks. None of the lyrics are very clever, but all of them are fucking stupid. This might just be one of the horniest movies ever made, and I mean that as an insult. I’ve watched pornos less obsessed with sex than this film. This is all the more jarring because the first film was just filled to the brim with fun and memorable songs, but here? They’re all forgettable crap with no clear identity.

youtube

Maxwell Caulfield is a terrible leading man, and I say this as someone who has a hard time believing John Travolta is a leading man. At least with Travolta he does exude a sort of movie star quality; Caulfield just feels to me like a cardboard cutout of a person, or an even more wooden Anakin Skywalker than what we got in Attack of the Clones. Caulfield is just an absolute void of charisma, and it’s no wonder Pfeiffer thought he was a stuck up little shit.

IS IT REALLY THAT BAD?

Uh, yeah. It’s fucking bad.

I really wanted to enjoy this. I really did. I love stupid, campy, silly musicals! This should have been perfect for me! And yet it was one of the most tedious, miserable viewing experiences I’ve ever had. I didn’t laugh. I didn’t smile. I was not once charmed or amused by anything I saw onscreen. As a matter of fact, there were times where I just wanted to turn it off because it was just such a slog. The extended cut of Dawn of Justice is a more well-paced and riveting film.

Look, if you like this movie, more power to you. Lord knows there’s plenty of trashy films I absolutely love that many people wouldn’t agree with. But in my opinion, Grease 2 just doesn’t work, and the reason why is because it’s Grease 2. If this film was just its own thing and not trying to coast on the fame of its superior predecessor, maybe I’d be a little more forgiving. But that’s not the world we live in. We live in a world where this film with tenuous connections to the original is allowed to call itself a sequel.

I’m gonna say that score is a little too nice, and this movie deserves something more like a 2. It’s not the worst thing ever and it’s sure to appeal to some folks, but boy is this just plain not a good film in my eyes. It really just feels like it's trying way too hard to be the original, and it's failing miserably at it at every single turn. It is one of the worst movies I've ever watched, but at least it's a bad movie where I can almost see the appeal. It just doesn't appeal to me.

#is it really that bad #review #movie review #Grease #Grease 2 #michelle pfeiffer #maxwell caulfield #musical #movie musical #cult classic #so bad it's good #Youtube

26 notes · View notes