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cytryndor · 7 months

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Buckle up people, I’m about to tell you who’s this season’s killer

It’s Donna.

Why, you might ask? Nothing up to this point actually let to her, right? Wrong!

Have you ever seen that musical, The Producers?

The Producers’ plot is really simple. There’s this guy Max Bialystock, who - with help from this other guy, Leopold Bloom - scheme a plan of how to make 2 million dollars in profit from a total and utter disaster of a play. They think of this amazing five stages of a plan, which only the first two will be useful for us.

Step One: Find the worst play ever written.

Step Two: Find the worst director in town.

So, what does it mean for us?

Death Rattle (the play) is this ridiculous murder mystery where the main suspect is a baby. It’s, it’s just ridiculous, right? Step one speaks for itself.

Okay, but what about step two?

We know that there were at least two directors signed for this play: Jerry Blau and Oliver Putnam. Now, I’m not a critic, but I do have a feeling like both of them can be seen as a disasters just waiting to happen. We’re talking about people who are either a) living in the theater cause they’re broke and too proud to go back home, b) director of Splash! The Musical (2005). Like I said, not a critic, but doesn’t seem like a money making machine for me.

Okay, but what about it? It might as well be a coincidence that it fits, right? Wrong.

There are two real life people cameos in this season - opposed to last two ones, where we got just one per each. This time, we got this silly little guy, (who’s extremely talented and funny) Matthew Broderick, and this other silly guy (who’s more famous and more accomplished than any other star cameo in the series) Mel Brooks. What do they have to do with it, you might ask?

Well, it’s time to skip to the year of our lord 2001, and the Broadway premiere of The Producers, whom were written by silly guy number two, Mel Brooks. It had an amazing cast, everyone was so talented, and later nominated for Tony’s. One of which, was this silly guy number one, Matthew Broderick, for the role of Leo Bloom. Unfortunately, he lost in his category to his co-star, our own Teddy Dimas, Nathan Lane, who’s suspiciously absent from this season (sure, he was having some other, Broadway related play gig, but hey).

And you might say, okay, they got Broderick, and what? Well, let me tell you: not every show got a chance of Mel Brooks’ cameo. I mean, come on, Broderick has an incredible filmography and stage career, why The Producers out of all of them? Why Mel Brooks?

Okay, so you might ask now, if you’re still not convinced: what was her motive? What, was it money? That doesn’t make sense! And you’d be right. I think, that her motive was something far more important to her: Cliff, her son.

Up until last Tuesday I was convinced she wanted Death Rattle to fail. I mean, that was meant to be Cliff’s debut, and if it would turned out to be a hit, he would most probably leave her - or so she thought he would, so she poisoned the cookies, and left them for show’s biggest name, knowing Ben wouldn’t resist to try them.

But now I know, or at least suspect, that that’s not the case, thanks to one scene from this week’s episode.

While in the bathroom, Donna did said to Loretta, that a mother would do everything to protect her child; now, we were meant to be focused on Loretta and her struggle, but what if there’s more to that scene? What if she wanted her son to succeed, and the show to be a hit, but sensed that Ben Glenroy was a threat to not even her, but her baby, and his Broadway debut?

This week’s episode was about mother who was able to confess to a crime she didn’t commit, just so she could protect her baby. I think that this seasons murderer is a mother, who committed said crime, just so she could protect her baby.

#thank you for coming to my ted talk #I do believe it’s her yes #okay now normal tags #loretta durkin #donna demeo #cliff demeo #ben glenroy #dickie glenroy #matthew broderick #mel brooks #the producers #oliver putnam #charles haden savage #mabel mora #only murders in the building #only murders hulu #a natalia original™

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sesiondemadrugada · 22 days

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The Iron Claw (Sean Durkin, 2023).

#the iron claw #the iron claw (2023)#sean durkin #zac efron #lily james #mátyás erdély #Matthew Hannam

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genevieveetguy · 3 months

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. Ever since I was a child, people said my family was cursed. Mom tried to protect us with God. Dad tried to protect us with wrestling. He said if we were the toughest, the strongest, nothing could ever hurt us. I believed him. We all did.

The Iron Claw, Sean Durkin (2023)

#Sean Durkin #Zac Efron #Jeremy Allen White #Harris Dickinson #Stanley Simons #Holt McCallany #Maura Tierney #Lily James #Michael Harney #Kevin Anton #Chavo Guerrero Jr.#Aaron Dean Eisenberg #Mátyás Erdély #Richard Reed Parry #Matthew Hannam

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theroseandthebeast · 4 months

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Yuletide Recs, Batch Four

18 recs for North and South, The OC, Ocean's 8, Ocean's Eleven, Only Murders in the Building, Penny Dreadful, Peter Pan, Piranesi, Point Break, and Poker Face

Keeping True, Gen, John Thornton + Hannah Thornton + Fanny Thornton + Maria Hale + Nicholas Higgins + Mill Workers

Five views of Mr Thornton.

"if you weren't real i would make you up", Ryan Atwood & Summer Roberts + Seth Cohen/Summer Roberts

Tell the truth, but tell it like it’s a lie. Ryan Atwood grows up, and his relationships grow up with him.

Magpie, Ryan Atwood & Sandy Cohen + Ryan Atwood & Kirsten Cohen + Ryan Atwood/Marissa Cooper

Going fast enough, there was motion to it, and shape. The wires dipped in-between the poles, then curved back upward, then back down again - a never ending parabolic curve, like a child's drawing of ocean waves. He would imagine different creatures running on top of the wires - tigers, pandas, lions, cheetahs, or even a little miniature version of himself - running and leaping, keeping up with the car. He'd follow the horizon this way too - holding up one of his toy army men and lining up its legs with the line where the land met the sky. On the interstate, outside of the city, driving past farms and craggy hills and suburban enclaves, bunches of houses crowded up in little clusters like fungus erupting through the cracks in a tree's bark - everything looked like a toy. Like he could roll down the window and just scoop everything up, pull the whole world inside to look at it closer.

Encountering the Nova, Lou Miller/Debbie Ocean

Galaxies of women, there doing penance for impetuousness. Debbie and Lou meet cute.

somebody else's wallet, Danny Ocean/Rusty Ryan

When you look at another man for too long, you risk giving several things away.

What Really Happened with Marco, Danny Ocean/Rusty Ryan

Rusty visits Danny's grave, and remembers. Meanwhile, everyone has a story to tell about Danny and Rusty.

in the meantime, wait and see, Oliver Putnam/Charles-Haden Savage

Mabel Mora loves her old guys dearly, but she is getting tired of them sabotaging each other’s love lives.

1/3 Of What You're Saying, Theo Dimas/Mabel Mora

She dreams of puzzle pieces again, that first night at Theo’s. (Mabel and Theo as roommates, figuring it out.)

An Ingenue Looks at Seventy, Loretta Durkin/Oliver Putnam

Maybe this time, Loretta will get everything she ever dreamed of. Or at least a bigger piece of it.

ignition, Theo Dimas/Mabel Mora

“So, do I need to be worried about you getting with a murderer too, or can I reserve that particular worry for Charles and Charles alone?” Or, everyone seems to know before they do.

Dark Days Coming, Ethan Chandler/Vanessa Ives + Ethan Chandler & Vanessa Ives + Vanessa Ives/Hecate Poole + Ethan Chandler/Hecate Poole

Hecate makes a plan.

Somebody to Watch Over Me, Wendy Darling/James Hook

The Hook she had made up would never smile at a girl as if she were the most interesting person in the world and then tell her that of course, he would patiently await her decision.

Growing Pains, Wendy Darling/James Hook

Wendy knew Hook wasn't propositioning her to join his crew out of the non-existent goodness of his heart. Enchanting his eyes might be, but the coldness in them seeped right into her bones.

The Sixth Statue, Gen, Piranesi | Matthew Rose Sorensen + The House

Matthew Rose Sorensen explores the House.

The Reality of Shadows, Gen, Sixteen | Sarah Raphael

"And when he remembered his old habitation, and the wisdom of the den and his fellow-prisoners, do you not suppose that he would felicitate himself on the change, and pity them? Certainly, he would. … Yes, he said, I think that he would rather suffer anything than entertain these false notions and live in this miserable manner." - Plato, The Republic

The Waters below the Nineteenth Eastern Hall, The House + Piranesi | Matthew Rose Sorensen

Between the Eleventh and Fifteenth days of the Sixth Month in the Year the Albatross Came to the South-western Halls, there are days for which nothing was recorded. To fit into that space: a reflection on certain surprising Elements of the House.

lay my heart down, Bodhi/Johnny Utah

“Hey,” Bodhi says, soaked right down to the bone. “Room for an old friend?” Johnny takes a step back like he’s seen a ghost. “What the fuck?”

Ways to Disappear, Charlie Cale/Original Female Character

Charlie finds a place to stay awhile.

#yuletide #yuletide 2023 #north and south #the oc #ocean's 8 #ocean's eleven #only murders in the building #penny dreadful #peter pan #piranesi #point break #poker face

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sy5starplaty · 7 months

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OMITB 3.10

Season recap… Well that gave me nothing. Also no Tobert… which is suspicious.

Donna narrating…

Mabel: "I have a hard enough time calling him 'Tobert'." Well, I hope that's a good sign.

Another fan theory solved: Donna is sick (& wears a wig).

Dickie gave the hanky to Loretta… at the police station? Wouldn't the cops have checked it? Y'know... 'cause of the blood?

RED CURTAINS IN THE WINDOWS! I love the little credit changes.

So many red things this season: flags, herrings, curtains.

Donna takes the bait… but 29mins left so… Unlikely.

Oliver reading cards on Charles' back.

Using Tobert to collect the confession? He's annoying me even more now.

"I wasnt trying to kill him; just tried to bide time…" I KNEW IT!

Oh, there's lipstick on the hanky…

[pauses vid]

Yeah but who gets kissed by Donna often?

Cliff - it's his hanky.

Still don't think he [intentionally] pushed… maybe he did push but not enough to make Ben fall… maybe he turned away… maybe Ben stumbled then the doors opened…

WAIT… HANG ON… WHY IS THERE BLOOD ON IT? HOW DID THE BLOOD GET THERE?

New scenario required.

[unpauses]

Okay, the lipstick came from Donna 'kissing' the hanky (on his heart). I missed that clue because I turned away from her kissing her son's mouth.

Liar Donna… You suspect it was Cliff. You're saving his ass again.

Howard finally gets the leading role?

Matthew Broderick is back!

Aw, poor Howard.

But if Oliver is the lead… he has to fight with the nanny!

Yucky Tobert stuff… Now someone else confessed, he can escape.

And after that confession from Loretta to Dickie, Mabel realises Donna confessed to save Cliff.

Okay… after Cliff's flashback I can see him trying to save his mother.

But still… the blood… THE BLOOD!?!

"Do you just Google 'cops'?" Well, you'd probably get more help that way than calling them.

Fight ensues between Ben & Cliff. Is that how blood gets on the hanky? And then we hear the elevator ding… WHO COMES OUT?

Cliff threatening to jump… Mabel calling for help.

"That is exactly the way a Nova Scotian constable would run." DID MATTHEW BRODERICK GO TO THE SAME ACTING SCHOOL AS LORETTA DURKIN?

OK… Appears to be Cliff. No one came out of the elevator.

Which means that gifset I started working on is utterly pointless now. *deletes*

And… I hate Tobert even more that it appears he was sus for no reason.

OMG THEY KILLED SAZZ! :o

She had something important to tell Charles!

WHY ARE THEY ALWAYS KILLING WOMEN WE KNOW AND MEN WE'VE NEVER MET?

#omitb spoilers #omitb s3 #omitb season 3 #only murders in the building #retag 2023 #:( for my theory and the end... I don't care who why what... I just want justice.#s4 yes? and... WGA strike over just in time...#Would appreciate more Theo in s4 writers... *hint hint*

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zacefronportugal · 4 months

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Zac Efron luta com o seu legado: como o ex ‘High School Musical’ finalmente encontrou o seu propósito com ‘Iron Claw’

Quando “The Wrestler”, de Darren Aronofsky, foi lançado em 2008, Zac Efron estava envolvido em dois filmes da franquia “High School Musical” do Disney Channel, na qual ele interpretava o fenómeno do basquete a cantar e a dançar, Troy Bolton. Ele tinha sido o protagonista romântico do filme musical “Hairspray”, ao lado de John Travolta e Michelle Pfeiffer, em breve contracenaria com Matthew Perry em “17 Again” e puxou a sua camisola para cima na capa da Rolling Stone. sob o título “O novo galã americano”. Aos 21 anos, Efron poderia parecer o tipo de ator que provavelmente assistiria a imagens do pouso na Lua e decidiria tornar-se um astronauta, assim como se inspiraria na atuação grisalha de Mickey Rourke.

E ainda. “Este filme impactou-me de uma maneira muito específica”, lembra ele durante um almoço em Los Angeles. “Eu estava a ver com o meu pai e lembro de olhar para ele naquele momento e dizer: ‘É isto que eu quero fazer. É onde está o meu coração".

Foi mais fácil para Efron imaginar-se ali do que para os seus pais – um engenheiro elétrico e um assistente administrativo a criarem confortavelmente o novo galã americano – entenderem a sua paixão. “Deve ser estranho”, continua Efron, “ver o teu filho percorrer o caminho mais desafiador. Eu sei que às vezes eles pensavam: ‘Ele nem deveria fazer essas coisas’”.

Efron tinha, até àquele ponto, conseguido atravessar o turbilhão do estrelato da Disney, mantendo uma imagem de ambição totalmente limpa, mesmo quando os seus colegas, de Shia LaBeouf a Lindsay Lohan, tropeçavam no brilho de um holofote quente. Magro e lacónico, Efron era, acima de tudo, discreto – tanto que a cobertura dos tabloides, inevitável para uma estrela da sua magnitude, concentrou-se principalmente no seu relacionamento com a co-estrela de “High School Musical”, Vanessa Hudgens. (A dupla confirmou a sua separação em 2010.) As pressões de Hollywood acabaram por cobrar o seu preço - Efron entrou na reabilitação por abuso de substâncias em 2013, aos 25 anos - mas os seus primeiros dias são lembrados primeiro por Troy Bolton, um sonho adolescente do rapaz simpático.

A jornada desafiadora que Efron fez para escapar desse personagem e imagem durou 15 anos. Naquela época, houve muitos filmes e muitas experiências de vida - mas ele chegou lá. Em “The Iron Claw”, o novo filme de Sean Durkin, Efron apresenta uma atuação cuja ambição irá surpreendê-lo. É uma estrela de cinema como um personagem cuja tragédia é que ele não consegue usar o carisma para contornar os seus problemas. Durkin compara Efron a Robert De Niro em “The Deer Hunter”, chamando-o de “líder quieto”; e Burt Lancaster em “The Swimmer”, “porque ele está de cuecas o tempo todo”.

Ele está a brincar, mais ou menos - mas a fisicalidade de Efron é fundamental para este trabalho. Com o seu cabelo cortado em forma de tigela Prince Valiant, Efron transformou-se numa espécime da Marvel. Ele interpreta Kevin Von Erich, um lutador profissional que vive a morte de cada um dos seus irmãos em sequência. O Von Erich da vida real fazia parte de uma família de lutadores do circuito dos anos 1980 que foram perseguidos por uma série de acidentes fatais; no ecrã, o seu pai, interpretado por Holt McCallany, força-os a seguir em frente com uma recusa severa em reconhecer os seus sentimentos, mesmo enquanto choram. Dizem que os homens não choram – e assim todos esses sentimentos são convertidos em capacidade atlética ou engarrafados até explodirem. Apesar de tudo, Efron luta contra uma selvageria cada vez maior no ringue, tentando desesperadamente manter um controlo sobre os seus sentimentos. O seu corpo está equipado para lutar e vencer; também é uma evidência visual do tipo de masculinidade sufocante que Kevin se obriga a habitar.

No set, Efron tinha um caráter profundo, mas ainda assim solidário – o tipo de colaborador empático que os irmãos Von Erich não podiam ser.

“Entrando nisso, perguntei-me se haveria essa competição silenciosa entre nós, homens, imitando o relacionamento entre esses irmãos”, disse a co-estrela Jeremy Allen White. “Mas Zac incentivou-nos a fazer um trabalho de cena melhor e era um cheerleader de uma forma que eu realmente não esperava. Ele estava constantemente a dar-nos chapadinhas nas costas.”

A atuação de Efron em “The Iron Claw” é a prova de que alguns rapazes de ouro têm o potencial de se derreter e se transformar em algo novo. Neste indie de pequena escala e baixo orçamento, Efron, aos 36 anos, está inequivocamente e finalmente crescido. E ele está a interpretar uma mistura de emoções e uma tentativa de contenção sobre todas elas, o que sugere um poder potente por trás do charme usual. “The Iron Claw” é um sistema de entrega inesperado para a ambição de Efron. Mas o ator que esta estrela sempre quis ser chegou.

E o perigo – a possibilidade de o filme não dar certo – é a diversão, tanto para o público quanto para o ator. “Sempre procurei oportunidades onde as falhas potenciais pudessem superar os benefícios”, diz Efron. “Eu poderia muito bem estragar tudo.”

A representação de Efron de um homem que luta pela glória e pela fama apenas para se encontrar afastado da humanidade tem um forte lastro no mundo real. Efron se autodenomina um perfeccionista - tanto que a excitação e a espontaneidade do momento podem parecer fora de alcance. “Devíamos estar a divertirmo-nos. Tenho que me lembrar que isso deve ser divertido acima de tudo”, diz ele. “Se ser um perfeccionista vai ser uma pedra no meu sapato a partir de agora”, diz ele, “é como, caramba – a vida é muito curta”.

Mas parte do que torna a produção de filmes divertida, mesmo com os rigores da preparação, é que isso não acontece sozinho. Ao longo de nossa conversa, Efron volta à ideia de que chegar às pessoas, no meio do processo alienante de se tornar uma mercadoria, ajudou-o a superar. Entre as pessoas com quem Efron conversa regularmente, diz ele, estão John Cena, Robert Pattinson e Nicole Kidman, a sua co-estrela no filme de Lee Daniels de 2012, “The Paperboy”.

“Quero ver Zac ser elogiado”, disse Kidman por e-mail. “Eu sei que ele colocou todo o seu coração e alma naquele filme, e eu o vi mudar física e emocionalmente para desempenhar esse papel.”

A inspiração vem de todos os lugares para Efron, incluindo colaboradores anteriores. Questionado sobre a morte da co-estrela de “17 Again”, Perry, em 28 de outubro, Efron fica reflexivo. “Ele estava numa posição única para mim na minha carreira e na minha vida”, diz Efron. “A sua morte está a afetar-me muito.”

Ao contrário do modelo de masculinidade passada que ele representa no ecrã, Efron permite-se sentir e reconhecer as suas emoções. “Pode ser incrivelmente solitário ser ator e estar sob os holofotes. Definitivamente pode ser isolante”, diz ele. “É muito importante entrar em contacto com amigos e promover relacionamentos onde possas conversar e partilhar histórias. Eu gostaria de ter tido a oportunidade de fazer isso com Matthew nos últimos anos. Eu considero o tempo que passamos juntos muito querido. Tenho pensado muito nele, todos os dias.”

Efron ficou animado quando Durkin, diretor dos aclamados filmes de Sundance “Martha Marcy May Marlene” e “The Nest”, lhe ofereceu o papel de Von Erich. Mas havia apenas um problema. “Uma das primeiras coisas que Sean disse foi ‘É um filme sobre luta livre profissional’”, diz Efron. “Na minha cabeça, eu estava a pensar, ‘Oh, meu Deus, não – estás a brincar comigo’. Não tenho nada em comum com um lutador profissional. Eu não tenho capacidade atlética. E estás exposto lá fora".

O observador casual pode brincar com a ideia de que Efron – famoso por estar em boa forma, com um recente reality show da Netflix, “Down to Earth”, dedicado em parte às suas tentativas de melhorar a sua própria saúde e longevidade – possa sentir receio em ir ao ginásio. (Efron chegou na hora do almoço a carregar uma garrafa de caldo de osso de pato e derramou a sua água numa espécie de centrífuga cilíndrica que parecia torná-la ainda mais saudável.) Mas a luta livre, especialmente na era do brilho e do queijo em que o Von Erichs reinou, é diferente de ser apenas uma estrela de cinema; esta coreografia é muito mais desafiadora do que a que Efron dominou em “High School Musical” ou “The Greatest Showman”. E Kevin Von Erich é uma figura de ação entusiasmada para desempenhar o papel de deus da luta livre; para entrar no seu espaço mental, Efron decidiu que também teria que estar.

“Mais uma vez, sendo um perfeccionista de coração, eu sabia que estava pronto para um desafio”, diz Efron. “A minha imaginação correu solta.” Ele está relutante em descrever em detalhes o processo de oito meses que empreendeu sozinho - “Pode parecer um pouco chato”, diz ele - mas o resultado foi uma transformação física impressionante, da qual Efron saiu; sentado diante de mim com um suéter preto com gola e camiseta preta, ele parece um dos clientes mais ambiciosos da Equinox, em vez da figura surrealistamente arrogante de “The Iron Claw”.

“Essa necessidade de ser perfeito – tornou-se uma obsessão”, diz ele. “Foi um foco singular durante meses. E a sua vida sai pela janela durante a preparação.” Efron treinou horas por dia, começando com treinamento de volume para ganhar 15 quilos de músculos. “Então consegui incorporar o fisiculturismo tradicional e o levantamento olímpico”, diz ele, “e realmente consegui aquela aparência específica de lutadores profissionais, o que foi muito difícil”.

Durkin, que procurou evitar pensar muito sobre a apresentação visual da vida real dos Von Erichs, deixou Efron com o seu trabalho. “Senti, em termos físicos, que ficaria fora disso”, diz Durkin. “Apoiei muito mais ele seguir qualquer caminho que precisasse como forma de entrar. E acho que ele usou o físico como forma de encontrar esse nível de comprometimento. Não falamos sobre isso além disso.

Efron falou no passado sobre o custo de mudar o seu físico para o trabalho de estrela de cinema dos dias modernos; para se preparar para interpretar um salva-vidas esculpido em “Baywatch” de 2017, ele treinou demais e usou diuréticos, e disse que o processo levou-o a uma depressão. “Aprendi muito ao longo de ‘Baywatch’ – aprendi da maneira mais difícil sobre não sacrificar a minha saúde real para ver a câmara”, diz ele. “Eu tinha as perguntas certas a fazer para esta.”

Algo sobre a natureza solitária da preparação e transformação de “The Iron Claw” pode ter ajudado Efron a viver dentro da mente de Kevin. “Foi um aliado imprevisto”, diz ele. “Com todo esse peso, não te sentes normal. E a dor muscular de início tardio estava às alturas. Durante a preparação, uma coisa é gerenciar isso – não precisas de ser super sociável. Eu apanhei-me a retrair-me um pouco.” É adequado para um personagem alienado até de si mesmo.

“Como ele dedicou tanto comprometimento e tanto tempo, a sua mentalidade era toda ‘The Iron Claw’”, diz Harris Dickinson, que interpreta o irmão sensível e emotivo de Von Erich, David. Saindo direto de outro projeto, Dickinson não treinou tão rigorosamente e seguiu o conselho de Efron sobre como se aquecer antes das filmagens. “A sua vida era apenas sobre isso. Estava contido. E foi desligado de todo o resto.”

“Harris e eu - jantávamos de vez em quando ou nos permitíamos um pouco de vida fora do trabalho durante esse período”, diz White. “E não tenho tanta certeza sobre Zac. Ele era uma espécie de máquina naquela época. E acho que esses homens provavelmente sentiam-se como máquinas em algum jogo construído pelo pai. Não sei até que ponto Zac se distanciou de Kevin durante todo o processo de filmagem, mas se eu tivesse que adivinhar, não acho que ele alguma vez se afastou muito do personagem.”

A preparação de Efron ajudou-o a permanecer no personagem e a vencer dias consecutivos de lutas de luta livre. “Essas partidas duravam de 7 a 15 minutos”, diz Efron, “e não teríamos interrupção alguma. Nós os completaríamos, do início ao fim.” E então eles fariam tudo de novo para obter cobertura. “Eu estava a conversar com alguns profissionais”, diz Efron. “E eles disseram, ‘Meu, só fazemos isso algumas noites por semana. Não precisamos de fazer isso várias vezes seguidas.’”

O resultado são partidas que levam a história adiante. “Quando acabas de pular da corda superior e levas algumas pancadas no rosto e bates no chão com muita força”, diz Efron, “andas de forma diferente”.

Efron fala lenta e deliberadamente, com o contacto visual mais consistente que uma pessoa pode fazer; ele diz precisamente o que quer dizer e tende a resistir aos voos da imaginação. Mas não é difícil ver a transformação central do filme como um apelo duplo para uma estrela como Efron: por um lado, ele literaliza o processo de preparação para um papel, apresentando referências claras que podem satisfazer um perfeccionista confesso. E representa, também, a oportunidade de escapar de uma imagem restritiva. (“High School Musical”, é claro, tem fãs até hoje: Dickinson diz que, quando adolescente e contemplando uma carreira no exército britânico, Efron mostrou-lhe que uma vida nas artes era possível. “Eu estava a lutar. o meu interesse por teatro e por estar na Marinha - havia esse machismo. E lembro-me de ver 'High School Musical' - e isso é incrivelmente vulnerável - mas lembro-me de ter pensado: 'Ah, se Troy Bolton consegue fazer isso...' filmes que ele fez, eles eram fenómenos culturais.”)

Efron foi famoso durante quase metade da sua vida – “High School Musical”, o primeiro filme, foi lançado quando ele tinha 18 anos. A mania em torno dessa franquia – que acabou como uma trilogia cujo último capítulo, lançado nos cinemas, arrecadou US$ 252 milhões de bilheteira global – era semelhante à mania de “Stranger Things” hoje, exceto que o único efeito especial que teve foi o carisma partilhado das suas estrelas adolescentes.

“Se eu pudesse voltar atrás e dizer uma coisa a mim mesmo”, diz ele, “seria relaxar. Não é o fim do mundo." Mas a ideia de que “High School Musical” havia transformado a sua vida “começou a estabelecer-se muito rapidamente”, diz ele. “Eu sabia que essas são coisas sobre as quais tu realmente nunca tens controle. Há um certo número de coisas que podes controlar na tua vida, e o resto tens que perceber que não estás no controlo.”

Parte de recuperar o controlo é sair de uma situação da qual não gostas; Efron, por exemplo, não mora mais em Los Angeles. Ao descobrir onde quer pousar, ele passou um tempo em propriedades que possui na Austrália.

“Quando eu quiser, posso passar um tempo com os meus pais – sei que eles sempre estarão na Califórnia. Mas estou a pensar onde quero construir uma base e cultivar a minha vida. É chocante – às vezes acordas depois de fazer três filmes por ano e pensas: eu deixei de pensar na minha vida pessoal por tanto tempo.” O facto de essa vida pessoal acontecer longe da vista do público sugere outra lição aprendida, mesmo com a cobertura relativamente amigável que ele recebeu naquela época.

As tentativas anteriores de Efron de escapar de Troy Bolton não tiveram sucesso consistente. (Como que para demonstrar o quão inescapável o seu passado pode ser, um usuário do TikTok carregou recentemente uma filmagem de Efron a caminhar pelo aeroporto de Miami, ao som de uma versão acelerada de um hino de “High School Musical”.) O seu maior papel desde então foi no sucesso familiar “The Greatest Showman”, no qual ele "namorou" o colega coadjuvante Zendaya, enquanto o seu papel mais importante antes de “The Iron Claw”, como Ted Bundy no drama sombrio “Extremely Wicked, Shockingly Evil and Vile”, apresentado em Sundance mas perdeu-se na confusão da Netflix. E nos últimos anos, tentativas de permanecer no jogo, a partir de uma voz no desenho animado canino de resolução de mistérios “Scoob!” ao remake de Stephen King, “Firestarter”, ao acompanhamento de “Green Book”, de Peter Farrelly, “The Greatest Beer Run Ever”, foram recebidos com críticas mistas.

“Tu podes colocar o teu coração e alma em algo, e isso não funciona da forma que esperavas”, diz Efron, “mas a ideia de desistir por causa disso – há muito a ser feito.”

Assumir um papel ousado, que permitiu a Efron suportar um difícil período de preparação física, foi uma forma de literalizar o retorno ao jogo.

“O meu objetivo é fazer com que tudo seja o melhor possível em qualquer género”, diz Efron. “Mas uma grande parte que me chamou a atenção desde o início foi que tem sido uma prioridade nunca fazer a mesma coisa duas vezes, a ponto de ser desconfortável – ter que aprender um novo conjunto de habilidades, ou transformar-se, ou ser vulnerável.”

É este último ponto que talvez distinga “The Iron Claw” e a atuação de Efron dentro dele. Efron, que é solteiro e não tem filhos, interpreta um marido e pai neste filme, e a mudança parece definidora: ele colocou as coisas infantis de lado.

“Crescer jovem e estar na indústria – francamente, o que estás a passar não preocupa muito”, diz ele. “O objetivo é sempre a próxima missão, o próximo filme, fazer com que todos fiquem muito felizes. Às vezes pode ser muito solitário. Mas o processo de enfrentar as emoções de frente, de certa forma, trabalhar com elas, foi um momento profundo na minha vida. E isso definitivamente levou-me por um caminho diferente.”

O que está por vir para “The Iron Claw” é uma incógnita; num campo lotado de melhor ator, Efron é um azarão. Mas enquanto ele descobre o seu próximo projeto, este filme serve como um cartão de visita, prova de que o ex-ator jovem desenvolveu as suas habilidades. E mesmo no meio de uma preparação que durou até o final do filme, Efron sentiu aquela coisa rara para qualquer ator, e especialmente para alguém que estava a esperar para lutar com temas difíceis por 15 anos: seguro. “Nesse set, mais do que em qualquer outro lugar do passado, senti-me mais confortável”, diz ele. “Posso respirar agora.”

Tratamento: Sabrina Bedrani/Grupo The Wall.

Tradução por Diana (Zac Efron Portugal).

#zac efron #portugal #the iron claw #tradução português #variety

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ghostcultmagazine · 1 year

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Catch up on what you missed this week in the world of Rock and Metal news with our show! #musicnews #rocknews #metalnews #interviews #newmusicfriday #vinylcollector #metalmerch #musicnews #metalnews #rocknews Check out our linktree - updated daily with top stories https://ift.tt/NyJGEiR These are affiliate links: Check out VID IQ and take your YouTube videos to a new level like we did! https://ift.tt/IgY8wpa Buy Keefy's JBL Go 3 https://amzn.to/3zn02sQ Buy us a Ko-fi https://ift.tt/R3sHhp0 or We now take Cashapp $ghostcultmag Check out our weekly news show! 📰 We cover the major stories of the week in heavy music, rock, and metal news, tour dates, and festivals, New Music Friday, and more! Features: August Burns Red - new album breakdown: https://youtu.be/O-Sj9xtKQds Shelby Lermo of Ulthar discusses their two new albums: https://youtu.be/z5Gwl9YIrRE Billy Sheehan of The Winery Dogs and Mr. Big - podcast version https://ift.tt/kEPwnJf Glacially Musical https://ift.tt/nm8MB2H August Burns Red, Ulthar, Bill Sheehan of The Winery Dogs and Mr. Big on the Ghost Cult Podcast, Heavy Business Podcast, Glacially Musical Podcast - Nik's big Vinyl score, PoweTrip Live Festival officially books, Graspop Festival adds Machine Head, Prophecy Fest adds My Dying Bride and more, Lollapalooza Day splits announced, Pirahna Pit Fest, Four Chord 9 punk fest comes to Pittsburgh, Antisaint added to Download Festival, Uprising Festival coming soon, The Electric Highway Festival will return in 2024, Inferno Festival is around the corner, Lost Highway fest books Lynyrd Skynrd, Emma Ruth Rundle headline tour underway, Avenged Sevenfold books a tour, Godsmack and Staind to co-headline a tour, Armed for The Apocalypse tour booked, Queen and Adam Lambert return, Warbringer EU tour, Ludicra books Saint Vitus Bar, Nick Cave books a mini tour, Night Ranger cancels tours, Red Fang adds new dates, Killswitch Engage books a few summer shows, KISS, Blaze Bayley heart attack update, Metallica new song and video, new James Hetfield guitar book Dark Angel pays tribute to Jim Durkin, new Slipknot album drop coming soon, Tom Morello gives an update on RATM's future, Dave Lombardo new solo single, Obituary live stream coming soon, Underoath lineup change raises questions, Epicenter new single and EP coming soon, Abiotic teams up with Matthew Heafy of Trivium, Mastodon's drummer headed to late night, Nervosa new lineup and track, Jimmy Page drops a previously released Led Zeppelin demo, The HU teams with Serj of SOAD for a new single, Bridge 9 Records hitting it hard for RSD 2023, Jason Lekberg helps bands sniff out merch scams, Sargent House label drama, Pink Floyd global celebrations, and in our mailbag - a giant unboxing from Salt of The Earth Records!

#IFTTT #YouTube

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carefullyreckless · 1 year

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somehow heartbreak feels good in a place like this

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addc10 · 5 years

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Meet the U20 USMNT World Cup Roster!

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cristalconnors · 3 years

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BEST FILMS of 2020- #30-21

HONORABLE MENTIONS: Crip Camp, dir. James Lebrecht & Nicole Newnham / Emma. dir. Autumn de Wilde / The Hater, dir. Jan Komasa / House of Hummingbird, dir. Bora Kim / Liberté, dir. Albert Serra / Mangrove, dir. Steve McQueen / Matthias et Maxime, dir. Xavier Dolan / The Nest, dir. Sean Durkin / Possessor, dir. Brandon Cronenberg / Shirley, dir. Josephine Decker / The Twentieth Century, dir. Matthew Rankin / The Woman Who Ran, dir. Hong Sang-soo

30. THE 40-YEAR-OLD VERSION, dir. Radha Blank

Deftly lampoons industry expectations of what Black art can, should, or more precisely, is allowed to look like, and how restrictive those parameters are. Bucks those expectations continually while delivering laugh after laugh.

29. SHE DIES TOMORROW, dir. Amy Seimetz

Charmingly idiosyncratic, quietly hilarious confrontations with mortality that uniformly ring true. Would you relapse because, why not? Would you become so consumed with rage that plotted to kill? Would you go swimming? Or would you wail into the night, stricken with terror like poor young Madison?

28. ZOMBI CHILD, dir. Bertrand Bonello

Sets out to make a postcolonial critique of the subversion and coopting of Haitian culture in France, particularly by the ruling class, by himself coopting the traditions of voodoo and zombie lore. It works better than it should, and is often very compelling.

27. AND THEN WE DANCED, dir. Levan Akin

A distinctly Georgian tale of first love and stifling homophobia that smartly uses dance to explore tradition and the story Georgia likes to tell about itself, successfully avoiding the cliché trappings of coming out narratives to earn a sense of tenderness and urgency.

26. BOYS STATE, dir. Amanda McBaine & Jesse Moss

Yes, it’s a perfect microcosm of the current American political climate- that’s the whole idea of Boys State, the institution. Boys State, the movie, is more interested in how youthful idealism fares against its first brush with disillusionment in the political system and how ideas are formed, learned, and changed (or not), and it’s better for it. Earns its optimism

25. MINARI, dir. Lee Isaac Chung

Speaks to a universal truth about the experience of immigrant families in the United States through specific, personally resonant lived experiences of one, Korean-American family, rendering them with tremendous warmth and tenderness.

24. SOUND OF METAL, dir. Darius Marder

A compassionate tone poem about grappling with the beast of uninvited change. How do you find purpose when the only thing that kept you going is taken away? It’s rare for a film to feel this sensorially stimulating, this tactile.

23. EDUCATION, dir. Steve McQueen

Observes the profound failings of and overt systemic oppression within the British education system from the perspective of the Black children being subjected to it. Tender, but indignant.

22. LA LLORONA, dir. Jayro Bustamante

Inspiredly uses Latin American folklore and the visual language of horror films to grapple with Guatemala’s shameful history of genocide and the ongoing cultural legacy of those atrocities.

21. PALM SPRINGS, dir. Max Barbakow

Breathes new life into a tired microgenre, nimbly drawing out probing complexities and nuances from its gimmicky conceit while oozing charm and actually managing to be consistently funny.

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tothemaxxx · 3 years

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My Favorite Films and Performances of 2020

“I wish I could’ve seen it on the big screen.”

It was a strange year, and even stranger year of movie watching. In 2020 I saw only one of my top films in a theater, which is crazy (like much else over these past months). But the experience of keeping up with the movies this year was a reminder that great filmmaking can transcend the specifics of the viewing experience. In your living room, in bed, projected onto the side of a garage, streaming on Twitch, broken up into multiple sittings, maybe even on your phone (desperate times)… if doesn’t matter as long as it connects with you. A great film has the power to soothe and transport, to alter your perspective, to re-wire your brain. So while I didn’t get on a single airplane last year, I definitely went places. And I’m grateful for these changes of scenery. For the time-travel as well; last year in my house, we found great comfort in revisiting a bunch of old favorites. It was also an opportunity to finally watch a number of those older films that had someone evaded us… a year of catching up, now or never. We were members of a weekly movie club for some months — that was cool. Another pleasant silver lining was the emergence of virtual film festivals, which have been a fantastic opportunity. I hope that they can continue in some form when this pandemic is in the rearview. Because, you know, getting to Park City is a real schlep. All this to say: like you, I’ll always remember 2020. In this truly crummy year, the movies really helped.

I’m including some of the film festival stuff that’s coming out a little later, because the boundaries between 2020 films and 2021 films feels blurry to me without proper theatrical releases.

TOP 5, loosely ranked. I love these deeply.

1. LOVERS ROCK, Steve McQueen

2. NOMADLAND, Chloe Zhao

3. ANOTHER ROUND, Thomas Vinterberg

4. TIME, Garrett Bradley

5. MARTIN EDEN, Pietro Marcello

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The rest of the Top 25, in alphabetical order. I loved these.

À L’ABORDAGE, Guillaume Brac

BACURAU, Kleber Mendonça Filho

COLOR OUT OF SPACE, Richard Stanley

THE FATHER, Florian Zeller

FIRST COW, Kelly Reichardt

I’M THINKING OF ENDING THINGS, Charlie Kaufman

JASPER MALL, Bradford Thomason and Brett Whitcomb

LUXOR, Zeina Durra

ALEX WHEATLE / EDUCATION / MANGROVE / RED, WHITE AND BLUE, Steve McQueen

THE NEST, Sean Durkin

NEVER RARELY SOMETIMES ALWAYS, Eliza Hittman

NEW ORDER, Michel Franco

THE PAINTER & THE THIEF, Benjamin Ree

THE PERSONAL HISTORY OF DAVID COPPERFIELD, Armando Iannucci

POSSESSOR, Brandon Cronenberg

PROMISING YOUNG WOMAN, Emerald Fennell

RELIC, Natalie Erika James

SAINT FRANCES, Alex Thompson

SOUND OF METAL, Darius Marder

THE TRUTH, Hirokazu Koreeda

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I also enjoyed (some more than others):

Apples, The Assistant, Babyteeth, Bad Education, Black Bear, Blow the Man Down, Borat Subsequent Moviefilm, Butt Boy, The Climb, Da 5 Bloods, Deerskin, Emma, The Father (Bulgaria), Greed, His House, The Hunt, I Used to Go Here, I'm No Longer Here, Impetigore, The Intruder, The Invisible Man, Kajillionaire, La Llorona, Let Them All Talk, Lost Girls, The Man Who Sold His Skin, Mank, Never Gonna Snow Again, News of the World, One Night in Miami, Palm Springs, Preparations to Be Together for an Unknown Period of Time, Rebecca, She Dies Tomorrow, Shirley, Slow Machine, Sorry We Missed You, Soul, Spree, Straight Up, A Sun, Swallow, Tenet, Tesla, Tommaso, The Traitor, The Trip to Greece, True History of the Kelly Gang, Uncle Frank, Under the Open Sky, The Vast of Night, Vitalina Varela, Wendy, The Whistlers, Wildland, Young Ahmed

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And these documentaries!

American Murder: The Family Next Door, The American Sector, Assassins, Beastie Boys Story, The Bee Gees: How Can You Mend a Broken Heart, Bloody Nose Empty Pockets, Boys State, Brainiac: Transmissions After Zero, Circus of Books, Class Action Park, Collective, Crip Camp, David Byrne's American Utopia, Dick Johnson is Dead, Fireball: Visitors From Darker Worlds, The Go-Go's, Gunda, Miss Americana, MLK/FBI, The Mole Agent, Mucho Mucho Amor: The Legend of Walter Mercado, My Psychedelic Love Story, Mystify: Michael Hutchence, Narrowsburg, On the Record, Other Music, Sisters with Transistors, Spaceship Earth, The Way I See It, Whirlybird

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And these shorts:

Bye Bye Body (which I edited), Fit Model, Friday Night Pizza for Daddy, Hard Cracked the Wind, The Human Voice, John Was Trying to Contact Aliens, Michael's Preference West, What Did Jack Do?, World of Tomorrow Episode Three: The Absent Destinations of David Prime

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My favorite performance of the year:

Frances McDormand as Fern in Nomadland

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Favorite ensembles:

À l’abordage, Another Round, Bad Education, Babyteeth, Bloody Nose Empty Pockets, Blow the Man Down, Emma, First Cow, Kajillionaire, Let Them All Talk, Lovers Rock, Mangrove, Mank, One Night in Miami, The Personal History of David Copperfield, Promising Young Woman, True History of the Kelly Gang

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More memorable (and in some cases under-discussed) performances:

Christopher Abbott as Colin Tate in Possessor and as Gabe in Black Bear

Idir Ben Addi as Ahmed in Young Ahmed

Riz Ahmed as Ruben Stone in Sound of Metal

Daniel Algrant as Kelvin Kranz in Let Them All Talk

Maria Bakalova as Tutar Sagdiyev in Borat Subsequent Moviefilm

Haley Bennett as Hunter Conrad in Swallow

John Boyega as Leroy Logan in Red, White and Blue

Rob Brydon as Rob Brydon in The Trip to Greece

Jessie Buckley as Young Woman in I’m Thinking of Ending Things

Nicolas Cage as Nathan Gardner in Color Out of Space

Salif Cissé as Chérif in À L’abordage

Sheyi Cole as Alex Wheatle in Alex Wheatle

Cleopatra Coleman as Trina in The Argument

Carrie Coon as Allison O’Hara in The Nest

Michael Angelo Covino as Mike in The Climb

Willem Dafoe as Tommaso in Tommaso

Charles Dance as William Randolph Hearst in Mank

Catherine Deneuve as Fabienne Dangeville in The Truth

Katie Findlay as Rory in Straight Up

Sidney Flanigan as Autumn in Never Rarely Sometimes Always

Johnny Flynn as George Knightley in Emma

Julia Garner as Jane in The Assistant

Robbie Gee as Simeon in Alex Wheatle

Chris Giarmo as himself in David Byrne’s American Utopia

Betty Gilpin as Crystal Creasey in The Hunt

Ethan Hawke as Hank in The Truth

Kris Hitchen as Ricky Turner in Sorry We Missed You

Anthony Hopkins as Anthony in The Father

Jonathan Jules as Dennis Isaacs in Alex Wheatle

Sandra Guldberg Kampp as Ida in Wildland

Joe Keery as Kurt Knuckle in Spree

Udo Kier as Michael in Bacurau

Orion Lee as King Lu in First Cow

Delroy Lindo as Paul in Da 5 Bloods

Peter Macdissi as Walid "Wally" Nadeem in Uncle Frank

Matthew Macfadyen as Wilcock in The Assistant

George MacKay as Ned Kelly in True History of the Kelly Gang

Yahya Mahayni as Sam Ali in The Man Who Sold His Skin

Luca Marinelli as Martin Eden in Martin Eden

Tuppence Middleton as Sara Mankiewicz in Mank

Mads Mikkelsen as Martin in Another Round

Wunmi Mosaku as Rial in His House

Elisabeth Moss as Cecilia Kass in The Invisible Man

Kelly O'Sullivan as Bridget in Saint Frances

Shaun Parkes as Frank Crichlow in Mangrove

Robert Pattinson as Neil in Tenet

Paul Raci as Joe in Sound of Metal

Kadeem Ramsay as Samson in Lovers Rock

Gayle Rankin as Marissa in The Climb

Tanya Reynolds as Mrs Augusta Elton in Emma

Tyler Rice as Detective Russell Fox in Butt Boy

Andrea Riseborough as Hana in Luxor

Cecilia Roth as Marta in The Intruder

William Sadler as the Grim Reaper in Bill & Ted Face the Music

Kenyah Sandy as Kingsley Smith in Education

Amarah-Jae St. Aubyn as Martha Trenton in Lovers Rock

David Strathairn as David in Nomadland

Michael Stuhlbarg as Stanley Edgar Hyman in Shirley

Swankie as Swankie in Nomadland

Tilda Swinton as Woman in The Human Voice

Kristin Scott Thomas as Mrs. Danvers in Rebecca

Steve Toussaint as Ken Logan in Red, White and Blue

Alec Utgoff as Zhenia in Never Gonna Snow Again

Jairaj Varsani as young David Copperfield in The Personal History of David Copperfield

Ben Whishaw as Uriah Heep in The Personal History of David Copperfield

Sharlene Whyte as Agnes Smith in Education

Letitia Wright as Altheia Jones-LeCointe in Mangrove

Ramona Edith Williams as Frances in Saint Frances

Kôji Yakusho as Masao Mikami in Under the Open Sky

Youn Yuh-jung as Soon-ja in Minari

Helena Zengel as Johanna Leonberger in News of the World

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Favorite pre-2020 films I saw for the first time in 2020:

Blood on the Moon, But I’m A Cheerleader, Crooklyn, Cure, Daughters of the Dust, The Death of Dick Long, Deep Cover, The Draughtsman's Contract, Eyes of Laura Mars, Give Me Liberty, Greener Grass, Hardcore, High Hopes, The Last Party, Long Day's Journey into Night, Maiden, One Day Pina Asked, Persona, Right Now Wrong Then, Right On!, The Seventh Victim, Slightly French, Synonyms, Tammy and the T-Rex, Variety, The Watermelon Woman... and a tip of the hat to Coppola's new The Godfather Part III recut, The Godfather, Coda: The Death of Michael Corleone

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reportwire · 2 years

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Prevalence and Characteristics of Autism Spectrum Disorder Among Children Aged 8 Years — Autism and Developmental Disabilities Monitoring Network, 11 Sites, United States, 2018

Matthew J. Maenner, PhD1; Kelly A. Shaw, PhD1; Amanda V. Bakian, PhD2; Deborah A. Bilder, MD2; Maureen S. Durkin, DrPH, PhD3; Amy Esler, PhD4; Sarah M. Furnier, MS3; Libby Hallas, MS4; Jennifer Hall-Lande, PhD4; Allison Hudson5; Michelle M. Hughes, PhD1; Mary Patrick, MPH1; Karen Pierce, PhD6; Jenny N. Poynter, PhD4; Angelica Salinas, MS3; Josephine Shenouda, MS7; Alison Vehorn, MS8; Zachary…

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#ADDM Network #ASD eligibility #ASD prevalence #autism #Autism and Genetics (ASDs)#autism spectrum disorder #Autism Spectrum Disorders #Children&039;s Health #Developmental Disabilities #developmental disability #Developmental Screening #Morbidity & Mortality Weekly Report

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phantomofthepairofdice · 3 years

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The Rosscars 2020

Wow. It’s that time of year again, only this time it’s different because it’s on a blog that no one will read! (hold for applause) Welcome to the first annual online publication for the Rosscars (hold for applause while the reader acknowledges how positively droll it is that I combined my name with “Oscars”). Who can forget such indelible Rosscar memories like when Steven Soderbergh surprised us all and won Best Director for Out of Sight or Bill Irwin’s beautiful speech upon winning Best Supporting Actor for Rachel Getting Married?! The Rosscars mean something different to everyone, but we all know that they mean quality choices made by a committee of one schmuck. This year’s Rosscars are bizarre because in an effort to be more like the Academy guidelines, film’s nominated have been released between January 1, 2020 and February 28, 2021. As usual, theatrical windows be damned, streamers are welcome. Of course, I have my gripes. I like categorizing movies by release year – specifically, when they become available to the plain old public like yours truly – not at festivals, limited runs in NYC and LA. Well, the Oscars are still weeks away and I feel like everybody wants to forget about last year and move onto this one that we’re already three months into - So here are my awards for the films, performers, and craftspeople that stood out in a pretty exceptional year for movies even though distribution was stranger than ever.

**A few caveats and guidelines to Rosscar newcomers (which I imagine is just a formality since we all know the Rosscars so well)**

The rules and categories are a little different around here. First, not every category is honored directly. That’s for a few reasons, chiefly that I don’t feel qualified to reward the technical categories properly – I suppose I should say that I feel less qualified to do so than the “above the line” categories. In keeping with the Academy standard, there are five nominees in each category, except for Best Picture, Best Non-Fiction/Documentary Feature, and Best Ensemble Cast which allow up to ten. Every category, save those three, will have the possibility of honorable mentions, because I want to highlight some things that just barely missed the cut. The narrowing down of a lot of these categories was awfully tough.

Nominees are listed alphabetically, and the winners are in bold and italics.

Also, it’s important to keep in mind that I couldn’t see everything (this isn’t a job and it’s still $20 to rent The Father, y’all) and that these are just the opinions of one (self-described) “bozo on the internet.” If you’re a reader and have different picks, feel free to share!

Special Commendations for some things that I want to recognize: • Ludwig Goransson for his Tenet score which is an absolute banger • The costumes of Emma. (Alexandra Byrne), Ma Rainey’s Black Bottom (Ann Roth), and Small Axe (Jaqueline Durran, Sinéad Kidao, and Lisa Duncan) all struck me as exceptional • Trent Reznor and Atticus Ross with their scores for both Soul and Mank. Crazy that Pixar is working with the guy who made “Closer” • The cinematography of Da 5 Bloods (Newton Thomas Sigel), First Cow (Christopher Blauvelt), Beanpole (Kseniya Sereda), and A White, White Day (Maria von Hausswolff)

The Rosscars red carpet was, as usual, a bizarre affair. People filed into the theater and it seemed like the only encounters were awkward ones. Vin Diesel showed up in character as Bloodshot, Aaron Sorkin started getting really verbose about what a lovely night it was, and it became clear that most of the celebrities in attendance didn’t read their invitations closely enough to realize that this was not, in fact, the Academy Awards.

Everyone’s seated, and the show is under way. After a medley about the nominees this year by Common and Seth McFarlane that was more corny but clever than it was funny, the first official category is here, and the presenter is none other than... Ross!

Best Supporting Actor:

1. Chadwick Boseman for Da 5 Bloods

2. Matthew Macfadyen for The Assistant

3. Jesse Plemmons for Judas and the Black Messiah

4. Paul Raci for Sound of Metal

5. Glynn Turman for Ma Rainey’s Black Bottom

Honorable Mentions:

• Lucas Hedges for Let Them All Talk

• Orion Lee for First Cow

• Bill Murray for On the Rocks

Best Supporting Actress:

1. Vanessa Bayer for Barb and Star Go to Vista Del Mar

2. Candice Bergen for Let Them All Talk

3. Gina Rodriguez for Kajillionaire

4. Amanda Seyfried for Mank

5. Yuon Yuh-jung for Minari

Honorable Mentions:

• Jane Adams for She Dies Tomorrow

• Charin Alvarez for Saint Frances

• Talia Ryder for Never Rarely Sometimes Always

• Debra Winger for Kajillionaire

Everyone loves a montage. The audience gets comfortable in their seats as the video screens start to show a montage of some of the most famous moments from Hollywood’s most magical movies. Fred Astaire and Ginger Rogers waltz, gliding across a dance floor like two hovering angels. There’s a clip of Leo declaring himself king of the world in Titanic, the flying bicycles in ET, Bogart stares longingly into Bacall’s eyes, and then there’s some scene where Tom Cruise rides a motorcycle from 2010′s Knight and Day. The audience all seems confused how that last one got in there. The John Williams music swells as little Kevin McAllister screams when puts on aftershave. We see clips of Robert De Niro in Taxi Driver, Carrie Fisher’s Princess Leia embrace Harrison Ford’s Han Solo, Bruce Lee smoothly declares that boards don’t hit back and... wait... was that a clip from Michel Gondry’s Green Hornet with Seth Rogen? And that’s a clip from What Happens in Vegas... Bad Teacher... Vanilla Sky... Shrek 2... Any Given Sunday... Everyone is flummoxed. The last clip fades out and a sole editing credit appears: Cameron Diaz. The lights come up and there’s some applause, but mostly confused murmurs.

The ceremony has had a bit of a misstep, but nothing it can’t recover from, especially as the next category is announced over the PA, and it looks like the presenter is... Ross!

Best Ensemble Cast:

1. Bacurau

2. Da 5 Bloods

3. Kajillionaire

4. Let Them All Talk

5. Ma Rainey’s Black Bottom

6. Minari

7. Nomadland

8. Pieces of a Woman

9. Small Axe

Best Original Screenplay:

1. Danny Bilson and Paul Dameo & Spike Lee and Kevin Wilmott for Da 5 Bloods

2. Lee Isaac Chung for Minari

3. Brandon Cronenberg for Possessor

4. Sean Durkin for The Nest

5. Kleber Mendonça Filho and Juliano Dornelles for Bacurau

Honorable Mentions – a very difficult task to weed this down to five.

• Shaka King and Will Berson for Judas and the Black Messiah, from a story by Kenny and Keith Lucas

• Steve McQueen, Alastair Siddons, and Courttia Newland for Small Axe

• Kelly O'Sullivan for Saint Frances

• Thomas Vinterberg and Tobias Lindholm for Another Round

Best Actor:

1. Ben Affleck for The Way Back

2. Chadwick Boseman for Ma Rainey’s Black Bottom

3. Delroy Lindo for Da 5 Bloods

4. John Magaro for First Cow

5. Mads Mikkelsen for Another Round

Honorable Mentions:

• Riz Ahmed for Sound of Metal

• John Boyega for Small Axe

• Daniel Kaluuya for Judas and the Black Messiah

• Hugh Jackman for Bad Education

• Ingvar Eggert Sigurðsson for A White, White Day

We have a break in the action and it looks like Darius Rucker has showed up to perform what he would have nominated for Best Original Song. The crowd is absolutely furious as he starts playing a song that apparently was in Trial of the Chicago Seven. An ocean of sonorous boos and curses overtakes the the once docile crowd. The Rock just ripped his chair from out of the ground. Jane Lynch somehow smuggled in a civil war era flintlock pistol that she’s now pointing at the stage! Suddenly, the crowd unifies around what started as a confident chant of one lone audience member - John C Reilly. It’s growing... Ja Ja Ding Dong, Ja Ja Ding Dong, Ja Ja Ding Dong - it’s like the macabre circus performers from Tod Browning’s Freaks, but instead of chanting “Gooble Gobble” they’re clearly pining for Darius to change his tune to the silly and delightful jam from Eurovision Song Contest: The Story of Fire Saga. Darius, scared for his life, leaves the stage, but here come Will Ferrell and Rachel McAdams to deliver the goods. Busy Philips and Michelle Williams burst into tears. Tom Hanks nods in approval. A segment saved by brave artists placating a toxic group of fans... we’ve just witnessed a live version of the Snyder Cut, folks.

Jack Nicholson seems completely unfazed, giving a thumbs up to the camera and blowing a kiss to the next presenter. Coming to the stage is... Ross... again...

Best Actress:

1. Jessie Buckley for i’m thinking of ending things

2. Carrie Coon for The Nest

3. Han Ye-ri for Minari

4. Sidney Flanagan for Never Rarely Sometimes Always

5. Vasilisa Perelygina for Beanpole

Honorable Mentions – these cuts were especially painful

• Haley Bennet for Swallow

• Morfydd Clark for Saint Maud

• Frances McDormand for Nomadland

• Christin Milioti for Palm Springs

• Geraldine Viswanathan for Bad Education

Best Adapted Screenplay:

1. Charlie Kaufman for i'm thinking of ending things from Iain Reed's novel

2. Sarah Gubbins for Shirley from Susan Scarf Merrell's novel

3. Kelly Reichardt and John Raymond for First Cow

4. Simon Rich for American Pickle from his short story "Sell Out"

5. Mike Makowsky for Bad Education from Robert Kolker's "The Bad Superintendent"

Best Non-Fiction/Documentary Feature:

1. Boys State

2. Collective

3. David Byrne’s American Utopia

4. Dick Johnson is Dead

5. Feels Good Man

6. In & Of Itself

7. The Painter and the Thief

8. Time

Jimmy Fallon has come out on stage to do a bit about the pandemic and watching movies at home. People are just absolutely not having it. He tries not to laugh at his own jokes while doing what I guess is technically a pretty good impression of Dr. Fauci interviewing James Corden as Martin Scorsese (the less said of this impression, the better) on what is or isn’t cinema. The bit doesn’t track and Fallon is absolutely tanking. The producers cut away from the stage to spare the viewers at home from this monstrosity. We see crowd shots of Millie Bobby Brown shaking her head in dismay, Colin Firth is simultaneously grimacing and trying to stave off laughter, Cynthia Erivo is texting, and director Tom Hooper is taking notes for his next film. Corden yells, “Carpool Karaoke! Remember?!” Ron Howard has fainted. This thing is almost completely off the rails.

Coming back to the stage is the next presenter, a clearly embarrassed... Ross! He’s in a total flop sweat, but stumbles his way through a joke about how Fallon should try co-hosting the Oscars with James Franco sometime. There are scant chuckles throughout a crowd that mostly just wants to see who won and go home.

Best Director:

1. Christopher Nolan for Tenet

2. Spike Lee for Da 5 Bloods

3. Steve McQueen for Small Axe

4. Kelly Reichardt for First Cow

5. Chloé Zhao for Nomadland

Honorable Mentions:

• Kitty Green for The Assistant

• Eliza Hittman for Never Rarely Sometimes Always

• Charlie Kaufman for i'm thinking of ending things

• Thomas Vinterberg for Another Round

Best Picture

1. Bacurau

2. Barb and Star Go to Vista Del Mar

3. Da 5 Bloods

4. First Cow

5. i'm thinking of ending things

6. Judas and the Black Messiah

7. Never Rarely Sometimes Always

8. Nomadland

9. Small Axe

10. Tenet

Accepting the award for best picture is none other than Eve, the cow actor who played the titular First Cow! The audience is enamored with how graceful she looks in her cow gown, and her speech, though indecipherable, is likely simple, observational, and deeply profound for those who speak cow.

Wow, what a ceremony! Hearts were broken, property was damaged, dreams were fulfilled... blood was shed? Damn it, Meryl Streep came in and mugged Charlie Kaufman before absconding with the trophy. Oddly, she’s a previous winner, so the attack isn’t out of need for hardware. People are reading through articles about production on Adaptation for potential motives. Streep made time for a photo opportunity, but remains at large.

I could go on ad infinitum about all of these nominees and winners themselves and why they did or didn’t make the cut, but that’d be better served in a different piece. For now, my thoughts on most of these can be found on the Best of 2020 write-up and over on my Letterboxd. And, as always, these awards can be revoked and redistributed at will, so don’t get too cozy with that statue, Danny Bilson!

On behalf of the RAOGL (Rosscars Association of One Guy at a Laptop), thanks for reading, and stay tuned as we’re establishing a tip line for anyone has seen Ms. Streep or her stolen valor Rosscar. We’ll see you next year. Keep watching movies, and keep arbitrarily quantifying them in terms of subjective quality!

#awards #movies #film #Rosscars

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aion-rsa · 4 years

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Upcoming Movies in September 2020: Theaters, Streaming, and VOD

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Movies are back! Granted they never really left either, with Netflix, Amazon, Disney+, and others keeping us satiated with content these past five months. Still, the streamers are about to be reinforced for those willing to return to movie theaters: Major Hollywood blockbuster releases are coming, and limited rollouts are slowly making their way back into cinemas around the world.

For that reason, we’ve assembled a list of potential moviegoing experiences in September, whether on the big screen (please consider the risks of attending a theatrical screening) or at home via video on demand. It’s time for the popcorn to get popping.

Bill & Ted Face the Music

Now playing in theaters and VOD in the US (September 23 in the UK)

One of the biggest movies yet to eschew its intended theatrical window for a premium video on demand (PVOD) release is this most excellent adventure. It’s been 29 years since we last saw Alex Winter’s far out Ted or Keanu Reeves’ perpetually astonished Bill, yet it’s good to have both back in their legendary stoner roles.

The fact they’re middle-aged and still having adventures through time and space, and against the visage of Death—he’s still cheating!—is pretty sweet. As is Keanu coming back to this role one Speed, three Matrixes, and nearly five John Wick chapters later. But this time they’ve got daughters (played by Samara Weaving and Brigette Lundy-Paine)… but rest assured, the children are as amused as their dads.

Tenet

Now playing in the UK (September 3 in the US)

Already playing in the UK, Tenet will be making its much vaunted North American debut in “select U.S. cities” in September. We’re still not entirely clear what that will look like, but hopefully it will be worth it for this mysterious and visually dazzling Christopher Nolan epic.

Early reviews are in, and the majority promise Nolan’s most exciting use of IMAX spectacle to date, though even without spoilers, this one might be too big for its own good. Our own Rosie Fletcher describes it as Nolan’s long-whispered about James Bond movie meets Doctor Who…

The New Mutants

Now playing in the U.S. (September 4 UK)

Josh Boone’s journey into the X-Men universe has been pushed back so many times it almost feels like a mythical lost movie. So when it finally arrives in UK cinemas on Sept. 4 (it landed in the U.S. at the end of August) it might feel like a bizarre flashback to another era – namely that of 2017 when the main shoot took place.

Maisie Williams, Anya Taylor-Joy, Charlie Heaton, Blu Hunt, and Henry Zaga star as five young mutants held in a sinister facility against their will. It’s been positioned as an action horror which in theory sounds pretty cool, though what the final cut will look like is anyone’s guess.

Mulan

September 4 (Disney+ with premium)

One day after Tenet makes its U.S. debut, Disney, and more specifically Disney+, offers a starkly different vision for the future of cinema with Mulan. Whereas Tenet will attempt to jumpstart moviegoing, Disney has pushed one of their biggest 2020 blockbusters exclusively to streaming in all markets featuring Disney+, including the U.S. and UK. That means if you want to see Niki Caro’s anticipated reimagining of the 1998 animated Disney movie, you are going to have to pay $30 on top of your Disney+ subscription to get a load of this bad boy on a new PVOD model.

Movies

Mulan and Tenet Show Competing Visions for Future of Movies

By David Crow

Movies

UK Cinemas Slam Disney After Mulan Streaming Announcement

By Kirsten Howard

Even so, the film’s need to step away from the 1998 version’s iconography—Chinese moviegoers generally dislike musicals—appears to offer an opportunity to make a modern 2020 epic that can stand on its own two feet.

I’m Thinking of Ending Things

September 4 (Netflix)

Charlie Kaufman does horror? Well, uh, maybe?! For his first Netflix original production, the idiosyncratic writer-director behind Synecdoche, New York, and the Being John Malkovich screenplay is adapting Iain Reid’s thriller novel, I’m Thinking of Ending Things. But Kaufman is expected to come at it from his singularly off-center perspective.

With a somber setup about a young woman (played by Wild Rose’s talented Jessie Buckley) going to meet the parents of her boyfriend (Jesse Plemons), the movie is actually about an unhappy lover planning to terminate her relationship. Yet when she meets Mom and Dad (Toni Collette and David Thewlis), things are going to get weirder, if not necessarily better for the relationship…

The Roads Not Taken

September 11 (UK)

Sally Potter’s wistful drama was nominated for the Golden Bear at the Berlin Film Festival earlier in the year before the world went into lockdown. It follows Leo (Javier Bardem), a man with dementia, as he imagines different paths in life he might have taken, while his daughter Mollie tries to help him keep various appointments and struggles with decisions about her own future. A very personal study of mental illness, grief, and regret.

The Devil All the Time

September 16 (Netflix)

Southern fried noir might be the creepiest noir. With its rural and sunny backdrops, and a smiling Christian face, its pleasantries belie an evil heart. And Tom Holland of all people will be driving right to the dark center of it in The Devil All the Time, a new thriller by writer-director Antonio Campos.

Ready to bow on Netflix this month, the all-star cast, which also includes Bill Skarsgård, Riley Keough, Sebastian Stan, and Robert Pattinson, as a fire and brimstone preacher no less, The Devil All the Time reimagines post-WWII Tennessee backwoods as a hotbed of corruption, hypocrisy, and murder. Sounds about right.

Antebellum

September 18 (U.S. Only)

Co-writers and directors Gerard Bush and Christopher Renz appear to have cracked the code in making one of fiction’s favorite fantasies terrifying. You know the type: From Mark Twain’s A Connecticut Yankee in King Arthur’s Court to Midnight in Paris, some congenial fellow travels back to a point in history he loves and has an all-around splendid time. Now imagine that same scenario except the protagonist is a Black woman. And she’s sent to the Antebellum South on the eve of the Civil War. Scared yet?

It’s a disturbing premise that aims to put Antebellum in the same wheelhouse as recent horror movies that have tackled American racism head on, including Jordan Peele’s Get Out and Us. The movie stars the ever compelling Janelle Monáe as a 21st century author trapped inside a 19th century nightmare, and it’s one of the most intriguing setups of the year. It also will be available on VOD and in select theaters.

The King’s Man

September 18 (September 16 in the UK)

Kingsman: The Secret Service was one of the nicer surprises of 2015. A better Bond movie than that year’s Bond film, this Matthew Vaughn directed and Jane Goldman co-written spy adventure was both a satire and loving homage to 007 movies of the 1960s and ‘70s, with excessive swagger and style to boot. Unfortunately, Kingsman: The Golden Circle (2017) didn’t live up to its predecessor. It did, however, make enough money to spawn a prequel. Which brings us to The King’s Man.

As Disney/20th Century Studios’ latest release, this movie sees Vaughn return to the director’s chair as he travels back in time to World War I and the origins of the Kingsman secret service. With the same daffy style but now in period garb (it worked for Vaughn in X-Men: First Class), the prequel hopes to recapture the charm of the original. It certainly has a winning cast that includes Ralph Fiennes, Daniel Bruhl, Djimon Hounsou, and Gemma Arterton.

Kajillionaire

September 18 (October 9 in the UK)

One of the happy discoveries out of this year’s Sundance Film Festival, Focus Features’ Kajillionaire is a movie we’ve had our eye on for a while. The picture is writer-director Miranda July’s pleasant vision of criminality and heists being the stuff of family team-building. Take Evan Rachel Wood as Old Dolio. She’s an adult daughter whose depression has forced her to live at home with her small time crook parents. But Mom and Pop (Debra Winger and Richard Jenkins) have a plan; they’ll incorporate their daughter in the next heist and bring her out of her funk. It’s a charming premise that won over almost every critic who saw it back in January.

The Nest

September 18 (U.S. Only)

Another apparent highlight out of Sundance this year, Sean Durkin’s The Nest presents itself as a foreboding drama. As the follow-up feature from the director of Martha Marcy May Marlene, the film intends to be an unsettling account of a wealthy marriage descending into Gaslight levels of manipulation. With Jude Law as the rich patriarch and Carrie Coon as his quietly suffering wife, a sudden move to the country reveals dark dimensions to their relationship and the brittleness of domesticity. If the buzz is to be believed, the wound up WASPy tension in this could strangle an elephant.

Enola Holmes

September 23 (Netflix)

Did you know Sherlock Holmes had a little sister? You’re about to thanks to some strong synergetic mojo going on at Netflix with Enola Holmes, a new mystery/adventure that stars The Witcher’s Henry Cavill as Sherlock, The Crown’s Helena Bonham Carter as Mrs. Holmes, and Stranger Things’ Millie Bobby Brown as the eponymous Enola. That’s right, Eleven’s going to use her own English accent and play Sherlock’s kid sister.

Often kept in her famous brother’s shadow, it is up to Enola to do him one better when she sets off to find their mysteriously vanished mother. In the process, she proves she’s a super-sleuth in her own right and brings to light a deadly conspiracy. The game’s afoot!

Misbehaviour

September 25 (Open in the UK)

A crowd-pleaser that debuted earlier in the year in the UK, Misbehaviour has all the markers of a charming dramedy with real world ramifications. In fact, it’s set during the events of the Miss World competition in 1970, a televised beauty pageant in London that was then the most-watched event on the planet. In this context, the Women’s Liberation Movement reached international acclaim by disrupting the proceedings, and a Woman of Color from Grenada became a contender for the Miss World title.

Director Philippa Lowthorpe (The Crown) reportedly explores these events to winning results with an ensemble of players that Keira Knightley and Jessie Buckley as lead activists, Gugu Mbatha-Raw as Jennifer Hosten (aka Miss Grenada), and Greg Kinnear at his greasiest as an aging Bob Hope.

Greenland

September 25 (U.S. Only)

Imagine this: A comet that is supposed to gently pass Earth by was misjudged by the science community, and instead a cataclysmic extinction level event occurs with comet fragments destroying parts of the world one action scene at a time! Yeah, in 2020 that sounds about right. It’s also the plot of Greenland, a new high-concept survivalist action movie starring Gerard Butler as a family man who, realizing Florida is gone and his home state is next, tries to save his wife (Morena Baccarin) and child by getting his family to the last place that may be spared: military bunkers in Greenland!

And you thought U.S. leadership was being ridiculous when it tried to buy the country a few years ago…

The post Upcoming Movies in September 2020: Theaters, Streaming, and VOD appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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neveralarch · 4 years

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Yuletide reveals!!

Happy New Year! I started writing fic in 2010 and also started doing Yuletide in 2010, so it's now been a decade :) Always one of my favorite things about December. For Yuletide this year I was gifted this amazing fic: How I Spent My Vacation Between Survey Missions (3727 words) by Satchelfoot Fandom: The Murderbot Diaries - Martha Wells Rating: General Audiences Characters: Murderbot (Murderbot Diaries), Asshole Research Transport (Murderbot Diaries) Summary:What happens when ART reunites with Murderbot during another break between research survey missions? Media gets viewed, of course, but there might also be some bad news for more shady corporations. It's a fun little adventure about two characters who were made by humans but don't entirely understand how humans think, trying to figure out how firendship works. I loved it!! It also looks like Satchelfoot maybe picked me up as a pinch hit, which I so so so appreciate. What a good Yuletide. I wrote 11 fics, as usual - though I'm reconsidering this tradition a little, haha. Christmas Eve turned into a pretty late night for me. My main fic is: Worthy of Attention (2563 words) for Xochiquetzl Fandom: Imperial Radch Series - Ann Leckie Rating: General Audiences Relationships: Gem of Sphene & Zeiat (Imperial Radch) Characters: Gem of Sphene (Imperial Radch), Zeiat (Imperial Radch), Queter (Imperial Radch) Summary: Sphene has a new captain. Ambassador Zeiat isn't sure what to think about that. I struggled with this quite a bit and actually ended up writing half of a different plot before starting over, but I'm happy with what I ended up with :) This is, coincidentally, also a fic of two not-really human people trying to figure out how friendship works. This might be, uh, symptomatic of the whole Transformers thing that's been happening over here all year.

The rest of the fics are under the cut - Gideon the Ninth, Nero Wolfe, lies about baseball, Hustlers, Inspector Chen, JSMN, Rivers of London, Matthew Swift, The Raven Tower, and Murderbot Diaries!

Good Morning (1132 words) for Griddlebone Fandom: Gideon the Ninth - Tamsyn Muir Rating: General Audiences Relationships: Gideon Nav & Harrowhark Nonagesimus Additional Tags: getting swole Summary: Gideon's Guide to Doing Some Push-Ups, At Least, Have You Never Used Your Arms, Nonagesimus? Allow me to evangelize for a minute: Gideon the Ninth is a really, really, fun book, and also, very sad. I tried to lean into the fun part more for this, but it maybe got a little melancholy in places, haha. Nero Wolfe's Caffeine Agency (1386 words) for Nestra Fandom: Nero Wolfe - Rex Stout Rating: General Audiences Relationships: Archie Goodwin/Saul Panzer Characters: Archie Goodwin, Saul Panzer, Fred Durkin, Nero Wolfe, Fritz Brenner Additional Tags: Alternate Universe - Coffee Shops & Cafés Summary: At five fifty-three AM exactly, I was cleaning the heads of the espresso machine and arguing with Fred Durkin. Normally five fifty-three AM is a time of night that I don't see except to roll over in bed, but that morning I had maneuvered my way into opening the coffee shop for a very particular reason which Fred was obstructing. I think I've spent my entire life preparing to write this fic - or at least all the many hours I spent either reading Nero Wolfe novels or working with an espresso machine. A Narrative History of the Home Run (1031 words) for mayhap Fandom: An Oral History Of The 1998 Major League Baseball Home Run Chase (ClickHole Article) Rating: General Audiences Characters: Willie Mays, Barry Bonds Summary: Willie Mays invented the home run. Please read that ClickHole article, it's SO fun. The Way You Make Me Feel (1379 words) for angelheadedhipster Fandom: Hustlers (2019) Rating: Explicit Relationships: Destiny (Hustlers)/Ramona Vega Additional Tags: Mommy Kink, Lapdance, Vaginal Fingering Summary: Destiny and Ramona have a sleepover. I've been wanting to write Ramona/Destiny sex ever since I watched this brilliant movie. It was still very weird to write explicit fic with real human body parts, I'm so out of practice. Century Egg (1030 words) for james Fandom: Inspector Chen - Liz William Rating: General Audiences Relationships: Chen Wei/Inari/Zhu Irzh, Chen Wei/Inari Additional Tags: Getting Together Summary: Chen Wei is a model detective. He has the favor of a goddess and the blessings of his superiors. He brings packed lunches to work. He loves a demon wife. Zhu Irzh wants that. This prompt pushed me to finish a fic I started forever ago! Or, really, it was a few scribbled lines in a notepad document. But it felt really good to get this out there. Tincture (1069 words) for notkingyet Fandom: Jonathan Strange & Mr Norrell - Susanna Clarke Rating: General Audiences Characters: John Childermass, Gilbert Norrell Additional Tags: Illnesses, Hurt/Comfort, (but only barely) Summary: Childermass was ill. His nose was clogged, his head felt like it was full of cotton, and his throat was full of sandpaper. If he was a wealthy man, he might have rolled over in bed and written the day off as a loss. Unfortunately, there were no days off from being Mr. Gilbert Norrell's right hand. I just. Love writing mild illnesses and people being bad at comforting. Hewn Through the Rock (495 words) for 20thcenturyvole Fandom: Rivers of London - Ben Aaronovitch Rating: General Audiences Relationships: Beverley Brook/Peter Grant Characters: Beverley Brook Additional Tags: Post-Book: Lies Sleeping Summary: Beverley runs an errand. I wrote a lot of my old book fandoms this year, because, I consumed almost no new media :p But Rivers of London is always so fun and comfortable to write. Butterflies (415 words) for Seiya234 Fandom: Matthew Swift Series - Kate Griffin Rating: General Audiences Relationships: Rhys Ellis/Sharon Li Additional Tags: Post-Book: The Glass God Summary: One of the odd things about saving the Midnight Mayor, or London, or, possibly, the world, is that life just keeps happening when you're done. See above note, haha. I miss the Matthew Swift books so much!! I want a new Sharon Li adventure... In All Its Guises (487 words) for tangentti Fandom: The Raven Tower - Ann Leckie Rating: General Audiences Characters: The Myriad (The Raven Tower) Summary: Here is a story. Some part of it is probably true. Oh, this one is a new fandom! I really liked the Raven Tower, highly recommended if you like (surprise) non-human characters trying to understand friendship. Rest in the Grass (562 words) for malachibi Fandom: The Murderbot Diaries - Martha Wells Rating: General Audiences Characters: Murderbot (Murderbot Diaries) Additional Tags: AU Post All Systems Red Summary: It was a hard decision, going home with Dr. Mensah after she bought my contract. Murderbot figures out what comes next. I also wrote Murderbot fic! A good bookend to my Yuletide :) I hope you also had fun, if you did Yuletide! And if you didn't, please feel free to ask me more about the exchange - it's my favorite fic event of the year, and I'm always happy to talk about it.

#fanfiction written by me #nero wolfe #murderbot diaries #rivers of london #the raven tower #matthew swift #Jonathan Strange and Mr Norrell #inspector chen #hustlers #baseball lies #gideon the ninth #imperial radch #yuletide

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