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365days365movies · 1 year

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31 (Films) to Life: End of Year Round-Up II

Before I wrap up last year and begin anew, here's the rest of the round up of the crime films I saw in 2022! Here's the first part of this post if you want a catch-up. These post is gonna cover these films:

Once Upon a Time in America (1984); directed by Martin Scorcese

Thelma and Louise (1991); directed by Ridley Scott

Reservoir Dogs (1992); directed by Quentin Tarantino

Casino (1995); directed by Martin Scorcese

Heat (1995); directed by Michael Mann

The Usual Suspects (1995); directed by Bryan Singer

L.A. Confidential (1997); directed by Curtis Hanson

American Psycho (2000); directed by Mary Harron

Catch Me if You Can (2002); directed by Stephen Spielberg

Monster (2003); directed by Patty Jenkins

The Departed (2006); directed by Martin Scorcese

Zodiac (2007); directed by David Fincher

OK, let's jump back into this recap!

Goncharov (1973); dir. Martin Scorsese - 82%

Look, I realize that this, as a recently recovered film, this has gotten a sort of cult-following, as it were. But after finally getting ahold of a copy of it and watching it, I dunno...seems somewhat overrated to me? Sure, Scorsese's choice to focus on Italy during the end of the Cold War is an interesting premise, and the cast is genuinely excellent, but...again, I thought it was only OK compared to some of the other movies on this list. Although, I will say, John Cazale was a stand-out character for me, in sort of a spiritual successor to his role in Dog Day Afternoon, playing the unhinged assassin with a very complex backstory. I read somewhere that there was a planned spin-off for Ice Pick Joe at some point, and I would love to know more about that. Plus, Scorsese's choice to follow up on Midnight Cowboy and Dog Day Afternoon by injecting homoerotic tones, especially in a film from this time period, was...

...Yeah, I'm WAY too late to hop on this meme. I'll stop now. It's a very funny meme, though. Love the fact that Scorsese himself admitted to making it; that's shit's hilarious. Anyway, on to the actual list.

Once Upon a Time in America (1984); dir. Martin Scorsese - 94%

This is a complicated movie to describe and to recap, and I actually never posted the last part of my review for this one, but...man. This is an excellent movie. Granted, exactly what you'd expect when I say it's a Martin Scorsese-directed period piece set in NYC and starring Robert de Niro...but, it still manages to surprise here and there. A couple of these surprises are, in my opinion, a tiny piece contrived, and it also manages to make its main character thoroughly unlikable in many ways, but it's still a great story with a lot of character packed in a...3 hour and 50 minute runtime, JESUS CHRIST. OK, yeah, this is a really long movie, but it's also hard to see a good place to trim it without harming the story and character work as a whole.

In terms of my normal breakdown, acting is nearly perfect all around; plot is convoluted and takes place in multiple time periods, but is still very good; directing and cinematography is beautiful; production and art design is perfectly immersive throughout all time periods represented; and if I hear pan-pipe music one more time I'M GONNA FUCKING LOSE IT. But the editing is still solid, despite an insane runtime. Look, if you're the kind of person who doesn't like uncomfortable moments in film or unlikely characters, or if you'd rather not strap in for a lot of atmosphere and silent character moments over the course of a nearly four-hour movie...maybe skip this. But otherwise, this movie is entirely worth it, and a genuine masterpiece. A must-watch for crime movie and Scorsese fans.

Thelma and Louise (1991); dir. Ridley Scott - 84%

A good Ridley Scott movie (and one that I only published half of my review for, whoops)! So, Thelma and Louise has a pretty good plot and acting, and does everything else pretty well. Plus, its titular relationship is compelling for a lot of reasons, whether or not you take it as romantic (which there are arguments for and against). As well as being a good source for an essay on justice within a patriarchal culture that has issues with female self-autonomy and sexual consent (yes, really, I'm not even reading into that super hard), it's an interesting movie. But if I'm gonna be honest, while I thought this was a good movie...it's not necessarily one I'd go out of my way to watch again, and I may turn away from it when it comes on TV. Y'know what I mean? Like, I'd tell people it's a good movie, but I wouldn't recommend it, necessarily. It's a good movie to watch at least once, though.

Reservoir Dogs (1992); dir. Quentin Tarantino - 89%

Reservoir Dogs, on the other hand, is a movie that I absolutely recommend. Now, is this a movie that, like Scarface, every college fuckboi in the world has seen, recommended, and quoted. I mean, yeah, absolutely. Is it gratuitously gory and violent? Again, yeah, absolutely it is. But it has a banger of a cast (Harvey Keitel, Steve Buscemi, Tim Roth, Michael Madsen, to name a few), fantastic plot and good writing, good direction and cinematography, good production and art design (simple as it is), great editing, and memorable music (for what little there is in this movie). There's a lot packed into this one, and there are narrative twists and turns you wouldn't necessarily expect, leading to one of the tensest endings I saw in a movie last year. And as much I would love to go into more details about this crime thriller...I won't. Go watch this one, trust me.

Casino (1995); dir. Martin Scorsese - 94%

So, this year, I made a huge mistake. I was in a hotel room for a conference, alone (much less sad than it sounds, believe me), and I decided to watch a movie that night. So, I sit down, look at my list of films, and realize the next one is the Scorsese classic film Casino. Now, I have a copy of this movie at home on DVD, but I find it on streaming, so I figure I may as well go for it. Here's the problem: it was on AMC. Now, at first blush, this doesn't seem like a problem. But it actually is a massive problem for Casino, more than any other movie I've ever seen, because the censoring for TV really distracts from the movie itself. Like...really badly, too. It was an issue.

Now, is this a good movie? Very much so. As Scorsese loves to do, it follows a gangster played by De Niro, during the time period where the Mafia was at its strongest influence in Las Vegas. His enforcer and best friend, played by Joe Pesci, joins him in the business. What follows is a multi-year story of death, lies, betrayal, talk shows, domestic abuse, and a LOT of crazy shit that you follow the entire time with baited breath. This is a 3 hour plus movie, and I remember more of it that I rightfully should. And yes, there are a LOT of F-bombs, all of which were covered by Joe Pesci's less-than-stellar dubbing over his own lines. When "fuck" comprises 40% of a character's dialogue, censoring tends to really hamper with immersion, just saying. But yes, this film has stellar acting from the leads and support, an interesting and engaging plot with curse-heavy writing, great direction and cinematography throughout, fantastic production design, and a good score with great editing. Definitely watch this one...uncensored. Trust me on that one.

Heat (1995); dir. Michael Mann - 90%

Well, shit, Al Pacino and Robert De Niro in a crime movie? And Pacino's playing a cop? Hell yes. It's also Pacino's last movie before he goes into overacting hell, and even then, he has a lot of scenery in his teeth and he is loving it. But even despite that, solid performances from our two leads, one of whom is playing to type, and the other against it, but both very well. It manages to mix multiple compelling stories, while maintaining the tension of a cat-and-mouse game, during which you're somehow always rooting for both sides to win. Direction is great, production design is simple but good, and the music is...fine. I actually don't remember it much, to tell the truth. But either way, a must-watch for any crime film fan. It's fantastic.

The Usual Suspects (1995); dir. Bryan Singer - 92%

As some of you may know by now, I'm a firm believer in divorcing the art from the artist. So, yes, even though this is a Kevin Spacey vehicle directed by Bryan Singer, I still really wanted to watch this one. And it's great. Absolutely fantastic, don't get me wrong...but I was kinda fucked from the start here. Without going into any details, this movie is about cops investigating a crime committed by the mysterious Keyser Soze, and uncovering who the culprits are. And that's it. That's all you're getting. Because there's a famous twist in this film, and I knew it from the jump, unfortunately for me. Definitely didn't ruin the movie, but not knowing the twist would've made it OH so much sweeter. So, that my word that it's a good movie, do not attempt to look it up anywhere for more info, and go check this one out.

L.A. Confidential (1997) - dir. Curtis Hanson - 90%

Another Spacey vehicle! And hot damn, is it a great one. I like the previous movie more for the plot, but L.A. Confidential is certainly no slouch when it comes to twists. Not the least predictable twist in the world, but still a notable twist. Again, excellent cast here (Crow, Pearce, Spacey, Basinger, DeVito, Cameron, etc.), great plot and writing as well, great direction and good cinematography, excellent production design, and great music, and this is another must-watch action movie, on par with Chinatown in tone, and Heat in quality. Also, a seminal buddy-cop movie...kinda.

American Psycho (2000); dir. Mary Harron - 82%

Fun fact about me: I'm a serial killer true crime junkie. Which, yes, makes me either a typical millennial or a middle-aged white mom with nothing to do all day, but sue me, I think it's an interesting topic. Anyway, because of that, I've always been interested in watching this movie, which not only pictures a very '80s sense of psychopathy that's still identifiable today ("sigma males", anyone), but actually inspired a real-life serial killer duo, Paul Bernardo and Karla Homolka, AKA Canada's most notorious murderers. Their favorite book was the original American Psycho, which was later adapted into this film. But that said, outside of the true-crime connection, I also liked this film as a character dissection of a man quickly going insane, as well as the exploration of a business shark capitalist drive and misogynist culture surrounding it as major causes and drivers of that mindset. And I'd say that was reading too much into it, but...it really isn't.

But that said, this movie is interesting to watch, but definitely not perfect. Acting, with Bale as an exception, is good but not great throughout. Plot and writing are good, if ham-fisted at times, and with an unexpected ending (and not in a great way). Direction is great, cinematography is pretty good, too. Production and art design is extremely solid, and maybe the strongest part of the movie. Music gives that a run for its money, though, since it's also a narrative device to better understand our lead. This is a good movie, and weirdly relevant with certain elements of our internet culture, so check this one out if you have the time. And if you're in the mood for a film whose bread and butter is toxic masculinity, but was also directed and written by women. Which is hilarious.

Catch Me if You Can (2002); dir. S. Spielberg - 88%

The concept of an auteur in terms of film directing is varied and storied, but is usually used to refer to an individual whose artistic vision is clear on the screen, making their films quite distinctive to the discerning viewer. And Jesus Christ, is this film an example of that for Stephen Spielberg, because I don't know if a crime film could Spielberg harder than this! What I mean by that is that Spielberg's style, while not often applied to the crime genre, is very apparent in his films. You usually know one when you see one, is what I'm saying.

That's to say nothing about quality, which is very good in the base of this film. The only real weak spot, for me, was the music of the film, which wasn't very distinctive outside of the opening credits theme. Everything else, though, is pretty great. DiCaprio and Hanks kill it, even though Hanks was admittedly still definitely Tom Hanks through the film. Plot and writing was a Spielberg plot, but a really good set of character dissections and interactions. Direction and cinematography are fantastic, Production and Art Design are TOP fucking notch, until we sort of fall off towards the end of the movie. And editing is great, even if music wasn't my favorite. Great movie, very much recommended if you want to see Spielberg do a crime film. And you should want that, ideally!

Monster (2003); dir. Patty Jenkins - 86%

Remember that thing I said earlier about being a fan of serial killers? Well, Monster and its focus on real-life murderer Aileen Wuornos was high on my list of must-sees at the very beginning of this project. Charlize Theron's performance as the character is pretty legendary, and for good reason, because she does an AMAZING job as Aileen. And Ricci's no slouch as her girlfriend Selby, either. Was it the most accurate movie in the world? No, but it was unexpectedly accurate in some ways as well. Wuornos is one of those figures who's kind of controversial, as some of her murders could have been self-defense, and the film's writer and director, Patty Jenkins (yes, that one) does realize that. And I started to be worried in the beginning of the film, but she turned me completely around by the end. It's great!

Direction, though, is...fine? It's not particularly distinctive, but it isn't bad. Same goes for the Cinematography. Production design is excellent, mostly because Charlize Theron BECOMES Aileen Wuornos, partially due to acting, but also absolutely due to appearance and wardrobe. It's genuinely very impressive the whole movie. And finally, music was there, and kinda weirdly clashing with tone in some instances, but it's not too bad. Check this one out if you're into serial killer stuff, too.

The Departed (2006); dir. Martin Scorsese - 94%

Another fun fact about me: I grew up in New England, as well as currently living there. And I live in an area of the region where Boston is a major feature, as is the culture that revolves around the city. And yes, this film is well-known for being a somewhat stereotyped view of Boston...but JESUS FUCKING CHRIST, is it wicked accurate, kid! It also helps that, as a Scorsese film, it's very well-made and absolutely star-studded. Some of those stars, namely Damon and Wahlberg, are actually from the area, and they flex some intense Boston accents throughout this movie. DiCaprio and Nicholson are also fantastic in this film, as are Sheen, Baldwin, Farmiga, Winstone, and Anderson, even though some of them don't quite pull off the accent as smoothly as others. Baldwin, in particular, is still Alec Baldwin, no matter how you try and change that voice.

Directing and cinematography is stellar, unsurprisingly, while production and art design is definitely very iconically mid-2000s Boston. The score of this film literally changed the musical tastes OF BOSTONIANS, according to my fiancée who's more from the area than I, and the editing is also top-goddamn notch. And the plot and writing? Holy SHIT, the plot and writing! Look, you need to now two things. One, this is a cop-mafia drama in a vein similar to Heat, and it is VERY good at that job. A little bloated, story-wise, but it doesn't show too much. And two, watch this movie, do not look up the plot or film beforehand. Suffice to say, this is an in-depth morality play all over the spectrum of morality, and the twists are EVERYWHERE. Please check this one out, it's fantastic. Go Sox.

Zodiac (2007); dir. David Fincher - 90%

And last but not least, another serial killer film with an unclear ending, and one that focuses on the investigation and the figures involved instead. Zodiac is a fantastic movie, based on a book about the case by Robert Graysmith, who's played in the movie by Jake Gyllenhaal. Graysmith is, in fact, arguably the main character of the film, with Robert Downey Jr. and Mark Ruffalo playing other key figures in the investigation from both a press and police side, respectively. You watch how this unnerving case affects these people's lives, while knowing that the case won't ever actually be solved. They present a case for the killer, but no actual answers. And in playing with that, Fincher is able to build some real goddamn tension in some moments.

Again, though, not perfect, but it's pretty damn close. Acting is stellar all over, even though some people don't quite disappear into the role. Ruffalo and Gyllenhaal are amazing on that particular front, but it's hard to see RDJ as anyone but RDJ, as an example. Plot and writing is great, directing and cinematography is great, production design is pretty good (I dunno, I wasn't as sold on that one, but that might be a me thing), and the music is great as well! Editing makes the film a little overlong in my opinion, but I don't think it affects the movie much. Check this one out, again, if you're in a serial killer movie mood.

And that's it!

Next film I was set to watch was Captain Phillips, and I'll try and check that out this year regardless, but I only got that fair this year. That said, though, the next movie I'm set to watch in 2023 is technically a crime film, from what I understand. But I'm leaving the life of crime behind for a while otherwise. I've done my time, so it's time to say farewell to the old life for now. But that said...I do have plans. Oh, I always have plans.

In 2023, I'll be going off of a list of challenges, as curated by the book Everyone's a Critic: 52 Week Movie Challenge. These challenges each require I watch films of specific categories, like award-winners, animal films, etc. And the first one in the 52 Films challenge is Best Picture winner. And for the first of those...I gotta watch this movie. And I've been wanting to watch it since 2020. So, what better time like the present? Plus...been a while since I've watched a foreign language film, honestly. So, strap in for the next one! It's gonna be a ride in 2023.

Next: ...We'll see.

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paleobeastentertainment · 7 months

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Day 16: First Time Watch

Film: Dark Harvest (2023) Dir: David Slade

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doctorcurdlejr · 7 months

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tubi is literally one of the most reliable platforms for horror enjoyers

#a peek at our 31 days of halloween list. surf nazis is a summer exploitation film but we made an exception bc we really wanna see it #a day in the life

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theambitiouswoman · 1 year

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Ways to Add Luxury to Your Life

1. Stop saying “you can’t afford it”

2. Walk through or stop for a drink at a luxurious hotel

3. Create your own luxurious evening routine

4. Create your own luxurious morning routine

5. Schedule in something fancy

6. Wear your favorite handbag and shoes

7. Find your signature scent

8. Do your hair and make up

9. Shop your wardrobe

10. Choose your top 3 must do things everything

11. Cook from scratch

12. Drink champagne

13. Buy silk linens for your bed

14. Celebrate your wins

15. Personalized stationary

16. Visit museums and art galleries

17. Shop at farmers markets

18. Eat organic and fresh foods

19. Go on hikes

20. Play uplifting music

21. Plant a vegetable garden

22. Use lavender pouches in your drawers

23. Exercise daily

24. Only drink quality tea and coffee

25. Wear pretty/silk lingerie and cute lounge wear

26. Have a creative hobby

27. Visit the spa and get facials regularly

28. Buy fresh flowers

29. Use quality skincare and makeup

30. Take hot baths

31. Buy essential oils

32. Treat yourself

33. Add lemon to your water

34. Go to a high end gym or Lounge

35. Read a book before bed

36. Stop saving your nice things for later. Use them now

37. Use an exfoliator for your body

38. Stretching and yoga

39. Go to an artisan cafe for fresh croissants

40. Make your own dressings for your foods

41. Clean your house and your car

42. Take a detox shot in the morning

43. Treat yourself to a professional blow dry

44. Nails always done

45. Bake fresh cookies

46. Watch a classic and elegant film like Breakfast at Tiffany’s

47. Have a full feminine luxurious shower routine

48. Clean your makeup brushes and arrange them like a beauty counter for the next time you use them

49. Learn about art and wines

50. Decorate your home like a 5 star hotel

51. Use a pillow spray

52. Host a dinner party

53. If possible, hire a chef or cleaner to help you

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kamiversee · 2 months

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➶-͙˚ ༘✶ 𝙏𝙃𝙀 𝙁*𝘾𝙆 𝙇𝙄𝙎𝙏

✧.* CHAPTER 31 || The Breakdown (continued)

[ { SYPNOSIS } ] ➤ A tale in which Gojo Satoru blackmails you into seducing a list of people to clear his debt. Sounds easy enough, right?

[ { CHAPTER CONTENT } ] ➤ language & angst.

[ { WORD COUNT } ] ➤ 3k

[ { PAIRINGS } ] ➤ jjk men x f!reader. gojo x f!reader. geto x f!reader. toji x f!reader. choso x f!reader. sukuna x f!reader. nanami x f!reader.

[ [ chapters mlist } ]

——GOJO LEFT YOU WITH a lot to think about.

Before doing so, he dropped you off at your apartment after a passionate and almost final makeout session in the car lot just outside your apartment...

You knew it was your last time kissing Gojo.

It just felt like it. Like the final kiss of a romance film, Gojo's hands were so gentle against your body, his lips slipping and sliding over yours sensually and his tongue getting lost in your mouth. You'd hum into him and he'd moan lightly, the kiss lasting long enough to fog up his car windows.

Even then, it still took some time for the two of you to stop. It felt like another forty-minute make-out but in reality, the two of you sat outside kissing for an hour and a half.

He was so addicting, you felt so light and loved under his touch, allowing all your confliction to dissipate as he sucked and licked at your lips.

You don't even remember why you let him kiss you again but as soon as the car was parked, the soft sound of the radio quietly playing some R&B songs filled your ears and the two of you gave each other a look. Did he ask to kiss you or did you ask him? You have no clue.

All you know is that when your lips connected, they hardly ever parted. Gojo would whisper 'I love you' into your mouth every chance he got, refusing to let you forget that fact. You were still wondering why he sobbed earlier that night but the questions were forced into the back of your mind-- you'd get them answered in some years apparently.

When his lips finally peeled away from yours, a wet smack filled the car and Gojo had a bit of drool slipping out the corner of his mouth-- showing just how sloppy the kiss had been. You smiled and wiped his face off with your thumb, to which he grinned.

Gojo had this almost dazed and fucked out expression plastered across his handsome features. Meanwhile, you had a look of satisfaction.

The two of you stared deeply into each other's eyes, uncertainty, doubt, regret, love, passion, and a surplus of other emotions floating in the air between you two. It was easy for you to get lost in his eyes, easy for you to forget all he's done to you for a moment.

Hell, you could even picture what life would've been like for you if he'd stopped the list months ago. Perhaps the two of you would've dated, maybe you would've fallen for him and maybe the two of you would've lived happily ever after like some twisted fairytale.

But, instead, the two of you live in this twisted and awkward time where fate and reality have set all the pieces in place for you to hold nothing but hate in your heart for him. Even so, you reject holding only such an ill emotion-- never will you be able to look into Gojo Satoru's eyes the same after the day you've spent with him.

Something is wrong.

You don't know what it is and you probably won't ever find out but knowing that simple fact deters you from holding only ill intent.

"Can I uhm... say one last thing before you go up?" Gojo whispers, breaking you out of your thoughts.

Your faces are still close to one another and you nod your head.

"I cried like that because I've been feeling a lot of regret lately," He explains. Is he opening up to you right now? "I don't want you to pity me for it or feel sympathy for me because, trust me, I don't deserve it-, I don't deserve you."

"Satoru, how can you tell me not to sympathize with you after all that?" You ask, your voice filled with this sweetness and tenderness that he feels himself fall for even more, "I can't ignore-"

"I need you to." He says sternly, "Ignore it. I can't fix what I've done, sweets. A-And I'm not gonna try to. You're meant to be with someone who makes you unyieldingly happy and that will never be me." He sighs, brows tensing.

He looks so utterly distraught.

You can even tell he's trying to keep himself together, "Even if I explained it all to you and you were to somehow catch feelings for me and want to choose me over Choso, I-"

"Whatever you're about to say, you don't know that." You cut off, "You can't predict the future Satoru, any scenario you play out for me is nothing but an educated guess of what may happen but you truly don't know what'll occur if you just tell me the damn truth."

"The truth will undo everything I've worked for so far," Gojo claims.

You sigh heavily, "What does that even mean?"

"It won't make you happy, that's what I mean," He clarifies, "I can't make you happy, sweetheart. I wish I could but I can't. And the truth?" He scoffs a little, "Once I explain that all of hell will break loose."

"Satoru it can not be that bad, you're being dramatic-"

"I'm not." Gojo cuts off, his eyes deadly serious, "When you get the truth, I think you'll understand me but you definitely won't forgive me."

Your eyes narrow and you tip your head to the side, "Why don't you just tell me and find out, what's stopping you?"

"Fear." He claims.

For some reason, the slight shake in his voice brings that very emotion to you. Fear? What could Gojo Satoru have to fear?

You blink, "Of what-"

"Everything." Gojo says, his voice a tad bit louder, "I don't want to go down that path at all. I just want you to finish the list and go be with the man you love."

Do you even love that man? It's such a strong word... Maybe if Gojo had said what he just said a few weeks ago you would've said you loved Choso but now... Well, you haven't talked to him and even though he plagues your mind and heart often, you almost feel as though your feelings have faded.

That would probably change if Choso sent you even one text but the distance he's drawn between the two of you is solid. He made it very clear that unless you want a relationship, he doesn't want you around him. Choso feels so strongly around you that it hurts him to be in your presence and not be your boyfriend-- he explained that to you.

And naturally, you admire the way he avoided that toxic situation. But... it's also created some heafty dissipation of your feelings. Obviously, you think about him all the time but not talking to him does make you feel conflicted.

Do you love Choso? Do you like him? Is it just a crush? Has this one day with Gojo changed the way you think about everything and now you're sitting here confused about who you want and why you want them? Have you forgotten everything you've experienced with either man?

Choso made you happy beyond belief and Gojo has only brought you confusion.

But, Choso was also so much of a green flag that you were blind to his red ones. And Gojo was so much of a red flag that you didn't see the white one he held behind his back.

You remained quiet for too long and Gojo tilted his head at you, "Do you not?"

"H-Huh?" You stammer, breaking away from your mind.

"Do you not love Choso?" He asks.

"I don't know." You whisper.

The confusion of it all has officially gotten to you. You don't know anything anymore.

Gojo raises a curious brow, "Is it because you haven't seen him in a while?"

Your brows furrow, "N-No-"

"Winter break is just a month away," He tells you, "Maybe you should try to see him during that time."

A slight chuckle escapes your lips and you sigh, "It seems like you want me to get with Choso more than I want me to get with Choso."

"He makes you happy in ways I can't." Gojo points out, shrugging casually.

You scoff and words leave your lips faster than you intend them to, "That's not true."

"Sweetheart, I'm using you." Gojo emphasizes, "Stop forgetting that. Y-You..." He struggles to get this part out but he knows he has to. He has to create that distance between you and him, "You're nothing more than a t-"

"Don't." You cut off, shutting your eyes as your expression sours, "Don't you dare say something you know you'll regret even more, Satoru. C'mon now, we've been doing pretty good thus far but if you call me a fucking tool that's gonna fuck it all up-"

"That's what you are for me though." He cuts off. The claim didn't even sound right leaving his lips. His ability to be an asshole toward you has faded entirely.

"No, it's not." You argue back, opening your eyes and seeing his head turned away from you.

He swallows "Yes, it is-"

"Look me in the eyes and tell me I'm nothing more than a tool for you, then." You challenge, your gaze unwavering, "If that's the truth, look at me and say it."

Gojo struggles, refusing to meet your gaze, "You're-"

"I said look at me, Satoru." You emphasize.

He does, very slowly. "You... are nothing more... than a..." Gojo trails off, staring so intently into your eyes, losing himself, his mind, his breath, all of it as he can't even finish his statement properly.

"That's what the hell I thought," You utter, "Stop trying to make me hate you when I don't have to."

"You're supposed to," Gojo claims.

You don't know what that means. You don't know what any of it means. When will the confusion end? When will it all make sense? When will you get the chance to have a clear and focused mind??

A simple and unrelaxed sigh leaves you, "Okay."

"That's it? Just okay-"

"I don't know how to feel right now, Satoru." You huff out, turning away, "I don't understand anything and I hate not understanding shit. I don't know why you do the things you do, I don't know if I love Choso, I don't know if I still hate you, I don't know anything!" You rant, "I have so many fucking questions. There's too much going on and too little being explained to me and I can't take it anymore."

"I'm sorry, I really am-"

"That's all you ever are. Sorry sorry sorry sorry sorry sorry sorry, when does it end Satoru?" You whine, so beyond tired of it all, "When do I get to understand? When are you going to stop keeping me in the dark so that I can help you?"

"You can't help me," Gojo claims.

You grit your teeth, "You don't know that."

"Yes, I do." He argues.

"Earlier, you said we're the same. I didn't know what you meant, and I still don't but, if that's the case then the only person that can help you is me so, god damnit Satoru, let me in. Open up to me for fucks sake!"

He's like a damn wall, something that even you, his literal weakness, couldn't get through. Nothing you say will make him reveal the truth to you.

Gojo says your name in a chillingly calm tone, his eyes going all dull again, "I'll let you in when the time is right-"

"When?! When will the time be right?? When are you going to let me help you?"

"That's the fucking problem!" He snaps so suddenly that it almost frightens you. Just like that morning, it's another random outburst of anger, "That's why I'm in this damn mess, b-because of you. Y-You and your fucking kindness. You should hate me right now but here you are too busy trying to help me? To fucking understand me?"

"How can I not? This is your second time getting upset with me within the past twenty-four hours and you fucking cried into my arms! Am I really expected to ignore that?"

"Yes! About two months ago, you were hellbent on hating me but just because I shed some damn tears you're ready to fucking baby me? I don't need that from you, I don't need anything from you." He's so clearly rambling by this point, not even realizing what's coming out of his mouth, "I just want you to keep hating me like you always do." He continues, his voice angered to mask his hurt.

You go quiet for a minute and just listen to him.

"Stop trying to figure me out like I'm some damn puzzle. There's no problem for you to solve here; I need you to fuck people, not care about me. I need this list cleared, I need it to all just be over." He spits out, his voice wavering at the end, "T-That's all I need, sweetheart. Stop tryna' understand me, just finish the fucking list and let it be over-"

"Gojo Satoru," You cut him off, the use of his full name making him freeze. His mouth shuts like a trained dog and he feels as though his blood just ran still. "I'm not gonna stop trying to understand you because I'm in this mess with you, whether I like it or not. I've been paying attention to you all day, y'know that right?"

He simply shrugs, too frozen to even speak anymore.

You take a deep breath, calming your heightened nerves, "Even a blind man could see that something happened that triggered you recently. You've never blown up on me or broken down on me like today. And, dare I say, I think it was something from Sukuna's party that started all this."

He swallows, hard.

"Were you the one that called the cops?" You question.

"N-No," His voice is shaky but not because he's lying. He's nervous. "That uh, t-that was some guy who was pissed about getting knocked out, I think."

"Okay, so what happened while we separated, Satoru? Because you've been snappy and emotional ever since. First, you cursed me out about calling myself a whore, then you cried when I said I love the way you kiss me, and now you got mad at me because I want to understand and help you. So tell me, what happened?"

"...Nothing." He mumbles.

You stare at him with this look in your eyes, deciding to give him one last chance to tell you because you're so beyond tired of the stress his answers and mood swings are bringing you, "Are you sure? If you don't tell me now... I'm going upstairs. Then, I'm gonna finish the list and I'll go on with my life without caring anymore."

"I-I..." Gojo's heart sinks, the moment presented to him so perfect.

"This is your last, and final, chance to open up to me. Speak now," You sigh, "Or forever hold your peace."

His eyes soften, "I can't tell you."

You nod your head slowly, "Okay." You then turn away from him and look down to make sure you have all your things, "When you're ready to grow some balls and explain yourself, I'll be ready. But until then," You move to open the car door, "I'm done with this shit."

Your feet swing out the car and just as you're about to step out, he calls your name, making you freeze. Gojo can't tell you the truth but he means it honestly when he says, "I'm sorry for loving you."

You squeeze your eyes shut, "What does that apology do for me? Hm?"

"That's why you're in this mess." Gojo explains, just barely, "Because I stupidly fell for you, you're wrapped up in my bullshit."

"You're still confusing me." You point out.

"I'm not trying to explain it. I can only give you that as of right now. All of this is because I made the mistake of loving you and for that, I'm sorry."

"Okay." You hum, your voice small and exhausted, "Then," You turn around and meet his eyes one last time, "I forgive you."

"W-What-"

"For loving me, Satoru. It's not a crime," You say, mocking a comment he made to you earlier, "You're allowed to love me. So, for that, and that only, I forgive you."

Those words healed so many more wounds in his heart than you realized. It was like that was all he ever needed to hear. If Gojo's mistake was loving you and that's what caused this, then you forgive him.

If in some twisted way, his feelings started the list, you forgive him.

Deep down, you know the truth will be revealed someday but, you can't keep stressing yourself over it-- you're digging yourself into a hole and opening up doors that can't be closed. By some miracle, you could recognize that it was best you stopped asking all your questions and instead moved on.

That's all you can do; move on.

Complete the list.

Nothing else matters.

Free yourself from this cursed predicament and live your life.

That's what you want, that's what Gojo wants, that's what's needed.

Freedom.

GOJO SATORU ✔︎ 𝘛𝘳𝘶𝘦 𝘋𝘪𝘧𝘧𝘪𝘤𝘶𝘭𝘵𝘺: 𝙀𝙖𝙨𝙮

GETO SUGURU ✔︎ 𝘛𝘳𝘶𝘦 𝘋𝘪𝘧𝘧𝘪𝘤𝘶𝘭𝘵𝘺: 𝙀𝙖𝙨𝙮

TOJI FUSHIGURO ✔︎ 𝘛𝘳𝘶𝘦 𝘋𝘪𝘧𝘧𝘪𝘤𝘶𝘭𝘵𝘺: 𝙈𝙚𝙙𝙞𝙪𝙢

KAMO CHOSO ✔︎ 𝘛𝘳𝘶𝘦 𝘋𝘪𝘧𝘧𝘪𝘤𝘶𝘭𝘵𝘺: 𝙎𝙚𝙢𝙞-𝙈𝙚𝙙𝙞𝙪𝙢 / 𝙀𝙖𝙨𝙮

ZEN'IN NAOYA ✔︎ 𝘛𝘳𝘶𝘦 𝘋𝘪𝘧𝘧𝘪𝘤𝘶𝘭𝘵𝘺: 𝙀𝙭𝙩𝙧𝙚𝙢𝙚𝙡𝙮 𝙀𝙖𝙨𝙮

ITADORI SUKUNA ☐ 𝘛𝘳𝘶𝘦 𝘋𝘪𝘧𝘧𝘪𝘤𝘶𝘭𝘵𝘺: 𝙎𝙚𝙢𝙞-𝙀𝙖𝙨𝙮???

NANAMI KENTO ☐ 𝘛𝘳𝘶𝘦 𝘋𝘪𝘧𝘧𝘪𝘤𝘶𝘭𝘵𝘺: ???

mlist || previous chapt || next chpt

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youremyheaven · 21 days

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if you ever feel like its too late or that you cant make it, just remember:

Tina Turner went solo when she was 37 and it wasn't until she was 44 that she had her first big hit

Murakami was 30 years old when he published his first novel and he was 38 when he achieved a big breakthrough with Norwegian Wood. throughout his 20s he ran a jazz bar

Marina Abramovic lived with her mum until she was 29yrs old and the art she made only started receiving critical acclaim in her 40s.

Shah Rukh Khan made his debut at the age of 22 in a tv series. He made his film debut when he was 27 and the movie that established him as a leading actor came out a month before his 30th birthday

Ava DuVernay was a journalist & later worked in PR in her 20s and was 32 years old when she first picked up a camera. She was 39 when she made her feature film debut

Leonard Cohen did not put out his first album until he was 33 years old

Debbie Harry formed Blondie when she was 29

Lisa Kudrow was 31 years old and Courteney Cox was 30 when Friends premiered

Lana Del Rey was 27 when Born to Die came out

its never too late to start or turn your life around. you can be successful at any age<333

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queenshelby · 2 months

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The Director (Part One)

Pairing: Cillian Murphy x Reader

Warning: Infidelity

Characters:

Name: Y/N

Age: 29

Job: Second Assistant Director on the set of Oppenheimer

Personality: Strong-willed, caring, determined

Background: You come from a wealthy family in Hollywood but have to work hard to establish yourself in the film industry. You are a devoted mother to your two children and juggle your career with your responsibilities at home.

Name: Mara

Age: 7

Character Role: Your daughter

Appearance: Cute with curly brown hair and big, innocent eyes

Personality: Sweet, sensitive and very attached to you following her father’s death

Background: Mara is very close to you and looks up at you as a role model. Mara adores her older brother, Max, and enjoys spending time with your mother Lisa at her mansion in Hollywood. Mara has a split relationship with her stepfather James who is introduced below.

Name: Max

Age: 10

Character Role: Your son

Appearance: Energetic with messy blonde hair and mischievous blue eyes

Personality: Rebellious, challenging, protective of his family

Background: Max can be difficult at times, but he deeply cares for you and his sister. He struggles with his emotions due to the absence of his father and also has a split relationship with James. As a result, he often acts out.

Name: Bill

Age: 60

Job: Owner of one of Hollywood's biggest agencies for actors and musicians

Character Role: Your father, your mother’s ex-husband

Appearance: Distinguished with grey hair and sharp features

Personality: Business-minded, influential, protective

Background: Bill is a powerful figure in Hollywood, known for his connections and influence in the entertainment industry. He has always supported you in your career but lacks understanding when it comes to your troubled relationship with your husband James.

Name: James

Age: 31

Job: Hollywood Actor who has appeared in several supporting roles and mediocre movies

Appearance: Good looking with a charismatic smile

Personality: Arrogant, abusive, entitled

Background: James is a semi-famous actor with a privileged background, thanks to his father, Peter, who is the studio head of Universal Studios. His father always tries to get him leading roles in big productions but most directors do not like to work with him. He has acted in about twenty movies, in supporting roles or as a second lead due to his father’s influence. In the past, when he had met you, he enjoyed theatre productions and indies but after his first role in a Marvel Movie, it is only fame that interests him.

Name: Peter

Age: 65

Job: Studio head of Universal Studios

Character Role: James's father

Appearance: Imposing with a commanding presence, impeccably dressed

Personality: Arrogant, controlling, manipulative

Background: Peter holds a position of power in Hollywood and uses his influence to secure roles for his son, James. He is domineering and meddles in James's personal life, causing tension within the family dynamic.

Name: Cillian Murphy

Age: 46

Job: Actor

Background: Cillian is married to Danielle and has two adult children, one son and one daughter, both of whom are at university.

Intro Part

Driving through the busy streets of Los Angeles in your small Kia, you listened to your favorite playlist blasting from the speakers.

As usual, you were running behind schedule and the traffic seemed to agree with your tardiness today. As usual, it was horrendous, and you reconsidered whether or not avoiding public transport was really worth it.

Eventually, the stoplight turned green signaling it was now your turn to proceed forward onto the bustling boulevard ahead. The sun shimmered brilliantly overhead casting shadows across the pavement, creating a visual dance reminiscent of a dreamcatcher.

But then, out of nowhere, it happened – a collision so sudden and unexpected it left you startled and bewildered. Your perfectly planned school pick-up routine took a drastic twist and your heart raced as the reality sank in - you had just been involved in your first ever car accident.

Adrenaline surged through your veins making you feel alive, but also overwhelmed and, in those precious seconds, all your focus shifted towards assessing the damage to your car.

Stepping outside, your breath caught in your throat.

"I can't believe this!" you exclaimed as you eyed the damage to the side of your car. "What were you thinking, running that red light?" you pointed accusingly at the other driver, who seemed surprisingly calm and nonchalant about the situation.

Fuming with anger, you marched over to him, the frustration evident in every step. "What's wrong with you?" you shouted, barely containing the mixture of fear and rage coursing through your veins.

The other driver simply shrugged, his nonchalance sending a surge of disbelief through you. "Jesus, accidents happen. I didn't run into you on purpose. Despite, it is merely a scratch," he retorted with a heavy Irish accent, his tone infuriatingly dismissive and his lack of concern only fueled the fire of your indignation.

"Maybe it is just a scratch, but now I am fucking late for school pick-up because I have to deal with this crap," you raged, gesturing toward the damaged metal of your beloved Kia.

He raised an apologetic brow, acknowledging your inconvenience without offering further explanation.

"Look, let me give you the car-hire company's details. They will deal with the insurance claim. I took out extra cover," he began tentatively, reaching into his wallet and pulling out a card embossed with golden letters.

"Fuck, your car is a hire-car?" you asked incredulously, narrowing your eyes as you studied him more closely. This guy looked familiar somehow, but you couldn't quite place him.

"Yes, I am just visiting town," he replied, reading your confusion.

"Clearly!" you snapped, taking back control of yourself slightly before accepting the business card. "Now can I have your number too? Because those hire companies are awful to deal with and I need my car fixed as soon as possible," you said, glaring fiercely at him.

"Nice try, but no, I am not going to give you my number," the man then chuckled while clearly sensing your agitation.

"Are you serious? What kind of person refuses to provide their phone number after crashing into someone?" you demanded, growing increasingly irritated. "I mean, this wouldn't even be an issue if your stupid driving hadn’t caused this mess," you then spat and the blue-eyed stranger raised an imperious eyebrow, his pale face betraying no hint of emotion.

“Yes, I am serious. I am not giving you my number," he said, his voice firm and unfazed by your aggression, which is also when it hit you.

"Oh my god, you think that I am hitting on you?" you laughed sarcastically, attempting to cover up your growing anger by poking fun at him instead.

"Not precisely, but I don't know you and I don't know what you would do with my phone number if you had it," he responded matter-of-factly before asking you for a pen and paper. "I will give you my agent's number. If you have any problems with the car-hire company or my insurance, then you can give him a call," the stranger offered, finally breaking away from his stoicism.

"Your agent?" you chuckled skeptically, "Alright then, hand it over," you mused before you snatched the piece of paper from his hand, scrutinizing the contact information scribbled there with pursed lips.

"So, you are yet another big shot 'wanna be actor' here in Hollywood, huh?" you jeered sarcastically, unable to contain your amusement as he handed you the contact details of one of your father's competitors. Unless he was actually famous you thought, he should have given you his number simply for politeness sake.

"No, not quite," he corrected, cocking an eyebrow at you as he returned his gaze to the scratched front fender of your car. "But listen, I really have to go. I am late for a meeting," he interrupted, already reaching into his pocket for his keys.

"Oh, sure," you said, rolling your eyes. "I suppose I will be in touch with your agent then," you added with a hint of sarcasm.

"Listen, you can trust me," he assured you, flashing a smile that made his otherwise stern demeanor seem almost warm. "We will get your car fixed up," he assured you politely while you rolled your eyes.

"Yeah, right," you scoffed, still unconvinced.

"Hey, I promise I won't leave you hanging," he promised earnestly, extending a hand out to you.

Feeling a strange tug, you hesitated, but eventually placed your hand in his.

"I guess so," you sighed, releasing his grip and stepping back into your car, murmuring under your breath, calling him all sorts of names, before finally driving off.

To be continued...

Tags:

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#cillian murphy #cillian murphy smut #cillian murphy x you #cillian murphy x y/n #cillian murphy imagine #cillian murphy x reader

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chaoticace2005 · 2 months

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The list of regrets I totally have and am not just writing because Charlie is making me, Vagina Vaggie is glaring at me, and I want the free rent:

By Angel Dust, 3 time X-X-X award winner.

(Warning, there is some victim blaming in this. The abuse Angel faces from Val is not his fault, but given that I’m writing this from his perspective I figured it would be something he’d add.)

1. Writing this list

2. Verbally complaining about writing this list cause now Vagina wants to stab me.

3. Only taking half my usual hit before starting today.

4. Complaining about not being high enough.

5. Not hiding my drugs better

6. Not having more stashes of drugs

7. Calling TV superior to radio.

8. Not killing that snake before he had a chance to go to the hotel.

9. Not “trying hard enough” at this shitty hotel.

10. Being too close to roof so the CRAZY BITCH COULD THROW ME OFF OF IT.

11. Walking up the stairs with Pentious only to have to go IMMEDIATELY BACK DOWN.

12. Signing my deal with fucking Valentino. Seriously I’m a fucking idiot.

13. Even suggesting the idea that Charlie should come to the studio. She’s just going to get hurt.

14. Mouthing off to Val.

15. Not getting Charlie out of the hotel sooner

16. Being such a pathetic, dick sucking ho who isn’t good at anything beyond sex.

17. Not being able to take all of this.

18. Not acting well enough cause some this bitchass cat is seeing through me.

19. Ever offering that bitchass cat my services.

20. Pushing Husk’s boundaries

21. Not being my true self.

22. Acting for so long I don’t even really know who my true self is

23. Being a dick to Charlie

24. Being a dick to Husk

25. Being a dick to everyone

26. Putting my dick in a vacuum cleaner.

27. Calling Smiles a creepy dommy daddy.

28. Letting Niffty know about some of my more kinky films. She’s getting ideas…

29. Trying to play poker with Husk (and not even strip poker!)

30. Testing if my venom works on myself (it doesn’t and now I have pink bite marks)

31. Leaving what I used to clean my bites out because somehow Alastor found them and is now TEMPORARILY PARALYZED AND I DONT WANT HIM TO KILL ME WHEN HE CAN MOVE AGAIN.

32. Not answering Val’s texts.

33. Wearing boots. Seriously these things hurt sometimes.

34. Having ugly feet so I can’t NOT wear boots.

35. Tracking mud into the hotel

36. Mentioning sex around the Egg Bois because now I have to explain what it is.

37. Describing sex as something their boss “has never had,” it got back to Pentious and I’m scared.

38. Mentioning “Vox” anywhere in Alastor’s vicinity.

39. Agreeing to play Monopoly with Niffty. In general Monopoly sucks but Niffty likes to get knives involved?!?!

40. Getting addicted to drugs.

41. Getting caught in that alleyway by my BITCHASS brother.

42. Not trying harder for Molly.

43. Not saying goodbye.

44. Fucking overdosing.

45. Doing literally fucking nothing with my life and nothing with my death.

46. Taking the easy was out and doing whatever pops told me to

47. Yelling “FUCK” loudly in church that one time

48. Not teaching these people at the hotel how to FUCKING MAKE SPAGHETTI RIGHT?!

49. Getting high with Cherri.

50. Telling Val to “fuck off”

51. Flirting with that one cannibal guy because now they all seem to want to EAT ME (and not in the sexy way)

52. Leaving those pot brownies out. High cannibals, Egg Boiz, and Nifftys are terrifying.

53. Letting myself be named “Angel” because this makes shit too damn confusing plus I think Niffty wants to KILL ME?!

54. Not spending more time with these losers

55. Not opening myself up to Husk sooner.

56. Being too much of a coward to tell him how I feel.

57. Mentioning Pent has two dicks to Cherri cause she won’t stop asking about it.

58. Not doing enough to save Pentious.

59. Not telling him how much he means to me.

60. Trying to lift way more than I should have. Apparently six arms doesn’t mean I’m super strong.

61. Calling Niss a short motherfucker who nobody likes. I’m sorry, I’ll be better (and call him something even worse next time.)

62. Still being too much of a coward to tell Husk how I feel.

63. Flirting with Husk in Italian when he UNDERSTOOD ME THIS WHOLE DAMN TIME?!

64. Getting a room on the same side of the building as Alastor’s because he keeps laughing at 3 in the morning???

65. Kissing Husk in public. Val is mad.

66. Trying to even have a boyfriend with Val around. It’s stupid.

67. Calling yourself stupid for wanting to have a boyfriend.

68. Giving my boyfriend access to this list.

69. No regrets. Only 69. :D (Jesus Christ you’re a child.)

#tw: victim blaming #hazbin hotel #hazbin hotel memes #angel dust #angel dust hazbin hotel #huskerdust #arackniss #Molly #molly hazbin hotel #hazbin hotel husk #stupid hazbin hotel lists #husker hazbin hotel #hazbin husker #angel x husk #angelhusk #tw: valentino

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rhysdarbinizedarby · 5 months

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Couch surfer in his 30s. Oscar winner in his 40s. Why the whole world wants Taika

**Notes: This is very long post!**

Good Weekend

In his 30s, he was sleeping on couches. By his 40s, he’d directed a Kiwi classic, taken a Marvel movie to billion-dollar success, and won an Oscar. Meet Taika Waititi, king of the oddball – and one of New Zealand’s most original creative exports.

Taika Waititi: “Be a nice person and live a good life. And just don’t be an arsehole.”

The good news? Taika Waititi is still alive. I wasn’t sure. The screen we were speaking through jolted savagely a few minutes ago, with a cacophonous bang and a confused yelp, then radio silence. Now the Kiwi filmmaker is back, grinning like a loon: “I just broke the f---ing table, bro!”

Come again? “I just smashed this f---ing table and glass flew everywhere. It’s one of those old annoying colonial tables. It goes like this – see that?” Waititi says, holding up a folding furniture leg. “I hit the mechanism and it wasn’t locked. Anyway …”

I’m glad he’s fine. The stuff he’s been saying from his London hotel room could incur biblical wrath. We’re talking about his latest project, Next Goal Wins, a movie about the American Samoa soccer team’s quest to score a solitary goal, 10 years after suffering the worst loss in the game’s international history – a 31-0 ignominy to Australia – but our chat strays into spirituality, then faith, then religion.

“I don’t personally believe in a big guy sitting on a cloud judging everyone, but that’s just me,” Waititi says, deadpan. “Because I’m a grown-up.”

This is the way his interview answers often unfold. Waititi addresses your topic – dogma turns good people bad, he says, yet belief itself is worth lauding – but bookends every response with a conspiratorial nudge, wink, joke or poke. “Regardless of whether it’s some guy living on a cloud, or some other deity that you’ve made up – and they’re all made up – the message across the board is the same, and it’s important: Be a nice person, and live a good life. And just don’t be an arsehole!”

Not being an arsehole seems to have served Waititi, 48, well. Once a national treasure and indie darling (through the quirky tenderness of his breakout New Zealand films Boy in 2010 and Hunt for the Wilderpeople in 2016), Waititi then became a star of both the global box office (through his 2017 entry into the Marvel Universe, Thor: Ragnarok, which grossed more than $1.3 billion worldwide) and then the Academy Awards (winning the 2020 best adapted screenplay Oscar for his subversive Holocaust dramedy JoJo Rabbit, in which he played an imaginary Hitler).

Waititi playing Adolf Hitler in the 2019 movie JoJo Rabbit. (Alamy)

A handsome devil with undeniable roguish charm, Waititi also slid seamlessly into style-icon status (attending this year’s Met Gala shirtless, in a floor-length gunmetal-grey Atelier Prabal Gurung wrap coat, with pendulous pearl necklaces), as well as becoming his own brand (releasing an eponymous line of canned coffee drinks) and bona fide Hollywood A-lister (he was introduced to his second wife, British singer Rita Ora, by actor Robert Pattinson at a barbecue).

Putting that platform to use, Waititi is an Indigenous pioneer and mentor, too, co-creating the critically acclaimed TV series Reservation Dogs, while co-founding the Piki Films production company, committed to promoting the next generation of storytellers – a mission that might sound all weighty and worthy, yet Waititi’s new wave of First Nations work is never earnest, always mixing hurt with heart and howling humour.

Waititi with wife Rita Ora at the 2023 Met Gala in May. (Getty Images)

Makes sense. Waititi is a byproduct of “the weirdest coupling ever” – his late Maori father from the Te Whanau-a-Apanui tribe was an artist, farmer and “Satan’s Slaves” bikie gang founder, while his Wellington schoolteacher mum descended from Russian Jews, although he’s not devout about her faith. (“No, I don’t practise,” he confirms. “I’m just good at everything, straight away.”)

He’s remained loyally tethered to his origin story, too – and to a cadre of creative Kiwi mates, including actors Jemaine Clement and Rhys Darby – never forgetting that not long before the actor/writer/producer/director was an industry maven, he was a penniless painter/photographer/ musician/comedian.

With no set title and no fixed address, he’s seemingly happy to be everything, everywhere (to everyone) all at once. “‘The universe’ is bandied around a lot these days, but I do believe in the kind of connective tissue of the universe, and the energy that – scientifically – we are made up of a bunch of atoms that are bouncing around off each other, and some of the atoms are just squished together a bit tighter than others,” he says, smiling. “We’re all made of the same stardust, and that’s pretty special.”

-----------------------------------------------

We’ve caught Waititi in a somewhat relaxed moment, right before the screen actors’ and media artists’ strike ends. He’s sensitive to the struggle but doesn’t deny enjoying the break. “I spent a lot of time thinking about writing, and not writing, and having a nice holiday,” he tells Good Weekend. “Honestly, it was a good chance just to recombobulate.”

Waititi, at right, with Hunt for the Wilderpeople actors, from left, Sam Neill, Rhys Darby and Julian Dennison. (Getty Images)

It’s mid-October, and he’s just headed to Paris to watch his beloved All Blacks in the Rugby World Cup. He’s deeply obsessed with the game, and sport in general. “Humans spend all of our time knowing what’s going to happen with our day. There’s no surprises any more. We’ve become quite stagnant. And I think that’s why people love sport, because of the air of unpredictability,” he says. “It’s the last great arena entertainment.”

The main filmic touchstone for Next Goal Wins (which premieres in Australian cinemas on New Year’s Day) would be Cool Runnings (1993), the unlikely true story of a Jamaican bobsled team, but Waititi also draws from genre classics such as Any Given Sunday and Rocky, sampling trusted tropes like the musical training montage. (His best one is set to Everybody Wants to Rule the World by Tears for Fears.)

Filming in Hawaii was an uplifting experience for the self-described Polynesian Jew. “It wasn’t about death, or people being cruel to each other. Thematically, it was this simple idea, of getting a small win, and winning the game wasn’t even their goal – their goal was to get a goal,” he says. “It was a really sweet backbone.”

Waititi understands this because, growing up, he was as much an athlete as a nerd, fooling around with softball and soccer before discovering rugby league, then union. “There’s something about doing exercise when you don’t know you’re doing exercise,” he enthuses. “It’s all about the fun of throwing a ball around and trying to achieve something together.” (Whenever Waititi is in Auckland he joins his mates in a long-running weekend game of touch rugby. “And then throughout the week I work out every day. Obviously. I mean, look at me.”)

Auckland is where his kids live, too, so he spends as much time there as possible. Waititi met his first wife, producer Chelsea Winstanley, on the set of Boy in 2010, and they had two daughters, Matewa Kiritapu, 8, and his firstborn, Te Kainga O’Te Hinekahu, 11. (The latter is a derivative of his grandmother’s name, but he jokes with American friends that it means “Resurrection of Tupac” or “Mazda RX7″) Waititi and Winstanley split in about 2018, and he married the pop star Ora in 2022.

He offers a novel method for balancing work with parenthood … “Look, you just abandon them, and know that the experience will make them harder individuals later on in life. And it’s their problem,” he says. “I’m going to give them all of the things that they need, and I’m going to leave behind a decent bank account for their therapy, and they will be just like me, and the cycle will continue.”

Jokes aside – I think he’s joking – school holidays are always his, and he brings the girls onto the set of every movie he makes. “They know enough not to get in the way or touch anything that looks like it could kill you, and they know to be respectful and quiet when they need to. But they’re just very comfortable around filmmakers, which I’m really happy about, because eventually I hope they will get into the industry. One more year,” he laughs, “then they can leave school and come work for Dad.”

Theirs is certainly a different childhood than his. Growing up, he was a product of two worlds. His given names, for instance, were based on his appearance at birth: “Taika David” if he looked Maori (after his Maori grandfather) and “David Taika” if he looked Pakeha (after his white grandfather). His parents split when he was five, so he bounced between his dad’s place in Waihau Bay, where he went by the surname Waititi, and his mum, eight hours drive away in Wellington, where he went by Cohen (the last name on his birth certificate and passport).

Waititi was precocious, even charismatic. His mother Robin once told Radio New Zealand that people always wanted to know him, even as an infant: “I’d be on a bus with him, and he was that kind of baby who smiled at people, and next thing you know they’re saying, ‘Can I hold your baby?’ He’s always been a charmer to the public eye.”

He describes himself as a cool, sporty, good-looking nerd, raised on whatever pop culture screened on the two TV channels New Zealand offered in the early 1980s, from M*A*S*H and Taxi to Eddie Murphy and Michael Jackson. He was well-read, too. When punished by his mum, he would likely be forced to analyse a set of William Blake poems.

He puts on a whimpering voice to describe their finances – “We didn’t have much monneeey” – explaining how his mum spent her days in the classroom but also worked in pubs, where he would sit sipping a raspberry lemonade, doodling drawings and writing stories. She took in ironing and cleaned houses; he would help out, learning valuable lessons he imparts to his kids. “And to random people who come to my house,” he says. “I’ll say, ‘Here’s a novel idea, wash this dish,’ but people don’t know how to do anything these days.”

“Every single character I’ve ever written has been based on someone I’ve known or met or a story I’ve stolen from someone.” - Taika Waititi

He loved entertaining others, clearly, but also himself, recording little improvised radio plays on a tape deck – his own offbeat versions of ET and Indiana Jones and Star Wars. “Great free stuff where you don’t have any idea what the story is as you’re doing it,” he says. “You’re just sort of making it up and enjoying the freedom of playing god in this world where you can make people and characters do whatever you want.”

His other sphere of influence lay in Raukokore, the tiny town where his father lived. Although Boy is not autobiographical, it’s deeply personal insofar as it’s filmed in the house where he grew up, and where he lived a life similar to that portrayed in the story, surrounded by his recurring archetypes: warm grandmothers and worldly kids; staunch, stoic mums; and silly, stunted men. “Every single character I’ve ever written has been based on someone I’ve known or met,” he says, “or a story I’ve stolen from someone.”

He grew to love drawing and painting, obsessed early on with reproducing the Sistine Chapel. During a 2011 TED Talk on creativity, Waititi describes his odd subject matter, from swastikas and fawns to a picture of an old lady going for a walk … upon a sword … with Robocop. “My father was an outsider artist, even though he wouldn’t know what that meant,” Waititi told the audience in Doha. “I love the naive. I love people who can see things through an innocent viewpoint. It’s inspiring.”

After winning Best Adapted Screenplay Academy Award for JoJo Rabbit in 2020. (Getty Images)

It was an interesting time in New Zealand, too – a coming-of-age decade in which the Maori were rediscovering their culture. His area was poor, “but only financially,” he says. “It’s very rich in terms of the people and the culture.” He learned kapa haka – the songs, dances and chants performed by competing tribes at cultural events, or to honour people at funerals and graduations – weddings, parties, anything. “Man, any excuse,” he explains. “A big part of doing them is to uplift your spirits.”

Photography was a passion, so I ask what he shot. “Just my penis. I sent them to people, but we didn’t have phones, so I would print them out, post them. One of the first dick pics,” he says. Actually, his lens was trained on regular people. He watches us still – in airports, restaurants. “Other times late at night, from a tree. Whatever it takes to get the story. You know that.”

He went to the Wellington state school Onslow College and did plays like Androcles and the Lion, A Midsummer Night’s Dream and The Crucible. His crew of arty students eventually ended up on stage at Bats Theatre in the city, where they would perform haphazard comedy shows for years.

“Taika was always rebellious and wild in his comedy, which I loved,” says his high school mate Jackie van Beek, who became a longtime collaborator, including working with Waititi on a Tourism New Zealand campaign this year. “I remember he went through a phase of turning up in bars around town wearing wigs, and you’d try and sit down and have a drink with him but he’d be doing some weird character that would invariably turn up in some show down the track.”

He met more like-minded peers at Victoria University, including Jemaine Clement (who’d later become co-creator of Flight of the Conchords). During a 2019 chat with actor Elijah Wood, Waititi describes he and Clement clocking one another from opposite sides of the library one day: a pair of Maoris experiencing hate at first sight, based on a mutual suspicion of cultural appropriation. (Clement was wearing a traditional tapa cloth Samoan shirt, and Waititi was like: “This motherf---er’s not Samoan.” Meanwhile, Waititi was wearing a Rastafarian beanie, and Clement was like, “This motherf---er’s not Jamaican.”)

With Jemaine Clement in 2014. (Getty Images)

But they eventually bonded over Blackadder and Fawlty Towers, and especially Kenny Everett, and did comedy shows together everywhere from Edinburgh to Melbourne. Waititi was almost itinerant, spending months at a time busking, or living in a commune in Berlin. He acted in a few small films, and then – while playing a stripper on a bad TV show – realised he wanted to try life behind the camera. “I became tired of being told what to do and ordered around,” he told Wellington’s Dominion Post in 2004. “I remember sitting around in the green room in my G-string thinking, ‘Why am I doing this? Just helping someone else to realise their dream.’ ”

He did two strong short films, then directed his first feature – Eagle vs Shark (2007) – when he was 32. He brought his mates along (Clement, starring with Waititi’s then-girlfriend Loren Horsley), setting something of a pattern in his career: hiring friends instead of constantly navigating new working relationships. “If you look at things I’m doing,” he tells me, “there’s always a few common denominators.”

Sam Neill says Waititi is the exemplar of a new New Zealand humour. “The basis of it is this: we’re just a little bit crap at things.”

This gang of collaborators shares a common Kiwi vibe, too, which his longtime friend, actor Rhys Darby, once coined “the comedy of the mundane”. Their new TV show, Our Flag Means Death, for example, leans heavily into the mundanity of pirate life – what happens on those long days at sea when the crew aren’t unsheathing swords from scabbards or burying treasure.

Waititi plays pirate captain Blackbeard, centre, in Our Flag Means Death, with Rhys Darby, left, and Rory Kinnear. (Google Images)

Sam Neill, who first met Waititi when starring in Hunt for the Wilderpeople, says Waititi is the exemplar of a new New Zealand humour. “And I think the basis of it is this,” says Neill. “We’re just a little bit crap at things, and that in itself is funny.” After all, Neill asks, what is What We Do in The Shadows (2014) if not a film (then later a TV show) about a bunch of vampires who are pretty crap at being vampires, living in a pretty crappy house, not quite getting busted by crappy local cops? “New Zealand often gets named as the least corrupt country in the world, and I think it’s just that we would be pretty crap at being corrupt,” Neill says. “We don’t have the capacity for it.”

Waititi’s whimsy also spurns the dominant on-screen oeuvre of his homeland – the so-called “cinema of unease” exemplified by the brutality of Once Were Warriors (1994) and the emotional peril of The Piano (1993). Waititi still explores pathos and pain, but through laughter and weirdness. “Taika feels to me like an antidote to that dark aspect, and a gift somehow,” Neill says. “And I’m grateful for that.”

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Something happened to Taika Waititi when he was about 11 – something he doesn’t go into with Good Weekend, but which he considered a betrayal by the adults in his life. He mentioned it only recently – not the moment itself, but the lesson he learnt: “That you cannot and must not rely on grown-ups to help you – you’re basically in the world alone, and you’re gonna die alone, and you’ve just gotta make it all for yourself,” he told Irish podcast host James Brown. “I basically never forgave people in positions of responsibility.”

What does that mean in his work? First, his finest films tend to reflect the clarity of mind possessed by children, and the unseen worlds they create – fantasies conjured up as a way to understand or overcome. (His mum once summed up the main message of Boy: “The unconditional love you get from your children, and how many of us waste that, and don’t know what we’ve got.”)

Second, he’s suited to movie-making – “Russian roulette with art” – because he’s drawn to disruptive force and chaos. And that in turn produces creative defiance: allowing him to reinvigorate the Marvel Universe by making superheroes fallible, or tell a Holocaust story by making fun of Hitler. “Whenever I have to deal with someone who’s a boss, or in charge, I challenge them,” he told Brown, “and I really do take whatever they say with a pinch of salt.”

It’s no surprise then that Waititi was comfortable leaping from independent films to the vast complexity of Hollywood blockbusters. He loves the challenge of coordinating a thousand interlocking parts, requiring an army of experts in vocations as diverse as construction, sound, art, performance and logistics. “I delegate a lot,” he says, “and share the load with a lot of people.”

“This is a cool concept, being able to afford whatever I want, as opposed to sleeping on couches until I was 35.” - Taika Waititi

But the buck stops with him. Time magazine named Waititi one of its Most Influential 100 People of 2022. “You can tell that a film was made by Taika Waititi the same way you can tell a piece was painted by Picasso,” wrote Sacha Baron Cohen. Compassionate but comic. Satirical but watchable. Rockstar but auteur. “Actually, sorry, but this guy’s really starting to piss me off,” Cohen concluded. “Can someone else write this piece?”

Directing Chris Hemsworth in 2017 in Thor: Ragnarok, which grossed more than $1.3 billion at the box office. (Alamy)

I’m curious to know how he stays grounded amid such adulation. Coming into the game late, he says, helped immensely. After all, Waititi was 40 by the time he left New Zealand to do Thor: Ragnarok. “If you let things go to your head, then it means you’ve struggled to find out who you are,” he says. “But I’ve always felt very comfortable with who I am.” Hollywood access and acclaim – and the pay cheques – don’t erase memories of poverty, either. “It’s more like, ‘Oh, this is a cool concept, being able to afford whatever I want, as opposed to sleeping on couches until I was 35.’ ” Small towns and strong tribes keep him in check, too. “You know you can’t piss around and be a fool, because you’re going to embarrass your family,” he says. “Hasn’t stopped me, though.”

Sam Neill says there was never any doubt Waititi would be able to steer a major movie with energy and imagination. “It’s no accident that the whole world wants Taika,” he says. “But his seductiveness comes with its own dangers. You can spread yourself a bit thin. The temptation will be to do more, more, more. That’ll be interesting to watch.”

Indeed, I find myself vicariously stressed out over the list of potential projects in Waititi’s future. A Roald Dahl animated series for Netflix. An Apple TV show based on the 1981 film Time Bandits. A sequel to What We Do In The Shadows. A reboot of Flash Gordon. A gonzo horror comedy, The Auteur, starring Jude Law. Adapting a cult graphic novel, The Incal, as a feature. A streaming series based on the novel Interior Chinatown. A film based on a Kazuo Ishiguro bestseller. Plus bringing to life the wildly popular Akira comic books. Oh, and for good measure, a new instalment of Star Wars, which he’s already warned the world will be … different.

“It’s going to change things,” he told Good Morning America. “It’s going to change what you guys know and expect.”

Did I say I was stressed for Waititi? I meant physically sick.

“Well…” he qualifies, “some of those things I’m just producing, so I come up with an idea or someone comes to me with an idea, and I shape how ‘it’s this kind of show’ and ‘here’s how we can get it made.’ It’s easier for me to have a part in those things and feel like I’ve had a meaningful role in the creative process, but also not having to do what I’ve always done, which is trying to control everything.”

In the 2014 mockumentary horror film What We Do in the Shadows, which he co-directed with Jemaine Clement. (Alamy)

What about moving away from the niche New Zealand settings he represented so well in his early work? How does he stay connected to his roots? “I think you just need to know where you’re from,” he says, “and just don’t forget that.”

They certainly haven’t forgotten him.

Jasmin McSweeney sits in her office at the New Zealand Film Commission in Wellington, surrounded by promotional posters Waititi signed for her two decades ago, when she was tasked with promoting his nascent talent. Now the organisation’s marketing chief, she talks to me after visiting the heart of thriving “Wellywood”, overseeing the traditional karakia prayer on the set of a new movie starring Geoffrey Rush.

Waititi isn’t the first great Kiwi filmmaker – dual Oscar-winner Jane Campion and blockbuster king Peter Jackson come to mind – yet his particular ascendance, she says, has spurred unparalleled enthusiasm. “Taika gave everyone here confidence. He always says, ‘Don’t sit around waiting for people to say, you can do this.’ Just do it, because he just did it. That’s the Taika effect.”

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Taika David Waititi is known for wearing everything from technicolour dreamcoats to pineapple print rompers, and today he’s wearing a roomy teal and white Isabel Marant jumper. The mohair garment has the same wispy frizz as his hair, which curls like a wave of grey steel wool, and connects with a shorn salty beard.

A stylish silver fox, it wouldn’t surprise anyone if he suddenly announced he was launching a fashion label. He’s definitely a commercial animal, to the point of directing television commercials for Coke and Amazon, along with a fabulous 2023 spot for Belvedere vodka starring Daniel Craig. He also joined forces with a beverage company in Finland (where “taika” means “magic”) to release his coffee drinks. Announcing the partnership on social media, he flagged that he would be doing more of this kind of stuff, too (“Soz not soz”).

Waititi has long been sick of reverent portrayals of Indigenous people talking to spirits.

There’s substance behind the swank. Fashion is a creative outlet but he’s also bought sewing machines in the past with the intention of designing and making clothes, and comes from a family of tailors. “I learnt how to sew a button on when I was very young,” he says. “I learnt how to fix holes or patches in your clothes, and darn things.”

And while he gallivants around the globe watching Wimbledon or modelling for Hermès at New York Fashion Week, all that glamour belies a depth of purpose, particularly when it comes to Indigenous representation.

There’s a moment in his new movie where a Samoan player realises that their Dutch coach, played by Michael Fassbender, is emotionally struggling, and he offers a lament for white people: “They need us.” I can’t help but think Waititi meant something more by that line – maybe that First Nations people have wisdom to offer if others will just listen?

“Weeelllll, a little bit …” he says – but from his intonation, and what he says next, I’m dead wrong. Waititi has long been sick of reverent portrayals of Indigenous people talking to kehua (spirits), or riding a ghost waka (phantom canoe), or playing a flute on a mountain. “Always the boring characters,” he says. “They’ve got no real contemporary relationship with the world, because they’re always living in the past in their spiritual ways.”

A scene from Next Goal Wins, filmed earlier this year. (Alamy)

He’s part of a vanguard consciously poking fun at those stereotypes. Another is the Navajo writer and director Billy Luther, who met Waititi at Sundance Film Festival back in 2003, along with Reservation Dogs co-creator Sterlin Harjo. “We were this group of outsiders trying to make films, when nobody was really biting,” says Luther. “It was a different time. The really cool thing about it now is we’re all working. We persevered. We didn’t give up. We slept on each other’s couches and hung out. It’s like family.”

Waititi has power now, and is known for using Indigenous interns wherever possible (“because there weren’t those opportunities when I was growing up”), making important introductions, offering feedback on scripts, and lending his name to projects through executive producer credits, too, which he did for Luther’s new feature film, Frybread Face and Me (2023).

He called Luther back from the set of Thor: Love and Thunder (2022) to offer advice on working with child actors – “Don’t box them into the characters you’ve created,” he said, “let them naturally figure it out on their own” – but it’s definitely harder to get Waititi on the phone these days. “He’s a little bitch,” Luther says, laughing. “Nah, there’s nothing like him. He’s a genius. You just knew he was going to be something. I just knew it. He’s my brother.“

I’ve been asked to explicitly avoid political questions in this interview, probably because Waititi tends to back so many causes, from child poverty and teenage suicide to a campaign protesting offshore gas and oil exploration near his tribal lands. But it’s hard to ignore his recent Instagram post, sharing a viral video about the Voice to Parliament referendum starring Indigenous Aussie rapper Adam Briggs. After all, we speak only two days after the proposal is defeated. “Yeah, sad to say but, Australia, you really shat the bed on that one,” Waititi says, pausing. “But go see my movie!”

About that movie – the early reviews aren’t great. IndieWire called it a misfire, too wrapped in its quirks to develop its arcs, with Waititi’s directorial voice drowning out his characters, while The Guardian called it “a shoddily made and strikingly unfunny attempt to tell an interesting story in an uninteresting way”. I want to know how he moves past that kind of criticism. “For a start, I never read reviews,” he says, concerned only with the opinion of people who paid for admission, never professional appraisals. “It’s not important to me. I know I’m good at what I do.”

Criticism that Indigenous concepts weren’t sufficiently explained in Next Goal Wins gets his back up a little, though. The film’s protagonist, Jaiyah Saelua, the first transgender football player in a FIFA World Cup qualifying match, is fa’afafine – an American Samoan identifier for someone with fluid genders – but there wasn’t much exposition of this concept in the film. “That’s not my job,” Waititi says. “It’s not a movie where I have to explain every facet of Samoan culture to an audience. Our job is to retain our culture, and present a story that’s inherently Polynesian, and if you don’t like it, you can go and watch any number of those other movies out there, 99 per cent of which are terrible.”

*notes: (there is video clip in the article)

Waititi sounds momentarily cranky, but he’s mostly unflappable and hilarious. He’s the kind of guy who prefers “Correctumundo bro!” to “Yes”. When our video connection is too laggy, he plays up to it by periodically pretending to be frozen, sitting perfectly still, mouth open, his big shifting eyeballs the only giveaway.

He’s at his best on set. Saelua sat next to him in Honolulu while filming the joyous soccer sequences. “He’s so chill. He just let the actors do their thing, giving them creative freedom, barely interjecting unless it was something important. His style matches the vibe of the Pacific people. We’re a very funny people. We like to laugh. He just fit perfectly.”

People do seem to love working alongside him, citing his ability to make productions fresh and unpredictable and funny. Chris Hemsworth once said that Waititi’s favourite gag is to “forget” that his microphone is switched on, so he can go on a pantomime rant for all to hear – usually about his disastrous Australian lead actor – only to “remember” that he’s wired and the whole crew is listening.

“I wouldn’t know about that, because I don’t listen to what other people say about anything – I’ve told you this,” Waititi says. “I just try to have fun when there’s time to have fun. And when you do that, and you bring people together, they’re more willing to go the extra mile for you, and they’re more willing to believe in the thing that you’re trying to do.”

Yes, he plays music between takes, and dances out of his director’s chair, but it’s really all about relaxing amid the immense pressure and intense privilege of making movies. “Do you know how hard it is just to get anything financed or green-lit, then getting a crew, getting producers to put all the pieces together, and then making it to set?” Waititi asks. “It’s a real gift, even to be working, and I feel like I have to remind people of that: enjoy this moment.”

Source: The Age

By: Konrad Marshall (December 1, 2023)

#rhys darby #taika waititi #next goal wins #our flag means death #hunt for the wilderpeople #interview

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b4tasquad · 10 months

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NEEDY: NIKO OMILANA

Authors note: based on this request. Forgot to reply to it and didn’t realise til I was done🙄 but anyways… a little heated guys.

Warnings: making out! Touching! Dry humping and two horny bitches. Minors dni

…

The entire day had passed by in a blur, the countless errands you had to run keeping you transfixed on getting everything done. For the past 5 hours, you had practically ignored everything else, which also meant your boyfriend.

Finally, once you’ve gotten comfortable in the comfort of your own flat, you let yourself relax into the soft pillows littered around your couch. Your phone which had been on do not disturb came back to life again, showing you the amount of messages you had received from Niko.

Niko:

Babe

Bae

Hello?

The one time I’m in a crisis you decide not to be on your phone??? Really.

The fact that you have on do not disturb knowing damn well I’m hitting that ‘notify anyway’ button is too funny🤣

5:31 pm

Niko:

Babyyyyy

Where are you????

I’m so fucking bored

Aj won’t stop waffling in my ear about shit I couldn’t care less about😐😐 like bro I don’t give a fuck where you like it

5:52 pm

Niko:

It’s really hot in here

And I’m not feeling to week yk

Please come… help me?

6:39 pm

With his last text being half an hour earlier, you opt to call him, feeling bad for not being available sooner. The phone hasn’t even started ringing properly when Niko picks up.

“Love, what’s wrong with you?” Is the first thing you say, just choosing to be straightforward about it instead of beating round the bush.

For some reason, he swerves your question. “You need to come over here, like right now.” His words are a whisper, which reminds you he should be in the middle of a shoot. At your lack of answer, he impatiently prods for an answer. “Y/n?”

“Shouldn’t you be doing a shoot?” You pick up the remote, getting ready to stay in after talking your boyfriend out of his so-called boredom. “Niko get back to that.”

“No, baby, you don’t get it.” He whines quietly, aware the boys around him would never let him live it down if they heard. Luckily, they were speaking with the camera crew, allowing Niko to be as annoying as he wanted.

“Then give me a good enough reason to get out of my comfy couch, because it’s not looking good for you.” You rest even deeper down in the edge of the cushion, confident he wouldn’t win. “3…2…”

At the sound of the countdown you can hear Niko huff a breath of air, something he did when annoyed. “Seriously?”

“1…..”

“Okay!” He also mutters something under his breath but relaxes. “I need you.”

You would laugh and ask him what his vague words meant if his tone didn’t speak for him. Having known Niko for as long as you did, there was no question about what he meant. You gazed at the clock over your living room walls, contemplating what to do.

“I’ll be there in 10.”

He quickly thanks you, letting you know he had to get back to filming before hanging up. You run a hand through your hair, laughing a little at yourself.

“Imagine being so horny oh my days.”

But there’s no conflict on what to do. Niko’s begging has done something to you, and the need for his touch is everything you can focus on as you get into your car and drive to your boyfriend’s location. It wasn’t often Niko would be willing to beg that much if the two of you weren’t hidden by the comfort of your bedroom walls, but it seemed as today was an exception .

Walking into the all too familiar place you had been to countless times before, you make your way to the room they always shot at. Niko’s eyes met yours the second you stand outside the open door, and he was quick to smile. He’s quiet as the camera’s moving but when they stop for a second, he comes up to you, hands snaking around your waist.

Having missed Niko, you hug him with as much eagerness, placing a chaste kiss on his neck. You can hear them calling for him, but Niko can’t help himself. Taking hold of your jaw, he connects your lips quickly. You’ve only registered what he’s doing when your boyfriend pulls back again.

“Wait 15 minutes, and I’ll make it worth it.”

“Eh, Niko!” Chunkz calls from his seat across the room. “ Keep it pg 13 for the kids around.”

Sharky puts his hands over Aj’s eyes, and Kenny cackles from his spot beside them. Pushing away the hands, Aj rolls his eyes.

“Let’s do that filming again, thank you.”

The 15 minutes were long and painful. You almost couldn’t watch your boyfriend from the sidelines, every move or word he spoke intensifying the warm feeling in the pit of your stomach. He seemed to have noticed because just a few minutes into you being here, he kept looking at you. Sending you looks far from innocent.

You’re scrolling on your phone, bored when the boys are told they can take a quick break. Niko stands up with a subtle grin, as he talks to Sharky about something, but his eyes are on you, making you excited to get him alone.

Your back hits the wall with such force you're about to complain, but Niko silences you with his exploring mouth. He kisses your body with such intensity, you find yourself not even just breathless, but also speechless. There are no words you can use to even paint a faint picture of how you’re feeling.

“I’ve been waiting for this… all day,” Niko says in between kisses, his lips moving from your neck to your mouth.

Kissing him back with as much energy is hard as you already feel dizzy. His height gives him such an advantage that you can’t compete with. Seeing your struggle, Niko lifts you up your legs coming to cross behind his back. He continues kissing you, but now with the addition of rubbing himself against your body.

His actions leave you whining, something he can’t help but groan at. Niko had always loved hearing your response to his actions, it gave him confidence that he wasn’t the only one enjoying it.

“Wait.” You slightly lean away from the kiss, but Niko only continues to kiss down the side of your neck. “Niko.”

“Hmm?”

“Sit down.”

Quirking his eyebrows, he lets you down, taking a seat on the desk. You were unsure what kind of room the two of you had ended up in, but seeing the amount of clutter you could only guess it was some sort of storage place. You had noticed the desk somewhere in between stumbling into the room, and Niko kissing you senseless.

Climbing onto him, you put your hands around his exposed neck. Niko’s hands roam your body as much as he can, hands slipping into your pants to kneed the soft flesh of your ass. You moan slightly as he also gives it a quick slap, wishing more than ever that he would fill you up.

“Niko.” You start, dragging your body over his clothed thighs with the help of his hands on your ass to move you. He doesn’t let you speak, instead, he pulls you into a hard kiss but still continues to move you.

No clothes were off yet, but there was no need because your boyfriend knew exactly how to get you there. He slips one of his hands out of your pants, Instead using it to pull at your hair and make you look at him. “I told you I’d make it worth it, yeah?”

Then he dives into another lustful kiss, continuing to drive you crazy for the rest of the little time you had before someone got overly suspicious.

#niko omilana #niko omilana x reader #beta squad #✭b4tasquad speaks #fiction #Niko omilana x you #Chunkz #AJ shabeel #sharky #Kenny

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365days365movies · 2 years

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31 (Films) to Life: Once Upon a Time in America (1984) - Recap: Part Two

There’s still so...so much more movie to review.

So, to hell with it; no navel gazing, let’s get back into it!

SPOILERS AHEAD!!! Check out Part One for more!

Recap: Part Two

Back to old Noodles, at the Riverdale mausoleum that holds his old friends. And at this point, I have to say…why is the score composed of a pan-flute? Like…that’s definitely a pan-flute, right? It’s iconic and noticeable, but…why a pan-flute? Anyway, when he goes there, he finds that it’s been erected…by him? Ah, but this is a message, as a key is hanging from that placard, leading to the old locker they kept their money in as children. And lo and behold, it’s a briefcase full of money, labeled as an advance payment for his “next job”? The plot thickens.

Old Noodles walks through downtown, as a Frisbee unexpectedly flies towards him AND…back to 1930, and Noodles is released from prison. He’s greeted by a now adult Max (James Woods), complete with a hearse for his transport, and a sex worker in the back for…well, you know why, They head to Fat Moe’s, now a speakeasy run by the gang, who’ve gotten wealthy during the Prohibition.

Included in the gang is Patsy (James Hayden), Cockeye (William Forsythe), Fat Moe (Larry Rapp), and Peggy (Amy Ryder), all grown up and happy to see him. But perhaps most prominently is Deborah (Elizabeth McGovern), who’s surprisingly there to see Noodles post-release, and has been waiting for him since his arrest. She’s a dancer at the Palace Theatre, as she’d always wanted to be, and invites Noodles to see her there. There’s definitely a romantic tension there, so we’ll have to see how that goes, especially since she doesn’t approve of his criminal lifestyle and associations.

Speaking of criminal associations, we’re introduced to Frankie Monaldi, AKA the inevitable Joe Pesci role. Sort of amazing that he hasn’t appeared in a movie I review up until now, since…y’know, it’s Joe goddamn Pesci. Also appearing is Joe (Burt Young), who presents the boys with an opportunity: a diamond heist. They carry it out as planned, with the assistance of teller Carol (Tuesday Weld), whose involvement is…unclear. See, she lets them in, although it appears to be trickery on her at first, but it becomes apparent that she’s in on the scene. She also…fakes sexual assault by Noodles on her by actually having sex with him? I think it’s consensual…but even I’m not sure.

The boys deliver the diamonds to Joe, only to take them all out at the behest of Frankie, who wanted to take out the competition that Joe posed. Noodles balks at this, as he dislikes the idea of working for a boss, fearing the future consequences of getting in bed with Manoldi and other mobsters.

Back in the late ‘60s, the news is reporting on the attempted assassination of the Secretary of Commerce, amidst reports of government corruption. This includes an interview with a man named Jimmie O’Donnell (Treat Williams), whom Noodles recognizes. We cut back in time to the 1930s, where union workers Jimmie is being intimidated by Chicken Joe (Richard Bright), possibly under the command of the government. Rescued by Noodles and the gang, Jimmie reluctantly accepts protection from the mob.

This is undercut by the appearance of obviously corrupt police chief Aiello (Danny…Aiello), who’s taking interviews on various allegations of corruption, as well as celebrating the birth of a son. But with that son at the moment is the gang, who;ve snuck into the newborn unit of the hospital to…switch around the bassinets? That is insanely chaotic in the weirdest ways. And sure enough, Noodles gives him a call, revealing their plot: stop the cops from interfering with the unions, and they’ll undo the switch. A very clever and insidious plot, while also being…kinda funny, not gonna lie. At least, it WOULD be…if Patsy hadn’t lost the switch list. Ooooooh…oh, yeah, that’s absolutely fucked.

At the same time, we find out what the deal is with Carol. Turns out she’s…we’ll I guess she’s a very committed swinger? She’s married, and worked at the jewelry store as her side job, which means she…didn’t know about the robbery plans? She just ran with it, including the assault? Well, I guess it was…consensual? Jesus, this is a weird kind of problematic. After becoming reacquainted with the boys, she starts a relationship with…Max. Yeah, this lady is all kinds of confusing, gotta say. She recommends a threesome with Noodles, but he’s not into it.

Instead, Noodles goes back to his true love: Deborah. They go on a date in a nice restaurant, where they are the only customers. On this date, Deborah reveals that she does indeed care about Noodles, but is afraid of the parameters of their potential relationship, desiring a freedom and holding an ambition for Hollywood that she believes she could never achieve with Noodles. In fact, she’s going to Hollywood right after this, despite her feelings. And I gotta say…this is one of the better love interest characters I’ve seen in these movies. Like, she’s not a helpless waif, because she knows what she wants from Noodles and from life. However…it doesn’t end well…because Noodles rapes her.

Fuck. It’s, uh…it’s hard to watch.

Well, after that absolute fucking horror show, Noodles takes some time to reflect, Deborah leaves for Hollywood permanently, and I start to realize that I’m watching a movie about a bad person. Like…I mean, I knew that, because he’s killed multiple people and is part of a budding crime syndicate, but it’s been somehow lessened by De Niro’s acting and the circumstances Noodles has been in, but…yeah, no, he’s a bad person. And as he watches Deborah leave on the train to Hollywood, and Deborah gives him the “fuck you you piece of shit” eyes (understandably), we…cut to intermission?

Wait…really? We’re 70% through the movie, and NOW you let me go to the bathroom? That makes…no sense. I mean…OK?

See you in Part Three, I guess.

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