imo if evil jinkx monsoon wants to conquer the universe through the power of music and serving cunt I think we should, you know, let her

cyberpunk dead boy full version out wooo!! and its a BANGER heheh

and w this, wonderlands x showtime becomes the first group to complete their fourth round of focus songs, and can i just say i fucking love wxs??? their commissioned songs are consistently awesome, like out of all the 16 focus songs they have so far, there is only one that i dont at least like, and many i just straight up adore

ANYWAY this house is a wxs love and appreciation zone !

(So many things happened and I lost track of time but I managed to write some more stuff for the Unnamed Angsty Omori AU)

Because of Sunny's friends trying to see him his parents decide to come up with the 'genius' plan to imply it was actually Sunny's fault that Mari's dead. This combined with them mourning causes the group to splinter and stop trying to get to Sunny.

Due to Sunny being convinced he's the one at fault and his isolation his mental state deteriorates rapidly which causes the creation of Whitespace and Omori while having the side affect of giving him Black Space like hallucinations while awake.

Omori himself takes over the role Mari had in life to try help Sunny stay sane and potentially heal. He's similar to HS Mari and Hero with how he talks and Interacts with Sunny. The older sibling Sunny desperately needs.

By the time 4 years have passes he's disheveled, malnourished and weak. He would have withered away by now if not for Omori being stubborn and making Sunny take care of himself.

Despite being 15 he both looks younger and older than he actually is. Younger because of the mental and physical strain his parents put him under severely stunted his growth. Older because he's almost skeletal in appearance and has lost all of his baby fat from starvation.

He ends up wearing Mari's old clothes when he finally leaves the house for 3 reasons. To feel close to her again. To attempt to hide his physical state, and because her clothes were actually taken care of.

The group end up pretty similar to how they did in Canon but with the major difference of how Aubrey and Basil haven't had their relationship breakdown due to the Photo Album incident. They're still distant, but they don't Bully Basil and they do talk sometimes.

Sunny's parents end up going on a 3 day work trip and leave Sunny at home believing him too broken to try to run away.

When he does leave the house, he doesn't run into Kel, but instead Kim when walking past the Park and daydreaming. She begins to get upset when someone bumps into her but upon noticing it's this Tiny starving Kid she quickly helps him up and ends up dragging him to where some of her other friends are eating lunch.

This ends up going pretty well and the group end up hanging out with their new currently unnamed quiet friend for a few hours.

(Despite all the Angst there is a wholesome ending to this continuation. Depending on how well received this is I might write out how Sunny's old friends react to finally seeing him after 4 years. I now leave you with the mental image of Kim giving Sunny a side hug and trying to get him to eat some Pizza.)

This is great. Amazing. Showstopping. Phenomenal. Incredible. Jawdropping. I like this AU a lot. I demand more......!!! Now....!!!

Yeah, Skypiea feels the most filler-y of canone One Piece, but it gave good lore, cool gadgets, and Enel's hilarious face when he realized how boned he was against Luffy. We all fantasize about being Luffy, Zoro, ect., but I think we're more like Usopp and that's what makes him feel real. What's your favorite moment from each arc?

hmmmm

idk exactly how pre-Grand Line arcs are categorized since they're all a lot shorter and flow into one another, from those arcs I liked Ussop's goodbye to his little psuedo-pirate gang, and Luffy giving Nami his hat, obviously. Which, by the way, he does mulitple times throughout the story and I've always liked that. That's his best friend I think.

From Alabasta and it's lead-up arcs I liked Chopper's backstory a whole lot, Luffy's final fight with Crocodile, and I adored the crew's send off to Vivi. Also near the end right after all the fighting is done, the Strawhats telling Vivi to keep their involvement a secret and go celebrate with her people. After she leaves and they know she's out of sight they all just collapse from exhaustion. Loved that so much.

Skypeia had the pre-bounty bash which was absolutely delightful. I just kept going back and forth between those couple of pages because I found their little celebration to be ridiculously charming.

Water 7 had a lot of Robin angst that I enjoyed, but I think my absolute favorite moment was when Nami realized that Robin hadn't betrayed them and was actually trying to protect them. The look of relief on her face and the spark of confidence it brought to her made me a lot more emotional than I expected lmao.

And continuing to Enie's Lobby, of course it's Robin telling the Straw Hats that she wants to live. Phenomenal. showstopping, I cried real tears.

JULIE THE MUSICAL

28.07.2023 @ The Other Palace (studio), London (120 Capacity)

Written August 2023

Julie The Musical was amazing, especially as we bought the tickets only a few days before as a fun experience to end a week in London. We had no expectations whatsoever, and we were pleasantly surprised at how much we enjoyed the show.

The brand new original musical written by Abey Bradbury focuses on the life of historical LGBTQ+ icon Julie D'Aubigny, whose extraordinary life adventures come alive via live music, comedy & even a sword-fighting tap number. Julie is a musical celebrating her chaotic & crazy life, unapologetic queerness & shows that you can carve a place for yourself in a world not built for you. You never have to give up. 

The oddly comforting musical concentrates on Julie’s found family (a personal favourite trope of mine) that she gains along her journey to become the most famed opera singer in the world at Paris Opera House and her romantic escapades as she does so. Similarly to SIX: The Musical, it was a small production with just the 5 actors on stage. The 5-piece was made up of super talented multi-instrumentalists, rotating between singing, playing, or both, depending on the number. Sam Kearney (they/them) did such a phenomenal job portraying the titular character with perfect comedic timing, superb chemistry with every other actor & a showstopping voice I couldn't get over. The way each actor (other than Sam) takes on multiple roles without it becoming too confusing is truly amazing and really shows how versatile & modern this whole play is, everyone involved is amazingly talented and promises great things for the future of theatre. Something I didn’t realise till after the show was that one of the actor’s was not there and instead, Abey Bradbury (the show’s creator/writer) had stepped up to cover the role of ‘Thevenard & others’ (I think…). 

After the show we managed to talk to one of the actors, Sophie, as she packed up. She was just as enthusiastic as we were about the show & was surprised at the fact we wanted to know even more about it and what goes on behind the scenes. She then pointed us in the direction of the show’s producer, Conor who was able to talk to me in even more depth about the live setup of the show and The Other Palace in general.

This new & flamboyant musical truly deserves all the awards and traction it gains - it's so phenomenal. It really shone a light onto queerness in the 1700s, and fuelled the fire against reducing LGBTQ+ history in society, especially as sapphic representation is at a significantly lower level in mainstream media. The actors, crew & creator did such a good job putting on a great show & creating such a good, fun, safe & inclusive show. I can't recommend it enough and will definitely be seeing it again.

CUSTOM! RETRACTABLE! STAFF!

The Wardens already have the Drama™️ of those uniforms and the mysterious organization. Now that STAFF???? Phenomenal. Showstopping. Imagine if Will starts a trend with other Warden Mages.

WHEN SHE IS WALKING IN TOWN SHE WEARS IT ON HER HIP!!

Hello! What are your fave Succession wlw pairings, please?

Hi! Honestly, I really like most of them, and think a lot of them have an absolutely insane amount of potential?? Like, can you imagine the blister, the possessiveness, the powerplays of Shiv x Lisa, or the manipulative Rhea x Marcia hate sex?? Or all the ways Karolina x Gerri breathe oxygen back into one another after the Roy's have sucked it all out of a room????

Amazing, phenomenal, showstopping, etc etc etc.

I'm especially partial though to Naomi x Tabitha, to the point I've even written half a fic (which I'll finish, I swear, haha) - I mean, they're canon, for starters, but also I just love a destructo-child and their #1 hanger-on who hasn't managed to anchor them during storms but maybe has weathered them with them, and who know them too well and not enough and are stuck on the sidelines of a life and a business that treats them as a headline or disposable, like - - that just really does it for me, y'know? Mess, I love them.

I was also actually daydreaming the other day about the potential of Jess x Rava, because you know Jess got a front row seat to the worst of both her and Kendall during the divorce, and I love this idea of Jess being caught a bit in the middle of that. Of having this loyalty to Kendall as his assistant, but also knowing how low he was spiralling, and Rava knowing that Jess picks up his drugs for him and needing her to stop, and it's this impossible position for Jess and all she's left with is Rava's desperation and the Roy's willfully ignoring the problem, and Stewy enabling and maybe pulling Kendall a little closer in the chaos of it, and when everything implodes, Jess knows it's going to happen, but still. She's surprised when Rava texts her, and not Kendall, to come and get his stuff, and for Rava, maybe she just looks at Jess and sees her as this picture of this life she doesn't want anymore and couldn't get him away from, and she might not have him or that anymore, but she thinks maybe she can have Jess.

And then they have a desperate, angsty affair for the ages, hahaha.

Ho, Ho, Ho! Good Morning! Tis I, your Steggy Secret Santa! I've heard you've been VERY good this year and I want to make sure I get your gift just right. Your letter was very helpful, but I'm hoping to get some more information, and for you to have some fun, in the coming days! Let's start here: what's your favorite Steggy moment from the MCU? Do you have a favorite moment from a Fan Work? My elves and I are starting to gather ideas... Have a wonderful Monday!

oh my god hi santa! let me just say I am thrillleeeed to hear from you :D I have indeed been very good this year in preparation for just this moment lol

ohhh you ask the good - and hard - questions! okay okay okay, so my favorite steggy moment...there's a couple. I am a sucker for the compass. I'm a simple woman with simple needs and tangible symbols of love fulfil, like, 90% of them. I think an underrated moment for these two is the 'weren't you about to...' 'right' exchange in the hydra base. power couple steggy rights! I love that they're kicking ass but take a second to have a Moment. showstopping, no notes. and then one of my other favorite moments is the scene in the nursing home where peggy calls steve dramatic - just...they know each other so well, and he goes to her for advice, and she teases him and brings him out of his overthinking, even with all the years separating them. just - I love their dynamic so much. heart eyes.

favorite fan work moments? honestly this fandom is so talented, I dont know if I can pick just one! I just really love any works where we get to dive into their dynamic: where they have fun with each other, where they lead together and show that they are capable of great things individually, but never get in their way when they're together. so - make of that what you will lol

whatever you make is going to be phenomenal, santa! can't wait to see it!!

Girl with Basket of Fruit

Xiu Xiu

experimental, ambient, industrial, avant-garde

The musical version of the phrase "method to madness". This album sounds like what it feels like to be trapped in a nightmare. It's terrifying. "Mary Turner Mary Turner" makes my skin crawl. Some of the sounds used literally sound like samples from my childhood nightmares, it's like the boogeyman is singing a cautionary tale to you.

Beyond the bombastic noises used here (it's no Pulse Demon though), there is a lot of intricacies to it. For starters there's a recurring syncopated rhythm that keeps some level of musicality throughout it. I can't exactly see myself revisiting the songs themselves for the enjoyment of them, but the odd groove to it weirdly attracts me? Bizarre. At the core of these seemingly random and strung about ideas there is this theme of women facing violence, which perhaps suggests me political implication? Though I guess the final 20 seconds of "Mary Turner Mary Turner" confirm this.

It's not a boring album, that's for sure, thrilling, experimental, hellish, and thoughtful.

‧̍̊·̊‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊‧̍̊ °̩̥˚̩̩̥͙°̩̥ ·͙*̩̩͙˚̩̥̩̥*̩̩̥͙·̩̩̥͙*̩̩̥͙˚̩̥̩̥*̩̩͙‧͙ °̩̥˚̩̩̥͙°̩̥ ‧̍̊·̊‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊‧̍̊ ‧̍̊·̊‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊‧̍̊ °̩̥˚̩̩̥͙°̩̥ ·͙*̩̩͙˚̩̥̩̥*̩̩̥͙·̩̩̥͙*̩̩̥͙˚̩̥̩̥*̩̩͙‧͙ °̩̥˚̩̩̥͙°̩̥ ‧̍̊·̊‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊‧̍̊ ‧̍̊·̊‧̥°̩̥˚̩̩̥͙°̩̥‧̥·̊‧̍̊ °̩̥˚̩̩̥͙°̩̥ ·͙*̩̩͙˚̩̥̩̥*̩̩̥͙·̩̩̥͙*̩̩̥͙˚̩̥̩̥*̩̩͙‧͙

Sometimes I Might Be Introvert

Little Simz

hip-hop

Probably one of the best hip-hop albums I've EVER heard. This album dropped and was slept on by so many people when it's arguably better than what some bigger name artists in the industry have been putting out.

It opens with the track Introvert which is accompanied by this mindblowing orchestra, sorta reminding me of something I would hear off Björk's "Homogenic". 10/10 track, SOTY 2021, talented brilliant showstopping etc etc. Woman is a grower track that I've grown to appreciate more, it's hard not to find charm in all of these songs because Simz's delivery and flow is phenomenal and charismatic, which is also seen in the track I Love You, I Hate You, another highlight for me. There's almost a concept album feel to this with how well she used interludes to create a setting and further a theme and core concept.

I'll say one thing though, this album is VERRRRY front heavy, and for an album of this length that can be risky. For an album to be "front heavy", it means generally the are placed at the front, and the deep cuts are near the end. This doesn't necessarily make an album good or bad, but it can effect a listener's attention span or how memorable the album is. In this case, there are a few tracks where my attention begins to die, but it finishes nice, though certainly less grand than the beginning.

Overall please do not sleep on Little Simz!

Sketchpage commission for a friend, of their character Djrn!! 

This character is such a babe and I loved drawing her, all the characters I draw for commissions are attractive as hell...

[Commissions are currently closed!]

just wanted to take a moment to give a shout - out to kim (  @vagomvndo  ) because she’s been indulging me for weeks as i’ve rambled about ideas for the tapestry era of zelda lore & the princess character, but especially in the last few days since i’ve gone feral over it - she’s put up with all my incoherent screeching & she’s given so much input & refined so many half - baked ideas into something beautiful, given the narrative a great sense of structure & dreamed up some amazing champions, holy fuck, & i’m going to be posting about tapestry era fanfic lore but kim deserves all the credit in the world as co - creator of this era / au & guys she’s just. so fucking wonderful, & outside of this specific thing ? she writes a multitude of insanely wonderful characters but in particular her riju portrayal is just *chefs kiss* & it’s her bIRTHDAY TODAY & she deserves all the love & light in the world, writing on tumblr just absolutely would not be the same without her, kim, you’re a superstar & im love you ♡

everything i love about hunchback of notre dame

*the g-slur will be replaced with roma, romani, or something else and will have brackets ([ ]) surrounding it to indicate a word change*

Olim -  i love the build up at the end into bells of notre dame 

bells of notre dame -  ”and some say the soul of the city’s the toll of the bells, the bells of notre dame” the fact that it’s esmeralda singing it. we’re already off to a great start.  jehan’s voice is so nice it’s beautiful the foreboding saints after jehan dies and right into the “ahhhhs’ “and the saints regarded frollo from their stone facade and he felt their gaze as if it were the eyes of God” - the difference between the stone saints for frollo and quasi is so interesting. One sees them as terrifying, boring into his soul because of his darkness within, while the other sees them as his friends and aid on his journey.  the way frollo says quasimodo “now here is a riddle to guess if you can, sing the bells of notre dame” “what makes a monster and what makes a man?” - song by Quasi. It just makes me tingle, I love it.  the way this song sets up so many motifs is just so good

Out There -  the beginning is manipulation 101 (it is I alone, your only friend, how can i protect you, etc)  michael arden is an icon i swear. he is phenomenal. his e m o t i o n “but part of theeeeeem and Ooooooout there” “out there among the millers and the weavers and their wives”  “heedless of the gift it is to be them. if I were in their skin I’d treasure every instant” “i swear i’ll be content with my share. won’t resent won’t despair old and bent I won’t care. I’ll have spent oooone daaay out theeeeeeeeeere” Amazing, showstopping, what a way to open a show and introduce a character, I cry almost every single time

Topsy Turvy pt. 1 -  “somehow i can wander through this helter skelter without fear now. no one sees i’m here now out here in the woooorld!” ugh i love him  “on the sixth of januervy” too catchy

Rest and Recreation -  I used to hate this song but now i’ve matured and learned that it is amazing I just love the tune, idk, it’s so fun and catchy until you get to the bridge and that’s what i love “rest and recreaaaaaa- four years at the front...” that’s on ptsd “the air filled with a stench of bodies in a trench. whoever pays the most i call my liege.” just the bitterness when he says that line. Amazing.  “and whatever i do i’ll make sure this is true i will never go back again.” i literally adore this part so much. it gives him so much motivation. and then we go right back into him being flirty because he’s covering up his ptsd with fun “But for a few night fun is my mission” oh me oh my that’s very attractive he sounds so awkward talking to frollo im going to cry  “there is no time for rest and recreation,” poor guy

Rhythm of the Tambourine -  “flash of an ankle flip of a skirt...come see me dance, hey what can it hurt?” I just love how she sings this part its so well done the dance break music is amazing. it’s just so nice and a great vibe.  “this girl who is she” the layers!!!! all three of them doing it in rounds!!! I love it!!! “she dances like the devil//she dances like an angel//an angel” AHHHHH beautiful, great way to show the differences in characters “but with such fire// such fire” I am in love with this line oh my gosh. like frollo is thinking about hellfire and pheobus is just like heart eyes i am also in love with esmeralda thank you

Topsy Turvy pt. 2 -  “aren’t you going to join in on the competition?” she’s so cute and pretty and i love her “we asked for the ugliest face in paris and we found him, aye?” love  “eeev...ry..bod...y”  “Hail to the king....oh what a king...girls give a kiss...we’ve never had a king like this!” just so much fun to sing 

Into Notre Dame -  “how could you do this to me?” more manipulation  “like a begger recieving an alm.” i love a good simile “the light of notre dame” I love the way she sings this, it’s just so good 

God Help the Outcasts -  “were you once an outcast too?” i love this because the answer is yes. Jesus was treated as other because of His teachings. He was most definitely an outcast, literally cast out of so many different towns. And He does listen to her prayer and it just makes me so emotional.  i literally...there is nothing wrong with this song. everything about it is beautiful.  “God help the outcasts or nobody will” chills every single time “I ask for love I can possess. I ask for God and hos angels to bless me” right into “I ask for nothing, I can get by” I LOVE IT SO MUCH it’s so beautiful.  the chorus of this show deserves a raise “but I know so many less lucky than I” really helps to show Esmeralda’s character a lot I think. 

Top of the World -  such a beautiful song like I could write the entirety of this song here because I love it so much I love the saints part so much the part when the saints are singing and esmeralda are singing is just beautiful especially the part “here at the top of the world(E)//look at you sitting at the top of the world(S)” “the two of us sitting/the two of us sitting/the two of you sitting” right into “On top of the world!” one of my favorite parts of the entire show oh my goodness. The way Quasi, Esmeralda, and the Saints all blend together so well is just askjhfklafkj

Tavern Song -  I can’t not dance to this song oh my it’s so so so fun.  just like the melody especially during “in the dark of the night, in the dead of the winter...come keep me warm until morning” I LOVE  It gives me very much Jack and Rose vibes from that part in Titanic “with the taste of the wine, hold me close while we’re dancing, but I hear you sighing, winter is dying, you’ll keep me warm until morning” HER VOICE IS SO GOOD the cross between the tavern folk singing and frollo singing in the Hellfire tune is just so good. just so good. i’m going to cry this show is beautiful.  the fading “come keep me warm until morning”s is UGH so good

Heaven’s Light -  When I tell you how much I adore this song.... his voice is just so soothing. the little flute thing in the background is just so sweet the way he sounds so happy the first time he says “Heaven’s light” i love him so much “but” AHHHHHHHHHHHHHHHHHH i cannot  “I swear it must be heaven’s liiiiiiiiiiiiiiight” one of my favorite notes in the entire show i swear it’s so beautiful also the bells of notre dame going right into Hellfire....ICONIC

Hellfire -  One of my favorite villain songs ever. Especially in this version, you can really hear his inner turmoil over Esmeralda. and i just love it.  from the get go, frollo is trying to put him above everyone (”you know i am a righteous man”, “so much purer than...”) and yet he is still struggling with lust like everyone else...he’s still a sinner “i feel her, i see her, the sun caught in her raven hair, is blazing in me out of all control” SO GOOD  “Like fire, hellfire” go look back at what he says in rhythm of the tambourine because it’s the same thing and i just “is turning me to sin” blaming esmeralda for his own sinful thoughts. it is not her that is turning him to sin. he is sinning of his own accord. but also the desperate way he says sin is always so interesting  “it’s not my fault, i’m not to blame, it is the [roma] girl, the witch who set this flame! It’s not my fault, if in God’s plan, he made the devil so much stronger than a man!” I really really love this series of lines so much. I can’t really explain it, but especially that last part. it just breathes a supposed “holy man” who can’t accept that his sins are his own and caused by himself so he’ll blame every single other thing other than himself. i’ve known too many people like this. “protect me maria, don’t let this siren cast her spell, don’t let the fire sear my flesh and bone” just so good. I love the voices in the background.  “destroy esmeralda and let her face the fire of hell, or else let her be mine and mine alone” he would rather condemn an innocent woman than confront his own sin. again, so many people are like this today. it’s just so thrilling to see that mindset condemned in media. also, patrick page is amazing  “hellfire, dark fire” the tone switch from him being scared of the hellfire the first time he said it to now he’s using it as power (how many of us have had hell weaponized against us? raise of hands?) is just so frightening and amazing all at the same time “God have mercy on her, God have mercy on me” I cannot tell you how much I love this line. it is phenomenal, especially the way Page sings it. I think that it is one of the central lines to his character (along with the “wicked shall not go unpunished” which i’ll probably talk about later) just the emotion he has in his voice when he says this line....chef’s kiss. especially with the next line (”but she will be mine or she will burn”), it seems like he knows what he’s doing is wrong (hence why he needs mercy), but he’s going to do it anyway

Esmeralda -  easily one of my favorite songs in this entire show. what an amazing end of act song oh my  the trumpets!! at the beginning!!! I love it!! “being under suspicion of sorcery, witchcraft, and the arts of hell” that is not actually why he’s arresting her which doubly means he knows that what he’s doing is wrong the tune of this song is SO GOOD I LOVE IT “these are the flames of Esmeralda...” this dude is obsessed with fire feels very much like the mob song from beauty and the beast “with the might of Notre Dame” using God in such a vulgar manner is blasphemous and frollo knows it. he’s using God’s might and strength to hunt down an innocent woman because he can’t control his own desires. I’m losing my mind “but the madam, that whore, denied it and swore by the saints, the saints of notre dame” i have no idea why but I adore this line and i love the way that it was song. I used to think that the madam was actually just esmeralda in disguise which made the next part of the song seem all the funnier the little lute strumming after frollo says “very well, we’ll set fire to it” because pheobus is having a change or heart “and he held the torch that crackled like the [woman’s] voice....and he knew this was the moment he must make a choice” this is why i like the play phoebus and not really the movie phoebus very much. i just love it  the chorus singing God help the outcasts in the background...amazing...chills “you’d throw away a promising career” Frollo’s desperate attempt to get him to comply  “God help the outcasts, or nobody will!” I LOVE THIS PART WITH MY WHOLE SOUL IT IS SO GOOD sometimes i’ll listen to this song on repeat just to hear him say this “you’re relieved of your patrol” “consider it my highest honor.” Iconic. just...so good. gives me very much “thank you for your consideration” vibes  the way frollo says kyrie eleison here is just so good frollo’s little speech is very cool with the chorus in the background I love Quasi’s little frantic verse there. you can hear his desperation in “fire, fire, smoke and flame” and then “is that all that I can do?” he wants to help his friend but he can’t and I know how horrible that feels phoebus part!!!!! I love it!!!! his voice is so nice!!! “with my career and body left for dead” nice, good, amazing.  “out there...” AHHHHHHH YES MOTIFS “somewhere she is lost//somewhere she is lost//Esmeralda!” love this bit so much  “the flames grow tall and sharp as fluer de lis” what a good metaphor, so good, so nice, I love the chorus they’re all amazing “all paris burns for esmeralda” now we’ve got burning again. are we talking about how paris is literally on fire because frollo is insane or is it the mob mentaility that is “burning” inside of them? good question.  “and still it all comes down to her and me” says three people. I love the melodies here. chills. so many of them. I love.  “the devil dwells in esmeralda//oh esmeralda//oh esmerlada//oh esmeralda” AHHHH again AHHHHHHH i love this bit (yes I know I say that a lot but its the truth) “wake up the city and sound the alarm!” good yes they’re all singing different bits and it’s growing and your heart is pounding until.... “these are the flames of esmeralda”  and then it all falls apart again oh my gosh it’s beautiful  until “the bells of notre dam!” and the “ah, ah, ah”s that I adore so much I love this song so much 

Entr’acte I can’t imagine how fun this would be to sing. it’s just a vibe Flight Into Egypt - I used to skip this song but I have since learned the error of my ways because i love it “then Quasimodo you can too” love that, just like he says it “and she gave it to you because she knows you’re smart” the fact that these are just part of his imagination so it’s really him telling himself he’s smart and i’m going to cry I love him so much “and this jewel must show where we’re supposed to meet” love his voice so much “it’s a map. it’s a map!” he’s so excited. he deserves the entire world.  “I’ll save esmeralda, her angel will be me,” brb crying  “for her I will be strong” still crying I love the entire end bit how their voices meld and the music swells all up until Quasi sings the last bit. it’s just so amazing

The Court of Miracles -  I’ve always loved this song. it’s so fun, but also sad.  “brother you’re there” YES  “but the dead don’t talk so you won’t be reveal what you found!” dead man tell no tales vibes “Not terribly different from bees in a hive” I love how erik says this line. claupin would be so fun to play oh my.  “where it’s a miracle...if you get out alive”  “any last words....i thought not *laughter*” obsessed with this  “but we must protect at all cost our secret, it’s our lives or yours!” and that’s the sad reality. that’s what makes this song sad to me.  “So you’re going to hang!” a lighter note as an end. very nice. 

In a Place of Miracles -  a few notes in and i’m already crying this song is so beautiful and i adore it. it makes me sad in a million ways but it also makes me so happy. the play did such a great job of making me love pheobus and esmeralda but also feel so, so bad for Quasi “but somehow you have made me someone new” yup i’m definitely crying “now i’m asking if you’ll let me come with you” you can’t see me but the tears are real “though our lives are tattered and torn, all i’m feeling now is reborn. i must be...” AHHHHHHHHHHHHHHHHHHHHHHHHHHHH Pheobus and esmeralda’s voices just meld together so well im gonna cry it’s so nice and as soon as the first chorus is over, the tears of happiness turn into tears of anguish because Quasi pulls up with his heaven’s light reprise and it tears my heart to shreds my heart breaks for him esmeralda and quasi singing at the same time gives me very much eponine and marius vibes from a heart full of love (we love victor hugo so much /sar) like the parallels in what the both of them are saying is just phenomenal “no more need for a heart of stone//better to have a heart of stone!” AHHHH STOP I LOVE IT AND IT HATE IT AT THE SAME TIME “that holds no hope in heaven’s light” stop i’m so sad and then the chorus come in and it’s just so beautiful “will we reach a friendlier shore, will we find a haven once more, where we’ll be in a place of miracles...” it’s so gorgeous “where’s my place of miracles//in a place of miracles” that sound? yeah that’s me sobbing in the corner and it builds again and i love it so much it’s just so beautiful 

Justice in Paris -  this is the least played song on spotify (by like hundreds of thousands) and I think that’s so funny but i think the chorus does such a great job here, as usual, because they just have that menacing sound to them

Someday -  another of my favorite songs. this one is hauntingly beautiful and I have so many opinions. get ready.  esmeralda is just so sad and you can hear it in every single word she says. god my heart is already breaking.  “that i’d live to see a day of justice dawn” i haven’t actually seen the stage version so i’m not sure if they have the part where she cries out “justice!” when quasi is getting attacked, but this part just hurts me to the soul because of that specifically. she cried out for justice and now she gets none. “and though I will die long before that morning comes, i’ll die while believing still it will come when I am gone” this line just hits so, so hard. i can’t even talk about it. just imagining her singing this and pheobus listening to her with tears in his eyes...nope i cannot...i will cease to exist and then he joins in and i can just imagine her feeling no longer alone because she’s hoping that it comes “someday” and he’s echoing it, assuring her that it will. I can just picture her trying to stay strong as she says “Godspeed this bright millennium on its way” but she can’t and so her words fall out as she’s saying “let it come” and she can’t finish but pheobus finishes it for her. “someday” and I can just see her breaking down. she’s going to die and she never gets to see it, but he assures her that it’s coming. and he starts it up again. he starts singing again, and I think that it gives her the strength she then needs to finish.  “someday, these dreams will all be real. Til then we’ll wish upon the moon!” of all the lines in the entire play, this is my absolute favorite. the way the sing it, the power they hold, their voices blending together so smoothly and perfectly. i cannot handle how amazing it is.  “one day...some day...soon” and just like that, i am sobbing. beautiful beautiful beautiful beautiful. 

While the City Slumbered - i love this little song. it’s so pretty and fast and it just gives us exactly what we need to know. love. 

Made of Stone -  Now to the last of my favorite songs. (Finale doesn’t count because although I love it, it hate it). You wanna know which song has the top score of making me cry the most? That’s right. This one right here. Let’s get into it. the talking at the beginning is a yes from me. “I only make things worse!” felt that also, the sound of him sobbing ruins me. “how do you know what I believe, what do you know of me? what do you know of all the things I feel? you’re only made of stone” finally him acknowledging that they’re not actually real and all apart of his imagination. “who is it that you see, instead of seeing what I am for real?” imposter syndrome? I understand that. “this twisted flesh and bone” the EMOTION  “you’re a liar” bro i cannot physically handle this. i can’t. I will cry. I am cry “would that I were made of stone like you,” back to that place of miracles song. i just he’s just so desperate. the only thing he could ever trust has fallen. He has nothing left. he can’t even trust himself (because that’s really all the stone saints by) “shut my brain down, if I were senseless, I’d prefer it” i totally understand the feeling of this. so often when thing go wrong in my life, i would like to shut down completely and stop existing and I think that’s what makes this song hit so damn hard “another gargoyle on this turret, spitting rain down to the stones below!” there is so much passion in his voice I love it so much. michael arden deserves the entire world for this performance “i’ve waste my faith believing in saints of plaster,” OUCH “the only one worth believing in was my master,” OUCH AGAIN “he’s the one who never lied. he told me it was cruel outside. he told me that i had to hide. his words were cold as stone, but they were true.” i can’t describe how emotional these lines make me. because he’s right but also it is such a painful, hard truth. ugh, i  “not like you”  “take all the dreams you’ve stone, take all your lies and leave me alone”  “alright Quasimodo, we’ll leave you alone,” that one hurt because as someone who pushes people away when they’re self destructing, the most painful part is seeing them actually leave you. even though you asked them too. “you’re right Quasimodo, we’re only made of stone, we just thought that you were made of something stronger.” now that’s a mic drop That would cut so, so deep.  “never again to wonder what’s out there” m o t i f s  “let it remain unknown. and my one human eye forever more be dry until the day i die, as if I were made of stone”  such a beautiful, heartbreaking, real song that I think so many people can relate to. I know I can. I have cried to this song so many times. I love it.  also, he holds that note for so long i’m impressed.

Finale - this song is long so get ready for it.  the crimes that Esmeralda is guilty for are not the ones that she was originally hunted for. he switched up his story. “the sentence is death!” immediate kyrie eleison (which i think is for frollo and not esmeralda) she spits in his face like a freaking queen “esmeralda!” Quasi’s cry is just so heart shattering and emotional I am so sad “he could remain stone no longer” I love that “sanctuary! sanctuary!” with the victorious sounds in the background are just so amazing “hear me, people of Paris, how much oppression will you allow?” with the chorus singing Someday in latin in the background?? I am not crying again “someday, your patience will finally break. why not make someday come right now?”  that part is just chef’s kiss. I love it so much. also, that’s the last we hear of pheobus. I’ve always wondered if he died so someone whose been in/seen the play, could you tell me? quasi’s prayer to the saints is just so good. i just love it so much. so beautiful. and it being similar in tune to Heart of Stone and having the part “raining fire on the stone below!” is just so good and then the moment between quasi and esmeralda is just... “you are home.” “home.”  and then we go to the top of the world reprise. haha. haha. ha.  “in my eyes you are beautiful too,” comparing him to the beautiful morning “i don’t think...forever...” “you’re such a good friend quasimodo” “yes your friend” and then she freaking dies and i’m so sad and then the music changes so quickly and it makes my heart drop every time “because of you” cut deep “at last we’re free of esmeralda. now that she’s gone, a poison dies with her.” to the tune of esmeralda. bitch i would have thrown frollo off that roof too “here in our sanctuary...sanctuary” “sanctuary? no sanctuary without her”  “even...loved her.” “love? what do you know of love?” I adore this part because Quasimodo finally realizes that Frollo’s treatment of him wasn’t love. It never was.  “no. you are the weak one. you the wicked one. And the wicked shall not go unpunished!” I cannot explain the fire that this lights in my bones. it’s amazing. just so good. and then all the voices, like the saints, come in “the wicked shall not go unpunished. the heart of the wicked is of little worth. the wicked shall not go unpunished” and they’re no longer on frollo’s side (they never were) the rising voices as quasi picks up frollo and is going to kill him *chef’s kiss* “You don’t want to hurt me” “yes you do” so, so, so, so, so good. i can’t even explain. it’s just good.  in to the abyss below! damnation! “the world is cruel, the world is ugly” yes  “but there are times and there are people when the world is not” i’m not 100% positive, but i’m pretty sure that’s jehan again and that’s just so beautiful. “and at it’s cruelest it’s still the only world we’ve got” the bitter truth “out there” yup yup yup crying you can’t stop me The bit with the chorus singnig someday in latin and english...i literally cant handle it. it is so freaking beautiful. and the violin? the woman singing is an icon. the voices blend together so beautifully. I am overcome with emotion. i- Quasi singing the last “someday” and then the blending into the beginning song and ugh “but here is a riddle to guess if you can, what makes a monster and what makes a man?” with the entire ensemble? yeah, that one feels good.  and being left off with the “ah”s

yeah, brb, i’m going to go listen to it again.

how we feeling jo? are we still alive after red? the short film? so many thoughts? what did you think about the short film? the lyrics that killed you? favorite vault songs? snl predictions? unpopular opinions? mental health state? rant to me jo! i’m ready now! ready to dork!!!

🧣🧣🧣

🍁🍁🧣WE ARE ALL TOO UNWELL🧣 🍁🍁

(I'll try to divide this into sections so I don't miss anything because I'm a dork like that)

the short film

Oh. My. God. I literally felt like all of it was playing out in front of me as I was watching it???? But more like I was remembering it all with the character? And then switch to last scene and that's what's happening now, that's the present. I mean, it even looked sharper than the rest of the film???? They really nailed the remembering process. The links to Taylor's entire discography had me going insane, it places All Too Well as the heart of her music in a way... THE ACTING! THE FREAKING ACTING! OSCARS WHEN???????!!!!!!! Phenomenal. Showstopping. Brilliant. Crying screaming dying etc.

the lyrics that killed me

Okay, so I'll only be listing the ones from the vault songs here:

☀️I'll be summer sun for you forever/puzzles in his head/his laugh is a symphony☀️(OBSESSED I WANT IT ON MY TOMBSTONE, CAN'T STOP THINKING ABOUT IT HELPPPPP) (@the-girl-who-cried-wolf OMG JUST REALISED THIS IS DOROTHY TO REV I CAN'T BREATHE)

"When you say "oh my god she's insane she wrote a song about me" I bet you think about me." (CAN'T GET THAT OUT OF MY HEAD!!!!!!! QUEEN!)

"You would have been the one if you were a better man" (!!!!!!!!!!!!!!!)

🎶WE'RE THE WRECK YOU'RE THE WRECKING BALL/ I HATE THAT BECAUSE OF YOU I CAN'T LOVE YOU🎶 (Stop. Just stop. I can't do this.)

🌻THERE'S A HEART ON YOUR SLEEVE I'LL TAKE IT WHEN I LEAVE AND HOLD IT FOR YOU🌻 + THE ENTIRE CHORUS OF RUN (WHO DOES THAT???????)

"I've had too much to drink tonight and I know it's sad but this is what I think about" (.......................)

🧣Just between us, did the love affair maim you too?/YOU NEVER CALLED IT WHAT IT WAS/from when your Brooklyn broke my skin and bones/'cause in this city's barren cold, I still remember the first fall of snow + THE OUTRO🧣

favorite vault songs:

FOREVER WINTER, RUN AND BABE JKSJSJJSJSJSJSJSJEJWUDYIWSH

unpopular opinions

I actually loved Girl At Home!!!!! It sounded like Witch At Home to me, casting a spell energy! I think Holy Ground lost a bit of its original emotion, but that's understandable. Still one of my Red favourites tho!!!!!!

Got no SNL predictions whatsoever, I wanna be surprised, blown away, put in a rocket and sent straight to the stars jsjjsjsjsjsjsjsjsjsjs.

MENTAL STATE IS ALWAYS QUESTIONABLE HERE BUT ESPECIALLY THESE DAYS!

Love yaaaaaa xoxo❤❤❤❤❤❤❤❤❤

2020 in Movies - My Top 30 Fave Movies (Part 3)

10.  WOLFWALKERS – eleven years ago, Irish director Tomm Moore exploded onto the animated cinema scene with The Secret of Kells, a spellbinding feature debut which captivated audiences the world over and even garnered an Oscar nomination.  Admittedly I didn’t actually even know about it until I discovered his work through his astonishing follow-up, Song of the Sea (another Academy Award nominee), in 2015, so when I finally caught it I was already a fan of Moore’s work.  It’s been a similarly long wait for his third feature, but he’s genuinely pulled off a hat-trick, delivering a third flawless film in a row which OF COURSE means that his latest feature is, beyond a shadow of a doubt, my top animated feature of 2020.  I could even be tempted to say it’s his best work to date … this is an ASTONISHING film, a work of such breath-taking, spell-binding beauty that I spent its entire hour and three-quarters glued to the screen, simple mesmerised by the wonder and majesty of this latest iteration of the characteristically stylised “Cartoon Saloon” look.  It’s also liberally steeped in Moore’s trademark Celtic vibe and atmosphere, once again delving deep into his homeland’s rich and evocative cultural history and mythology while also bringing us something far more original and personal – this time the titular supernatural beings are magical near-human beings whose own subconscious can assume the form of very real wolves.  Set in a particularly dark time in Irish history – namely 1650, when Oliver Cromwell was Lord Protector – the story follows Robyn (Honor Kneafsey, probably best known for the Christmas Prince films), the impetuous and spirited young daughter of English hunter Bill Goodfellowe (Sean Bean), brought in by the Protectorate to rid the city of Kilkenny of the wolves plaguing the area.  One day fate intervenes and Robyn meets Mebh Og MacTire (The Girl at the End of the Garden‘s Eve Whittaker), a wild girl living in the woods, whose accidental bite gives her strange dreams in which she becomes a wolf – turns out Mebh is a wolfwalker, and now so is Robyn … every aspect of this film is an utter triumph for Moore and co, who have crafted a work of living, breathing cinematic art that’s easily the equal to (if not even better than) the best that Disney, Dreamworks or any of the other animation studios could create.  Then there’s the excellent voice cast – Bean brings fatherly warmth and compassion to the role that belies his character’s intimidating size, while Kneafsey and Whittaker make for a sweet and sassy pair as they bond in spite of powerful cultural differences, and the masterful Simon McBurney (Harry Potter, Mission: Impossible – Rogue Nation, Tinker Tailor Soldier Spy) brings cool, understated menace to the role of Cromwell himself.  This is a film with plenty of emotional heft to go with its marvels, and once again displays the welcome dark side which added particular spice to Moore’s previous films, but ultimately this is still a gentle and heartfelt work of wonder that makes for equally suitable viewing for children as for those who are still kids at heart – ultimately, then, this is another triumph for one of the most singularly original filmmakers working in animation today, and if Wolfwalkers doesn’t make it third time lucky come Oscars-time then there’s no justice in the world …

9.  WONDER WOMAN 1984 – probably the biggest change for 2020 compared to pretty much all of the past decade is how different the fortunes of superhero cinema turned out to be.  A year earlier the Marvel Cinematic Universe had dominated all, but the DC Extended Universe still got a good hit in with big surprise hit Shazam!  Fast-forward to now and things are VERY different – DC suddenly came out in the lead, but only because Marvel’s intended heavy-hitters (two MCU movies, the first Venom sequel and potential hot-shit new franchise starter Morbius: the Living Vampire) found themselves continuously pushed back thanks to (back then) unforeseen circumstances which continue to shit all over our theatre-going slate for the immediate future.  In the end DC’s only SERIOUS competition turned out to be NETFLIX … never mind, at least we got ONE big established superhero blockbuster into the cinemas before the end of the year that the whole family could enjoy, and who better to headline it than DC’s “newest” big screen megastar, Diana Prince? Back in 2017 Monster’s Ball director Patty Jenkins’ monumental DCEU standalone spectacularly realigned the trajectory of a cinematic franchise that was visibly flagging, redesigning the template for the series’ future which has since led to some (mostly) consistently impressive subsequent offerings.  Needless to say it was a damn tough act to follow, but Jenkins and co-writers Geoff Johns (Arrow and The Flash) and David Callaham (The Expendables, Zombieland: Double Tap, future MCU entry Shang-Chi & the Legend of the Ten Rings) have risen to the challenge in fine style, delivering something which pretty much equals that spectacular franchise debut … as has Gal Gadot, who’s now OFFICIALLY made the role her own thanks to yet another showstopping and definitive performance as the unstoppable Amazonian goddess living amongst us.  She’s older and wiser than in the first film, but still hasn’t lost that forthright honesty and wonderfully pure heart we’ve come to love ever since her introduction in Zack Snyder’s troublesome but ultimately underrated Batman V Superman: Dawn of Justice (yes, that’s right, I said it!), and Gadot’s clear, overwhelming commitment to the role continues to pay off magnificently as she once again proves that Diana is THE VERY BEST superhero in the DCEU cinematic pantheon.  Although it takes place several decades after its predecessor, WW84 is, obviously, still very much a period piece, Jenkins and co this time perfectly capturing the sheer opulent and over-the-top tastelessness of the 1980s in all its big-haired, bad-suited, oversized shoulder-padded glory while telling a story that encapsulates the greedy excessiveness of the Reagan era, perfectly embodied in the film’s nominal villain, Max Lord (The Mandalorian himself, Pedro Pascal), a wishy-washy wannabe oil tycoon conman who chances upon a supercharged wish-rock and unleashes a devastating supernatural “monkey’s paw” upon the world. To say any more would give away a whole raft of spectacular twists and turns that deserve to be enjoyed good and cold, although they did spoil one major surprise in the trailer when they teased the return of Diana’s first love, Steve Trevor (Chris Pine) … needless to say this is another big blockbuster bursting with big characters, big action and BIG IDEAS, just what we’ve come to expect after Wonder Woman’s first triumphant big screen adventure.  Interestingly, the film starts out feeling like it’s going to be a bubbly, light, frothy affair – after a particularly stunning all-action opening flashback to Diana’s childhood on Themyscira, the film proper kicks off with a bright and breezy atmosphere that feels a bit like the kind of Saturday morning cartoon action the consistently impressive set-pieces take such unfettered joy in parodying, but as the stakes are raised the tone grows darker and more emotionally potent, the storm clouds gathering for a spectacularly epic climax that, for once, doesn’t feel too overblown or weighed down by its visual effects, while the intelligent script has unfathomable hidden depths to it, making us think far more than these kinds of blockbusters usually do.  It’s really great to see Chris Pine return since he was one of the best things about the first movie, and his lovably childlike wide-eyed wonder at this brave new world perfectly echoes Diana’s own last time round; Kristen Wiig, meanwhile, is pretty phenomenal throughout as Dr Barbara Minerva, the initially geeky and timid nerd who discovers an impressive inner strength but ultimately turns into a superpowered apex predator as she becomes one of Wonder Woman’s most infamous foes, the Cheetah; Pascal, of course, is clearly having the time of his life hamming it up to the hilt as Lord, playing gloriously against his effortlessly cool, charismatic action hero image to deliver a compellingly troubling examination of the monstrous corrupting influence of absolute power.  Once again, though, the film truly belongs to Gadot – she looks amazing, acts her socks off magnificently, and totally rules the movie.  After this, a second sequel is a no-brainer, because Wonder Woman remains the one DC superhero who’s truly capable of bearing the weight of this particular cinematic franchise on her powerful shoulders – needless to say, it’s already been greenlit, and with both Jenkins and Gadot onboard, I’m happy to sign up for more too …

8.  LOVE & MONSTERS – with the cinemas continuing their frustrating habit of opening for a little while and then closing while the pandemic ebbed and flowed in the months after the summer season, it was starting to look like there might not have been ANY big budget blockbusters to enjoy before year’s end as heavyweights like Black Widow, No Time To Die and Dune pulled back to potentially more certain release slots into 2021 (with only WW84 remaining stubbornly in place for Christmas).  Then Paramount decided to throw us a bone, opting to release this post-apocalyptic horror comedy on-demand in October instead, thus giving me the perfect little present to tie me over during the darkening days of autumn. The end result was a stone-cold gem that came out of nowhere to completely blow critics away, a spectacular sleeper hit that ultimately proved one of the year’s biggest and most brilliant surprises.  Director Michael Matthews may only have had South African indie thriller Five Fingers for Marseilles under his belt prior to this, but he proves he’s definitely a solid talent to watch in the future, crafting a fun and effective thrill-ride that, like all the best horror comedies, is consistently as funny as it is scary, sharing much of the same DNA as this particular mash-up genre’s classics like Tremors and Zombieland and standing up impressively well to such comparisons.  The story, penned by rising star Brian Duffield (who has TWO other entries on this list, Underwater and Spontaneous) and Matthew Robinson (The Invention of Lying, Dora & the Lost City of Gold), is also pretty ingenious and surprisingly original – a meteorite strike has unleashed weird mutagenic pathogens that warp various creepy crawly critters into gigantic monstrosities that have slaughter most of the world’s human population, leaving only a beleaguered, dwindling few to eke out a precarious living in underground colonies. Living in one such makeshift community is Joel Dawson (The Maze Runner’s Dylan O’Brien), a smart and likeable geek who really isn’t very adventurous, is extremely awkward and uncoordinated, and has a problem with freezing if threatened … which makes it all the more inexplicable when he decides, entirely against the advice of everyone he knows, to venture onto the surface so he can make the incredibly dangerous week-long trek to the neighbouring colony where his girlfriend Aimee (Iron Fist’s Jessica Henwick) has ended up.  Joel is, without a doubt, the best role that O’Brien has EVER had, a total dork who’s completely unsuited to this kind of adventure and, in the real world, sure to be eaten alive in the first five minutes, but he’s also such a fantastically believable, fallible everyman that every one of us desperate, pathetic omega-males and females can instantly put ourselves in his place, making it elementarily easy to root for him.  He’s also hilariously funny, his winningly self-deprecating sass and pitch perfect talent for physical comedy making it all the more rewarding watching each gloriously anarchic life-and-death encounter mould him into the year’s most unlikely action hero.  Henwick, meanwhile, once again impresses in a well-written role where she’s able to make a big impression despite her decidedly short screen time, as do the legendary Michael Rooker and brilliant newcomer Ariana Greenblatt as Clyde and Minnow, the adorably jaded, seen-it-all-before pair of “professional survivors” Joel meets en-route, who teach him to survive on the surface.  The action is fast, frenetic and potently visceral, the impressively realistic digital creature effects bringing a motley crew of bloodthirsty beasties to suitably blood-curdling life for the film’s consistently terrifying set-pieces, while the world-building is intricately thought-out and skilfully executed.  Altogether, this was an absolute joy from start to finish, and a film I enthusiastically endorsed to everyone I knew was looking for something fun to enjoy during the frustrating lockdown nights-in.  One of the cinematic year’s best kept secrets then, and a compelling sign of things to come for its up-and-coming director.

7.  PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all.  It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering deeply troubling answers.  Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s good luck charm, Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two pennies together, until they’re presented with an intriguing opportunity.  Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun). Soon the rest of the Kims are getting in on the act, the kids contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically.  But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon.  This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head to stunning effect.  The cast are all thoroughly astounding, Song once again dominating the film with a turn at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon.  This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away.  Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with, and looks set to go down as one of the true cinematic greats of this new decade.  Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

6.  THE OLD GUARD – Netflix’ undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular series with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping great ultraviolent action thriller, ushering in a thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered.  Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), who’s working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan.  The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here.  Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’.  They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story.  Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large.  After this, a sequel is not only inevitable, it’s ESSENTIAL …

5.  MANK – it’s always nice when David Fincher, one of my TOP FIVE ALL TIME FAVOURITE DIRECTORS, drops a new movie, because it can be GUARANTEED to place good and high in my rundown for that year.  The man is a frickin’ GENIUS, a true master of the craft, genuinely one of the auteur’s auteurs.  I’ve NEVER seen him deliver a bad film – even a misfiring Fincher (see The Curious Case of Benjamin Button or Alien 3) is still capable of creating GREAT CINEMA.  How? Why?  It’s because he genuinely LOVES the art form, it’s been his obsession all his life, and he’s spent every day of it becoming the best possible filmmaker he can be.  Who better to tell the story of the creation of one of the ULTIMATE cinematic masterpieces, then?  Benjamin Ross’ acclaimed biopic RKO 281 covered similar ground, presenting a compelling look into the making Citizen Kane, the timeless masterpiece of Hollywood’s ULTIMATE auteur, Orson Welles, but Fincher’s film is more interested in the original inspiration for the story, how it was written and, most importantly, the man who wrote it – Herman J. Mankiewicz, known to his friends as Mank. One of my favourite actors of all time, Gary Oldman, delivers yet another of his career best performances in the lead role, once a man of vision and incredible storytelling skill whose talents have largely been squandered through professional difficulties and personal vices, a burned out one-time great fallen on hard times whom Welles picks up out of the trash, dusts off and offers a chance to create something truly great again.  The only catch?  The subject of their film (albeit dressed up in the guise of fictional newspaper magnate Charles Foster Kane) is to be real-life publisher, politico and tycoon William Randolph Hurst (Charles Dance), once Mank’s friend and patron before they had a very public and messy falling out which partly led to his current circumstances.  As he toils away in seclusion on what is destined to become his true masterwork, flashbacks reveal to us the fascinating, moving and ultimately tragic tale of his rise and fall from grace in the movie business, set against the backdrop of one of the most tumultuous periods in American history.  Shooting a script that his own journalist and screenwriter father, Jack, crafted and then failed to bring to the screen himself before his death in 2003, Fincher has been working for almost a quarter century to make this film, and all that passion and drive is writ large on the screen – this is a glorious film ABOUT film, the art of it, the creation of it, and all the dirty little secrets of what the industry itself has always really been like, especially in that most glamorous and illusory of times.  The fact that Fincher shot in black and white and intentionally made it look like it was made in the early 1940s (the “golden age of the Silver Screen”, if you will) may seem like a gimmick, but instead it’s a very shrewd choice that expertly captures the gloss and moodiness of the age, almost looking like a contemporary companion piece to Kane itself, and it’s the perfect way to frame all the sharp-witted observation, subtly subversive character development and murky behind-the-scenes machinations that tell the story.  Oldman is in every way the star here, holding the screen with all the consummate skill and flair we’ve come to expect from him, but there’s no denying the uniformly excellent supporting cast are equal to the task here – Dance is at his regal, charismatic best as Hearst, while Amanda Seyfried is icily classy on the surface but mischievous and lovably grounded underneath as Hearst’s mistress, Marion Davies, who formed the basis for Kane’s most controversial character, Arliss Howard (Full Metal Jacket, The Lost World: Jurassic Park, Moneyball) brings nuance and complexity to the role of MGM founder Louis B. Mayer, Tom Pelphrey (Banshee, Ozark) is understated but compelling as Mank’s younger screenwriter brother Joseph, and Lily Collins and Tuppence Middleton exude class and long-suffering stubbornness as the two main women in Mank’s life (his secretary and platonic muse, Rita Alexander, and his wife, Sara), while The Musketeers’ Tom Burke’s periodic but potent appearances as Orson Welles help to drive the story in the “present”.  Another Netflix release which I was (thankfully) able to catch on the big screen during one of the brief lulls between British lockdowns, this was a decidedly meta cinematic experience that perfectly encapsulated not only what is truly required for the creation of a screen epic, but also the latest pinnacle in the career of one of the greatest filmmakers working in the business today, powerful, stirring, intriguing and surprising in equal measure. Certainly it’s one of the most important films ABOUT so far film this century, but is it as good as Citizen Kane?  Boy, that’s a tough one …

4.  ENOLA HOLMES – ultimately, my top film for the autumn/winter movie season was also the film which finally topped my Netflix Original features list, as well as beating all other streaming offerings for the entire year (which is saying something, as you should know by now).  Had things been different, this would have been one of Warner Bros’ BIGGEST releases for the year in the cinema, of that I have no doubt, a surprise sleeper hit which would have taken the world by storm – as it is it’s STILL become a sensation, albeit in a much more mid-pandemic, lockdown home-viewing kind of way.  Before you start crying oh God no, not another Sherlock Holmes adaptation, this is a very different beast from either the Guy Ritchie take or the modernized BBC show, instead side-lining the great literary sleuth in favour of a delicious new AU version, based on The Case of the Missing Marquess, the first novel in the Enola Holmes Mysteries literary series from American YA author Nancy Springer.  Positing that Sherlock Holmes (Henry Cavill) and his elder brother Mycroft (Sam Claflin) had an equally ingenious and precocious baby sister, the film introduces us to Enola (Stranger Things’ Millie Bobby Brown), who’s been raised at home by their strong-willed mother Eudoria (Helena Bonham Carter) to be just as intelligent, well-read and intellectually skilled as her far more advantageously masculine elder siblings.  Then, on the morning of her sixteenth birthday, Enola awakens to find her mother has vanished, putting her in a pretty pickle since this leaves her a ward of Mycroft, a self-absorbed social peacock who finds her to be wilfully free-spirited and completely ill equipped to face the world, concluding that the only solution is sending her to boarding school where she’ll learn to become a proper lady.  Needless to say she’s horrified by the prospect, deciding to run away and search for her mother instead … this is about as perfect a family adventure film as you could wish for, following a vital, capable and compelling teen detective-in-the-making as she embarks on her very first investigation, as well as winding up tangled in a second to boot involving a young runaway noble, Viscount Tewkesbury, the Marquess of Basilwether (Medici’s Louis Partridge), and the film is a breezy, swift-paced and rewardingly entertaining romp that feels like a welcome breath of fresh air for a literary property which, beloved as it may be, has been adapted to death over the years.  Enola Holmes a brilliant young hero who’s perfectly crafted to carry the franchise forward in fresh new directions, and Brown brings her to life with effervescent charm, boisterous energy and mischievous irreverence that are entirely irresistible; Cavill and Claflin, meanwhile, are perfectly cast as the two very different brothers – this Sherlock is much less louche and world-weary than most previous versions, still razor sharp and intellectually restless but with a comfortable ease and a youthful spring in his step that perfectly suits the actor, while Mycroft is as superior and arrogant as ever, a preening arse we derive huge enjoyment watching Enola consistently get the best of; Bonham Carter doesn’t get a lot of screen-time but as we’d expect she does a lot with what she has to make the practical, eccentric and unapologetically modern Eudoria thoroughly memorable, while Partridge is carefree and likeable as the naïve but irresistible Tewkesbury, and there are strong supporting turns from Frances de la Tour as his stately grandmother, the Dowager, Susie Wokoma (Crazyhead, Truth Seekers) as Emily, a feisty suffragette who runs a jujitsu studio, Burn Gorman as dastardly thug-for-hire Linthorn, and Four Lions’ Adeel Akhtar as a particularly scuzzy Inspector Lestrade.  Seasoned TV director Harry Bradbeer (Fleabag, Killing Eve) makes his feature debut with an impressive splash, unfolding the action at a brisk pace while keeping the narrative firmly focused on an intricate mystery plot that throws in plenty of ingenious twists and turns before a suitably atmospheric climax and pleasing denouement which nonetheless artfully sets up more to come in the future, while screenwriter Jack Thorne (His Dark Materials, The Scouting Book for Boys, Wonder) delivers strong character work and liberally peppers the dialogue with a veritable cavalcade of witty zingers.  Boisterous, compelling, amusing, affecting and exciting in equal measure, this is a spirited and appealing slice of cinematic escapism that flatters its viewers and never talks down to them, a perfect little period adventure for a cosy Sunday afternoon.  Obviously there’s plenty of potential for more, and with further books to adapt there’s more than enough material for a pile of sequels – Neflix would be barmy indeed to turn their nose up at this opportunity …

3.  1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed.  Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed.  The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of film, a mesmerising journey of emotion and imagination in a shockingly real environment that’s impossible to tear your eyes away from.  Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league.  It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is True History of the Kelly Gang’s George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack).  They’re a likeable pair, very human and relatable throughout, brave and true but never so overtly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos.  That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DOP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is utterly immersive and simply STUNNING.  I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same.  Either way, this was the most incredible, exhausting, truly AWESOME experience I had at the cinema all year – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

2.  BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number two is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen.  It was been the biggest pleasure of my cinematic year getting to see my top DC superheroines brought to life on the big screen, and it was done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than the Wonder Woman movies).  It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one talented psychiatrist.  Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley TRUE justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to.  Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the assumed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about.  Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what had to be 2020’s most exciting cast – Helena Bertinelli, the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action hero potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain.  Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discover her warrior origins when the DCEU finally gets around to introducing her mum, Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy.  My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT.  Altogether they’re a fantastic bunch of badass ladies, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz.  This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster ever made – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms.  It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!).  It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists.  Altogether, then, this is the VERY BEST the DCEU has to offer to date, and VERY NEARLY my absolute FAVOURITE film of 2020.  Give it all the love you can, it sure as hell deserves it.

1.  TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly saved our cinematic summer, but I’m still IMMEASURABLY glad that my ultimate top-spot winner FOR THE WHOLE YEAR was one I got to experience on THE BIG SCREEN. You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August and ultimately taking the bite at the box office because of the still shaky atmosphere), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with.  I mean, okay, in the end it WASN’T the FIRST new movie I saw after the first reopening, that honour went to Unhinged, but THIS was my first real Saturday night-out big screen EXPERIENCE since March.  Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT.  Still with us?  Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who was ALMOST the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s Himesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine.  The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even if that amazing new teaser trailer wasn’t making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic.  As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual triumph and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital. The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some absolutely mesmerising visuals.  Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he had good reason, since he was working on his dream project at the time, the fast-approaching screen adaptation of Dune), but Ludwig Göransson (best known for his collaborations with Ryan Coogler Fruitvale Station, Creed and Black Panther, as well as career-best work on The Mandalorian) is a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence this film is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven.  As a work of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that proved truly unbeatable in 2020 …

sarah’s top 10 wlw media [that i consumed] in 2020

i noticed i read/watched a lot of really stellar wlw media this year so i wanted to make a list shouting out some of the amazing stories I found bc seriously this was a good year to be a wlw

note: these aren’t necessarily 2020 releases, just stories I happened to read or watch this year

1. Portrait of a Lady on Fire (2019)

Brilliant. Showstopping. Spectacular.

In all seriousness anyone who knows me will not be surprised at all to discover this ranks at the top of my list. It checks every box on the list of “Things Sarah is an absolute hoe for”: period romance, tender angst, references to Orpheus and Eurydice, GAYS IN WATER, a beautiful reconsideration on the relationship b/w the artist and the muse, “did you dream of me?” “no, i thought of you”, H A N D S... listen. i don’t have anything to say for myself this is just one of the most beautiful movies i’ve ever seen.

2. The Miseducation of Cameron Post by Emily Danforth

If I’m going to be totally honest I have a lot of trouble finding wlw YA novels I really vibe with. Nina Lacour’s books are pretty up there on my list, I loved Leah on the Offbeat when it came out, but for the most part i just find wlw ya stories hard to connect to. Reading this book changed that for me. Its portrayal of a tomboyish girl growing up in a really conservative area resonated with me so deeply, as well as her queer friends she was able to find and connect with even in the most traumatic environment. Cameron goes through some really heavy shit but the book ends on such a beautiful and poignant note of hope. This really is a book that made me feel seen.

3. The Half of it (2020)

Alice Wu said “I’m going to make a movie about a vaguely gnc Asian American protagonist who is a literary hoe and passionate about writing and music so basically Sarah as a coming of age teen movie protagonist” and you know what it gave me rights! This movie has no business being this fucking good for a teen coming of age “romcom”, for real. the absolutely phenomenal character work... the LAYERS in the writing... the cinematography... “gravity is matter’s response to loneliness” who said that” “I don’t know” “then you said it” I’M GONNA LOSE MY DAMN MIND!

4. She-Ra - season 5

The build-up to the series finale was just so incredibly well thought out and beautifully crafted months later i’m STILL shook about it. Catra and Adora’s relationship has been the driving force of the entire show, literally the nexus the whole story revolves around, and to know that all of it was intentionally building up to a romance is one of the most satisfying things narratively speaking I’ve ever experienced in real time. Also this entire season was just so beautifully written. Catra’s redemption arc, Adora’s arc and learning to harness her power without the sword, Spinnerella/Netossa’s heartrending side story, the final showdown with Horde Prime, just absolutely chef’s kiss.

5. The Last True Poets of the Sea by Julia Drake

This truly was the year of “Sarah finally gets all the quality wlw YA they have been needing and craving”! I just think the writing in this book is so brilliant, i love all the things Drake does with style and pov, and as a coming of age romance it’s just so charming and i love the aesthetic of it so much! Also i think this story is a brilliant adaptation of Twelfth Night, I mean frankly it didn’t even register for me that this was a twelfth night adaptation until after i finished it skdjnfsdknfs but as soon as I realized it it all made stunning sense. as well i just adore that the protagonist is allowed to be so complex and messy bc i feel like that’s actually pretty rare for female protagonists. it makes her all the more compelling as a main character!

6. On A Sunbeam by Tillie Walden

Gorgeous art, spell-binding world building [soft and dreamy space sci fi aesthetic!!!!!!!!!], there’s basically not a single man in this story, and all the characters are absolutely to die for. And the story is just so achingly tender, i love it so much. 10/10 would reread over and over and over again.

7. The Priory of the Orange Tree by Samantha Shannon

The fantasy wlw story of my absolute dreams!!! This book is over 800 pages but it doesn’t feel like it, seriously, i inhaled it all in one day bc the story moves along at such a good pace and everything feels so naturally laid out. i absolutely adore the world building in this, i mean really how can you go wrong with DRAGONS??? and also the love story b/w Ead and Sabran in this story is insanely fucking good. nothing makes me more tender than the bodyguard/royal trope ABSOLUTELY NOTHING

8. This is How You Lose the Time War by Amal El-Mohtar and Max Gladstone

The writing in this is so, so breathtaking. I don’t even have the words to describe, it’s just such a beautiful book. it’s so beautiful that it made me, a known epistolary hater, into an epistolary lover. ITS POWER.

9. The Owl House - season 1

This one is only not as high as the others on the list bc I’ve had less time to get invested in it than shows like She Ra. But it is an insanely cute watch, i love the characters so much especially Luz, I love her relationship with Eda, I LOVE EDA, i love the way her friendships with the other characters evolve so naturally over the course of the show, and really it’s just such a fun and sweet show I adore it so much. [and fine okay amity’s crush on luz is the cutest damn thing i’ve ever seen are you happy]

10. Druck - season 6

ABSOLUTELY DO NOT @ ME also if i’m going to be 100% honest the only reason why this isn’t higher on the list is because at the time of writing this only two and a half episodes have aired sdkjfndksjfnsdkjfnskdnfskjn but really if you thought i wasn’t going to put a story about a black lesbian falling in love with a vietnamese bi girl on this list you are out of your damn mind

[honorary mention: @boxesfullofthoughts​‘ and my cyberpunk OCs Charlie Tang and Harper St. Clair I mean i am extremely up my own ass at all times but i can’t put my own characters for a story i haven’t even written yet on this list skjnfskj STILL I LOVE THEM AND WOULD DIE FOR THEM AND I HOPE THEY BOTH KNOW THAT]

Today and yesterday I had the absolute honor of drawing @metamatronic ‘s beautiful gorgeous amazing perfect showstopping kids :’’’’’) in addition to being a phenomenal DM, she’s also insanely good at character design

however, i will never forgive you for bird feet.