I saw two movies tonight

The first was Nimona, the perfect sendoff for Pride Month with its beautifully explicit gay representation as well as its general visuals, plot, and story structure

The second was Red Shoes and the Seven Dwarfs, which was a funny contrast in that once it ended it was past midnight and therefore July

I realized that I had ended June with a gay movie and started July with a straight movie, a shameful coincidence indeed. I was also wearing my gay pride shirt so that made it extra ironic

Anyway both movies are amazing and I highly recommend them for completely different reasons 👍

Since I have way too many PM universes and at least four of my MCs have fics featuring them...I thought I'd try to simplify things a little by making a post here of the MCs, their relationships, the personality types they are dating etc 😅

x - signifies a romantic relationship

& - signifies a platonic relationship

Scholar!Hayden (Hazel Park x Iris Young)

MC: Hazel (f! Black MC)

MC FC: Justine Skye

Hayden: Iris (f!Asian Hayden, Scholar)

Hayden FC: Jung Ryeo Won

Hayden's Personality: Mysterious | Sweet | Sincere | Logical

MC's relationships: Only with Iris.

Other Relationships: Steve and Nadia, Sloane and Alana are in relationships as well (actually Steve and Nadia are married in all these universes).

Fics in this Verse:

Metamorphosis (Hayden x MC)

Noot Noot (Sloane & MC, Sloane & Hayden)

Closure (coming soon!) (Hayden x MC, Hayden & President Thompson)

Headcanons:

Hazel Alana Park - Character Sheet

Hazel and Iris' Children

Adventurer!Hayden (Basil Park x Sage Young)

MC: Basil Park (m! Asian MC)

MC FC: Eric Mun

Hayden: Sage Young (f! Black Hayden, Adventurer)

Hayden FC: Lupita Nyong'o

Hayden's Personality: Outgoing | Rebellious| Humourous | Impulsive

MC's relationships: With Sloane, Sage, Alana, Khaan and Damien. He never breaks off with Sage, and she knew from the start that he was polyamorous. He begins dating Sloane even before she reads out her love letter, and begins tentatively dating Damien after they rescue him at Tokyo HQ. Khaan and Alana he gets together with shortly before they defeat Eros.

Other relationships: Steve and Nadia are married, Sloane dates both Khaan and Alana, Sage enrolls in university for a meteorology course and meets a girl who she also dates there.

Fics in this Verse:

The Stars (Are Out Tonight) (Sloane & Hayden, Sloane x MC, Hayden x MC)

Harvest Moon (Hayden x MC, Sloane x MC)

Saffron Sugar, Turmeric Spice (Hayden x MC, Hayden x f!OC)

The Stuff of Exploded Stars (coming soon!) (Sloane x MC)

Once in 50,000 Years (coming soon!) (MC x Sloane, MC x Hayden, Sloane and Hayden in other relationships)

Joker!Hayden (Hawthorne Park x Zinnia Young)

MC: Hawthorne Park (m! Black MC)

MC FC: Daniel Kaluuya

Hayden: Zinnia Young (f! white Hayden, Joker)

Hayden FC: Chloë Grace Moretz

Hayden's Personality: Mysterious | Rebellious | Humorous | Logical

MC's relationships: Hawthorne begins dating Hayden and Damien as per the canon timeline (Zinnia all along, Damien at Berlin), but begins dating Sloane after their boatride together in Paris.

Other relationships: Sloane actively dates Alana as well after the Eros defeat. She later bumps into an old friend from her childhood at Queen's and reunites with him. Zinnia eventually finds Dames and casually dates him at some point.

Fics in this Verse:

Placeholder Apology (Hayden & Dames)

Apology: Take Two (coming soon!) (Hayden & Damien)

Coffee Brown Eyes (Sloane x MC, Sloane x Alana)

Pioneer!Hayden (Rosemary Park x Heathcliff Young)

MC: Rosemary Park (f! Asian MC)

MC FC: Nikkita Chaddha

Hayden: Heathcliff Young (m! Black Hayden, Pioneer)

Hayden FC: Ephraim Sykes

Hayden's Personality: Mysterious | Sweet | Humourous | Logical

MC's relationships: Frankly this is the one universe I haven't thought a lot about yet, but I do know Heathcliff and Rosemary get married over a year after they first met. I don't have a clear idea about who the other characters in this universe are dating either.

Fics in this Verse:

Sea of Love (Hayden x MC)

Headcanons

Pets

Faceclaims for my other characters:

There's one OC in this, and another one I haven't developed much yet! Hopefully when I do have a clear idea for Sloane's childhood friend in Queen's I'll add him as well.

In order:

Sloane Washington - Nelly Muse

Damien/Dames - Chayanne

Alana Kusuma - Marion Jola

OC - Nilukshi Sigera - Yureni Noshika (the Sri Lankan girl from the meteorology course that Sage dates)

Some recentish shows of note, or lack thereof:

COUNT ABDULLA: Charming comedy about a Pakistani doctor who gets turned into a vampire by a white vamp with a fetish for brown men, and the many complications that ensue. Not so much a horror story as a witty parable about the travails of being a person of color in Tory Britain today. (So, a horror story after all, then.) Jaime Winstone needs to dial it back, but the rest of the cast delights.

DEADLOCH: Snarky comedy-mystery by a well-known Australian comedy team, about mismatched cops investigating a gruesome murder in a small town. The mystery is clever; the payoff is blah; and despite the predominantly female, mostly LGBT cast, the humor is awfully reliant on misogynistic and homophobic cracks that frequently cross a line from "laughing with" to "laughing at."

HIJACK: Tense but very contrived seven-part thriller about the hijacking of a British airliner on a seven-hour-flight from Dubai to London, with passenger Idris Elba the wildcard. Gripping, but not terribly plausible, and the many false climaxes become exhausting, especially if you watch the episodes back to back.

THE LAZARUS PROJECT: Convoluted, sometimes clever, but very mean time travel saga, which alternates between distressingly bleak and blackly comedic (with the latter being both more interesting and more palatable); one assumes creator Joe Barton always has a browser tab open to the TV Tropes "Moral Event Horizon" page. Anjli Mohindra remains frustratingly under-utilized throughout.

THE MORNING SHOW: Big-budget, all-star TV news drama is all dressed up with nothing to say, undone at every turn by truly spineless whataboutism and a centrist world view so gormless it makes Aaron Sorkin seem like Alexander Berkman. Reese Witherspoon is pretty good as closeted bisexual cohost Bradley Jackson, but costar Jennifer Anniston's limited range becomes a problem, particularly as the quality of the scripts declines noticeably in later seasons. You could always just watch BROADCAST NEWS.

THE OTHER BLACK GIRL: Disjointed adaptation of the 2021 Zakiya Dalila Harris novel scores when it focus on the workplace drama of a young Black woman in a painfully white publishing company, but trips over its own feet in its attempts to also be a paranoid thriller, with plenty of bad vibes that never add up to a coherent sense of threat and a conspiracy plot that doesn't really make any sense.

THE PERIPHERAL: Misfired adaptation of the 2014 William Gibson novel is executive-produced by the same people as the recent WESTWORLD series and has the same problems: big ideas that don't translate into action and an infuriating tendency to consign characters of color to marginal or villainous roles. Worse, it eventually becomes clear that several more compelling characters have been sidelined in favor of the poor white trash leads (Chloë Grace Moretz and Jack Reynor), who are neither very interesting nor especially sympathetic.

WHO IS ERIN CARTER?: Kinetic but preposterous seven-part action thriller with Evin Ahmad as a suburban mom in Barcelona who is secretly an incredible badass with a shady past. Basically a violent Walter Mitty fantasy for soccer moms who love the JOHN WICK movies, with a showy supporting role for Denise Gough from ANDOR.

LET THE RIGHT ONE IN (Showtime series)

I had forgotten all about Showtime’s “Let the Right On In” which was released in October 2022. It was based on the excellent 2004 vampire novel of the same name by John Ajvide Lindqvist.

The book was soon followed by the equally terrific Swedish movie directed by Tomas Alfredson and starring Lina Leandersson as Eli the 12 year old vampire (actually centuries old).

This was followed by the American remake “Let Me In” (2010) with Chloë Grace Moretz playing Abby, the slightly aged up vampire. It wasn’t a bad effort, it just wasn’t as visceral as the Swedish version.

Flash forward 12 years and the Showtime released its with more substantial changes. Eli/Abby is now Elenor played by Madison Taylor Baez. Both Baez and Demián Bichir who played her caretaker are both Hispanic. No problem with that. For a story reset in the US, it adds to the sense that they are outsiders from the mainstream.

But the change is more substantial than that. Elenor is no longer centuries old. She was 12 year old when she was turned into a vampire and only 10 years have passed. Bichir’s character, who in the novel and prior films is suggested to be her friend and caretaker for decades, is now her father, and he’s on “decade-long quest to find the creature that turned Eleanor and hopefully to find a cure”. (YAWN!)

They’ve also added a dying pharmaceutical mogul who is also trying to find a cure (borrowed from Del Toro’s “The Strain”). And perhaps the lamest coincidence - Elenor and her father move into the same building as the cop who is investigating the vampire murders around town. (UGH!)

I saw the first episode via a free Showtime weekend. It was boring so I didn’t continue. I guess I saved 9 hours of my life by skipping those 9 episodes.

Showtime cancelled the series after season 1. Then it pulled the episodes from its streaming service to take a tax right off

here’s a catch up post for what ivy did after smash since a few of my muses need these.

Ivy did Bombshell for as long as she could but, given there’s a scene with nudity, it wasn’t for very long, a massive disappointment for people who wanted to see the Tony award winning Marilyn. Ivy didn’t address her pregnancy publicly since she’d rather keep things private, but as usual, it got around. While she couldn’t perform but still obsessed with her work, she turned her attention to the music side of things (and a little voice acting) and decided to make an album. It ended up largely being about her romantic situation.

Ivy initially tried to make things work with Derek, but their personalities were like water and oil and ultimately Ivy realized it was never going to work out and she broke things off. Also, being with him during the second wave of sexual harassment allegations wasn’t a good look for Ivy, and it stressed them both out, adding fuel to that fire. Derek, while the exact opposite of parental, I don’t think is a complete deadbeat and has some contact with their child, as well as making some payments.

Ivy had a daughter. Her name is Cecilia. At the point of this post she’s newly 9 years old. She looks like a miniature Ivy, with blonde hair and blue eyes. She has a lot of attitude and sass. (Chloë Grace Moretz is her fc.) Ivy tries to raise her well but Leigh tends to undermine her, spoiling her and giving her what she wants when Ivy says no. Cecilia has no interest in being a performer but is curious about directing.

After having Cecilia, Terry Falls from Ivy’s last show before Bombshell invited her to LA to star in a TV series, since he liked working with her so much in Liaisons. Ivy was hesitant at first but he promised her it would be nothing like their flop of a show, it was a comedy, and he had more of a handle on his medication balance. After some thought Ivy agreed. The show was short lived, but she enjoyed it while it lasted. LA was nice, and it weirdly reminded her of her early years there, but New York was still home.

At this point in time Ivy’s back in New York. She’s continuing to work on Broadway, but has been walking on some eggshells publicly in the past few years due to some slight so-called controversies. (Current events in the paragraph below. Skip to the next one if you’d like to ignore it or it’s not relevant to your canon.)

People began talking more about harassment in the entertainment industry, and Ivy’s relationship with Derek came back to haunt her. Especially since it seemed that she was by his side when he was in hot water for that very thing a few years before and Ivy at the time was silent on the subject at the time. People couldn’t decide if she was a victim or an enabler. She awkwardly but decidedly showed support for the movement, given the amount of harassment she herself dealt with over the years. She was more slow to return to Broadway after lockdown, mostly because she was concerned with bringing the virus home, Cecilia was 6 when it started. The Dobbs decision made Ivy decide not to be quiet on an issue without prompting for once and shared her own personal story regarding choice, drawing both celebration and backlash. More recently, people are talking about nepotism babies, people born in the industry, and questioning her place due to her parentage. This frustrates Ivy to no end, since Leigh never offered her help during Ivy’s many years struggling to find her perfect role. Despite this, Leigh was in the show where she found her breakout role, and some people see this as helping her.

Despite these issues above, she’s doing reasonably well. Her personal life has been a bit lacking though, since she doesn’t want to follow in her mother’s footsteps, periodically bringing someone new home. She’s mostly content with where she is though, continuing to perform. She’d like to find a new romantic partner, but she’s slow to get back into that. It’s also different now that she’s somewhat known.

dysphoria | charles xavier

2

IQ FACECLAIM: SELENA GOMEZ. CHRYSTAL FACECLAIM: DOVE CAMERON. STOPWATCH FACECLAIM: MAIA MITCHELL. NOVA FACECLAIM: CHLOË GRACE MORETZ. E-VIS FACECLAIM: MIKA ABDALLA

Charles stood by the door, watching Ash wake up from last night‘s sleep. “How long have you been standing there, pervert?” “Long enough to see the entire dream of us kissing right after your first training session with the X-Men. Your abilities to close off your emotions have dwindled since you stopped training.” She ran a comb through her hair, gently untangling the long locks that went down to her waist. “Aren’t you supposed to be in retirement? You know, playing chess with Erik like old grannies?” “Didn’t work out, duty calls. Hank and some students found out a way to reduce our age and send us into the future.” “And why would I want to do that?” “Because there’s a danger that could wreck our future, and you and I both know that we want another adventure.” “Finally, something we can agree on.” Charles snapped out of his trance at the curt voice, still checking her out as subtly as he spoke to her. “Hank said to meet him in the abs- labs… later. And if you decide to pass the chance, Hank says it’s your lip gloss- your… loss. I, personally, won’t pass off the chance.” He left the room, running his hand through his hair. “Damn it, Xavier! Stupid… stupid… you just had to slip up.” “Slip up what?” Peter was standing there, tearing off a bit of sandwich with his teeth. “It’s nothing.” “I know it’s not, I followed you the whole way. Way to check out a woman, man!” “Peter- I can’t even give you detention.” He opened the door to the lab, finding Ash and Peter already there, along with IQ, Chrystal, Stopwatch and Nova. IQ, or India Quevedo, was a Spanish tan skinned, brown haired girl, black glasses perched on her nose. She was the smartest girl in the school, and when she used her mutation, her eyes turned a dazzling lime green, otherwise they were a warm brown. She was quite a shy girl, buried in her textbooks and spending her time in the library. The teachers described her as a mini-Hank, and the latter was proud that she had come so far. Chrystal, or Skye Nuage, had platinum blonde hair, crystal blue eyes and the astonishing ability to look into the future at will. The first time it happened, she had a feeling that her parents were about to die. But as she attempted to prevent their death, they died anyway. That's when Charles arrived, telling her of her gift and whisking her away to somewhere she was safe. And there were people like her. Stopwatch, or Kylie Hartlynn, was a perfectly normal-looking girl, with the exception that she had brown hair with vivid blue highlights and striking teal eyes, something that was never seen in a human. She could fast forward or slow down time, and could even stop it completely, and that’s what made her a brilliant student in her fighting classes with Ash. She could slow down an opponent for long enough so she could attack them. It didn’t work out so well with Quicksilver, but she tried anyway. Nova was a young girl called Stella Carter. Her powers included creating small supernovas that did a lot of damage, astral projection, astronomy and the ability to fly. She was also a master fighter, having been taught by both Alex and Ash. She was probably the only one who had to hide her powers. When she went out, she had to cover her hair and wear contact lenses, for her hair was a deep black, so black it shimmered purple, and her eyes were purple, the constellations and stars in the night sky glimmering in her irises. “Right, when you two go to the future, you’ll both be the same age as you were in Cuba, so Charles, you’ll be 25, Ash will be 22. You, kids, will remain the same age, which is 15. The first thing you need to do is find yourselves.” “Why?” “Because Ash Cyrus and Charles Xavier clashed when trying to stop whatever was happening, and they accidentally caused an explosion to rip through a subway station. Another mutant from the future contained it and you’re lucky he did that. So you have to work together with

your, more admittedly, evolved future selves to stop the villain.” Hank explained, tapping a few buttons on a panel. “Can we ask ourselves the most important question of all: who is the damn villain?!” Ash shrieked, pulling on her fingerless gloves, inserting the knife and gun into her holsters. Charles picked up her leather jacket, advancing towards her. “Here’s your jacket-” “To hell with the jacket!” “We don’t know who’s the bad guy. That’s why you lot have to find out.” “Another question.” They turned to Skye, who had her arms folded, “How are we supposed to do this when those two are fighting all the time?!” “Oi! I used to be your professor!” “And as brilliant as you were, statistically speaking, the constant arguing will reduce productivity by at least 50%. I suggest we induce the serotonin, calm down and work together harmoniously.” India spoke up, adjusting her glasses nervously, her eyes turning green. “I hate to admit it, the kids are right. But when we’re done with this, I don’t want to see your face again.” She glared at Charles, who smiled calmly back. “As you wish.” Hank started up the machine, both adults stepping in, their age being reduced to 22 and 25. When they stepped out, Hank’s glasses almost fell off; seeing them as they were when they were the leaders of the First Class… “It’s like seeing a ghost.”

The Package.

As the bonkers genre thrill-ride Shadow in the Cloud blasts into the new year, writer and director Roseanne Liang unpacks her love of Terminator 2, watching Chloë Grace Moretz’s face for hours, and the life lesson she learned from Crouching Tiger, Hidden Dragon’s Cheng Pei-Pei.

Roseanne Liang’s TIFF Midnight Madness winner Shadow in the Cloud landed with a blast of fresh genre energy on VOD platforms on New Year’s Day. It’s A-class action in a B-grade body, cramming plenty into its taut 83 minutes, including: a top-secret package, a freakish gremlin, a hostile bunch of Air Force dudes, outrageous stunts, dogfights and a fake wartime PSA that feels remarkably real.

Throughout, the camera is focused mostly on one face—Chloë Grace Moretz’s, playing British flight officer Maude Garrett—as she tackles all of the above from a claustrophobic ball turret hanging under a B-17 Flying Fortress, on a classified mission over the Pacific Ocean during World War II.

While the film’s tonal swings are confusing to some, schlock enthusiasts and genre lovers on Letterboxd have embraced the film’s intentionally outlandish sensibility, which “makes excellent use of its genre mash to create an unpredictable, guilty pleasure,” says Mirza. Fajar writes that “it felt like the people involved in this project knew how ridiculous it is and gave a hundred and ten percent to make it work. Someday, it will become a cult classic.” Mawbey agrees: “It really goes off the rails in all the best ways during the final third, and the last couple of shots are just perfect.”

Chloë Grace Moretz and her top-secret package in ‘Shadow in the Cloud’.

To most of the world, Liang is a so-called “emerging” director, when in fact, the mother-of-two, born in New Zealand to Chinese parents, has been at this game for the past two decades. She has helmed a documentary and a romantic drama, both based on her own marriage; a 2008 short called Take 3, which preceded Hollywood’s current conversation about representation and harassment; and Do No Harm, the splatter-tastic 2017 short in which her technical chops and fluid feel for action were on full display, and, as recorded in multiple Letterboxd reviews, established her as one to watch.

Do No Harm scored Liang valuable Hollywood representation, whereupon producer Brian Kavanaugh-Jones brought Shadow in the Cloud to her, thinking she might connect with the material. “It did connect with me on a level that is very personal,” Liang tells me. “As a woman of color, as a mother who juggles a lot.” She says Kavanaugh-Jones then went through the process of removing original writer Max Landis from the project. “He felt that Max was not a good fit for this project, or for how we like to run things. We like to be respectful and courteous and kind to each other…”

In several interviews, Liang has said she’s comfortable with film lovers choosing not to watch Shadow in the Cloud based on Landis’s early involvement. What she’s not comfortable with is her own contribution—and that of her cast and crew—being erased. While WGA rules have his name attached firmly to the project, the credit belies the reality: his thin script, reportedly stretched out to 70 pages by using a larger-than-usual font, was expanded and deepened by Liang and her collaborators.

Writer-director Roseanne Liang. / Photo by Dean O’Gorman

That team includes editor Tom Eagles, Oscar nominated for Jojo Rabbit, actor Nick Robinson (the titular Simon in Love, Simon) and Beulah Koale, a star of the Hawaii Five-Oh series. The opening newsreel was created by award-winning New Zealand animation studio Mukpuddy, after a small test audience got weirded out by the sight of a gremlin in a war film, despite well-documented WWI and WWII gremlin mythology. It’s an unnecessary but happy addition. The cartoon style was inspired by Private Snafu, a series of WWII educational cartoons scripted by none other than Dr. Seuss and directed by Looney Tunes legend Chuck Jones.

But the film ultimately hangs on Chloë Grace Moretz, who overcame cabin fever to drive home an adrenaline rush of screen craft, in which the very limits of what’s humanly possible in mid-air are tested (in ways, it must be said, that wouldn’t be questioned if it were Tom Cruise in the role). Liang would often send directions to Moretz’s ball turret via text, while her cast members delivered live dialogue from an off-set shipping container rigged with microphones. “I just never got sick of Chloë’s face and I’ve watched her hundreds, if not thousands of times. You feel her, you are her, she just engages you in a way that a huge fighting scene might not, if it’s not designed well. Giant empty spectacle is less interesting than one person in one spot, sometimes.”

Ambitious and nerdy about film in equal measure, it’s clear there’s much more to come from Liang, and I’m interested in what her most valuable lesson has been so far. Turns out, it’s a great story involving Chinese veteran Cheng Pei-Pei (Come Drink With Me’s Golden Swallow, and Crouching Tiger, Hidden Dragon’s Jade Fox), whose film training includes a tradition of remaining on set throughout filming.

Roseanne Liang on the set of ‘Shadow in the Cloud’.

That meant that, during filming of Liang’s My Wedding and Other Secrets, Cheng would stay on set when she wasn’t required. “In New Zealand, trailers are a luxury,” Liang explains. “I said ‘Don’t you want to go to the trailer that we arranged for you?’ ‘No, I just want to sit and watch.’ ‘Why do you want to watch it, you’ve seen it hundreds of times!’ And she said ‘I learn something new every time’. To Pei-Pei, the secret of life is constant education and curiosity and learning. Movies are her work and her craft and her life, and she never gets bored. If I can be like her, that’s the life, right?”

Speaking of which, it’s time we put Liang through our Life in Film interrogation.

What’s the film that made you want to become a filmmaker? Terminator 2: Judgment Day is the movie that is at the top of the mountain that I’m climbing. To me it’s the perfect blend of spectacle, action design, smarts and heart. It poses the theory that if a robot can learn the value of humanity then maybe there’s hope for the ships that are us. That’s perennial, and possibly even more pertinent today. It holds a very special place in my heart, along with Aliens, Mad Max: Fury Road, Die Hard, La Femme Nikita and Léon: The Professional.

What’s your earliest memory of watching a film? I have a cassette tape that my dad made for my grandma in 1981 (he’d send tapes back to his mother in Hong Kong). I was three years old and he had just taken us to see The Empire Strikes Back in the cinema. And he can’t talk to my grandma because I’m just going on and on about R2-D2. I will not shut up about R2-D2 and he’s like, “Yes, yes I’m trying to talk to your grandmother,” and I’m like, “But Dad! Dad! R2-D2!” So it’s actually an archive, but it’s become my memory.

What’s the most romantic film you’ve ever seen? Eternal Sunshine of the Spotless Mind. It’s not the sexiest, but it’s the most romantic. That last scene, those last words where she goes “But you’re gonna be like this forever and I’m gonna be like this forever…” and he just goes “okay”. That to me is one of the most romantic scenes I’ve ever seen. It is a perfect movie.

And the scariest? If it’s a horror movie, the most scared I’ve been is The Ring. I was watching it on a VHS and I was lying on a beanbag on the floor and I was paralyzed with fear. I couldn’t move, because I felt that if I moved she’d see me! Also, American Psycho just came to me this year. I caught the twentieth anniversary of that movie, which is a terrifying film, and again, possibly more relevant now than when it was made. The scariest film that’s not a horror is Joker. It scared me how much I liked it. When I came out of the movie, I was like, “I’m scared because I kind of love it, but it’s horrible. It’s so irresponsible. I don’t wanna like this movie but goddamn, I feel it.” Like, I wanted to go on the streets and rage. In a way we’re all the Joker, we’re all the Batman. That duality, that yin and yang, is inside everyone of us. It’s universal.

What is the film that slays you every time, leaving you in a heap of tears? This is a classic one, the opening sequence of Up. The first ten minutes of Up just destroy me every time. I also saw Soul a couple of days ago and I was with the whole family and I, just, if I wasn’t with the whole family I would have been ugly-sobbing. I had a real ache in my throat after the movie because I was trying to stop [myself] from sobbing.

Tell me your favorite coming-of-age film, the film that first gave you ‘teenage feelings’? Pump Up the Volume. Christian Slater! Off the back of Pump Up the Volume, I fancied myself as a prophet and wrote a theater piece called Lemmings. Obviously the main character was a person who could see through the façade, and everyone else was following norms. “No one understands me, I’m a prophet!” So clearly I have this shitty, Joker-style megalomaniac inside of me. It was the worst play, and I don’t know why my teachers agreed for us to do a staging of it!

Christian Slater and Samantha Mathis in ‘Pump Up the Volume’ (1990).

Is there a film that you and your family love to rewatch? We’ve tried to impose our taste on our children, but they’re too young. We showed them The Princess Bride—they didn’t get it. We literally showed our babies Star Wars in their cribs. That’s how obsessive Star Wars fans we were.

Name a director and/or writer that you deeply admire for their use of the artform. I have a slightly weird answer for this. Can I just give love to Every Frame a Painting by Tony Zhou and Taylor Ramos? They are my film school. I was thinking of my love of Edgar Wright, but then I thought of their video essay on Edgar Wright and how to film comedy, and his essay on Jackie Chan and the rhythm of action and then their essay on the Coen Brothers and Shot Reverse Shot. I must have watched that 30 times ahead of the TV show that I’m making now. I started out in editorial and Tony Zhou is an editor and he talks about when to make the cut: it’s an instinct, it’s a feeling, it’s a rhythm. I realized the one thing in common that I could mention about all the films I’ve loved is Every Frame a Painting. It’s their love of movies that comes bubbling out of every single essay that they made that I just wanna shout out at this part of my career.

Were there any crucial films that you turned to in your development for Shadow in the Cloud? Indiana Jones was something that Chloë brought up—she likes the spiffiness and the humor of Indiana Jones. Sarah Connor was our touchstone for the female character. For one-person-in-one-space type stories, I watched Locke quite a lot, to figure out how they shaped tension and story and [kept] us on the edge of our seats when it’s only one person in one space. In terms of superheroes, I came back to Aliens. Not Alien. Aliens. You know, there are two types of people in this world—people who prefer Alien over Aliens, and people who prefer Aliens over Alien. But actually I think I vacillate for different reasons.

Can there be a third type of person, who thinks they’re both great, but Alien³, just, no? Maybe that’s the best group to be in. We don’t need to fight about this, we can love both of them! I was having an argument with James Wan’s company about this, because there’s a rift inside the company of people who prefer Alien over Aliens.

Okay, program a triple feature with your film as one of the three. I don’t know. Ask Ant Timpson!

I’ll ask Ant Timpson. [We did, and he replied: “Well, one has to be the Twilight Zone episode with William Shatner: Nightmare at 20,000 Feet. And then either Life (2017) or Altitude (2010).”]

Thank you Ant! I used to go to his all-nighters as a university student. He is the king of programming things.

Jake Gyllenhaal in ‘Life’ (2017).

It’s strange that we never met at one of his events! Ant would make me dress up in strange outfits and do weird skits between films. (For those who don’t know, Timpson ran the Incredibly Strange Film Festival for many years—now part of the New Zealand International Film Festival—and still runs an annual 24-Hour Movie Marathon.) So what’s a film from those events that sticks in your head as the perfect genre experience with a crowd? It was a movie about a man protecting a woman who was the girlfriend of a mafia boss: A Bittersweet Life. Not only does it have one of the sexiest Korean actors, sorry, not to objectify, but also I actually screenshot a lot of that film for pitch documents. And, do you remember a crazy Japanese movie where someone’s sitting on the floor with a clear umbrella and a woman is lactating milk? Visitor Q by Takashi Miike. I remember just how fucking crazy that was.

Finally, what was the best film you saw in 2020? I haven’t seen Nomadland yet, so keep in mind that I haven’t seen all the films this year. I have three: The Invisible Man, which I thought was just amazing. I thought [writer-director] Leigh Whannell did such a great job. The Half of It by Alice Wu, a quiet movie that I simply just adored. And then the last movie I saw at the cinema was Promising Young Woman. The hype is real.

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‘Shadow in the Cloud’ is available in select theaters and on video on demand now.

“The Amityville Horror” (2005)

R, 90 minutes, directed by Andrew Douglas, screenplay by Scott Kosar, based on the novel by Jay Anson (earlier screenplay by Sandor Stern, based on material from George & Kathy Lutz)

Stream on Amazon Prime Video or rent digitally on major video platforms. 

Notable performers: Melissa George and Ryan Reynolds are both pretty damn (pun intended) good. Honorable mention to a young Chloë Grace Moretz. 

Why you should watch it in general: It’s a scary horror movie!

Why you should watch it while you’re stuck at home: It’ll make you glad your home isn’t possessed by the spirit of some crazy dead guy.

Is it part of a franchise: Not this particular movie (but the story basically is).

Have I seen it before: Yes. 

Does the trailer do it justice: Not really. 

It’s a pretty good horror movie about spooky “demonic” possession. There’s some gory stuff, but it’s more about the tension of the possession and what it does to this family. Ryan Reynolds (in his “I got incredibly buff for ‘Blade Trinity’ so can I show it off a lot?” (and yes, he does) shape) does a really great job portraying George Lutz’s two states (the “I’m at home and thing this is turning me into an asshole” and his “we left the house and now I’m normal, lovable George”). Chloë Grace Moretz (who would later go on to play Kaylie Hooper, Jack Donaghy’s nemesis on “30 Rock”) is the only other family member who seems to be affected by the house and she also does a good job (she was 8 when the movie came out). 

You might have seen it already but you probably haven’t watched it in a while. It holds up! It’s so good. 

(Also Melissa George showed up on “Star Trek: Discovery” season 2, so if you’re watching it going, “why do I recognize her?” it’s from that. Or something else. But I hope you recognize her from her role on “Star Trek”!)

Also, that 1970s fashion! Love it. 

Also, that house! It’s so cool. But also, it’s totally a “horror movie house” - which is this entire theory I have that (unless you’re in a “Paranormal Activity” movie, which kind of requires a very specific type of suburban home (… I think - I honestly have seen any of them (yet))), your totally safe if your house is like a 1960s ranch style or some other bland thing, but as soon as your house is a Craftsman or something else with similar character, you’re in a horror movie (that’s the abridged version of that theory). 

Little white lies

Little white lies is a magazine created with the sole aim of capturing and reviewing movies through out the year normally printing 4 times a year quarterly, though the magazine has become more well known for its independent ethos and iconic, striking illustrative covers created by a new artists each time, deadicating its front section to upcoming theatrical release.

Sin City Issue 2 - Jul/Aug 2005   this one was one of the first early covers that stood out to me, reminiscent of early grunge comic styles used for the gritty Noir/Action graphic novels, fitting for the fact that the movie itself is based of the Sin city comics, the difference for this is that the artist for this cover has taken the features form the actor to then blend it with the style used for comics; heavy sett shadows sonf light shown but blacking out the ares where the shadows are completely in black and leaving the background showing through to show where the light hits, but they still show a lot of texture in the face by using what I can assume is almost like a dry brush texture, roughing up the face  implanting the idea that this character is ether rough character or dangerous, the artist also hints at the story itself with smaller type and illustration shown in the form of tattoos hidden under the layers of grime and of what I would assume are plasters, I do like the white negative look off it.

Marie Antoinette Issue 8 - Oct/Nov 2006  I personally like this one because the vibrant colours, hinting most likely to her more risky and existing life before she became romantic heroine that we know now in history, though its nice to at least learn more about the various females throughout history as there stores are normally erased or twisted, so for a historical drama I believe it works well, the one single figure of Marie Antoinette by herself standing out against the flat black background, making the character of Antoinette the main visual point of the illustration, because she is, looking at the portrait itself, id assume they took a image of the actor in their costume and thresholded it and then they most likely multiplied the layer so that they could then drawn underneath, similar to the techniques in the pen tool workshop.

Control Issue 13 - Sep/Oct 2007  the cover for this one I like the monochrome colours and black used, it gives this feeling of hollow pared along side the mood the thresholded image of the actor, I particularly enjoy the typography the font strong and bold in its shapes has these spirals exploding, visually interpreting it as them loosing control which I thinks works very well for a  sci-fi mystery thriller film, so meany lose ends left unsolved. the colour palette as I said before is monochrome which I think is a interesting handle on a typical cover the highlighting the character with lighter colours showing the characters important and stands out against the simple darker colour background and text.

Let the Right One In Issue 22 - Mar/Apr 2009 This Swedish romantic horror film reinvented vampier in the love film, because lets be honest most vampire movie suck, the artist took one of the iconic scenes from the movie and beautify painted it with water colours and pencil/graphite, the iconic light eyes of the character shine through as the, watercolour blood drips down her face ones again reminiscent to the movie itself, I like the use of the hair being used to silhouette  the face, the position/placement of the face itself it feels like its looking directly into your soul almost.

An Education Issue 25 - Sep/Oct 2009 I think this is a brilliant depiction of a coming of age movie, straight away introducing you to the main character, the bright pink hue, brilliantly used to show off the innocences of the character themselves, and that is pushed by the limited about of skin showing. the illustration itself seems to of been done with gouache paints considering the smoothness of the colours working together on the page, the hair, nose and eyes are my favourite, especially with the eyes and nose they have so much detail, you can see the youth in the eyes and the realistic look of them works so well and I love how the artist has used just shadow and light to detail the nose, and I like the hair personally because of the way they got light to reflect onto it as well as how it looks so soft and neat it looked.

Where the Wild Things Are Issue 26 - Nov/Dec 2009 I wanted to personally wanted to look at this issue was because it relates to the movie/book that I am looking at now, I think this is a brilliant concept for the movie I personally love the childish simple drawing, reminding me of childish drawings, and I like the idea of the ‘wild things’ climbing from in Max’s mouth, I think this is brilliant due to the fact that Max has problems of acting out in such a wild way. it also relates to the original poster for the movie ‘there is one in all of us’, I like the use of the colours are quite depressing in itself, but in the realistic view of the movie where in the ‘real’ world the character maxi is struggling with the divorce of his family.

Attack the BlockIssue 34 - Mar/Apr 2011 This one stood out to me both because of the colour pallet and the style of the outline. The outline themselves reminds me primarily of the linocuts, I think it shows the mystery and the lack of empathy for there assailants and how the gang themselves blend together when the character is all one colour. I personally loved the background/the sky it has beautiful speckles of stars and meteorite shower. I don’t particularly understand the Artists use of smoke, id have to assume that it has a impact or relevance to the story itself but it beautify shapes that fit with the Lino style.

Call me by your name  - issue 71- Sep/Oct 2017 I particularly like this illustration for this coming-of-age romantic drama film, though I personally don’t like cinematic worlds use of age gaps between their gay romantic relationships. but this particularly artistic interpretation, the oil pastils drawing dose defiantly scream coming of age movie and it also dose make me think of the link that combines with the main character being half Italian, the background flows but also seems to be pulled away from the page, maybe because of the fact that there is less gaps in the foreground, I also like there use of lighting its done well to be presented coming from the right side of the page. But the type that they used to show the title docent fit for the rest of the image, naturally I believe that the artists probably wanted to remove from the original type from the movie poster.

The miseducation of Cameron post Issue 76 - Aug/Sep/Oct 2018 I believe that this depiction of their movie, the colour used for the face is a direct reference to the film poster the yellows, green  and pinks. the background gives away so much for the movie and the elements and its relationships with the story of being sent to a conversion camp, and the coping methods that one turns to. The expression on there face is a well done illustration of Chloë Grace Moretz, I honestly recognised her straight away without knowing that it was her in the movie; back to the expression itself shows so much betray, sadness and heartbreak all in one, its an expression that is shown through out the film a common apparition.

isle of dogs - Issue 74 - Mar/Apr 2018  I personally loved this movie, the entire stile used in the cover in the magazine is in the same style used throughout the movie itself, the movie used these 2D elements through out the stop animation. the posters show off so meany aspects of the movie the setting of the movie ‘the isle of dogs’ the science group trying to find a cure for the ‘dog flu’ it hints to the open scenes that were done in the original Japanese style. This is a common aspect in this imagery it has little elements of the story dotted around this.

Carrie White is probably one of my all time favorite horror characters, so it was fun to see how differently she has been potrayed throughtout the years.

Carrie - 1974: In the novel by Stephen King Carrie is described to be a little overweighted, pale, having blonde hair and pimples on her back on butt.

Carrie - 1976: In the 1976 movie adaptation Carrie is slim, has a little freckles on her face and her hair is strawberry blonde.

Carrie - the musical - 1988: In this Broadway adaptation Carrie has darker hair and also a chubbier body, compared to the movie adaptation. In the musical Chris and Billy toss the blood on Carrie  on stage, instead of having the bucket fall on her.

The rage: Carrie 2 - 1999: Not exactly Carrie, however Rachel Lang is Carrie's half-sister (same father) meaning she has telekinesis as well. In contrast to her sister, Rachel has darker hair and a completely different personality. When Rachel gets furious her body gets covered from parts of her tattoo.

Carrie - 2002: This is the adaptation that is closet to the novel, with a twist ending, but not quiet popular as the 1976 movie. In this adaptation Carrie is slim, has darker hair and is pale.

Carrie - 2013: Remake of the 1976 movie. Here Carrie has strawberry blonde hair and is a little curvey.

Chloë Grace Moretz is also the youngest actress to potray Carrie. She was 16 when playing the role (the same age Carrie is in the book) whereas both Sissy Spacek (Carrie 1976) and Angela Bettis (Carrie 2002) were 26. Linzi Hateley (Carrie the musical) was 17 when starring in the musical.

It has been 5 years

  since his last film “Upstream Color,” but filmmaker Shane Carruth says his next directorial effort is still years away. Carruth wrote, directed, produced, starred in, and composed both ‘Upsteam’ and his 2004 debut film “Primer,” and has been developing his next feature “The Modern Ocean” for at least three years.

Out doing press for Bill Senese’s “The Dead Center” in which he has a role as a doctor, he was asked about what its status was to which he told Indiewire: “Only word is that it’s not gonna happen anytime soon… I really can’t say much [about what I’m doing next]. I’m doing a lot of writing; there are multiple projects, but I don’t have anything interesting to say.”

At last report Anne Hathaway, Keanu Reeves, Daniel Radcliffe, Jeff Goldblum, Chloë Grace Moretz, and Tom Holland will all star and the film, which stretches from Algerian trading houses to the ocean floor, deals with: “the competition for valuable shipping routes, the search for the hidden cache of priceless material and the powerful need for vengeance will converge in a spectacular battle on the rolling decks of behemoth cargo ships.”

Carruth has also shot down any talk of him doing a superhero film, saying: “It’s not something I’m interested in doing.”

https://www.darkhorizons.com/carruths-modern-ocean-many-years-off/

World Premiere at the North Bay Film Festival

RACHEL premiered during the North Bay Film Festival on November 18 at the historic Capitol Centre.

About

NBFF is dedicated to showcasing the best in contemporary cinema with a focus on emerging Canadian and northern Ontario filmmakers. From our home on the shores of Lake Nipissing, we encourage audiences to explore a variety of programs while aiming to present stories from a diverse background of perspectives. The festival takes place annually at the historic Capitol Centre Theatre and features international, Canadian and local films paired with panel discussions, receptions, workshops and industry events. Programming for North Bay Film is brought to you by the Near North Mobile Media Lab, a non-profit media arts organization dedicated to providing students, artists and audiences in Northern Ontario the means to produce, present and enjoy media art. North Bay Film has been a local tradition for over 25 years and is a member of the Toronto International Film Festival Circuit. 

Feature Films

THE SISTERS BROTHERS by Jacques Audiard Starring: John C. Reilly, Joaquin Phoenix, Jake Gyllenhaal BEAUTIFUL BOY by Felix Van Groeningen Starring: Steve Carell, Timothée Chalamet, Maura Tierney ANTHROPOCENE by Edward Burtynsky, Jennifer Baichwal, Nicholas De Pencier Starring: Alicia Vikander SHOPLIFTERS by Kore-Eda Hirokazu Starring: Kirin Kiki, Lily Franky, Sôsuke Ikematsu THE MISEDUCATION OF CAMERON POST by Desiree Akhavan Starring: Chloë Grace Moretz, Steven Hauck, Quinn Shephard RAFIKI by Wanuri Kahiu Starring: Nini Wacera, Samantha Mugatsia, Sheila Munyiva TROUBLE IN THE GARDEN by Roz Owen Starring: Cara Gee, Jon Cor, Fiona Reid THE DISCARDED by Piotr Skowronski Starring: Zara Jestadt ANGELIQUE’S ISLE by Marie-Helene Cousineau, Michelle Derosier Starring: Julia Jones, Tantoo Cardinal, Aden Young FALLS AROUND HER by Darlene Naponse Starring: Tantoo Cardinal, Lewis Hodgson, Johnny Issaluk THE FRUIT MACHINE by Sarah Fodey Starring: John Sawatsky, Patti Gray, Lucie Laperle, Suzanne-Thibault

Canadian Shorts Showcase

THE HOLE IN RESERVOIR HILL by Shasha Nakhai RACHEL by David Latreille  L’HOMME ET LE POISSON by Lewis Leon SILVER LIGHT by Brad McDermott 

Student Showcase

MICHEAL KLEIN IS DEAD by Sean Cullen from Sheridan College SEEING SOUND by Alec Jordan from Canadore College SHARK by Curtis Carriere from Canadore College THE TRI TOWN SKI & SNOWBOARD VILLAGE by Jordan Vandenberg from Canadore College

Near North Mobile Media Lab

The Near North Mobile Media Lab actively promotes media arts access for all artists, regardless of age, class, gender, sexual orientation, race or ability. We provide the tools that media artists, students, and media arts audiences in Northern Ontario need to produce, present and enjoy all forms of contemporary media art. We envision a thriving media arts community in northern Ontario that produces innovative work, has access to contemporary presentations, and is an active participant in a national discourse by overcoming regional limitations. ln concrete terms, the Near North Mobile Media Lab facilitates educational workshops, presents exhibitions, screenings and festivals, mentors and provides support to our membership through equipment rentals and project assistance. Far from the centres of population in Ontario, our collective continues to encourage our peers and youth in their explorations of electronic media, in developing their film-making skills and through the professional presentation of their art works.

Holly Cunningham, executive Director at Near North Mobile Media Lab

After graduating from Sheridan College’s Media Arts program, Holly completed a Fine Arts degree from Nipissing University which prompted her move to Northern Ontario. Working as the Executive Director of the Near North Mobile Media Lab (N2M2L) for the past five years, Holly has worked to grow the organization and establish programs that aim to engage youth and emerging artists through the digital and media arts. Holly also sits on the board of directors of the Media Arts Network of Ontario, is chair of the local artist-run centre White Water Gallery and is currently the North Bay rep for Cultural Industries Ontario North. 

Capitol Centre

In 1927, a businessman from Sturgeon Falls purchased the property at 150 Main Street East in North Bay to build a theatre. During construction he went bankrupt and sold his interests to the Famous Players of Canada Corporation. Famous Players opened the doors to the new Capitol Theatre on June 1, 1929 for the screening of In Old Arizona, the first Fox Pictures “talkie” motion picture (movies with sound) of its kind. This brand new theatre had 1455 seats, state-of-the-art technology, elaborate decorative touches, and was referred to as a “palace of splendour.” It wasn’t the only theatre downtown; there was the Bay (Club 151), the Odeon (Northern Tikes), the Crystal Palace (next to Guardian Drugs), and the Royal (Royal Office Suites) – but the Capitol was the grandest of them all and is the only one left open today.

It was in the offices of the Capitol Theatre that Roy Thomson, Lord Thomson of Fleet, started his media empire with the opening of his (and Northern Ontario’s) first radio station CFCH on March 3, 1931 – this later became CKAT. It was in the Capitol Theatre that the Dionne Quints enjoyed many Friday night movies when they could get away from their celebrity lives. The Capitol stood tall through the Great Depression and the Second World War, bringing laughter and plenty of wartime films like All Quiet on the Western Front to North Bay and area audiences. During wartime, patrons could purchase tickets with a scrap of metal from home (pipes, jewellery, cookware, cutlery, etc). This metal was melted down and used to produce munitions for the war effort.

In the 1970s, an organization called North Bay Theatre and Arts Community Centre (TACC) was formed with the goal of establishing an art centre to house all arts-related endeavours within the city and surrounding district. At the time, North Bay had finally developed the Golden Mile area of the Lake Nipissing waterfront, had built arenas and parks throughout the city, and the final missing piece was to have a local performance hall and art gallery. When Famous Players announced in the 1980s that they wanted to convert the Capitol into smaller cinemas, TACC decided that the Capitol was too wonderful to get chopped up into small rooms, and that it could be the perfect facility for their dream arts centre. Since its reopening in 1987 the Capitol Centre and the WKP Kennedy Gallery has seen many great artists Canadian and international, both cherished celebrities and beloved locals like Johnny Cash, Phyllis Diller, Lynn Johnston, Brenda Lee, Roy Orbison, Jack Klugman, Blue Rodeo, Canada’s Group of Seven, The Barenaked Ladies, Graham Nash, Ed Eng, Jann Arden, Tom Cochrane, and many more. The Capitol truly is your home for arts and entertainment.

TOM AND JERRY (2021)

Starring Chloë Grace Moretz, Michael Peña, Colin Jost, Rob Delaney, Ken Jeong, Pallavi Sharda, Jordan Bolger, Patsy Ferran, Daniel Adegboyega, Christina Chong, Ajay Chhabra, Somi De Souza, Camilla Arfwedson, Ozuna, Paolo Bonolis and the voices of Bobby Cannavale, Lil Rel Howery, Nicky Jam and Tim Story.

Screenplay by Kevin Costello.

Directed by Tim Story.

Distributed by Warner Brothers Pictures. 101 minutes. Rated PG.

I really wanted Tom and Jerry to be good.

This was not because I was particularly a fan of the characters. Sure, I watched some of their shows over the years, but I was never especially a fan. This hope was also not because I thought that the characters had anything particularly relevant to say in the new millennium. Cats chasing mice is not exactly cutting-edge storytelling.

No, I was rooting for Tom and Jerry for one reason and one reason only. It is one of the rare occasions in modern cinema in which an animated film was made with old-school hand-drawn animation, rather than being computer-generated, which has been ubiquitous since Pixar revolutionized the style. CGI is fine, in fact in some ways computer animation can be incredible, but it is much colder and less involving than cartoons which spring from pen and ink from real live artists.

Well, technically Tom and Jerry is a live-action film with traditional animation overlaid upon it, with real settings and human beings but a menagerie of animated animals interacting with the real world. There is still a long, storied history of this style as well, with film such as Mary Poppins, Space Jam and Who Framed Roger Rabbit? In fact, Jerry Mouse and Tom Cat, the characters spotlighted here, were part of a classic musical dance sequence with Gene Kelly in the 1945 film Anchors Away.

So, on the plus side, let’s start with the animation. It looks good. It’s nice to see classic animation again, and for the most part the drawings and live action are integrated seamlessly. It is a nostalgic rush to see this kind of work, and I hope and pray that this style of filmmaking – though it is more difficult, more time consuming and probably more expensive to make – has a comeback.

So, that is impressive. I just wish there was something… anything… good to say about Tom and Jerry beyond that.

Part of the problem is just a simple logistics problem. Two animals who do not talk (though Tom the cat does sing briefly in one scene and several other animated animals have speaking roles in this film) may work in a five to ten minute short but are pretty hard to hang a full-length feature upon.

In fact, often, Tom and Jerry feel like supporting characters in their own film here, with as much – if not more – time spent on a high society wedding in a swanky New York hotel as is spent on our title characters. (Though, technically, the role of New York is played by London in this film.)

It’s not a particularly funny idea, and Tom and Jerry is able to fumble any little potential that can be squeezed out of the plot. Tom and Jerry feels both oddly anachronistic (not surprising with such long past their sell-by date characters) and at the same time patronizing in its attempts to be modern. (Tom and Jerry on Instagram? Really?)

The real main character here – though her name is not in the title – is Kayla (Chloë Grace Moretz). She is a perky and sweet young woman who scams herself into an important job at New York’s most exclusive hotel on the very weekend that the society wedding of the year is taking place. Everyone immediately falls in love with her – even the social media influencer bride-to-be – except for the uptight manager (Michael Peña) who does not trust her as far as he can throw her.

Add cat and mouse. Slapstick mayhem ensues. Yawn.

As bad as that all sounds, Tom and Jerry is even worse. There is only one reason for this film to exist at all – the possibility that it will reintroduce the world to traditional animation. However, when it is at service of a movie that is this bad, that may not be a good thing.

Jay S. Jacobs

Copyright ©2021 PopEntertainment.com. All rights reserved. Posted: February 26, 2021.

20 Outrageous Looks That Prove the Met Gala Is the Only Fashion Event That Matters

Which red carpet is your favorite?

If you said the Academy Awards or MTV Video Music Awards, that's cute, but you're wrong. Your favorite red carpet is the Met Gala, because it's the only red carpet that matters. It's an occasion to see stars wearing ensembles they could never get away with at any other awards show or black-tie event -- for better or worse.

As we prepare for this year's event -- and all the looks inspired by the theme, “Heavenly Bodies: Fashion and the Catholic Imagination," look back on 20 of the most outrageous fashion choices that could only happen at the Met Gala.

1. Madonna in Givenchy (2016)

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In the ever-present debate between showing T or A, the Material Girl chooses... both, giving you Regina George in the front and butt cheeks in the back.

2. Kanye West in Balmain (2016)

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If you can look past Kim K.'s disco ball boobs and Yeezy's bedazzled jean jacket -- somehow, if you can look beyond all of that -- his contacts will haunt you for the rest of your life.

3. Rihanna in Guo Pei (2015)

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A non-comprehensive list of things Rihanna looked like at the Met Gala: An omelet, a cheese pizza, Big Bird. Basically: Iconic.

4. Miley Cyrus in Marc Jacobs (2013)

Jamie McCarthy/Getty Images for The Huffington Post

The most shocking thing about this take on "Punk: Chaos to Couture" is that Miley didn't stick out her tongue once on the red carpet.

5. Kim Kardashian in Givenchy (2013)

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The category is Mrs. Doubtfire realness.

6. Beyoncé in Givenchy (2015)

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Queen Bey looking like the fiercest Mortal Kombat character ever. K.O. FINISH HIM!

7. Solange in Giles Deacon (2015)

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And Solange looking like a shield. Her commentary on 2014's elevator incident? 8. Mary-Kate and Ashley Olsen in Chanel and Christian Dior Haute Couture (2013)

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These looks were the Olsen twins up one more notch.

9. Nicole Richie in Topshop (2013)

Jamie McCarthy/Getty Images for The Huffington Post

Spray-painted hair apparently makes anything punk.

10. Katy Perry in CuteCircuit (2010)

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Not only did this look have a very Angelina Jolie thigh-high slit, it also glowed. The dress was literally neon, and it was everything.

11. Florence Welch in Alexander McQueen (2012)

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For anyone else, this dress would be avant-garde Met Gala couture. For Flo Welch, it's a Monday.

12. Anne Hathaway in Valentino (2013)

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Remember when Anne Hathaway played Catwoman? If she has her way, you'll never forget.

13. Lady Gaga in Balenciaga (2015)

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Dress is "China: Through the Looking Glass." Eyebrows are emoji.

14. Amber Valletta in a Maggie Norris (2004)

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Would it surprise you to learn the theme had absolutely nothing to do with Marie Antoinette?

15. Lupita Nyong’o in Prada (2014)

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No disrespect to Chloë Grace Moretz, but this is the live-action Little Mermaid we want to see.

16. Katie Holmes in Marchesa (2014)

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Belle vibes to the extreme!

17. Sarah Jessica Parker in Alexander McQueen (2006), Giles Deacon (2013) and Philip Treacy (2015)

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It's impossible to pick SJP's most iconic Met Gala look. SJP is the Met Gala. (And if her headdresses keep getting bigger every year, we will absolutely tune in when it's 2025.) 18. Anna Wintour in Chanel Haute Couture (2008)

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Say hello to your new supreme overlord, Space Admiral Anna Andromeda.

19. Karolina Kurkova in Rachel Zoe (2012)

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Just make every year's theme "Eleganza Extravaganza" and leave us wanting more.

20. Blake Lively in Atelier Versace (2017)  

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It took over 600 hours to make the sexiest peacock dress we've ever seen -- and we mean that as a compliment.

All right, ladies, now let's get in formation: check out Beyoncé and Jay Z's most fashionable moments as the queen and king of the Met Gala below.

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You Must Watch These Movies If You Loved 10 Things I Hate About You

10 Things I Hate About You is an iconic film and probably one of the best rom-coms ever made. A story full of comedy and young romance might have made your heart also melt, and there are chances that you might want to watch something more like this if you have watched it already. In this article, we have listed the best films you should watch if you loved 10 Things I Hate About You. Let's scroll down and find the top picks for you. 

 Pretty In Pink

Pretty In Pink is an excellent movie that offers doses of both comedy and romance. Directed by Howard Deutch, this film's story revolves around a young introverted girl Andie, mostly limited to her best friend, Duckie, and Iona. However, things take a different turn when the school's most popular guy falls in love with her. Molly Ringwald (Andie Walsh), Jon Cryer (Duckie Dale), Andrew McCarthy (Blane McDonagh), and James Spader (Steff McKee) are starring in this film. This film has received an IMDb rating of 6.8. 

 The Breakfast Club

The Breakfast Club is another high school drama from the 1980s on our list. John Hughes has directed this film while Molly Ringwald (Claire Standish), Judd Nelson (John Bender), Ally Sheedy (Allison Reynolds), and Emilio Estevez (Andrew Clark) are starring in this movie. The story of this film is about five high-school students with entirely different mindsets becoming close friends. This film has received an IMDb rating of 7.8 on IMDb. 

 Easy A

Easy A is a story of comedy and romance where Olive is the central character. She uses the rumor of losing her virginity to one of the college guys to elevate her financial and social position. There are a lot of funny moments in this story, which is directed by Will Gluck. Emma Stone (Olive Penderghast), Amanda Bynes (Marianne), Penn Badgley (Woodchuck Todd), and Alyson Michalka (Rhiannon) are starring in this film. This film has received 7 stars on IMDb. 

 500 Days Of Summer

500 Days Of Summer is an excellent story of romance and drama starring Joseph Gordon-Levitt (Tom Hansen), Zooey Deschanel (Summer), Matthew Gray Gubler (Paul), and Chloë Grace Moretz (Rachel). In the film, Tom revisits the time of more than a year that he spent with Summer and fell in love, while Summer did not believe in the idea of having a boyfriend or relationship. Marc Webb has directed this film, and it has received an IMDb rating of 7.7. 

 A Cinderella Story

A Cinderella Story is a modern take on a famous fairytale. After the death of her father, Sam is not treated right by her stepmother and stepsisters. She finds respite in a guy, Nomad, whom she met online, and they decide to meet in a school dance. Hilary Duff (Samantha "Sam" Montgomery), Chad Michael Murray (Austin Ames), Jennifer Coolidge (Fiona), and Julie Gonzalo (Shelby Cummings) have featured in this film. Mark Rosman has directed this film, and it has received an IMDb rating of 5.8. 

 Rom-coms are always lovely to watch, and 10 Things I Hate About You is iconic in the genre. In this article, we have listed the best rom-coms you will love to watch if you liked 10 Things I Hate About You. You can watch these films and have a great time. 

I’m David Root. I’m a software engineer living in New jersey, USA. I am a fan of technology, programming, and Cybersecurity. I’m also interested in gaming.

Read more - https://roothelpsoftware.wordpress.com/2021/01/29/you-must-watch-these-movies-if-you-loved-10-things-i-hate-about-you/

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There is also the term extras that are used as minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films. Movies can also be used to deliver certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story. There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful. ❍❍❍ TV FILM ❍❍❍ The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season. ❍❍❍ formats and genres ❍❍❍ See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required] In 2021, it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In 2021, Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV. ❍❍❍ Thanks for everything and have fun watching❍❍❍ Here you will find all the films that you can stream online, including the films that were shown this week. If you’re wondering what to see on this website, you should know that it covers genres that include crime, science, fi-fi, action, romance, thriller, comedy, drama, and anime film. Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite films. Hopefully we can be the best partner for you to find recommendations for your favorite films. That’s all from us, greetings! Thank you for watching The Video Today. I hope you like the videos I share. Give a thumbs up, like or share if you like what we shared so we are more excited. Scatter a happy smile so that the world returns in a variety of colors. ”