#the guy in question was not an executive producer
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HII MICA i just wanted to ask your thoughts in the new season now that youve finished it, especially your favorite moments, episodes, and songs!!
Ok here are my long awaited (sorry babe!) season 2 thoughts! This really got away from me haha but long story short: I loved it ❤️
Long story medium: Nida Manzoor has done it again—beautiful, vibrant, funny, and poignant. A season 2 that succeeds in expanding the world and deepening our understanding of the characters. And the songs are great!
Long story LONG: under the cut <3 (and also I’ve reread this and i have managed to avoid any major spoilers so if you haven’t watched yet this post should be safe!)
I went into this season VERY apprehensive. I think the first season is a practically perfect season of television, and over the last few years I’ve had plenty of time to think of all the ways a second season could fail to deliver. But as the credits rolled on season 2 episode 1 my sister and I just sat there grinning at the screen like you guys we are SO back!!!!
Some thoughts, in no particular order:
The writing: Nida Manzoor has a knack for putting her finger right on the sore spot—right on the place where the show is most likely to receive criticism, and digging in. Not in a gotcha, bad faith sort of way, but by pulling those issues apart and showing how painful and complicated and nuanced these questions of representation and responsibility really are. Not to give too many spoilers but whew. Her episode fives! Other people can speak to this better than me but this seasons episode 5 was raw, painful, pointed… simultaneously a criticism of art and representation as political commentary, and like the only possible political commentary that could be made under these conditions. Fictional battles with censorship, identity, representation, and responsibility meet the very real world, where Nida Manzoor is producing a real show. To quote manzoor herself, “i don’t want to give the answer to the audience because i don’t have it—I don’t want to ever feel like I’m preaching or delivering a sermon about anything; instead, just posing the question.” It’s such a good show guys.
Character Arcs: The arcs given to the band members who were secondary characters in season one were executed beautifully. Getting more insight into Taz, Ayesha, and Bisma (and giving more to do to their incredible actresses!) was exactly what I’d hoped for from a season 2.
God I Wish The Show Was Longer part A: While I loved (and badly wanted!) more time with the other girls, I did miss the tight focus on saira and Amina as narrative foils and drivers of each others character development that season one had. Not just from a shipping perspective! (although we all know I’m guilty of shipping for sure lol). But I did miss their relationship, and a longer season would have given us more time to spare from the other important arcs going on to return to things I loved about season one.
Compared to season 1: One difference I noticed was how the surrealist elements aren’t only contained to Amina/her narration anymore, but that other characters have them or interact with them (Bisma pausing her arguments, Ahsan trying and failing to interrupt the spotlight on Amina and Billy). I thought it was a great way to show how much closer the characters have become (that Ahsan would even notice Amina’s little fantasy!) and also as a way to give narration over to different characters (Bisma being the clear pov in those fights as compared to Amina narrating things she’s only heard about in season 1). Another difference is how each episode of season 1 is so well-contained and precise, while I feel the show sprawls more in season 2 as a result of expanding the world and becoming more of a true ensemble show. This isn’t a criticism—shows need to expand in order to continue to grow! Just an observation, which leads us to:
God I Wish The Show Was Longer part 2: Around episode 4 and 5 I wondered if they were going to be able to tie everything up, given how many complex issues and conflicts had been raised. I had no reason to doubt—Nida Manzoor brought these conflicts and arcs to deeply satisfying conclusions, without feeling like these issues lost nuance or were reduced in complexity for the sake of a finale. It’s incredible what all she managed to achieve in 6 episodes! That said, I would have loved to have been able to see more of the characters journeys, and one or two more episodes would have given things more room to breathe. I would have loved to see more of Taz’s work with other artists, or Saira becoming more comfortable with the idea of herself as a mentor. Bisma’s arc in particular I thought could have used more time, although Faith Omole’s stunning performance of Don’t Let Me Be Misunderstood does beautiful emotional work for her arc (and tbh for everyone else’s arcs—it’s a centerpiece of the episode and a great example of what a song can do for character, emotion, and arc in a musical narrative). Which brings us to!
The performances/songs: Putting these two together to say that every actress delivered an incredible award-worthy performance, juggling comedy and dramatic acting skillfully. And the songs! Villain Era is on fucking repeat in this house. Already said Misunderstood is amazing but it should be said again. Nina is pretty much the toughest act in the world to follow but Faith fucking does it. Stunning ❤️ Speaking of Faith her doing the voices in Oops I Did It Again was the happiest I’ve been all year oh my god this show is so much funnnnnnn everyone watch it it’s so! fun!
#this is just on a first watch—I’m sure the things I notice will change on subsequent watches#I didn’t even mention the costumes or Amina/ahsan which were wonderful I loved all of it!!!#the mixtape made me SQUEAL like a kid it was so fucking cute#and and and and on and on there’s just so much to be excited about with this show#noa let me know if there’s anything we absolutely needed to put in this review#anywya show. still good. watch it!#we are lady parts#literally already went in to edit this because I forgot a major point I wanted to make. lmao
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But sapphire didn't you hear that the devs didn't want them holding hands????
LMAO STOP
you guys are so fucking stupid fdjsklfhlkhf
#but for real though#who are these people and how do they find me#I DON'T KNOW WHAT THAT PERSON THOUGHT THEY WERE GOING TO ACHIEVE#you're not going to 'gotcha' me with this#every time this comes up i'm just like#oh so you don't understand how game dev works#the guy in question was not an executive producer#those are the only guys who have carte blanche authority to say 'kill this i want it gone'#he was one of two directors#and the other director wanted it in#the director who was telling this story was clearly taking the piss#and the handholding was probably in actuality removed for gameplay reasons#and#let me just say#for the like fifth time#I'M REALLY GLAD THEY TOOK IT OUT#SPECIFICALLY BECAUSE OF THE GAMEPLAY PROBLEMS IT WOULD CAUSE#like holy fuck you daft idiots really think that a game gets designed around the prospective holes that leon can stick his dick into
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#dkhghgghkslghhhgh I'm Not Normal about rotg#my interest in it picks back up for a few weeks each year and I just. sigh#please dreamworks I know you had sequels planned. you don't know how big it would be amongst today's audiences. I prommy#director PETER RAMSEY and executive producer GUILLERMO DEL TORO both want to give it a second chance#as does joyce. the guy who sold the IP to dreamworks#nooo because there are so many interesting things the movie could pull on if it starts looking at the guardians with respect#to events of the past#a big critique of rotg is that it doesn't have much plot and I think that largely comes as a result of the movie being mostly setup#it needed to spend so much time establishing its world and I'm so glad that it did#but it did lead to people questioning what the heck bunny and tooth are and why pitch feels so flat etc etc#oh my GOD if they dug into how pitch was created it would add so much subtext to the antarctica scene#I wouldn't care about whether they brought in nightlight stuff or not by integrating more material from the books bc movie canon#is already so distinct but YOU'RE TELLING ME that this man... a guard in his own right... succumbed to the powers of fear#because he was mourning the loss of his child??? because he wanted to protect her??? and then he tried to connect with jack#(a child) over how much he longed to be known and have a FAMILY??? how am I supposed to be normal about this#there are so many ghosts of the books' influence in the first movie that could be explored so much#not to mention something something fear exists to keep people (kids) safe and eliminating it completely would be Bad Actually#maybe I'm realizing I just want pitch to be explored more sdkfjsldfjks#I've seen a lot of folks say they want more seasonal characters to be introduced and I guess that could work in the context of a show#but if they dove more into how the guardians came to be and what MIM's deal is and how that all affects the present#ohhhh baby that's good content right there#fern muses
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I read your review of Poor Things and I was wondering if you had any thoughts on the section in Alexandria? It was horrifically executed on many levels but narratively, that part of the film is about Bella learning about class structure. She rebels against the cruelty of society through charity then by working as a prostitute, during which time she has cruelty inflicted upon her instead. Finally, she realizes that God’s creation of her was ultimately cruel, and then she runs away with her ex-husband-father only to realize that her prior self-mother was fundamentally characterized by cruelty, especially to her “lessers.” She then decides once again that she does not want to be cruel, but then she achieves this by taking God’s place as the doctor-patriarch and ruling his household with a new pet goat. The entire film is also about Bella learning about feminism: the arbitrary oppression of women is not only nonsensical, it’s bad! But then the ending has her reproduce almost all those power structures and cruelty she claims to reject, and has the unfortunate consequence of positioning her as ultimately equally cruel/callous as God, the guy she meets on the boat who shows her all the starving people, and her former self-mother, etc. I was wondering if you had any thoughts on why this is or like, what the director’s message was beyond self-contradiction and taking cheap shots at starving people?
so i would quibble a bit with the idea that bella's experience in the maison-close is exclusively or even primarily portraying sex-for-pay as a site of cruelty. i think it's more depicting paid sex as work, and work as unpleasant and repressive, and that's why the maison is the site where bella gets involved in socialist politics—if moral philosophy is the arena by which she responds to the injustice of the poverty in alexandria, then labour politics plays the analogous role where the maison is concerned. her problems there aren't inherently with the idea of being paid for sex, but with specific elements of the work arrangement (eg, she suggests that the women should choose their clients, rather than vice versa). ofc she has some customers who are cruel or thoughtless or rude, but i didn't read the film as suggesting that was universal to sex work, and the effect of the position is more to demystify sex, for bella, than to convert it into being purely a site of trauma or misery. now i don't think this film offers a particularly blistering or deep analysis of sex work or socialism or wage labour, dgmw, but i do think the function of the maison is different narratively to that of the alexandria section.
anyway to answer your actual question: yeah so this is really my central gripe with the film. lanthimos (slash his screenwriter tony mcnamara) spends much of the film gesturing toward bella's growing awareness of several hierarchical structures that other characters take for granted: the uneven nature of the parent/child relationship (god took her body and created her without asking); class stratification (alexandria); the 'civilisation' of individuals and societies via education and bio-alteration (bella's talk about 'improving' herself; her 'progression' from essentially a pleasure-seeking child to an educated and 'articulate' adult). these three dimensions often overlap (eg, the conflation of 'childishness' with lack of education with inability to behave in 'high society'), though, most overtly, it's in that third one that we can see how these notions of improvement and biological melioration speak to discourses about the 'progress' and 'regress' of whole societies and peoples, and voluntarist ideas about how human alteration of biology (namely, our own) might produce people, and therefore societies, that are better or worse on some metric: beauty, fitness, intelligence, morality, longevity, &c. this is why i keep saying that like.... this film is about eugenics djkdjsk.
the issue with the alexandria section to me is, first, it's like 2 minutes (processed in the hollywood yellow filter) where the abject poverty of other people is a life lesson for bella. we're not asking any questions like, how is that poverty produced, and might it have anything to do with the ship bella is on or the fantastical lisbon she left or the comparative wealth of paris and london...? secondly, everything that the film thinks it's doing for the entire runtime by having bella grapple with learning about cruelty, and misery, and the kinds of received social truths that lanthimos is able to problematise through her eyes because she's literally tabula rasa—all of that is just so negated by having an ending in which she bio-engineers her shitty ex-husband, played as a triumphant moment. i don't even inherently have an issue with the actual plot point; certainly she has motive, and narratively it could have worked if it were framed as what it is: bella ascending to the powerful position in the oppressive system that created her, and using her status to enact cruelty against someone who 'deserves' it—ie, leveraging her class and race within the existing social forms rather than continuing to question or challenge them. if that ending were played as a tragedy, or a bleak satire, it would at least be making A Point. but it's not even, because it's just framed as deserved comeuppance for this guy we were introduced to in the 11th hour as a scumbag, so it's psychologically beneficial for bella actually to do the sci-fi surgery to him that literally reduces him to what's framed as a lower life form. unserious
#the favourite and the lobster also have some troubling body and disability politics and i think this is a throughline with lanthimos#but this one is particularly egregious to me given the ending lol#poor things
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A word on Wardpark/Cumbernauld Studios
@docsama left a comment, on S's birthday, under one of my posts and I promised her an answer with more information, as soon as I got the time. Anyway, here goes - and @docsama, sorry for the delay:
Question is: who owns the Wardpark Film and Television Studios?
The answer was quick to find, in the not-so-old specialized media:
The story begins in 2013, with an ambitious Scottish entrepreneur, Terry Thomson - this guy (courtesy of The Herald, https://www.heraldscotland.com/news/15984820.analysis-three-projects-pipeline-help-productions-make-big-picture/):
He is the owner of the Thomson Pettie Group, based in Carluke (https://www.thomsonpettie.com/about-us), which has nothing to do with cinema:
You've read that right: they are 'manufacturers of fabricated metal parts and assemblies', primarily for the national automotive industry. Yet, in 2013, Mr. Thomson agreed to rent what he described as 'a dormant industrial property' - a warehouse, to be exact - to Sony, in order to host the filming and production of OL. Thus, he became the CEO of a newly created entity, The Wardpark Film and Television Studios (https://www.hackmancapital.com/scotlands-largest-most-iconic-film-studio-acquired-by-hackman-capital-partners-and-square-mile-capital/).
By 2017, Wardpark was doing so well, that a big expansion plan was announced, with the direct support of the Scottish Government, which invested £4 million via Scottish Enterprise, its business support, advice and funding agency:
And then, in November 2021, the little engine that could was sold to those two big US investors, Hackman Capital Partners (HCP) and Square Mile Capital Management LLC (now globally rebranded as Affinius Capital). In this montage, Hackman Capital Partners brought its own confirmed film studios and media management expertise...
... while Square Mile most probably funded a sizeable portion of the acquisition, simply because this is what they do best:
Perhaps an interesting detail: HCP owns and manages both the Culver City based Sony Pictures Animation Studios' Campus and the legendary Culver Studios, now rebranded by Amazon:
Back to Scotland, Wardpark Studio's sale made just about everyone happy. Mr. Thomson kept his CEO job and look who was more than thrilled about the juicy transaction:
Currently, the studio is operated by HCP's subsidiary, The MBS Group:
That means that MBS probably manages just about everything, as far as daily management is concerned, from business operations, staffing and/or property management, to lighting and grip, trucks and generators' fleet, expendables and props. Unless I could see a contract and have a precise idea, I can just enumerate all the services they offer.
At no point in time did S and C own anything of those studios. As for the Executive Producer part, that is another discussion entirely. I could be coaxed to write something about it, if you really want to know why Those Two are EPs and what does that really, really mean - because once again, I have seen and read a LOT of bullshit in here, especially in the Desperate Housewives Disgruntled Tumblrettes' corner.
Thank you for asking. It was fun to research and write and I hope it brought more clarity to you.
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Warning: This story contains spoilers for the Loki season 2 finale, "Glorious Purpose."
Loki ends with its titular god claiming his throne — just not the one he expected.
The Marvel Disney+ show concluded its second season this week, seemingly saying goodbye to Tom Hiddleston's Loki. In an effort to stop the universe from collapsing in on itself, Loki learns to control his "time-slipping," using it to go back further and further in time. With help from Sylvie (Sophia Di Martino), Mobius (Owen Wilson), and O.B. (Ke Huy Quan), he tries again and again to fix the TVA's temporal loom and prevent a meltdown. But every time he goes back, he fails, and he spends literal centuries reliving the same events over and over.
Eventually, Loki admits defeat and chooses to sacrifice himself to save every universe. Walking toward the temporal loom, he grabs the very fabric of space-time and uses it to build a throne of his own, weaving the threads together to create a tree. (It's a nod to the legendary world tree Yggdrasil from Norse mythology.) With that, Loki essentially crowns himself master of the multiverse, watching over every timeline as a lonely god. It's the ultimate selfless act from one of Marvel's most notorious villains — a villain who once sicced an alien invasion on New York to get his dad's attention.
Here, executive producer Kevin Wright breaks down the series' emotional finale — from the throwback line that Hiddleston improvised to whether this is really the end for Loki.
ENTERTAINMENT WEEKLY: When did you decide this was how you wanted Loki's story to end?
KEVIN WRIGHT: I think we knew in season 1. Once we were going to do a season 2, we knew that Loki would end up on the throne. That was always the easy thing. The question was: How do you want that to feel for the audience? There's a version that's triumphant and super heroic. There's a version where it's an evil turn. But it was always about the emotional journey we wanted people to go on. It was about building that journey to be as cathartic as possible and to feel like a payoff for six movies and 12 episodes over 12 years with this guy. It was always about building that arc to be as fulfilling as possible.
Most of the episode is dedicated to this sort of time loop, where we see Loki trying over and over again to get things right and fix the loom, almost in a Groundhog Day kind of situation. What was fun about getting to do that endless loop?
Even in season 1, we always wanted to do a Run Lola Run thing, but there was never space for it. So once we started going into loops this season in the writing process, we thought, "Oh, let's finally do it." So much of that is total credit to Paul Zucker, the editor of the episode. That montage wasn't scripted per se. We knew Loki was going to be rerunning things, but it wasn't written exactly the way that it played.
A really fun thing, though, was that our cast — outside of Tom — had no idea what we were doing. They understood that he was rerunning time, but we shot a very different ending to episode 4 that was not the real ending. All the cast thought something very different would happen. We would send them away on lunch breaks, and Tom would take his lunch later, and he would just keep shooting with [directors Justin Benson and Aaron Moorhead] with a skeleton crew. There were very few people that fully understood what we were building in that finale. So, for that core team, I think there was a lot of satisfaction when everybody was able to sit down and see how it came together. It just felt like this little secret.
What do you remember most about watching Tom film those final scenes?
Two moments really jump to mind. The first is a little bit of a longer story. There's the scene with He Who Remains, and that was scripted one way. We had this fear, like, "Is this going to feel like we're retreading the same ground as season 1?" Would it be fulfilling? We started shooting one day, and anybody in any creative field will understand this: There are days where the words are right, they way you're doing it is right, but it's just not adding up. Something was missing. We knew we weren't nailing it, and I had to make the call. That is really scary, when your first AD just wants to keep moving, and I said we were going to stop shooting.
Tom went and sat down with our script supervisor and basically did this insane crash course in 30 minutes of every line that had been said on the whole series. Then, he went for a run around the lot at Pinewood [Studios], and when he came back, he was like, "I know what this needs to be now." Then, he and Jonathan worked out what it was going to be, and they sat down with Justin and Aaron and me and Katie Blair, our production writer. They just quickly rewrote this new scene and shot it. It was just the pinnacle of what Tom does. He has such a finger on the pulse of this entire series and how that scene had to go. In a moment, he was able to reconfigure it with all of our collaborators.
The other thing is that final line before he steps out toward the loom, which is the Thor line, which was not scripted. Right before we were going to shoot that, Tom came and pitched it to me, like, "Should we do this?" We were like, "God, why did we not write that?" It was perfect, and it was 100 percent Tom.
I wanted to ask about that line, where Loki turns to Sylvie and Mobius and says he has to do this "for you, for all of us." It's a direct throwback to one of his lines in the original 2011 Thor. So that was a Tom Hiddleston improvisation?
It was 100 percent Tom. We had already done a few takes of the first part of that line, which was, "I know what kind of god I need to be." And on the final take, Tom said, "Hey, can I try this?" As soon as he said it, all of us were like, "This is going to be the take." It almost gave me Truman Show vibes, that final sign-off, looking straight down the camera. But that story gets to the heart of how Tom is always trying to make things better. We just had to build a series that could give him the framework to have those creative pivots. Everyone would just kind of throw their hands up and say, "Geez, this is why this guy is fantastic."
With Loki in charge of the multiverse, this could affect how (and if) we might see Jonathan Majors' Kang the Conqueror in future Marvel projects. For you, where does this finale leave Kang and his future in the MCU?
I'm going to tread probably infuriatingly lightly, but for me — and I know all the filmmakers agree — we think everything is there on screen. I think all the details are there, and there is a lot that people haven't picked up on, or haven't fully understood what is being said. The key to the future is in that conversation with Sylvie, and this doesn't necessarily undo any of those threats. In my mind, it's what Sylvie said: "At least give us a chance. Let us fight that battle for ourselves and define our own destiny."
I also wanted to ask about that final shot of Mobius in Ohio, where he's standing there silently, watching time pass. Why was that the right ending for Mobius?
In the big picture of the show, we wanted this to feel like a real ending. We wanted to give closure on a number of things, and we didn't want to do anything that felt like it was just teeing up a new story. But you could plant new seeds that could become new stories. My feeling with that scene in Ohio is that it's Mobius overcoming a personal obstacle. He just had to go and look. The show is not telling you whether he's going to stay there, or whether he's going to go back to the TVA. I think both are possibilities. But the important thing was the character growth of him going to do the thing he has been avoiding. I think it took what Loki did to cause Mobius to go, "I have this opportunity. This opportunity was given to me by Loki. The least I can do is go."
So that being said, is this the end for Loki? Is this a season finale, or is it a series finale?
I'm thinking of it kind of like a comic run, and this is the end of that comic run. I know [head writer Eric Martin] has said this a lot: These two seasons were two chapters of the same book, and we wanted to close the book. That was a challenge from Owen in between seasons: He was like, "Nobody has the courage to close the book! Let's close the book!"
Again, I speak for myself and not Marvel, but I am certainly pitching ideas of where I could see certain stories going. I think there are a lot of stories you can tell at the TVA, and we are just scratching the surface on that. I would love to see more stories with Loki, and I think Tom would continue to play this character until he is Richard E. Grant's Classic Loki [laughs]. But I don't think that means you need to have this story every year or every two years. It's about doing it when we have a good story to tell. I would love to keep working with these filmmakers.
We built a really awesome team, and if Loki is Breaking Bad, maybe there's a way for this team to keep telling stories with our version of Better Call Saul — whether that's with Sylvie, with the TVA, or with a new Loki. But we only want to do that if we have the right story and it can be just as fulfilling as this one. After all, you can't be the God of Stories if you're not going to tell more stories.
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who’s line is it anyway
1.9k /dieter bravo x male reader
summary: during a table read, dieter’s thoughts trail off into more “important” things than a script in front of him.
warnings: 18+ MINORS DNI, strong language, pwp, mention of drugs, dieter being a high mess, public sex, dirty talk, unprotected p in a, choking, let me know if i missed anything!
a/n: this was supposed to be a drabble but knowing me and my writing style, a “drabble” consist of 800 words
also i would like to blame @morallyinept for this idea, the idea came from a post she made and i talked to her about it, and she made it 1000x better
one more thing: if your seeing this one of my exams are finally fucking done! celebration, ugh finally and hopefully you guys love this, trying to write and study was so fucking annoying, but i finally got this done
navigation page in bio!
“Here’s the thing,” You start, unlocking your legs from each other and placing your palms on the table. You push yourself onto the table, earning a wide-eyed expression from Dieter behind his sunglasses.
You kneel on the table — sitting on your calves, feet dangling off the table, slowly crawling towards Dieter like an animal stalking their prey. Dieter’s lips were apart as he looked at you in astonishment. “I don't care about some dumb table read when I’d rather —” You are face-to-face with Dieter, inches apart; with a simple push, your lips could collide.
Grabbing the temples of his sunglasses, you slowly slide them off Dieter’s shocked expression, closing the temples together and placing his sunglasses on the table. “When I’d rather have you fuck me on this table.”
Table reads were one of the things that Dieter dreaded — with a burning passion. Getting up so early in the morning just to read lines off a packet of stapled papers together, drinking shit coffee, and sitting around directors, executives, producers, and fellow actors/actresses he has to act to like.
Dieter was high, and he knew that it was the only thing going to make him go through this long, exhausting day. Through his sunglasses — that he didn't need to wear anymore, he could barely keep his eyes open his eyes. Dieter wanted to rest his head on the table underneath his hands and read the lines whenever he felt like it. But he was too busy looking at the people around him.
His gaze eventually lands on you as you are reading your lines. Dieter ultimately set his eyes on you. Dieter has a glimpse of recognizing you, but he was probably too high to remember it. As you stopped reading your lines, you smiled at the next person who had to read.
Dieter wished you never smiled; his cock was already throbbing in his pants — itching to be released. As he shifted the length of his cock in his pants, he noticed how concentrated and strong-headed you were. It made him want to bend you over the table more.
He yearned to know what noises your mouth made as he drove his cock into you. Dieter wanted to make you beg for more of his cock, made you want to plead for his cum. Thinking about you so much made Dieter’s cock twitch. He looked down and was annoyed that his cock wasn't getting the attention it deserved.
“Psst, D.”
Dieter heard a voice — your voice and looked up at you. You had this look on your face that you didn’t have before. It was seductive, enticing. He was shocked but just went with it.
“Yeah?” Dieter asked.
“You’ve been thinking about me, haven't you?” You questioned.
Dieter drew his lips in a thin line and shook his head. “Nope, got me confused with someone else.”
You scoff, crossing your arms and looking at him. Your legs cross, and you shake your foot in impatience.
“C’mon, D. I know bullshit when I smell it.”
Hearing you say the initial of his name made his cock twitch. He swore you heard it knock on the wooden table above his member.
“Okay,” Dieter shrugs and smirks. “Even if I was thinking about you, what could we do? We can't leave yet.”
“Here’s the thing,” You start, unlocking your legs from each other and placing your palms on the table. You push yourself onto the table, earning a wide-eyed expression from Dieter behind his sunglasses.
You kneel on the table — sitting on your calves, feet dangling off the table, slowly crawling towards Dieter like an animal stalking their prey. Dieter’s lips were apart as he looked at you in astonishment. “I don't care about some dumb table read when I’d rather —” You are face-to-face with Dieter, inches apart; with a simple push, your lips could collide.
Grabbing the temples of his sunglasses, you slowly slide them off Dieter’s shocked expression, closing the temples together and placing his sunglasses on the table. “When I’d rather have you fuck me on this table.”
You flashed a smile, and Dieter’s face looked like a deer in headlights. He glanced around him and noticed that no one was fazed by what you were saying — as if it were completely normal. “Are we going to fuck or what?” You shrug.
In one motion, Dieter collided his lips with yours, gripping your throat — a moan escaping your lips. Dieter was finally getting his wish, hearing what you sounded like under his touch. The kiss became more intimate than alluring and, suddenly, hungry. You both were two horny teenagers — couldn't get enough of each other, didn't want to let each other go.
Dieter stood up from his seat, kicking the seat out of his way — hand still gripping your throat, tiny moans left your throat with each kiss Dieter was devouring your face. Your lips tasted like strawberries, and Dieter couldn't get enough of your mouth, swirling his tongue in your mouth; he wanted to taste you inside and out.
You fixed your position on the table so that your but was planted on the table.
Dieter released his grip on your throat, his mouth moved from your lips and trails down your cheek, along your jaw, and then your neck. You gasp and moan with each kiss, suck and bite Dieter is bringing to your neck.
Your hands get tangled in his dark curls. His hair is like sand — sliding through your hands with no issue. You bring your fingertips closer to your palm as if feeling each follicle on Dieter’s head. His hand slid down to your waist and onto your leg. Dieter hooked his hand under your knee, bringing you closer to him, and he planted his lips back onto yours.
Your hand slides down from Dieter’s head to his cock. He groans in your mouth with how firmly your hand grabbed his member. “Damn, your hard as a fuckin’ rock. Should we let this monster about this cage?” You sneer. Dieter releases his grip on you and backs up to unbuckle his pants.
As Dieter is trying to shimmy his pants off in such a rush, he almost trips on his pants. You breathe a whistle out. “Damn, D. You fallin’ for me already?” You question. Getting his pants off, he looks up to see you — pantsless, cock throbbing, precum leaking through the slit of your cock, a smirk on your face.
A grin appears on Dieter’s face as he walks back to you, kissing you like his life depended on it. “You look so fuckin’ hot with your cock standing up like that,” Dieter growled.
“Says the one whose cock is rubbing against mine; it feelings fucking amazing.” You admit. Hearing you say these things made Dieter’s cock twitch. As your hands gripped the material of his shirt, you leaned back, Dieter following suit — Dieter’s body had pressed down on top of yours under the table. Two bodies melted together by intensity, heat, and tension. It was an art piece that Dieter was satisfied to be a part of.
Dieter backs up from your mouth as he glances down at his cock near your aching hole. You hold your legs with your hands, a grin on your face as Dieter glances at you. “What are you waiting for?”
Dieter positions his cock near your hole, a line of saliva leaving his mouth, connecting with the shaft of his cock — rubbing his spit to lube his cock up. Slowly pressing the tip inside you, a sharp exhale escapes your lips — a hiss leaving Dieter’s mouth.
“Fuck, baby. Your tight,” Dieter admits.
“Only the best for Dieter Bravo,” You wink.
Dieter, slowly stretching you out, made his cock into overdrive. His cock was twitching inside you — you felt it get bigger inside you with each slowly agonizing push. The base of his cock connects with your balls as they gradually shrivel. His hands grip your ankles as your nails create dents on your inner thighs.
Dieter backs his hips up and slowly pushes them towards you. A look of worry had ridden his face.
“D?” You question.
“Yeah, baby?” Dieter answers.
“If you’re gonna fuck me, do it the way you’ve always dreamed about.”
“Are you sure?”
You nod. “Use me, Dieter,” You grit.
A sneer spread across Dieter’s face as the grip on your ankles got tighter. A wave of pleasure rode your face as you felt how fast Dieter his thighs were clapping into you. Dieter enjoyed hearing the noises that escaped your lips; it was ecstasy, coke, anything for Dieter was better than any drug he could imagine. Hearing the claps, your moans, and your hands trailing his abdomen — Dieter’s mind went into overdrive; this feeling had beaten any high he’d ever experienced before.
“You like that, baby? You like it when I use you like this?” Dieter asks.
“F-fuck, yes, Dieter. I love it so much,” You groaned.
Your hands grip Dieter’s shirt — almost tearing the material under your nails. You pull Dieter towards you, lips intertwined, nose bridges fitting perfectly together. Dieter’s hands let go of your ankles — planted on the wooden table under both of you. His thrusts got more intense as you felt your cock twitch between the both of you.
Your moans landed in Dieter’s mouth as your moans became hitched with each thrust. Dieter could feel the table shift with each push of his pelvis.
“Baby, I need to get you pregnant, I need to cum so much.”
“Do it, Dieter,” You instigated. “Get me pregnant; I want your cum inside me.”
Dieter’s thrusts became more intense, non-human, bearing his teeth like a rabbit in heat. Your moans come out like music to Dieter’s ears — he couldn't get enough of your voice.
“Fuck, yes, Dieter. You’re hitting so deep!”
“God, I love it when you scream my name like that. You’re so fuckin’ perfect,” Dieter grunted.
Your nails claw Dieter’s back as his hands reach your waist. His hands melted on your waist as his lips connected with yours, his hips rutting into yours, your hole wrapping Dieter’s length, his grunts coming out as breaths in your ears.
“Baby, I’m gonna fuckin’ cum,” Dieter bear his teeth.
“Fucking hell, Dieter, just do it,” You groaned.
Dieter could feel himself getting closer with each thrust and each moan that was escaping your lips. He was a man obsessed.
“Fuck, Baby. Here it comes,” Dieter grunted.
“Dieter, Dieter,” You moan.
“Dieter.”
“Dieter.”
“Dieter,” Dieter shook his head and glanced around.
He noticed that you weren't on the table anymore; you were back in your seat, looking at him with confusion on your face. Not as if you were a moaning and sweating mess on the table just a couple of seconds.
Dieter glanced around and noticed everyone was looking at him; they seemed more eager than you. Dieter hated the stares everyone was sending, and he wanted to curse everyone out who was staring at him, but he was too confused about what had just happened.
“Dieter,” Dieter turned his head to see the director had been saying his name.
“That’s your line, buddy.”
Dieter scoffed and just looked at the script below him and read the lines he hadn't practiced. After Dieter had finished reading his lines, he was a grumbling mess. It sounded like he escaped a psychiatric hospital. His phone vibrating next to him took him out of his psychotic grumbling. His phone screen brightened the sunglasses on his face, and he saw a text from an unknown number.
xxx-xxx-xxxx: i can tell you lost your train of thought thinking about me, if you want, we could meet up and make those thoughts a reality ;)
Dieter’s jaw almost dropped, but he managed to keep his cool; he picked his head up to stare at you. You had waited for the next person to read their lines, but you could feel Dieter’s eyes on you. Your eyes trailing to stare at Dieter’s and you flash him a wink and smirk.
Dieter’s cock twitched in his pants, and his face had heat rising faster than the speed of light. He was ready to take you on the table “again,” but for the first time in his life, Dieter was glad to be patient.
#dieter bravo the bubble#dieter bravo x reader#dieter bravo smut#dieter bravo x male reader#pedro pascal#pedro pascal smut#pedro pascal x male reader#dieter bravo#pedro pascal characters
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Q&A with Alex Rider Screenwriter, Guy Burt 🦂
I sent Guy Burt (screenwriter/adapter/executive producer of the Alex Rider tv series) a load of questions hoping he may choose a few to answer and he VERY kindly answered them all! Incredibly grateful he took the time to do so 🥲
Sharing here for those not on Twitter!
#Alex rider#alex rider season 3#otto farrant#scorpia#season 3#alex rider tv#brenock o’connor#yassen gregorovich#Guy Burt#so much information 😵💫#very grateful! he is so so lovely!#marli Siu#kyralex
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Silver Screen (Mingling)- Harry Styles x reader.
Here's another little blurb from the series of Harry and Y/n running into each other at various award shows.
Warnings: Use of She/her pronouns. (extremely non-descriptive).
Word Count: 2.5k
Part 1 / Part 2 / Other Writing
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Another event- well, the after party of another pointless, meandering red carpet motioning him towards the flashing lenses, asking him questions that make less sense and lead him to melt into a puddle of confusion and complication- is this really where he saw himself? Spending his living days being dominated and feeding the demands of money-hungry producers and executives.
Thankfully, the cherry carpet demanded nothing more than a brief snapshot- no interviews dissecting and disproving his passion and beliefs. Creating a lifestyle and accommodating others, only for it to be deemed ‘okay’- or worse, they may ask him a serious and inciteful question, and instead of a wave of relief washing over him, he feels as if he is drowning in confusion, re-examining every decision he has ever made- every word inked to a notebook, every harmony, and every insecurity crashing to the surface, swallowing the sand that he once thought to be an indestructible base.
After the usual formalities, he finds the opportunity to disperse from his team, fulfilling all obligations and in dire need of a glass of scotch. One of which he orders at the nearest bar, taking a hearty sip to switch the temperament of his mood, and hopefully the rest of the evening.
-He spends what he would describe as a decent amount of time strolling and exploring the venue, making sure to never linger, stand up straight, and use the glass of icy whiskey in his palm as a welcomed coping mechanism. But, as he rounds another corner, the space before him is large, scattered with big names and faces all huddled in boastful groups, their arms flailing arrogantly, animatedly telling the same stories told on a loop, hoping for new audiences and with that, fresh chuckles of admiration. He wants to roll his eyes, but he knows better, instead raises his glass to his rosy lips, but is extremely disappointed when his tongue is met with only a single droplet of drink.
Thankfully, one positive of this room was the shining and welcoming bar set up directly in the middle. His feet have carried him over with little encouragement, the base of his polished boots almost bumping against the nearest stool. The bartender stands before him in the blink of an eye, eagerly awaiting to soothe his appetite and he aids, ordering his usual, deeply grateful as the waiter dashes off with great determination.
In the meantime, he turns to face the crowded room leaning back and balancing all of his weight on his lower back. The place is a clusterfuck of chromatic garbs, glistening jewels, and jovial jealousy- most are reasonably recognisable after a good glance, but each patron moving so poignantly makes it a proper challenge.
In the wake of the evening, he wonders if he would have even spotted her if not for the sudden outburst of obnoxious laughter coming from his left. Nevertheless, his attention snaps to the small but unnecessarily loud group of Grammy Guys and Golden Globers. Two of the men are mentioned far too regularly in the media, drowning in offers and loved by all; they are both donning bright, domineering, and fashion-forward fits- at least that’s how he thinks the public would profess so. Oddly though, there is one member of the group who seems greatly displeased, her arm folded across her chest, nursing a nearly-empty champagne flute and challenged with the task of faking enjoyment.
He feels as if chances keep falling at his feet, the tightness of fright that stirred at his stomach the last fortnight has suddenly melted into a mess of frantic hope and successful manifestation. So frantic that her presence will be as fleeting as the past- worried that looking away would wash her existence from the earth. It's only when the waiter politely calls out a second time that he jolts to alertness, twisting his body to hastily receive the beverage as well as expressing his appreciation.
Mercifully, when he looks over, she is as real and as present as earlier- bar the furrowing frown softly creasing at her forehead, lips begging to lull into a bored sulk. The group’s storyteller has geared up to start another riveting tale, and if it weren’t for the absolute fascination of her pout, he might have bothered to follow along.
Whatever the story, she is oblivious, slowly losing the will to act interested and attempting to drum up an excuse for leaving. Her gaze is glancing anywhere and everywhere, raking over the clothing of her peers, observing the other guests, and for a second, it seems she may have given the bar a brief look-over. Then she focuses her intentions on the clothing of the storytelling, her creased brows suddenly raising into ones of curiosity, and he wonders more than ever what she might be experiencing within.
He knows it would be in his best interest to find a way to say hello- there is no reason he wouldn’t be embraced by a group of an A-list actor, a triple-platinum singer, and the most beautiful stranger- but his feet stay stuck to the shined hard-wood, and the voices in his head have started a barbershop, harmonizing to the tune of ‘you messed it up last time… you’ll mess it up again’. Perhaps it would be rude to interrupt, rude to assume she’s displeased, perhaps even rude for assuming she isn’t.
By the grace of the gods, another bough of laughter breaks out, paired with the most gorgeous and gleeful giggle. He looks away bashfully, as if her laugh had been the result of his entertainment alone, shy within her presence- well, within the same room. Surely he had misread then, her discomfort must not have been real- and as he is about to shamefully accept his error, the group grows smaller and she begins to walk closer. Striding with stern confidence, she turns her back on the men and makes her way over to the bar- and in turn, hopefully, he.
She seems to glance him over, painfully brief and somehow sending a shooting pain along his spine as she stops and tilts her body over the bar counter to catch the attention of a patron. With as much speed as moments earlier, he can hear the way the bartender scurries around at the mention of her asking for a margarita, but the scuffle is being drowned out by the swell of sweetness taking over his brain at the sugary song that slips past her plump lips and peppers love bites along his heart. Only a short while later her drink arrives and she sounds far too grateful in turn.
The tips of his fingers tingle as she suddenly turns around, mimicking his stance of utilising her elbows for balance, her forearm mere millimetres from his own and for the love of god he prays she won't glance down and notice the goosebumps dancing along his skin. But she doesn’t- instead, she tilts her chin and cranes her neck to give his face a proper look. It's too late to start wishing she wouldn’t recognize him- he’s certain she does after their last… encounter- but if she had any ill feelings, it went unvoiced as she only smiled, the corners of her eyes creasing cutely.
She sips lowly, her lips glossed with pink tonic to match- a droplet threatening to slip slowly and waterfall down the bottom of her cupid bow, balancing on her upper lip and begging to be licked free. Perhaps by his tongue. Her attention returns to the now two famous men fiddling on the roof for the opportunity to one-up each other. But her grimace is telling, the distaste gathering between her brows, her bottom lip sucked and trapped between her front teeth.
He wants to giggle, or do anything, but he has become an inferno of self-doubt and cannot argue the fire into simmering long enough for him to string a sentence together. Why can't he just say hello, has he become such a hermit that the mere thought of a pretty girl has him in such a shameful frenzy?
And then she speaks as if it is the easiest thing she has done all day, her voice deep, but silky, each word as wonderful and skin-tingle-inducing,
“Were you working up the courage to say hello…” she raises the glass, taking a classy sip, her lips glossy and decorated grains of salt- her tongue darting out to lick away the residue, “Or, do you just get off on watching me suffer?”
He almost choked on his scotch and saliva as she confirmed that not only had she noticed him, but she was certainly aware of the way his eyes remained hooked and dreamily dedicated to her direction. And she is mere centimetres away, he can practically feel her skin simmering, heating him with lack of intent. His thoughts are threatening to spew honesty, telling him to trust himself and slip into smoothness. Though, he can only muster enough courage to mutter with excessive haste,
“Would rather get off from making you feel good.”
Half incoherent, but heard nonetheless, a burst of bashfulness attempts to paint her cheeks a beautiful blush red, but she shoves all flattery to the depths of herself and puts on a confident front,
“Say that again?”
And now he is the one begging his face from blooming with splotchy pink, but he certainly doesn’t succeed, shocked that his inhibitions had invaded his thoughts to the point of saying stupid things out loud. With a quick, and vital switch in conversation,
“Seemed like you were very interested in that conversation… didn’t want to interrupt.”
He hopes his aversion has done the trick, and when a soft bubble of giggles bursts from within her chest- symphonic and swoon-worthy, he feels he may never recover.
She tilts her body to get a better look at her companion and the pearly crystals of her gown sparkle with such vigour that they flicker along her face, highlighting her features, only furthering his fascination. She speaks boldly, her words bemused and seeped with disbelief,
“Interested? In the disaster of garments, those men are wearing?”
He glances over at the two men who are still engaged enthusiastically. She isn’t wrong, the first man’s entire suit is ill-fitted, crumpling in all the wrong places, chromatic lime combined with a loosely hanging fuchsia bowtie. Horrendous. And so, he laughs, loudly and lacking any shame, his lips letting his teeth peek past, cheeks swelling cutely,
“Christ, I don’t wanna hear what you think about mine-”
“Good.” She interjects with surety, “You look good.”
And he wants to ask for more- for her to flower him with flattery and elaborate on all of the elements and flares that encompass the fashion she deems as ‘good’. Grievously, he gives in to the little voice in his head that whispers and pleas for him to play it cool,
“Yeah?” Very cool.
She nods stoically, wisdom coating her eyes, glittery silver mixing with a slight hint of endearment. It may be the meekest of motions, hardly a smile in sight, but his chest swells nevertheless and he hopes with everything in him that she keeps up the kindness as she speaks up,
“Don’t let it get to your head.” Glitter dances across his face as she rolls her eyes, playfully scoffing and allowing a small smile to peak out to the corner of her cheeks.
Now he needs to see her grin in action, needs to feel the butterflies negging at his stomach from the sound of her giggles turning to laughter. A million and one ideas spring to mind, silly anecdotes, flat-out questions, compliments, suggestions of attraction- literally anything and everything- and then, his bubble of blooming euphoria bursts as a man, mid-fifties and dressed with elegance, saunters over with ease.
And when her eyes swell with recognition, it becomes definite that their conversation will now accommodate another body. But his disappointment does not dwell, he was savouring each second with her to begin with- after their last encounter, he felt eased to have had even a moment of restoration.
The man joins with a joyous gesture of his raised arms and grinning teeth as he stretches out and embraces her with a classic kiss to both cheeks. She reciprocates with cheeriness and open arms, exclaiming “Andreas,” before the words “lovely to see you” are muffled from her mouth brushing the velvet material of Andreas’ suit.
“You flatter me.” Andreas applies European etiquette, taking a slight step back to see her better. Paired with that, Andreas’ attention aims at her conversational partner, eyes widening with recognition and warmth at the reality of who stands with her.
Opening his mouth to attempt a formal introduction, he is shocked to silence, jaw slack, as she delicately reaches out and just barely places her palm on her upper arm,
“This is Harry.” She says it like she’s said it before- he wonders to who, when, what about?
His ears are engaging in a soft ringing sound, sweet sirens singing at him the fact that she knows who he is. It’s hardly heard when Andreas extends a hand, greeting and praising the opportunity of finally having a chance to connect.
Andreas speaks of a collaboration, marvelling over the creative concepts coming to fruition- all of them embracing the things he is best known for- whatever the topic, it proves hard to pay mind to, as the space on his arm where her hand once sat is still holding his attention.
The only thing that could tear his thoughts away- and does- is her voice, perking up with curiosity. She asks for some form of clarification, perhaps the location of another guest she hopes to mingle with. He’s struggling to hear her words, still stuck on the silky flow of her vocals, vibrating along the his already flaming skin.
Oh, but he definitely understands when she utters a polite, “Gentlemen, please excuse me”, her teeth peaking out from her peachy lips, a kind smile mirrored in her eyes.
He can confirm she is seeking out a woman, as her back becomes his only view, her body relaxed, shoulders straight, her silky gown shimmering as she sees what she wants and slips back into a crowd of gaudy party-goers.
She is gone and he is stood facing Andreas, his glazed gaze fading into focus as he maintains his manners and once more musts up the energy to engage in conversation. But, as always, he is late to the jump,
“So, how do you know, Y/n?”
This may be the best interruption of the evening- perhaps of the past year- he hadn’t known the pattering at his heart would be so poignant at the present of finally hearing her name. Pieces are fitting together like a puzzle- he wishes to find plenty,
“I don’t, really,” he hums honestly, “we keep bumping into one another."
#harry styles x reader#harry styles fic#harry styles one shot#harry x reader#elioslover#harry styles x y/n#harry styles imagine#harry styles#harry styles blurb#harry styles x you#harry styles oneshot#harry styles concept#harry styles fanfic#harry styles fic rec#harry styles imagines#harry styles masterlist#harry styles writing#harry styles fanfiction
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Okay, so, I love dystopian fiction. Love reading it, writing it, critiquing it when it goes wrong. Unfortunately, one of the most persistent criticisms I see leveled at dystopian fiction is that of efficiency.
"This method of execution seems like a waste of resources."
"This system of surveillance seems really overwrought."
"Why did they kill that guy? I know he questioned something they didn't want him to, but come on, he was useful."
The thing is, lampooning systemic inefficiency (and cruelty) is one of the points of exploring dystopia in fiction.
For one thing, the idea that any given system of rule can be 100% efficient is itself a form of propaganda. Capitalism mass-produces clothes in numbers we do not need, and throws the excess away. Fascist regimes are willing burn perfectly good science if it doesn’t match up with predominant narratives and ideologies, and often fund psuedoscience that aligns with those narratives. Authoritarian leaders will reject useful criticism if that criticism feels at all levied at them, specifically.
But those upholding the system can't acknowledge this, because that means acknowledging that the system has failure points.
For another thing, cruelty is often prioritized above functional efficiency, because it creates the right responses to prop up a failing system. Mob mentality, hostility to outsiders, suspicion of neighbors, fear of being punished for thoughtcrime, etc.
And that's forgetting that "efficiency" is often more vague than you think it is, and can be defined and redefined to suit a narrative. How do we measure efficiency? Are certain kinds of people assumed to be more or less "efficient" than others? Is it really possible to be "efficient" in all ways at once, or are there tradeoffs? Do you have to give up efficiency in one category to to get more out of another?
In short, dystopian systems both in real life and in fiction are not designed for functional efficiency. They are designed for control, and will define efficiency in whatever way best suits their narratives.
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ok i feel like maybe this is really niche but
i’ve been rewatching the newsroom for the 20th time and like… ok
just imagine. steve is this big shot prime time tv news anchor for one of the major networks. he anchors the eight o’clock hour and he’s lonely, isolated, big ego in an even bigger city cause he knows he’s good, just almost number one and the audience loves him, trusts him, admires him and that’s really all he needs. it doesn’t matter that he’s running a toothless program, that he doesn’t challenge his guests, that he sacrifices truth for the sake of being neutral. it doesn’t matter because hes on top and they like him, hes got something hes never had before: love. or at least the closest thing he thinks he’ll ever get to it. the audience loves him. that’s all he needs.
but the president of his network’s news division and his best friend—robin buckley (she’s the youngest president the news division has ever had and the first woman to hold the role)—is growing increasingly worried. just last week steve let a five star general off the hook for admitted war crimes, didn’t push back once even when the guy was clearly lying right to steve’s face and live on the air. robin has seen steve at his best and this isn’t it. his best was when…
well, his best was seven years ago when eddie munson was his executive producer. steve’s best stopped showing up to work with him when eddie munson had fled the country, taken off with a team—dustin included!—to the middle east to cover one of the many us occupations for a competitor network.
but robin’s heard news that eddie munson is back and that he’s looking for a place to land. his current network doesn’t have a spot for him, not on this side of the prime meridian and rumor has it eddie’s looking for a permanent gig now, has had enough of traveling and army rations to last a lifetime.
so robin reviews the tapes. sees the magic steve and eddie used to make together, the way steve could light up a screen. the way he could think on his feet, the way eddie coached him into asking the tough questions. and robin is also not stupid. she knows what happened between the two of them or at least could connect enough of the dots from what little steve’s told her and figure out just why eddie had felt the need to leave the country all together.
she’s fully expecting the backlash when steve finds out she’s hired his former ep, the man who, just as steve was preparing to get down on one knee and ask a very important question, had confessed to having cheated on steve for four months at the beginning of their relationship. but she’s also right. they make magic together in the studio. and maybe steve needs eddie there, just behind the monitor, to remind him why he even wanted to do the news in the first place.
#steddie#steddie fic#steve harrington#eddie munson#steddie fanfic#steddie fanfiction#is this anything lolol#i want to write this but i already have so much to do lmfaooooo#steddie ficlet#steddie blurb
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Disney's Wish is a surprisingly anti-capitalist movie for the Mouse to have produced.
Okay so maybe not exactly anti-capitist if you view it as separate from current cultural experiences, which is likely how it got stuck past the executives, but come on!
A man who builds a kingdom in exchange for the deepest wishes of others (which they then forget), promising to keep them safe and once a month grant one of the wishes?
Come live in my kingdom and help make it great, in exchange you only need to give me your deepest wish, which I will keep safe from the dangers of the world so it doesn't get destroyed. You won't remember it so you won't be able to pursue it on your own, but don't worry because one day I just might grant it!
And this seems like a great deal because pursuing your deepest wish can be scary and there's no guarantee you'll ever make it happen but you've seen this guy grant people's wishes and last year he granted 14! Your odds of the king granting your wish seem much better than you making it happen yourself! And so what if you feel a little empty afterward, you don't remember what it felt like before you gave your wish away.
It's not even "sell me your soul" it's "give me your soul freely and maaaaaaaybe you'll get something in return but no promises (and if your wish is inconvenient for me I'm definitely never granting it)."
How is this not a metaphor for our current state of late-stage capitalism? I mean when the devil has the moral high ground you seriously need to question your societal model. At least you know up front what you get with him.
I will say it was nice to see a story where the power of ordinary people was what it took to save the day. We need more stories where we save each other instead of the endless chosen one with magical powers narratives. Those have a place for sure, but I think they've conditioned us to wait for someone special to make a difference and I'm sure that's part of why we're in this mess.
But yes, Wish! Great movie! Definitely recommend it! Go watch it and get inspired! Never forget that we're all made of stars.
#Disney#Wish#i also love this trend toward villains being charismatic and beautiful#when I was a kid it was always easy to tell who the villain was#because they were literal monsters#or otherwise ugly
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I’ve seen a number of posts dismissing discussions of racism in the new storyline out of hand. To the point where I have no idea what the original criticisms were. And I think that’s really unfortunate. Partly because it feels like there’s a part of our community we’re not listening to and partly because I have some questions on the subject and would really like to hear what people are saying about it, but I’m clearly not following the right people.
I think folks forget how important Eddie is as Hispanic rep. Although 25% of the US population is Hispanic, only 3.3% of lead roles in TV are played by Hispanic actors (source) They’re also only 1.6% of showrunners and 1.9% of directors. And they are also under 5% of executive or management roles in media (source). So there is clearly a systemic problem.
But how does that apply to 911? Well - Carlos on lone star is notorious for having the least screen time of any character, despite the fact that his character is the closest to Athena in terms of role. And Eddie? Well, the latest I could find was season five totals - and Eddie and Chim, the non-white or black men, were bottom of the barrel. To really establish a pattern, you’d want more than two shows, but at least across half a decade of shows, the pattern is pretty consistent. I’m not making an argument about the reasons for that, but those are just the numbers. If I were to speculate, I’d assume it was a combination of who the network exec, showrunner, and executive producer was, since they have the power to make decisions. Just coincidentally, their racial identities mirror the screen time of the characters? Hmmmm
So then let’s look at who does press for the show - making themselves more visible…yeah, that’s largely Oliver. And you can say that’s because he’s a POV character- but you might be surprised to learn that in many seasons either Hen or Athena had more screen time than Buck. Yeah. Really. But you NEVER see Aisha put out to do press the way that Oliver is.
Why is that? Is it because she’s a black woman? Because she plays a queer character? And who is making that decision and why? Because that lack of visibility impacts her personal career. Same thing with Ryan Guzman and Kenneth Choi, who both have less screen time AND less press.
But in particular- and this is the rub - Ryan has CLEARLY been making intentional acting choices FOR YEARS to shape his character and his dynamic with Buck as queer. Oliver played into them, thinking of them as natural chemistry- but it’s clear that other creators on the show - notably the directors and writers, picked up on Ryan’s choices and fan reactions to reframe the dynamics and the characters.
And it’s really clear that Tim originally intended to have Eddie come out, but the poor reaction to Natalia and the fact that the actress was unavailable led him to switch the storyline to Buck. All of which is perfectly understandable.
But if there’s one person most responsible for the reason we ultimately got bi!Buck, it’s Ryan Guzman - for the bravery and perseverance of his choices as an artist. It’s amazing to me that in all the praise for Oliver saying that he “would have” leaned into Buck as queer even without the go ahead…no one has thought to praise the actor who actually DID THAT - for YEARS- when he was in a much more precarious position as a character and an actor. Like really take a minute to look at what that took…he was risking his livelihood with that choice.
And then, when the show DOES finally make it canon…who gets the praise? The buzz? The support? The white guy who was mostly oblivious for the past five years. Like…how is THAT fair?
And OK, the original plan was for the helicopter pilot to be Lucy, and that fell through so they reached out to Lou, because Tommy was a former character- but also quite likely because he looks a good deal like Buck - and the SL was supposed to have that character be a stand-in for the other half of Buddie. When they switched to Buck, they had to make Tommy have similar hobbies to Eddie to establish the similarities, since they couldn’t rely on looks.
But that meant they totally whitewashed the story line. And if you want to talk about firsts - when has a Hispanic lead come out as gay or bi? And how many of them were men? And how many were over 21? And on a mainstream show?
And no, it wasn’t intentional (just a function of having so many more white characters than Hispanic characters), but it was unfortunate. Not to mention the intersectionality of it all.
So…I honestly think there’s a decent basis for critique there. Not a “these people are terrible” critique, but a “not paying attention to diversity systemically” in a way that lets unconscious bias have the same impact as deliberate bias.
And I really wonder at the people who just dismissed the entire discussion - how hard did you listen? How willing were you to hear what people were saying? Because this is an issue that has to do with real people, their careers, their hopes, dreams, and identities. And you should be willing to listen.
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EXCLUSIVES INTERVIEWS
How Jared Padalecki Changed From A Gilmore Girls Kid To Walker Season 4's Father - Exclusive Interview
"Walker" is now in its fourth season. What about the show, and also the character of Cordell, has made you want to keep coming back year after year?
Well, so many things. But I think to answer your second question first, what I love about the character of Cordell Walker and what he is going through is that it feels, though very different, very similar to my own life. I mean, I am a father. This is the first chance I've ever had to play a father. So selfishly, I love exploring what that looks like. Our writers have been so diligent about making this show as honest as possible. I hope I don't sound like I'm disparaging the OG "Walker, Texas Ranger" in any way, shape, or form, but this is not a martial arts show as much as it's a human being show about adulting and about having relationships and having troubles, and things are dirty and messy and there's not always an easy fix.
It's not necessarily get the bad guy and everything's good for the week. It's sort of like, get the bad guy, but in the process of getting the bad guy, you ignored your daughter, so how do you fix that? Or in the process of getting the bad guy, you skipped out on your son. Or in the process of getting the bad guy, you locked yourself in your room for three weeks straight and weren't available to anybody, and now you have some relationships to repair. So it's much more similar, in my opinion, to life. Life as I know it, at least.
And to answer your first question about Season 4, I'm really excited. We haven't really explored past traumas in the sense of the Ranger world. And so we have this serial killer, the Jackal, and it's very clear that the Jackal — before Captain James (Coby Bell) was captain, he was just Ranger, and Ranger James and Ranger Walker were partners — he really terrorized these guys, specifically Ranger James, then Captain James. And Season 4 has been a great kind of dark dive into what someone can do to you psychologically when it seems like they're playing with your emotions, and they're one step ahead of you all the time, and you just can't save those around you when your job is to protect and serve.
"Walker" is your first dive into the world of executive producing. What has that been like for you?
My trailer's bigger, I get to tell people what to do. [laughs] By the final seasons of a show I did before "Walker" called "Supernatural," Jensen Ackles and I both had a say in the storylines and in the scripts and the blocking. And then, to quote the Bard, "A rose by any other name would smell as sweet." We weren't executive producers by any means, we weren't involved in all the meetings that artists aren't necessarily usually involved with, but we were so passionate about our characters and about the story and about the canon and about the cast and crew that our vote was counted, even though we were never producers on "Supernatural."
With "Supernatural," I think the executive producers were able to see through 10 years of example that Jensen and I cared about the story and the script and the characters, not about like, "Hey, it'd be cool if I took my shirt off. Hey, it'd be cool if I had leather pants and a motorcycle." They knew that we were doing what was best for the character. And so I think when you come in as the EP, that's assumed, and so that kind of bridge has already been passed, that speed bump has already been navigated. That's been wonderful.
I have a wonderful relationship with ["Walker" creator] Anna Fricke. Funny enough, her husband Jeremy Carver was executive producer and showrunner of "Supernatural" for many years, and that's how she and I first met. And from day one, she and I have just been on the same page. We just talked this morning, as a matter of fact, about the finale that we're shooting right now. And so it's been nicely passionate. I think what I've found in my 20-something years in the industry is that, as an actor, what happens between action and cut doesn't really interest me all that much. It's fun. But what I'm interested in is being home with a script, with the puzzle of how does this work? Where does this not work? How can this work better? What else could we do?
So to be a partner and trying to determine what storylines are most poignant and most pertinent along the way, and what works best for each character has been really special and I'm really excited about it. And even learning a lot about what happens, quote-unquote "behind the scenes," some of which is kind of unnecessary for me to know. "Well, hey, this location's going to cost $1,000, but this is going to be $1,200." I'm like, "Okay, well, what's better?"
I was a kid that spent time in my room building Legos, much like my middle son. I was just so fascinated by the way things work. And I think, frankly, for certain actors, that informs their performance as well, knowing everything that went into why a scene has to be a certain way. I can recall on "Gilmore Girls" or "Supernatural" reading a scene and going, "Well, wouldn't it be a lot better if we did this instead?" And now having been EP for years, I can read a scene and go like, "Oh, I know why this is inside, not outside. Oh, I know why they just push each other and don't get into a full-on fight. Oh, I know why this person has lines, or this one doesn't." So it kind of helps complete the puzzle, so to speak.
Speaking of "Supernatural," you've had some really big roles in your career, like Sam, and Dean on "Gilmore Girls," obviously.
OG Dean! I like to say OG Dean because Jensen was Dean on "Supernatural," but I'd already been Dean on "Gilmore Girls" for five years. So I like to try and kind of wink and nod.
What does it mean to have those fans that started with you on "Gilmore Girls" also embracing this newer character of Walker?
I can't put into words how grateful I am that people have enjoyed the work I do. And funny enough, even though it's scripted television, I feel like my work and career have been kind of like a journal. On "Gilmore Girls," I did the pilot when I was 17 years old and I was a kid fresh out of San Antonio, Texas, where the only apartment I could afford, the door didn't lock. It was in the parking lot of a liquor store. And then I grew up a little bit. And then at 22, I started "Supernatural" and I was still essentially a kid. But during "Supernatural," I became more of a man and an adult and a husband and then a father. And now on "Walker," I'm a father. And so it's really life imitates art.
And so the idea that people have taken the time to listen to me, I feel listened to. Which is ironic because I'm playing characters. This isn't a documentary by any means. But I'm flattered and I hope they all understand that I would not be here able to tell stories if it weren't for them, period.
Is there anything that you want the fans to know before they watch the "Walker" Season 4 premiere?
Yeah, we have a shortened season. We have 13 episodes. Jensen and I used to joke when we were doing a 23-episode season of "Supernatural," you're not going to win them all. If you go up to bat 23 times, you're not going to hit home runs every time. If you shoot 23 three-pointers, you're not going to make them all. But with 13 episodes, each one is wham, bam, don't miss, don't blink, don't walk away. We're bringing a lot of awesome, incredible, high-stakes stuff the audience's way, and I can't wait to watch alongside them.
Looper
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medialog may 2k24
not me being on time...
watched
the pilot of star trek: deep space nine - i normally would not list a single episode of television here but (1) it's almost two fucking hours long and (2) i watched this in some ways as one might watch a movie, i.e. at a friend's behalf without any expectation of continuing. i'm not sure that i will continue because as we all know i'm not the biggest fan of space, but i will say that my friend had been on me for ages about this and i truly could not imagine what he thought the appeal might be and then it turned out to be literally about colonialism and trauma so i was like.... okay..... points were made......
i saw the TV glow - on letterboxd i called this "beautiful, aching, strange," which i think sums it up. the visual look of this movie has really stayed with me, as have certain scenes (the neck-drawing scene - one of the most intimate, tender, & vulnerable moments i've ever seen in a movie), as has the way that i didn't really know how to watch it or what it was doing until the very end, which made it sort of curious in the moment but felt right in the end because it's about people who don't know what story they're in (made me think a little, weirdly, of the green knight, which i had a similar experience with). i also just appreciated its loving fidelity, even as that affection is complicated by the text itself, for the aesthetics of the first nickelodeon generation, and the fact that one of the things it's about is the idea of being life-changingly obsessed with something that's objectively kind of stupid.
challengers - "is this movie good" wrong question. right question is "does this movie fuck" and the answer is ABSOLUTELY. i'm gonna say something very controversial which is the more i think about it the more i think the movie was correct to include no real actual sex scenes and that in this specific case i truly believe if there was more fucking it would be less horny. last moment maybe the most purely elation-producing thing i have seen in a movie all year.
thief - i continue to be so glad to have been gently michael mann pilled by @power-chords; he is such an incredibly reliable filmmaker for making movies that are incredibly entertaining and well-made scene-to-scene but always manage to be so much meatier and more interesting in their writing & execution than the plot summary might lead you to assume. like, every time i watch one of his movies about white guys doing crimes, something people make a zillion movies about each year, i'm like, how come they don't all just do it like this guy? this one doesn't quite have the kick-it-to-eleven-something-extra to land it in top-tier mann territory for me personally, but it's still great, with a killer lead performance. it really brought home for me how much his movies are driven by a firm belief in the fact that people have personal philosophies that matter to them in a real way, and that one thing that makes him interesting and distinct is his insistence (here as in heat & blackhat) that that applies not just equally but possibly more so to people who have been incarcerated, and in fact his insistence on viewing incarceration itself as a situation which forces people to develop and articulate their personal philosophies as a matter of psychological survival (while obviously influencing what that philosophy is).
trouble in paradise - my letterboxd review of this was "siri play cowboy like me" and i stand by that: girl and boy meet cute in a classic scammer4scammer relationship, things get complicated on a later trick but ultimately they'll be loyal to each other and no one else until the end. i liked that but lubitsch is also a filmmaker who has turned out a bunch of kick-it-to-eleven movies that really wowed me and this felt a little light compared to the deranged battle-of-the-sexes fantasia bluebeard's eighth wife, the unbelievably dark and unbelievably funny WWII farce to be or not to be, or the OG MMF threesome celebration design for living. this one is just a very nice time, although i do need to stress that if it had been my first lubitsch i probably would have been more impressed, and the highs against which i am measuring it are EXTREMELY high
the bourne identity - did you know that brian cox and julia stiles are both in this movie? think about that for a minute. anyway this is decently fun
the bourne supremacy - kicks like 200% more ass than the first one, much more concerned with delivering awesome set pieces happening as frequently as possible. crazy to watch the shaky-cam action scenes in this after 7 million incoherent shitty shaky-cam action scenes and really savor the fact that even though it FEELS out of control and wild, actually you can tell what is going on with perfect clarity the entire time!
perfect blue - this is like the most incredible movie i have seen in my entire life holy shit????? just an incredible exploration of celebrity, identity, projection, parasocial relationships, the viciousness and dehumanization women in the public eye experience within the entertainment industry and without, often from people who identify as their biggest fans... also one of the only movies (seriously it's like... this and eighth grade? what else is there?) to make meaningful use of the affective/psychological/metaphorical dimension of the internet (in a way that makes clear that with the internet it's hard to suss those three apart), despite the fact that it came out in 1997 and features a scene of someone explaining to the protagonist how to go online. like it came out THAT early and ALSO: features a scene where our constantly dissociating heroine whose grasp on reality is dissolving reads a blog an obsessive stalker has been writing in her voice and uses it to identify what she did that day... like satoshi kon (RIP) your mind... this is also probably the animated movie i've seen that makes the most interesting use of the fact that "real" and "fake" can plausibly look identical in animation. it's a dark and viscerally disturbing watch with some deeply cynical observations and yet ultimately feels very humane and not wholly depressing... it's a miracle to me this movie exists i really can't believe how good it was. everything i've ever wanted happening at once.
furiosa: a mad max saga - i'm so glad chris hemsworth got to be australian in a movie that rocked... darker and slower than fury road, both by design, but i really liked its heaviness, offset (and this is like fury road) by a core humanity that feels like a real commitment. but also it is filled with many scenes that whip unholy amounts of ass.
ball of fire - THIS MOVIE WAS SO FUCKING GOOD I CAN'T BELIEVE IT!!!!!!!!!!!!!!! okay this is a screwball romcom from 1941 and the premise is: "stuffy but sweet grammarian currently serving as the only hot member of an eight-person team of encyclopedists realizes after a chance encounter with a loquacious garbageman seeking trivia help that his entry on slang is hopelessly outdated and ventures out of project headquarters to learn the language of the people on the streets, where he also finds a nightclub singer with a smart mouth who unbeknownst to him is a gangster's moll tangled in a web of her own." IS THAT NOT THE BEST IDEA FOR A MOVIE YOU HAVE EVER HEARD IN YOUR LIFE???? everything about this movie is SO delightful. gary cooper is so funny and so cute and sweet blushing his way through a belated sexual awakening, barbara stanwyck is charismatic and sharp winning over both him and the seven old nerds who are silly and cartoonish in the best way (but also one of whom gets a monologue that is genuinely moving but whose obscenity is so thinly veiled i TRULY could not believe the board let it through in '41 lmao). this was screening as part of some partnership with the academy where different branches choose movies to highlight and it was selected by the writers, which makes sense because the screenplay is INCREDIBLE, both structurally and line by line. it's somehow both gonzo and intimate, weaving a goofy gangster plot that in the screwball setting reads almost like a parody of noir (the chief goon is named "pastrami" lmao) in at the edges of a genuinely tender love story of the very very best kind, which is two people who surprise each other and consequently themselves, who mutually change each other but not in a way that suggests either of them ever needed to be fixed... and the way this happens is largely through LANGUAGE!! the script is sooo in love with language itself, seeing poetry both in fast-talking street-corner patter and in a line from richard iii that appears in a scene that remains hilarious even as it's also so heart-rending that it elicited not one but two vocal oh's from the person behind me. like, it's so crucial that cooper's character's attitude towards all the slang he's missed while holed up with his books is the excitement of a botanist discovering a new species of fern, totally devoid of condescension or scorn (there's a scene where he tries to understand the meaning of "corny".... it's just so good). this movie felt like a magic trick!!! i just coudn't get over it!!! i was floating on air!!! i was thinking about it all day!!! love yourself and watch it as soon as you're able!!!
ONGOING: interview with the vampire season 2 - Finally Some Good Fucking Food
read
andy greenwald, nothing feels good: punk rock, teenagers, and emo - when i was working on the taylor post i asked nick if the starting line qualified as emo and he responded by pulling this book off the shelf and seeing if they were mentioned (they are, several times). i flipped through it for some additional context and decided to read it for real because i was in the mood for some light nonfiction and it seemed fun and also i know andy greenwald as half of one of the ringer podcasts (the watch, which discusses TV; i had no idea he used to be a music guy). anyway i liked this more than i expected to honestly! you can tell that greenwald genuinely admires the work of many of the bands mentioned, both in emo's hardcore antecedents and in the scene/movement/trend itself (and he devotes a lot of space to the ways emo is all three of those in different ways or sometimes all at once), but you also get the sense that he's approaching this more as a journalist than as a critic, and his primary interest is less the music than the experience of the bands and especially of the fans; it's an oversimplification to say that his argument about emo is that it brings the catharsis of punk to uncool normie teens (given the origin point of my journey with this book, yes, i did constantly find myself stumbling across sentences that sounded like things a person could write about taylor swift lmao), but that's kind of the idea, and crucial here is that greenwald thinks it's good and special that these kids have something that means so much to them, and that's true regardless of the music's artistic merits, which obviously appeals a lot to me, a person whose now deleted perblog had a running tag called #avril lavigne was my kathleen hanna. the sections where he interviews actual teenagers made me choke up... multiple times. i was also kind of pleasantly surprised by how well most of the musicians he interviews come off. a lot of attention is given to chris carrabba of dashboard confessional (not really "of," apparently it's like the mountain goats where the name refers to A Guy and other people also appear variously...) who comes across as sincere and also sincerely actually kind of tormented and unwell to the extent that i found myself like concerned about his mental health, which was not an emotion i expected to ever feel... also the final two chapters are about the internet and the last chapter specifically is about livejournal and as someone who got on liveournal as a teenager the year this book came out, greenwald is more astute about the draw of blogging for young people with many feelings than basically anyone i read pontificating on the topic in high school and maybe anyone since - i'm really hard-pressed to come up with something About The Internet i've read that made me feel "yes! this is true and resonant to my experience of Online!" as much as this did.
courtney summers, the project - summers is one of a handful of authors i actively follow, and this is the first of two books of hers i've missed while having several off-years for reading. like a special gift for me personally, it's about cults, and she nails it; the book has two timelines, one in the present and one in the past, each following one of a pair of sisters drawn into the cult at a different time, in a different way, for different reasons - but to horrifying ends just the same. summers has talked in interviews and in her newsletter about wanting to write books that push at the empathy gap for imperfect victims, and this one pushes it as far as she's ever gone; i just think it's so, so, so great that she asks the reader to watch two different vulnerable people fall for manipulation she knows the reader will be able to spot a mile away and refuses to judge her characters for being manipulated. (also as someone with Some Interest In Cults, but no personal experience... for what it's worth, i think she really nailed the organization, which she says is inspired primarily by the people's temple but will ring familiar to others as well because on a certain level all these places are the same, as well as the charismatic figure at its center. and i thought it was kinda baller to make it an explicitly christian cult.) it's also her plottiest book yet, even more so than sadie, but still retains her knife-sharp interiority. at one point in this book a character who's a journalist says something like "the closer to the bone you get, the less you can be denied," which is an apt a mission statement as she's ever written for herself, and a pretty good one if you're on the market.
listened
dula lipa, radical optimism - dua lipa is to me the living embodiment of that line from the other two, "thank you, john legend! another b-plus!" and, indeed, this album is: Fine
billie eilish, hit me hard and soft - i really wanted to adore this the way i adored happier than ever, which totally blew me away, but i didn't - it's a little too polished, a little too respectable as Well Crafted Pop (as opposed to happier than ever which sort of flirted with respectability vis a vis its subject matter and the oldies influence on its several slower tracks, but which as a project was so eclectic and brimming with ambition that it still felt really electric). but, i mean, it's still good - i really think eilish is top-tier as a songwriter and her lyricism remains distinctive (who else would open her sweetest and most joyful love song yet with a verse saying essentially "kill me if you're gone because i would have no reason to live"?),, and finneas's glossy sheen is never anything less than pleasant to lsiten to - and obviously one of the most famous figures in pop right now putting out a single about how she loves eating pussy and spoiling the shit out of her girlfriend is an unmitigated win. my favorite track is probably the after-album release of the extended cut of the bizarre eurotrash song tucked into the last two minutes of some other normal song, which makes no sense to exist but delights me.
#media 2k24#isabel 2k24#technically i watched ball of fire yesterday so in june but#i decided for tracking purposes months just end on sundays#whole-week months only#they're 28 or 35 days. to Me#if you wanted a fun little glimpse into some of my more low stakes but high valence insanity
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The easiest way to save the Time Variance Authority and the timelines from imploding on themselves? Why, Time Slip again and again into the same scenario hundreds, if not thousands, or maybe millions of times until you get it right (this is not actually how to save the TVA, but that’s a story for another time…).
The beginning of Episode 6 of Marvel Studios’ Loki is essentially Loki reliving a no-good, very bad day again, and again, and again in hopes of just once getting the Temporal Loom to stop overloading. Loki literally spends centuries trying to figure this out, which means that on-screen everyone at the TVA is reliving the same scenario again and again…and again. And again.
Behind the scenes, that meant that the cast had to film scenes from Episode 4 again (and again and again) to mesh into Loki’s quest in Episode 6. While Loki might be frustrated with having to replay this multiple times the rest of the cast was left very bewildered — mimicking what we see on screen for the TVA characters.
“I think the funniest part of all of that, though, was as we were shooting it, you are essentially replaying that Episode 4 over and over and over again, as performers, as actors, they just start to lose track of days, and where we are in the story and what's actually happening,” Executive Producer Kevin Wright explains to Marvel.com. But taking everything a step further, star Tom Hiddleston was clued into what was happening in the latter half of the season with this constant reply of Episode 4. The rest of his friends at the TVA? Not so much.
“I would say the way that Episode 4 ended, the way it was shot, our cast, outside of Tom, thought something very different was happening,” Wright adds with a laugh. “We kind of lied to them about what was happening to sell a really insane performance. Up until I think they had all seen the episodes, they had thought something very different was going to happen at the end of 4. I think there was all this extra level of confusion for them, as we're repeating this moment over and over and over again, trying to figure out why that is happening and what is going on.”
And the cast certainly felt this confusion. Season 1 of the series was filmed in order, while Season 2 was filmed out of order, so no one questioned why one scene was being filmed again and again (and again for centuries).
“Sometimes we’re the end before we’ve shot the beginning before we’ve shot the middle before we’ve shot the beginning of the middle and then the end of the middle and then the end of the beginning,” Star Sophia Di Martino jokes. “It’s already a head melt trying to get your head around this series and all the time slipping and to-ing and fro-ing between universes but then shooting out of sequence is like a hat on a hat and the hat is really confusing.”
But Di Martino didn’t care how many times they had to film it because it just meant she got to see her friends every day on set.
“We did a lot of days in [Temporal Core] room, over and over again. There were some really fun times when we were all going a little bit stir crazy, Cabin fever on the edge, but it was really lovely knowing I was going to come to work every and see all those guys every day.”
To the surprise of no one, Tom Hiddleston kept everyone’s spirits up, because as Wunmi Mosaku notes, “He has the whole script in his head at every moment and he can tell you exactly where you were just coming from and where you’re going.”
“He’s always reminding us like, this is the first time even though we’ve shot this a thousand times, this is the first time we’ve done this. The repetition of the scenes was really, really hard to keep the intensity equal as well because it’s a repeated scene. Honestly, some people are just magicians, and I would say Tom Hiddleston is one of those, I don’t know how he keeps happy, and chirpy, he doesn’t dream about [filming] it all night. He keeps the joy in the room.”
Not only was he the cheerleader, but Hiddleston was also working extra hard to keep an air of mystery for the scene, continuing to film while others had left.
“Oftentimes, a lot of that with Tom specifically was shot when the cast would go on their lunch breaks,” Wright adds. “They would all go away, and Tom would stay back with our directors and our camera operator and everybody and kind of just like churn through so many different versions of these. It was weirdly a thing that I think we all had the same idea of what it was going to be, but only Tom kind of had it in his head of how it would end up.”
Don’t worry, Hiddleston always took a lunch, too, as Wright notes, “he just did it later.”
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