#ive seen two different theater productions of it but this is the first time ive read it | Explore Tumblr Posts and Blogs

paper-land · 1 year

Text

Just a note: this post started as a discussion of and is going to spend a decent amount of time discussing Yannick Mirko’s firing and replacement in Ride the Cyclone, but I realized I wanted to address my experience with ablism in theatre in general. I can’t force anyone to read this, but if you have the time and you care about representation in theatre, I’d to ask you to try and hear what I have to say

TLDR: Yannick Mirko's speaking out is bringing more attention to ableism in theatre, I added some examples I've seen to emphasize that ableism in the theatre world is really common

Literally I take a break from writing my papers for finals for like 10 minutes and I find out that Arena Stage cast Yannick Mirko’s able-bodied understudy to play Ricky in their production of RtC.

For anyone not caught up, Yannick Mirko is the first disabled person to play Ricky Potts, a canonically disabled character, in the musical Ride The Cyclone. He was unjustly fired from the production he was in (the McCarter atheater) because of their disability. They had one medical emergency and was told that his disability was too unpredictable that he would be replaced by his understudy, who is not disabled.

Now, onto the Arena Stage production. Three of the seven cast members played the roles they are in now in the McCarter Theater production (Jane Doe, Mischa Bachinski, and Noel Gruber). Two are playing their original role from a different production (Constance Blackwood, Ocean O’Connell Rosenberg). One appears to be playing their role for the first time, though I could be wrong on this (The Amazing Karnak). The only cast member of the Arena Stage production who, as far as I can tell, was an understudy for their first production is their Ricky Potts. Ricky is being played by the able bodied understudy who took over the role when Yannick Mirko was fired from the McCarter Theater production. He was also reportedly referred to by his disability aids during the rehearsal process, rather than his name.

This is genuinely disgusting. Theatre is already so discriminatory to disabled people and the McCarter Theater and Arena Stage productions have so far only proved that they can get away with it. Admittedly, I have minimal social media presence so there could be conversations I haven’t seen, but I have seen a maximum of 5 people talk about this.

It’s very much worth noting that most productions I have been in or seen we’re willing to bend over backwards to make sure an able bodied actor could stay onstage. I’ve been in five shows where an understudy was sent out. Three because the actors had Covid and two because the actor was in the hospital and would not be discharged until after the show was over. This may sound like a lot of productions with understudies, but I’ve been in theatre for 11 years. I’ve been in 30 shows. Five shows, especially mid-pandemic, is nothing. I have been in shows where directors have done everything in their power to keep an able bodied actor in a lead role (including many cases of severe illnesses and one with a concussion and staples in his head). I’ve seen an actress onstage while she had broken ribs. I’ve seen a friend perform after slicing her leg and spraining her ankle. Ive seen a different friend come to a three hour rehearsal after spending the morning vomiting. Two different people I know have performed with dislocated joints. I’ve been onstage when I was so sick I couldn’t breathe or speak. I’ve been onstage when my glasses broke and I couldn’t see as far as the people around me. Most actors I know who have left productions only left because they could not physically return or because they were fired for actually valid reasons (skipped nearly half of the rehearsals so they could go on vacation without informing the director).

If these were fine, if I’ve been praised and seen actors praised for doing this, why was Yannick Mirko fired for one medical emergency? Easy answer: Ableism.

One less-than shocking part for me was realizing that I’ve worked with one of the people who was involved in the McCarter production for an awards show. I watched her work with disabled performers in one of the other acts. And, mind you, by “work with,” I mean that she told them their spots and expected them to know where to go. She was absolutely lovely to everyone else (especially leads but I don’t want to get into the treatment of ensemble actors right now, that’ll probably be a different post one day).

I also want to discuss my experiences with ablism in theatre, as someone who has witnessed it and, very recently, started experiencing it (to, admittedly, a significantly lesser degree than many).

The first show I was in with a disabled actor, I was 14. My friend was made to climb multiple set pieces despite her leg not being fully functional. She’d been in a wheelchair for several months at school that year. I didn’t fully realize something was wrong until she started complaining about minor pain to me. She never wanted anyone to go to the director and she never went on her own.

My next is when I was 15. I didn’t realize what was really happening for many years. He had missed several rehearsals with no word to our directors and was made to leave the show. This sounds normal enough, I mentioned someone else who was forced to do the same earlier on. This would be normal if the director hadn’t checked in on and allowed able bodied actors who had done the same thing back into the show. I figured at that point in my life that he’d just missed more shows or assumed that he’d come to the mutual agreement to leave. I don’t have answers, but I’ve started to doubt those beliefs in recent years.

My next show with a disabled actor was when I was still 15. We had one disabled actress, a girl in a wheelchair. The show was set in a high school. She was in onstage twice. The first time, she sat on the side during a group number and sang with us (she was never taught any choreography. The second time, a cast member brought her on, she was crowned prom queen, and then she left the stage and was never seen again until curtain call. Honestly, at the time, I thought it was weird that we were treating her as less capable and not allowing her into any more of the show, but it’s hard to bring that up with anyone. Especially when everyone you try to talk to about it defends the choice. Everyone said that she was less capable or that she’d stick out or that her wheelchair would get in the way. I didn’t feel I could address it, so it was left unsaid. She went to school with me for five years and I never saw her in another production.

It took several years to be in another show with a disabled actor. My school was by all accounts really great about our treatment of disabled people until it came to extracurriculars.

My most recent show that I’m talking about was not technically with a disabled actor, but one who was injured for the entire rehearsal and performance process and was treated similarly from what I could see. It was last year. They were cast in the group that was onstage the least. Nobody in that group was invited to any vocal rehearsals and they were all in one choreography rehearsal. They were also made to stand at the bottom of a set piece on their own because they couldn’t climb it like the rest of their group.

I’d also like to discuss my experiences since finding out that I have a wrist problem that will likely impact me on and off for the rest of my life. For context, I have limited mobility in one of my hands due to a problem with my wrist and thumb. I cannot fully bend my wrist in any direction, nor can I comfortably straighten my thumb all the way or make a fist with the thumb on the inside.

I’d also like to note that I am currently in university taking a creative writing minor, so that sucks because my wrist and thumb do affect my ability to type and write, so it flares up a lot. I also really like to draw and sew for fun and I’ve had to greatly limit my ability to do the things I enjoy. I’ve been in two shows since I went to my doctor because of the pains and four shows since the pain started affecting my abilities to do things.

This first show I was in after my wrist got bad was a very dance heavy production that consisted of two group numbers and a solo or duet for every cast member. The worst part for me was dance warmups, where we were instructed to do many things forced us to put large amounts of pressure on our hands. Primarily different forms of lunges and pushups. I would cry after every day’s warmups. I could barely hold my props.

The next show, I actually worked crew on. I was involved in props, costumes, and makeup, as well as moving sets/props between scenes. I made props with box cutters and scissors I could barely hold. My hands shook so hard when I was trying to melt the edge of a ribbon to keep it from fraying that I dropped a match (thank god I was outside and on pavement). I sewed costumes until I couldn’t do anything for the rest of the day. One of the worst parts was when I hand-sculpted multiple special-effect-makeup prosthetics for one of our actresses. I could hardly hold my makeup brushes or my dummy head that I was sculpting on by the end of every one I made (three sets, for context, every set used two pieces). The other worst was moving sets. I was originally set to move a desk for an office scene that was so heavy that I cried after our first rehearsal and requested to be switched to a new job. I was given a bookshelf that was on wheels. Two of the four wheels were broken and I had to pick up the shelves to get it into the correct position anyway. This show was actually the reason I went to the doctor about the wrist pains.

My next show was actually an improv workshop followed by two performances. I spent the day of the workshop painting for a school activity. I ended up in a wrist brace for the full workshop. I have never seen a group of people so cautious around me, nobody was even willing to touch that arm, which made a certain amount of improv very strange because we were doing a lot of physical stuff with each other. Everyone else was grabbing hands and stuff and they were just awkwardly standing next to me. I ended up taking off my brace for the performances so that I could feel like a part of the show. and hurting myself because I should have been wearing it.

The last show was a recent production where off-and-on through the rehearsal process, I was in the brace. There were many comments made asking about why my wrist was still hurting me, which I assume is a certain amount of ignorance because yes, my wrist still hurts, I haven't been able to move it properly for half a year. However, I was not given a single costume I could wear the brace with and another cast member was instructed to pull my by the arm that was hurt. Luckily, between pain meds and excessively taking care of myself, it didn’t hurt during production week, but I’d still call that some bad treatment.

Basically, theatre sucks for disabled actors. Please, help bring awareness to this. If you’ve seen or experienced ableism, I encourage you to speak out. Yannick Mirko is a wonderful performer and an inspiration to me. He’s been through so much. Also, I’m not fond of cursing, but fuck McCarter Theater and fuck Arena Stage. Cast disabled actors as disabled characters and don’t replace them with an able-bodied understudy.

#ride the cyclone #RtC #mccarter theatre #rtc mccarter #arena stage #RtC arena stage #ableism #tw abelism

158 notes · View notes

real-odark · 2 months

Text

25apcsb enjoyers listen to me talk about(/kind of review it for you? except not really because i will never say anything bad about this production) my favorite production of the show!

ever.

MAD theater i LOVE YOU.

i saw their production live (the first time ive ever seen this show live or a production by this company) and it was AMAZING. this is my favorite cast for this show hands down and let me show you some stuff and why you should love them, too !!

(IF YOU DO NOT WANT TO HEAR ME TALK ABOUT IT/WOULD RATHER SEE THE CAST, I HAVE PICTURES AND A VIDEO NEAR THE BOTTOM OF THE POST!!)

here are all of the spellers! arent they the cutest :3 they all portray their characters PERFECTLY, and im currently on a hunt to see all of them in more performances because WOW . i know the point of the show is for it to be obvious these arent preteens playing them but all three of the girls were so cute honestly id trust them if they said they were it was so good. im gonna talk about all of them too !;;

their leaf was obsessed with sonic (sporting a nice sonic cape), and had a very good dynamic with every character and audience member he interacted with ! he say by me when he was eliminated and we talked a bit, and met his actor after the show. ALSO, playing logainne's dad with his soda and being the soccer mom ever is 100% approved by me . the way he effortlessly exchanged between the two roles was . AH.

olive was PERFECT. i cried at the i love you song so bad her little pom poms and im just mhejkn, her fidgeting with the strings of her cat hoodie whenever she was nervous was a great detail just small things like that

CHIP. chip chip chip. boy scout of the year, and JESUS ON A SCOOTER. he was so sassy and his little shenanigans made this character so good hed bite his lip and do little faces like that all the time he never broke id trust this man with my life

barfee , so nerdy i cannot resist this guy. he looks like he smells like hamburger and you know what? perfect. meeting him afterwards, he said that his shoes (for magic foot) were glow up sketchers and both of them were supposed to glow but only ONE did (the other broke) a few nights before and what a champ because he just went with it and CHANGED THE FOOT HE WAS USING to match the one that glew. i wouldve had a breakdown but go richard brown. through the whole show his bad accent and wet dog looks intrigued me

marcy was literally perfection, she had ME stressin out for her. i was sitting by the actresses' grandma and she was so fond of her its so cute. her singing voice is AMAZING there is a clip online i know of its on the theatre's tiktok but to hear that in person when its the song that got me into the show was wow. i relate to her very much and she made this character so personal even with just being in bits and pieces of the show

and finally, logainne. god she was SO FUNNY. the interactions between her and her dads, as well as the other spellers, were hilarious but also so real feeling. her actress, taylor,'s dedication to this role really showed and it worked awesome in the character. her appearance and outfit is the BEST for logainne btw??? no ones talking bout that its so so her ...,

^ also since i mentioned leaf's water bottle, logainne had a pride one + barfee had a pokemon cup. i think olive had one but if she did it was in the bleachers so i couldn't see, but i love how all of their bottles (yes even something just SMALL LIKE THAT) represent their characters the details in this show are sjsjd

here is a picture with the adults too! ill talk abt those three next;;

rona. again, had me crying in the stands. she was adorable the whole show though, with her little quips and interchanges !! her + panch were so funny and also shes GORGEOUS?? but her soccer mom teacher type deal is exactly what i picture rona as.

panch reminded me very very much of ron swanson. he was so sarcastic and hes just such a big guy with all these kids it played off so well !! i love so many different interpretations of panch like twink panch and butch panch, but i think this burly panch with his soft, creepy side for rona was my favorite !

and now, lastly, mitch. HE KEPT BUSTING OUT AS THE SIDE CHARACTER WITH THE AMAZINF SINGING VOICE AND IT CAUGHT ME OFF GUARD EVERY TIME ??? mitch himself was so so awesome, the tattoos and drug apparell (i am struggling spelling that) fit so well. and also, he just looks so mitch mahoney doesnt he?? like. the character fits the actor so well id be shocked seeing anything else from them because mitch was the perfect role... again, his brief dynamic with all the kids is so goofy

the set;;

it was so cute and the details in the posters on the wall were so childish it made me giggle. they even advertised their theatre's next production, which will be urinetown!! they had seats ON the stage (which is where i sat, naturally), which i think makes for a fun and realistic effect !! when the spellers were eliminated, theyd sit there (they had reserved spots) :3

its evident that all of the cast members had very good relatioships and play off that REALLY well

a little photo dump of them!! on the MAD theatre social medias, they have more and clips of them, too!! id definitely reccomend checking them out because the show's closed :3

overall; i have so much love for this cast and MORE PEOPLE NEED TO AS WELL!!! so here you go 😊😊

#25apcsb #rona lisa peretti #douglas panch #mitch mahoney #olive ostrovsky #logainne schwartzandgrubenierre #leaf coneybear #marcy park #william barfee #chip tolentino #jett talks (me)#musical theatre #theatre

10 notes · View notes

butcharyastark · 1 year

Note

Speaking of jcs, can I have a rating of the musicals/ different versions?

HOWDY, IM SO GLAD YOU ASKED.

keep in mind ive only watched a handful of recordings or productions compared to other ppl but i do have Opinions on the ones ive watched. [cracks knuckles] so:

1. biased maybe because i just watched it but the 50th anniversary arena tour (circa early 2023, there have been other castings last year ik but this year's one is the one i love). i had the chance to go see it bc it was in my state this month and its the latest one i've watched but it instantly blew away all the other versions i've seen. just... the great singing of 1996 london cast and great acting of 1973 movie and creative staging like the 2018 live in concert.... it had everything and there was not a single ball dropped or a single bad or even meh actor or song or artistic decision. i am usually not one to rec ppl to go buy a ticket to an event but seeing it was the best intro to musical theater or live performances i could have ever had and AHHHHHH. sm details of this will stay in my mind forever re: jcs i can't pick one thing to deacribe bc it's Everything and i'd be here for two hours if i tried. it has my FAVORITE ending of any jcs production and idk if any other production will compare to the high intensity emotions and poetics and symbolism combined with amazing singing like this one.

2. have to go with 1996 london cast recording. i havent seen it and idk if there are even any bootleg recordings of it, but the album is The jcs album i relisten to. fucking A+++. again, maybe i'm biased bc this was my first full jcs album (as opposed to random songs), but idk if anything else but the 1973 movie studio recording album can compare purely musically to me. i love how you can HEAR the acting in the emotional singing while also not sacrificing the singing itself (looking at you 2000 movie judas), and idk i feel like it so clearly tells the story in the tone even without being able to see it, and that's fantastic. every other jcs production in terms of singing and audible acting gets compared to this one, for me. this is the one i hear in my head when i remember or mentally sing the lyrics.

3. 1973 movie. carl anderson. first official filmed jcs production. 70's outfits. meta narrative. do i need to say anything else? this was my second jcs version i consumed when i Got Into It and man im glad it was. when i first watched it, it seemed kinda just alright (probably bc im not a huge fan of movies from the 70's or 80's), but the further time goes on the more i realize this is kinda just The jcs. the classic jcs. i said 1996 london cast recording is what i compare everything else to musically, but i feel like this version is the one that every other version has to live up to. simple question: is your jcs production better than carl anderson painfully crying out "he won't listen to me!" on a mountain in the desert in a fringe outfit as jesus steps out of a tour bus, yes or no? and most of the time the answer is no.

i'm not a huge fan of older movies but the acting and music in this is top tier, the costuming is fun most of the time, the sets are neat, and the underlying metanarrative about an acting group performing jcs inuniverse for a film or smth is rlly interesting. it's the only other jcs album i have saved in my music folder besides the 1996 london cast recording. 9/10

also as a judas fan this is also the judas i compare every other judas to bc... goddamn carl anderson covers every base. desperation and anger and righteousness and tenderness and pain and bitterness and longing.... he has the range. and honestly it's got my favorite version of Superstar so far. i don't think anyone else has topped carl anderson's version yet.

4. swedish arena tour (idr the year). amazing casting, AMAZING acting, fucking incredible costumes, great singing. the only reason it's this far down this list is bc i prefer other character interpretations, but like, the appeal of bisexual vampy switch jesus who flirts with most of the apostles inbetween his main love interests of biker milf mary magdalene and legolas-in-a-mesh-shirt judas... simply cannot be understated. pretty much every artistic decision is 7 or higher out of 10. it's a very consistently good production, and a very gay one. i like the swedish translated lyrics also.

5. 2000 movie. i think everyone knows by now how bad this one is but it's so campy and jcs is inherently ridiculous as both the appeal and the concept that it loops back around to being good. it's not my fave version but it was my third jcs version and it was honestlly rlly fun to watch. what it lacks in singing, it makes up for in acting. i think Heaven On Their Minds, Everything's Alright, This Jesus Must Die, The Last Supper, and Superstar are the numbers that shine here. i think this movie is actually my favorite versions of everything's alright and this jesus must die. i really like the symbolism they try to use in this one. ik i said i genuinely think the acting makes up for the singing, but this might be higher if judas actually SANG. or if pilate was less sympathetic bc i actually hate this pilate djdjfj this version gets points for being much less antisemitic than other jcs productions with the priests, and then immediately loses them by being noticibly more racist than others in the temple. also my favorite peter is in this one. his acting in the last supper is like 25% of my enjoyment of this version.

6. 2018 live concert. full disclosure, i haven't finished this one yet, but i love it so far. i love the outfits and the staging and the energy and casting. this singing is not my favorite and i'm genuinely not sure if john legend knows how to act or if they just cast him bc he's john legend (i'll find out in the second half ig bc i also didn't like the acting of the 50th anniversary tour jesus in the first half and THEN--) but judas does a good enough version of heaven on their minds which is my main criteria for judging a jcs production in personal likes and i do Love the meta themes of casting a real superstar singer as jesus christ given the themes of the musical. i like the dynamics between judas and mary in this one. i think judas is in the closet in this one which is very sad but his outfits absolutely make up for it. it is a spectacle and a half and i'm enjoying it so far. it might get bumped up to #5 depending on how the second half goes.

7. original concept album. i know it's very weird putting the origin of the whole thing at the bottom, but that's not because it's bad, it's just not smth i'm in love with as a whole. i do need to relisten to it--actually i will do that today--but it was really good the first time i heard it, i'm just not a fan of the sound of early rock and prefer the way various versions adapt the music in progressively more modern times. objectively talented singing tho and heaven on their minds goes OFF. i may have more takes after relistening, but that's it rn.

8. i've listened to a bunch of other tidbits of assorted performances, mostly judas solos, bc as i said, i judge a jcs production by its heaven on their minds performance and i went scouring through classic and modern versions of that at one point. this is not part of the proper ranking bc i haven't listened to them in full, but i wanted to mention them here at the end. if anyone wants a list of my fave recs of that to look into:

original mexican cast (1975)

original japanese cast (1976)

mexican revival cast (1984)

original russian cast (1992)

original czech cast (1994)

jesus christ surferstar (2003)

all female jcs recording (2022)

most of these albums can be found just uploaded on youtube or even spotify which is very cool, please check them out, i had fun skipping thru them.

and uhhhh there's all the versions i've watched in full, or mostly watched, and a few of the ones i've done neither! ik this is very long (longer than i intended) but i hope this is what u were looking for and was entertaining or helpful!!

#salute emoji #my post #jcs #ask #thank u for sending this ask i got to gush abt jcs productions #rlly hope this is at all what u were asking for fjfnfn

5 notes · View notes

jubans · 4 years

Text

title: pinky promise pairing: chigasaki itaru/fem!reader rating: g (general) premise: promises were made to be kept, but damn did itaru have a sharp memory.

Back when you were still a kid, you had a peculiar friend.

Your fathers were best buddies in college and your mothers got along just as swimmingly as well. Whenever either couple would go out of town, the other would follow suit—both parties bringing along their young kids so they could bond with one another.

Itaru was a quiet boy. The first time you met him, he was like a hermit that couldn't be coaxed out of his shell. Eventually, you gave up on trying to get him to play house with you; retreating to the living room with a gaming console in hand. You've been wanting a Gameboy for a while now, and your father did love spoiling his little girl. While you were in the middle of catching your first Pokémon, however, you noticed that Itaru was watching you play over your shoulder, interest sparkling in his pretty eyes.

"Itaru-kun, do you play Pokémon?" you wondered, hoping he'd finally open up to you.

The young boy nodded timidly. "My Gameboy is in my backpack..."

And that's how you started growing closer than you'd initially expected. You challenged him in Pokémon battles every chance you got, but Itaru defeated you every single time. Something about IVs and EVs, he said. But you didn't really care about those. You just wanted the pretty looking Pokémon on your team.

In your usual outings with his family, Itaru would often play off-handed pranks on you—putting weird bugs he found behind your dress, spitting watermelon seeds at you, and even pushing you into a shallow part of a lake. But despite his outlandish behavior, you didn't cry about it like most girls your age would when a boy was being mean to them. You returned his mischief sevenfold in your own way, and that only made your parents think what a lively duo the both of you were.

But like most childhood friendships, it didn't last as long as you'd liked.

With your father having gotten an opportunity to work in America, that meant you had to move residences. The news was hard to take in at first. You grew up in Japan. All your friends were here! And what will happen to Itaru when you were no longer there to keep him in check? But, you've always been more understanding than most children. You accepted it faster than your parents had anticipated.

One day, you decided to tell your him about your sudden moving-away with a proposition that would ensure he wouldn't step out of line while you weren't around.

"We're going to get married someday, right Taruchi?"

Itaru blinked at you in nonplus, surprised by the strange nickname. "Taru...chi?"

"Itaru Chigasaki!" You giggled, clapping your hands together in unhinged glee. "It's my nickname for you, so no one else is allowed to call you that, 'kay?"

He spared you a small smile. Even at a young age, he already looked breathtaking. Eyes of carnelian and hair spun from almonds and vanilla—there was no reason for you not to crush on the boy who lived the next door over.

But then, he did something you've never seen anyone else do with you before. He held out his hand, holding up only his pinky, as he gazed at you expectantly. You craned your head to the side, not knowing how to react. Itaru laughed softly before taking your small hands in his own, manipulating your right hand's fingers so that you were doing the same gesture he was.

"We'll pinky promise on it," he said, entwining his stubby finger with yours. "It's a promise that we can never ever break. No matter what."

"You promise to marry me when I get back?" you asked, curling your own pinky as well.

He snickered. "I'd hate to be stuck with an old hag like you, but if you insist..."

"Hmph!" you simpered, folding your arms across your chest as you turned away from him. "I'm only eight, Taruchi!"

"You'll be eight-y when you return," he retaliated.

You spent the afternoon trying to beat Itaru in another Pokémon battle, but he came out victorious as usual. Just before you could start up another match, however, his mother told the two of you that they'll be attending an event hosted by the company she works for, and that you could come back and play tomorrow again.

"See you soon, old hag," Itaru imparted, waving a hand goodbye as you stuck out your tongue to blow a raspberry at him.

Stupid Taruchi. Why do I even like you?

"Mom, was it really necessary for me to fly back to Japan for this?" you groaned into your cellphone, asking the question for the hundredth time.

Your mother merely tutted at you from the other end of the line. "You know how much your father loved the MANKAI Company, sweetie. We even flew here a week early so he could take a peek at the final rehearsals."

"Yes, I know that part of the story," you sighed as you slowly unpacked your things from the single duffel you brought. "But why do I have to tag along? I had to find a substitute for all my classes this week, and I think the head professor will give me a piece of her mind when I get back to California."

"I'll have your father talk to her, then." The sound of her laughter was jeering in your ears. Why your mother had always been so carefree was a mystery to you. "Unwind a little, sweetie! I think you're going to want to see one of the new Spring Troupe's actors."

"What?" Your tone came out exasperated, but at the same time, your eyes were trained on the ample view of Veludo Way from your hotel room.

Your father used to be one of the members of the original Spring Troupe back when you were still a kid. Though he was one of the most academically proficient professors you knew today, he always had an unbridled passion for theatric arts. But with how swamped he's become with his work at the university you both teach in, him flying to Japan to watch amateurs stage a production was the last thing you think he would do.

Lost in thought, you didn't realize that your mother had been telling you something over the phone.

"Anyways, if you want to see him, I got us tickets for the closing night this Saturday." Your mother sounded disappointed for some reason. "The earlier showing dates sold out by the time we bought them."

You didn't even bother finding out who this so-called actor she was pertaining to, your mind too preoccupied with the lesson plans you forgot to leave to your substitute. With an exasperated groan, you pulled out your laptop from your luggage, booting it up. You loved your mother too much to point out that she could have just told you to fly over here at a later date so you could minimize your absences.

"Sure, Mom," you relented. "Do you want to grab some dinner later?"

"No way."

Eyes of carnelian. Hair spun from almonds and vanilla.

"No. Way." You had to physically look away from the stage to contemplate for a moment. Was that... Was that who you thought it was?

From your right, your father spared you a sideways glance, confusion painting his features. "Hm? Something the matter?"

It's him. The boy with the pretty eyes and the smile that masked his mischief. Itaru. Taruchi.

"I-It's nothing, Dad," you reassured, forcing yourself to train your eyes on the scene playing before you. "I just remembered I haven't started formatting my midterm exam yet."

"Oh, don't fret about work here," he chuckled, gaze trained fondly on the stage. "Plays are where the actors give it their all to put a smile on people's faces. I've always wanted to see you up on stage, but what kind of father would I be if I imposed something you didn't want?"

His words made you relax back into your seat, watching as Itaru's character, Tybalt, conversed with one of the leads on-stage. He delivered his lines so naturally, like the character was moulded to fit him in particular. He looked so...different now, too. Itaru had lost the fat in his cheeks—angular cheekbones taking its place instead. His voice was set into a much deeper tone, given that he was probably in his mid-twenties, just like yourself. Who knew a gamer shut-in like himself would pursue theater, of all things?

"It's nice to see good old Chigasaki's son up there, though." Your father smiled. "That kid was almost like a son to me."

The scenes breezed past before your eyes, each one leaving you at the edge of your seat. Their twist on Romeo and Juliet was comical, to say the least. But each time Itaru stepped under the spotlights, you noticed the strain in his movements. Whenever he had to walk to the opposite side of the stage, his steps came off a bit wobbly. This was a critical scene where Romeo and Tybalt were going to duel to the death, too.

When you spared your father a wary look, the set in his brow told you that there was definitely something up.

"Boy's got a sprain," he concluded. "Goodness. He should've known better than to perform with that dead weight dragging him around."

You frowned. "Then Taruchi, I mean, Itaru should—"

"Tybalt, stop! The battle's over!"

Romeo's little ad-lib caught the attention of the audience, no one daring to draw a breath to see how things played out.

"Lower your blade!" he shouted, voice carrying the emotion in his eyes.

Even Itaru was taken aback by Romeo's resolve. His mouth twitched into a smirk that reminded you of the days he would show you the stag beetles he's caught over the summer to freak you out. You haven't even said two words to him fifteen years later, but somehow, you knew that he hadn't changed. Not one bit.

"(Surname)-san, hello!"

A woman that seemed right about your age greeted your father with a shake of hands once the two of you arrived backstage. Your mother had insisted that she would wait for the two of you at the parking lot as you gave your congratulations to the actors. So here you were, standing awkwardly behind your father as he animatedly conversed with the said woman, who seemed to be the director of the show.

"Kid, as much as I'd like to tell you about your dad, it isn't my place to tell," your father chuckled.

She sighed. "Ah, that's what Yuzo-san told me, too..."

"Say, this is quite out of the blue, but my daughter here wants to have a word with one of your actors. Itaru, to be precise."

Wait, what?

"Oh, sure!" The director nodded, twisting the knob to the dressing room behind her before you could even protest. "Itaru-san, someone wants to talk to you!"

"Oho? Itaru-san has stans?"

"Fans. But you're not too far off, huh, Citron?"

"Wah! Itaru-san is so popular!"

"Tch. As long as it's not her, I won't complain..."

The sound of cheerful laughter hit your ears, and the next thing you knew, he emerged from the doorway—still in costume without a single hair out of place. Itaru grew up to look like one of the princes in the fairytales your mother used to read to you, and it grated on your nerves more than it should. How could the kid with the most rotten attitude you've seen be blessed with a growth spurt like this?!

Too busy wallowing in your own frustration, it took you a moment to register the utter shock on Itaru's face once his vibrant eyes landed on your father. But when his gaze shifted to you, his lips parted in muted surprise before spreading into a disbelieving smile.

"So you finally thought about coming back, huh, old hag?"

Before you could even think, you seized the collar of his costume with your fist, familiar irritation festering in your chest faster than you could blink. "It's the first time we meet in fifteen years and that's your opening line?"

Itaru hollered loudly at your aggression, but the gesture didn't even faze him one bit. Maybe it was because he stood about a few inches taller than you now. Nonetheless, he held your hands in his own—holy shit they were smooth—before prying off your hard grip on his clothes.

"Ah, Izumi!" your father called out to the director. "I want to discuss something about the MANKAI Company and how I might be able to pitch in. Itaru-kun, you can keep her occupied for the time being, right?"

"What? Dad, don't leave me with hi—"

"She's in my care," Itaru spoke over you, a gloved hand going up to ruffle your hair.

As you watched your father and the director disappear right down the corridor, you gulped when you felt Itaru's piercing gaze on you. Turning around, you saw that his lips were still affixed with a condescending smirk, like he had some dirt on you that you didn't know about. Slowly, you backed away from him, but the hallway was cramped and you ended up with you in between the wall and the man in front of you.

"So," he began before he braced his palms on either side of the wall, trapping you in place. How could someone who had the regal air of a prince look at you like a wolf in sheep's clothing?

You felt your heart racing hummingbird-fast in your chest, breath hitching when he leaned in to ask:

"When's the wedding?"

#a3!#a3 #act! addict! actors!#act addict actors #a3 headcanons #a3 fanfiction #chigasaki itaru #itaru #itaru chigasaki #itaru x reader #a3 x reader #fluff #itaru fic

206 notes · View notes

hello-robin-goodfellow · 3 years

Text

TOP 12 FAVORITE IAN HOLM ROLES

@superkingofpriderock @amalthea9 @ohiwannatakeyouhome

DAVID PETERS (MOONLIGHT ON THE HIGHWAY, 1969)

A troubled young man, David Peters (Ian Holm), claims, "Once dreams were possible, that's what the popular songs told us." Rejecting rock music of the day, Peters is immersed in the tunes of Thirties crooner Al Bowlly (killed during the London blitz). He collects Bowlly memorabilia, publishes the Bowlly fan-club newsletter, and finds pleasure in lip-synching Bowlly records but his obsession with Bowlly masks certain darker events in his past.

DOCTOR ASTROV (UNCLE VANYA, 1991)

In this televised production of Anton Chekhov’s play, Sir Ian Holm plays a village medic who, at the start, is an idealist with great passion for the preservation of trees. But, as time passes, everyone ignores what he says and he falls in love with a married woman, the character of Doctor Astrov slowly grows more and more tired and disappointed with himself, the world and humanity, fallin in alcoholism.

POD CLOCK (THE BORROWERS AND RETURN OF THE BORROWERS, 1992-93)

I dare say that, despite being 61 years old at the time, this is the role in wich i felt Sir Ian Holm performed the most of phisical acting. Pod Clock is the patriarch of a family of people that are the size of little fingers, and to raise his family, he has to ride sinks, run away from cats and big birds and be carefull of mouse traps to borrow food and other needs. All the while trying to avoid being seen by humans. That’s what i call an action hero.

ASH (ALIEN, 1979)

The amoral android that made him a movie star. Do i need to say more?

CAPTAIN FLUELLEN (HENRY V, 1989)

In this Kenneth Branagh adaptation of the William Shakespeare historical play, we see Sir Ian Holm performance as Captain Fluellen, a man that is a geek of military tactics history as he is proud of being welsh. Fluellen has a fun energy that makes him likable, at the same time that he is intimidating in his ruthleness in support a cruel execution in the name of military discipline.

VICTOR FRANKENSTEIN/THE CREATURE (MISTERY AND IMAGINATION: FRANKENSTEIN, 1968)

Before Benedict Cumberbatch in theater, there was Sir Ian Holm portraying both Doctor Victor Frankenstein and his Creature in this televised 1968 adaptation of Mary Shelley’s famous gothic sci-fi novel. His portrayal of the two characters is one of the most closest to the book characterization’s to this day: Victor Frankenstein as an ambitious and self-absorved student, and the Creature as a person who tries to be good, but due to abandonment and discrimination suffered due to his phisical appearance, becomes corrupted with an obsession for revenge against his creator. And Sir Ian puts those foil personalities marvellously.

LENNY (THE HOMECOMING, 1973)

The Homecoming is a 1973 British-American drama film directed by Peter Hall based on the play of the same name by Harold Pinter.

In a dreary North London flat, the site of perpetual psychological warfare, a philosophy professor , Teddy, visits his family after a nine-year absence, and introduces his father, Max, his uncle, Sam, and two brothers, Lenny and Joey, to his wife Ruth.

Sir Ian Holm plays Lenny, a pimp who only makes discreet references to his "occupation" and his clientele and flats in the city (London). He is the character with the most cynical lines and who start the sexual tension between the man of the family with Ruth, not carrying at all if she is married to his brother Teddy.

There’s a character that anyone will love to hate.

PHILLIPE D'ARNOT (GREYSTOKE: THE LEGEND OF TARZAN, LORD OF THE APES, 1984)

A Belgian explorer who discovered Tarzan (John Clayton) in the jungle, taught him the way of man, and brought him to his family in England. Is Phillipe’s friendship with Tarzan and their eventual departure that becomes the emotional core of the picture.

LEWIS CARROLL (DREAMCHILD, 1985)

“Dreamchild” is a film written by screenwriter and playwright Dennis Potter. It was actually effectively a remake of an earlier project of his: the 1960s TV Play “Alice,” which had starred George Baker as Charles Dodgson, a.k.a Lewis Carroll – the man behind the “Alice” stories. But while “Alice” had been focused on Dodgson himself and his experiences with Alice Liddell (the little girl who inspired him to write the stories) and her family, “Dreamchild” takes a different approach. The 1985 film focuses instead on an elderly Alice Hargreaves (nee Liddell), who visits America to celebrate Dodgson’s centenary. During her stay, she has various nightmares, flashbacks, and hallucinations. Some of these have her seeing characters from the books, such as the Mock Turtle, the Mad Hatter, and the Caterpillar. Others are reflections on her childhood and the time she knew Lewis Carroll. Holm plays Carroll in these sequences, and the film plays with several myths and rumors about his relationship with Alice and her family…but it does so in a very clever way. Unlike the earlier TV play, which seems to treat these rumors and myths as fact, “Dreamchild” is far more ambiguous: nothing is confirmed or denied. It’s simply presented, and the audience is left to decide what is true, what is false, and how much it all really matters in the end. Holm brilliantly handles this ambiguity: in another actor’s hands, the character could have been perceived as thoroughly unsavory, but there’s such a gentleness, kindness, and overall innocence to Holm’s work that you can never really feel frightened or bothered. You feel for the man, no matter his flaws, and it makes his story just as compelling as Alice’s own.

RICHARD III (THE WARS OF THE ROSES, 1965)

The Wars of the Roses was a 1963 theatrical adaptation of William Shakespeare's first historical tetralogy (1 Henry VI, 2 Henry VI, 3 Henry VI and Richard III), which deals with the conflict between the House of Lancaster and the House of York over the throne of England, a conflict known as the Wars of the Roses. The plays were adapted by John Barton, and directed by Barton himself and Peter Hall at the Royal Shakespeare Theatre. The plays were adapted by John Barton, and directed by Barton himself and Peter Hall at the Royal Shakespeare Theatre. The production starred David Warner as Henry VI, Peggy Ashcroft as Margaret of Anjou, Donald Sinden as the Duke of York, Paul Hardwick as the Duke of Gloucester, Janet Suzman as Joan la Pucelle, Brewster Mason as the Earl of Warwick, Roy Dotrice as Edward IV, Susan Engel as Queen Elizabeth and Ian Holm as Richard III.The plays were heavily politicised, with Barton and Hall allowing numerous contemporaneous events of the early 1960s to inform their adaptation. The production was a huge critical and commercial success, and is generally regarded as revitalizing the reputation of the Henry VI plays in the modern theatre. Many critics feel The Wars of the Roses set a standard for future productions of the tetralogy which has yet to be surpassed. In 1965, the BBC adapted the plays for television. The broadcast was so successful that they were shown again, in a differently edited form, in 1966.

In this production, the major theme is how the dispute for the crown of king is an endless cycle of violence that traps people, and this theme is highlighted in Sir Ian Holm’s performance as Richard III. His portrayal is more humanized and tragic, showing he was first a loving son and brother, until the vision of his father’s death in battle and the mistakes that his older brother, Edward IV, makes at the start of his reign, motivates him to become king, no mather if it is even at the cost of his relatives lifes. At first, Richard looks like he is in control of the situation, but later, as the final battle comes close, frightened by the ghost of the people he killed, he has to confront the harsh truth: Richard is only another pawn in the game of chest of a bloody History. Just like every other king that camed before him.

PUCK (A MIDSUMMER NIGHT’S DREAM, 1968)

Sir Ian Holm played the character of Puck, a.k.a Robin Goodfellow, in a 1968 feature film adaptation of the play. The feature was poorly received at the time, but has gained a bit more of a following in recent years, particularly from avid Shakespeareans. Its chiefest pro is probably the casting of Holm in the role of Puck: he’s quick-witted, curious, and just a little baudy, but with a sharp and slightly dangerous intensity to him. You’re never quite sure what to make of Puck, and that makes him interesting, as he leaps from scene to scene, spreading chaos everywhere he turns.

FRODO AND BILBO BAGGINS (THE LORD OF THE RINGS, 1981 AND 2001-03)

The most famous nephew and uncle in literature. He played the nephew in the radio in 1981, and the uncle in the feature films between 2001-03.

A lot of people were introduced to Sir Ian Holm’s work and becamed Lord of the Rings after being introduced to those performances.

In both roles, he was merry, he was funny, he was frightened, he was scary, he was brave and determined, he was sad. And all of us, listeners and viewers, related to those feelings transmited by his performances as Frodo and Bilbo.

Everyone has talked a lot about those performances, and everyone will probably will still be talking about them in the future.

#ian holm #sir ian holm #the wars of the roses 1965 #a midsummer night's dream #the homecoming #the borrowers #dreamchild #bbc radio the lord of the rings #the lord of the rings 1981 #greystoke the legend of tarzan lord of the apes #uncle vanya #moonlight on the highway #henry v #frankenstein #alien

18 notes · View notes

howaminotinthestrokesyet · 3 years

Text

All The Love in the World: A Tour History of Nine Inch Nails

Pretty Hate Machine Tour Series (1988-1991)

The first performance ever by Nine Inch Nails took place at the Phantasy Theater in Lakewood, Ohio on October 21, 1988. Their first performances came in support of the band Skinny Puppy, even before Trent Reznor had even signed to a label. The first major tour in support of their debut album, Pretty Hate Machine took place beginning in 1990. In a completely ridiculous occurrence, the band joked in an interview in 1989, probably while drunk, they would like to appear on the teen dance show, Dance Party USA. The absurd aspect of that statement came in the fact that the band actually did appear on the show after apparently mocking it in that interview. In support of the album, Nine Inch Nails would open for artists such as Peter Murphy and Jesus and the Mary Chain. For his part, Reznor began smashing all of his equipment on stage contributing to early success with rock audiences as they loved his aggressive persona. One should note that from the onset fans were probably not made completely aware that Reznor did everything in the studio, while he hired a touring band that had nothing to do with the album's creation.

Self Destruct Tour (1994-1996)

This full length tour came in support of The Downward Spiral released in 1994. A major change that occurred between this tour and previous ones came in the fact that each show was much more aggressive, angry, and even violent. Band members would actually try to injure each other during the performance. The curtains for the stage were completely filthy, while the dysfunctional lights on stage made it quite difficult to make out the band. The entire group would dress in all black leather while covering themselves in corn starch. They would change their hairstyles radically from show to show. Sometimes Reznor would bring out his protégé Marilyn Manson to sing with the band. The coming out party for them came at Woodstock in 1994. Through pay-per-view, their performance was seen by 24 million people throughout the world. This performance has become widely known among fans as the mud show because the group performed their entire set while completely covered in mud. Some have said that the band had preplanned doing so, but in truth they were only messing around backstage before the show. A reason why one should find this to be true was that all the mud made it hard for band members to see and Reznor to even walk around. Their set would win the band a Grammy award in 1995 for Best Metal Performance as Entertainment Weekly had this to say about it. "Reznor unstrings rock to its horrifying, melodramatic core--an experience as draining as it is exhilarating.” With The Downward Spiral and their performance at Woodstock, the band became a household name in the mainstream, so future shows could spend much more money production wise on visual effects and stage set ups. Later on the tour, Nine Inch Nails did 26 shows with David Bowie. The reviews said that they were not very good because the two musicians had music so vastly different that audiences did not respond very well to Nine Inch Nails. Trent Reznor does not remember that particular tour very well as he talked about in a 1999 interview. "On a lot of that tour, I don't even remember playing the shows. I got off the bus after two years going, 'Who am I?' That tour was really about excess… We were all drug addicts and full-on party machines, and that was one of the factors that led to me being in a very depressed state at the end."

The Fragility Tour (1999-2000)

This tour came in support of the 1999 album, The Fragile, which would be divided into two legs called 1.0 and 2.0 respectively. Each show saw a very high end video display developed by Bill Viola showing images of water and storms. Reznor would comment on increasing the budget for the tour on that end. “I don't want to do the standard 'rock band in a hockey arena' show. I want to up the par a little bit. I think our stage show has had a lot of thought put into it. It's not like a Korn or Rob Zombie show where they just go into the prop cupboard and pull out as much shit as they can. I hope, when people see our shows, they go, 'Fuck, that was smarter than that Korn tour I saw, but not in a pretentious way – it kicked ass.'” Rolling Stone would go on to name the Fragility 2.0 Tour as the best in music that year. In July 2000, the remainder of the tour was canceled due to band illness. Trent Reznor had overdosed on heroin while doing shows in London. He was addicted to cocaine at the time, so he snorted some heroin mistaking it for his drug of choice. Following the incident, the singer entered rehab and eventually got himself clean permanently.

Live: With Teeth (2005-2006)

This tour supported the band’s With Teeth release, which successfully brought Nine Inch Nails back into the public's consciousness after Trent Reznor‘s rehab stint. The supporting acts during the tour were Queens of the Stone Age, Autolux, and Death From Above 1979. One notable tour stop came at the Voodoo Music Experience in New Orleans, where the band was joined on stage by Saul Williams. Reznor had made a point to support any fundraising for his former home area as New Orleans had been completely devastated by Hurricane Katrina. In the summer of 2006, the band would participate in an amphitheater tour with Bauhaus, Peaches, and TV on the Radio called The Beside You in Time Tour.

Other Tours

Performance 2007 (2007)... This tour eventually supported the release Year Zero, but initially it had been meant as a greatest hits tour before the release of the album. They dialed down the stage set up and video for these shows to keep it at a bare minimum.

Lights In The Sky (2008)...This tour supported initially the Ghosts I-IV release and eventually The Slip as well. Supporting acts for the tour included Deerhunter, Crystal Castles, Does It Offend You, Yeah?, Ghostland Observatory, A Place to Bury Strangers, and White Williams. This would include headlining the Virgin Music Festival and Lollapalooza. A unique addition to each performance came as the band would perform acoustic versions of well-known songs. In order to stop ticket scalpers, premium seats were only offered to registered members of the Nine Inch Nails fan club, which gave them access to a pre-sale before tickets became available to the general public.

Wave Goodbye (2009)... This brief tour came after Trent Reznor‘s decision to not perform live shows in the name of Nine Inch Nails indefinitely. The band did a short autumn tour of small clubs that they had not played in a long time concluding at the Wiltern in Los Angeles.

Twenty Thirteen Tour (2013–2014)... This tour was to support the band's first album in almost 5 years, Hesitation Marks. The support on the tour would come from Godspeed You! Black Emperor and Explosions. The group would play at major festivals during the tour including the Fuji Rock Festival, Rockin’ Heim in Germany, and the Reading/Leeds Festival in England.

2 notes · View notes

malethirsty · 4 years

Text

A Hard Day’s Night: Ethan Chandler

Summary: After working on both finding Mina & managing your telepathic ability, you accompany Ethan to the Grand Guignol, which causes a flood of things to be revealed.

Warnings: M/M smut (21+), Bareback (Wrap Before You Tap)

Inspired by: https://twitter.com/malethirst/status/1196862910745571328?s=21

Working with Malcolm Murray was an experience of a lifetime, but was not without problems. Ever since he & Vanessa Ives recruited your telepathic abilities to help locate Malcolm’s missing daughter Mina, you’d been working non stop. You’d had moments alone with Sembene during break, but he was more of a silent soldier, you needed someone to talk to. You could have talked with Mr. Lyle, but despite you both being closeted, you couldn’t bring yourself to, mainly cause you thought he might sell you out.

So you whiled away, all until one fateful day. The day Ethan Chandler walked into your circle, you were smitten by the American however couldn’t fully read him, it was the same with Vanessa, and you couldn’t work out why. However it wasn’t as important as striking a connection up with him. Ethan responded well, the two of you discussing things like the Demimonde, American history & his potential settling. Over time, you fell in love, but pushed the thoughts away, he was rough and tough, and would probably turn you away, you didn’t want the relationship to end. It couldn’t mean that you could avoid looking at the beautiful rugged man, his amazing long hair, his drawl, how amazing he probably looked naked.

“Y/N, are you hearing me?” Ethan clicked his fingers in front of your face, breaking your thought “Wha?” You muttered confused, Ethan grinning “I asked you if you wanted to come to the Grand Guignol tonight, Miss Ives is already going & I think she could use the company.” “So like you’d escort me like one would a lady?” The words escaped your mouth before you could stop yourself, your inward curse stopped by Ethan responding “Yeah, like that.” You breathed heavily “I guess so, 8PM sharp the production begins right?” “Yes, make sure you look your best Y/N, I’m gonna take my best man for a night on the town.” “I’ll make sure of it Ethan.” Ethan grinned at you as he walked away, you moving up the stairs, ready to pick out an outfit to wear.

As 7PM rolled around, you told Malcolm you would be out but would keep an eye out for Mina. He nodded his head in agreement, more concerned about his acquisition Victor Frankenstein, than anything else around him. You met both Ethan & Vanessa outside “Well Mr. Y/N, you look nice this evening” “Thank you Vanessa, I can say the same of you.” She smiled, which was always important to get from her as what you were able to see from her thoughts, she hadn’t lived a pleasant life, so any chance to make her smile, you’d take. “How’s the anchoring going? And how are you going to adapt it to find Mina?” Vanessa’s questions were important as going into the hustling & bustling public with telepathic abilities was like walking through a busy road packed full of noise, recently you’d learnt anchoring from her & had been locking it onto Ethan so things would be more bearable, but now you’d have to let it down a bit. “I’m sure it will go fine, it did the other night. I know Malcolm used you for most of the work, but I was able to keep it controlled when I had to attempt to seek Mina out.” “Good work Y/N, but we really must head out or they won’t let us in.” At Ethan’s prompt, you all set out to the Grand Guiginol.

The production ‘The Transformed Beast’ was quite a spectacle, thrilling the audience but you knowing of the horrors of the supernatural were not as horrified as the other viewers. You took the opportunity in less important parts to gaze at Ethan, seeing his reaction to what was unfolding on stage. Then the main actor said it, the words that would change everything “There cannot be a happy end, for claw will slash and tooth will rend!” At this your anchoring slipped. Flashes occurred, so quick you couldn’t focus back on Ethan. You saw the lead actor, leading some sort of creature backstage, you saw vampires nestled in the rafters, you saw Mina on a beach with Vanessa, Mina being bitten by some out of focus figure, then you saw people being mauled by a different figure, one that looked wolfish. Claw slashed, tooth rended & finally you saw the creature rest in the dock, time elapse as it morphed into Ethan as he awoke & started right at you, with eyes filled with pain and heartache.

“Y/N, Y/N!” Ethan was shaking you and you pulled yourself out of it “What Ethan?” You said, trying to not act like you’d seen something connected to him kill a lot of people. “It’s Intermission, you want to go out and ask Vanessa what she thought?” “Uhm, I, um” you said, trying to find your bearings, however as a dark look fell over Ethan, you knew he knew what you’d seen “You know don’t you?” He said softly, you nodded. Ethan got up & made his way quickly towards the exit “Ethan don’t!” You called out but he had gone “Ah shit” you murmured under your breath as you tore out to find him.

He was right outside the theater, which made your pursuit seem over dramatic to say the least “Ethan?” you cautioned, not knowing what would happen “Have you ever wanted to be someone else?” This was not the American you knew, this was a man who’d been through so much, close to shattering, it broke your heart to see Ethan so sad. You walked up to him & put a hand on his shoulder “I used to, but I grew used to what I had.” “And you think this is some type of gift?” Ethan asked, his voice raising “Well I don’t fucking know, I don’t even know what it is!” You responded back harshly. Ethan drew deep breaths, attempting to calm down “Mariner’s Inn, that’s where I’m staying. Let’s head back there so I can explain.” Ethan started to walk, you following behind him.

You eventually crossed the threshold and made you way to his room. Locking the door behind you, you turned to face Ethan. “So what is happening with you?” Ethan sighed “Y/N, I’m a werewolf. I turn every full moon into a ravenous creature destined to feed on flesh & blood, not caring who it is, as long as it’s carnal need for flesh and blood is fed” you nodded your head “Alright” you responded, Ethan looked surprised “Alright? Y/N, all those people” “Should not have been slain yes, but I can assume this was something you were cursed with, correct?” “Yes it was, I don’t remember seeking it out.” “So the issue should be with the one who cursed you, not yourself. Ethan, every single person at Malcolm’s house has had to step in blood, you aren’t the first and you won’t be the last. You’ve been here for me, so now I return the favor and be there for you.” “How could you be? I could rip you apart, it’s practically suicide! Why would you stand by my side through all of this suffering and pain?” “Because I love you Ethan Chandler!” The words had fallen out again, but this time you were beyond caring “I was pulled in the second I saw you at the show with that makeshift mustache, when I saw how that girl at the show had been fucked by you, I wished I could have been in her place, but as I got to know you more I started to love your personality, your kindness with Ms. Ives and myself, how you made me comfortable with my telepathy. So that’s why Ethan. Even if you can’t stand me, I cannot bare to see the one I care about distraught and upset, taking his anger out on himself for another’s curse!” You stopped, catching breath. Ethan looked shocked at all you had said.

You took the cue from Ethan’s face “I should go” “No” you turned back to see Ethan making his way toward you “I didn’t mean to take it out on you, I can see you really care despite everything, probably the only person who ever could. You really mean it?” You started up at Ethan “Every word” Ethan kissed you very deep to where a few moments passed before you split apart. You were in shock, however you were both incapable of speaking, everything already being left on the floor. Soon both of your clothes covered said floor as you fell onto Ethan’s bed, “Ride me” Ethan whisper groaned, and you obeyed. Positioning yourself above him, you lowered yourself down onto his cock, moaning out for him. Once sheathed inside your ass, you leant in for another kiss as he began to thrust forwards, him leading you in rhythm and pace, the air filling with moans from the two of you “Oh fuck Y/N, you look so beautiful. You don’t deserve to be fucked like the girl from the show, you deserve to be made love to.” Your eyes filled with tears, though more of love and some kind of happiness that you couldn’t name, Ethan looking at you understood, like he had a telepathic link & leaned up to kiss them away.

You stayed like this for a while, loving how good Ethan was fucking you. He suddenly slammed you down, taking charge of the pace, you continued to moan “Ethan keep going, I love this so much!” He grinned, picking his pace up “You’re taking me so good baby boy, clench down right there. Fuck yes” he began to grab the railing as he neared the end, you also getting close “Y/N, I’m going to cum soon, do you want me to pull out & shoot?” At this you moaned out, shooting your own load as you leaned up to kiss him “N-No, shoot in me Ethan, you’re a damn marksman, make it count.” He laughed “God Y/N, you really are something amazing. Here it comes, FUCK YES!” Ethan groaned out as he shot his load into your ass. He kissed you again, you wrapping your hands around him. Ethan for everything good & bad, was where you were most calm, and here was where you wanted to stay.

#Ethan Chandler #Male Reader #Ethan Chandler x Male Reader #Ethan Chandler Smut #Penny Dreadful #Pemny Dreadful Smut

22 notes · View notes

apptowonder · 4 years

Text

On the Inherent Chaotic Queer Energy of “Cats” (No, Really)

In Which the Author Relates His Early Affinity For the Musical Cats, And Meditates in Rapt Contemplation On Its Effect On His Own Queer Coming of Age.

Ok, I’ll drop the Eliotian/Victorian pretense. But in all seriousness, this is going to be a long ramble on the Andrew Lloyd Webber musical Cats, because I saw the recording of the 1998 Broadway performance again for the first time in probably 14 years and it made me Feel Feelings (tm). Plus a comrade of mine expressed similar enthusiasm and it inspired me.

I -- First Viewing

When I was 10 or 11 years old, for a brief period after seeing Cats for the first time at a local dinner theater production, I was enamored in ways I couldn’t put into words. I was not, and have not really ever been a theater queer. I did a few plays up through high school, and stopped doing theater in college when I lost interest and found out it would take time away from gospel choir. But there was something about the way these characters moved, the charisma they carried themselves with that stuck with me. Unlike some of my queer friends, I don’t have the sense that “I always knew” I liked boys as well as other genders. As a tween, I felt very aloof from romantic interest except for one long-lasting crush on a girl in 5th grade that lasted through middle school. But as I continue to look back, I do think I felt a certain stirring in my gut for certain charismatic male figures, almost like an imprinting. Early affection and crushes manifested in a desire to be like the attractive heroes I admired.

I wanted to be Mr Mistofelees, the Original Conjuring Cat. I also wanted to be Munkustrap, the unassuming but brave and suave narrator, unofficial leader of the Jellicle Tribe. Honorable mention goes to the Rum Tum Tugger, whose rock star persona definitely exudes bi energy, but he felt less approachable to me. In any case, though I didn’t realize it at the time, something was very queer about these cats.

II -- On the Naming of Cats -- Munkustrap

Why I felt drawn to this character is hard to sum up. He doesn’t have his own song, his name is only listed in the program. But he does have considerable stage time. Serving as the narrator and Master of Ceremonies for the Jellicle Ball, right-hand man to Old Deuteronomy, and the only cat willing to go toe to toe with Macavity, he had a certain gravitas that I found compelling. He is humble, as I strive to be. Caring and protective of his family, but not overly aggressive. Confident, but not overbearing. He seemed that he would be the perfect gentle lover, someone who could take you to new and unexpected places but would also make sure that you were safe and loved.

On a deeper level, perhaps my identifying with this character was a kind of rehearsal for the years to come. Munkustrap served as both the boy I wanted to meet and the boy I wanted to be. When I came out and became invested in queer community and queer Christian community especially, I found myself slowly falling into the role of psychopomp and threshold guardian for some of my gayby Christian friends who were either newly coming out or newly trying to reconcile their faith and sexuality. I would direct them to apologetics resources, but I think my greater strength was in being a kind of MC who would invite them into a new queer reality, a celebration of the richness of life and a vision of the vastness of both theology and queer vibrancy. In a sense, I invited them to a Jellicle ball.* I would invite them to dance beneath the moon of our shared experience, and show to them that far from being incomplete or broken, they had their own power and beauty, were possessed of “Terpsichorean powers” which would serve as a mysterious gift to the wider world.

The first boy I dated was a Munkustrap. Gentle, but fun-loving. Willing to meet me where I was, but also encouraging me to new heights of intimacy, feeling and adventure. Though we eventually parted ways, we remained good friends, and I will be forever grateful to him for leading me from an abstract appreciation of my queerness to a deeply embodied possession of it that I can now live out for the glory of God and the good of humanity, like a cat has a deep embodied possession of its third and secret name.

III -- On the Naming of Cats -- Mr. Mistoffelees

“Oh, well I never! Was there ever a cat so clever as magical Mr. Mistoffelees?”

Coming in at the eleventh hour to save the day, Mr. Mistoffelees employs his magical powers to rescue Old Deuteronomy when all other help fails. In the production I saw, he literally flies down onto the stage (on a wire) and proceeds to produce phantasmagorical phenomena and easily conjures up the kidnapped patriarch of the Jellicle Tribe from the place he’s been sequestered. He is flashy, elegant, flamboyant, coy, “aloof” but always fun-loving. Perhaps more importantly, in all the performances I’ve seen, he seems elegantly attuned to some deeper sixth sense. Beneath the playful surface is a deep power that manifests in impressive ways. The show relays his power through the metaphor of stage magic, but to me he also seemed to have a touch of something mystical, spiritual. I felt both awe and affection for that sensitive attunement, and how it was packaged in such a playful personality.

In my own life as queer clergy, I have sought to develop that kind of attunement. Though spirituality is a bit slower and more messy than conjuring, I have received compliments from colleagues queer and straight that I often speak the exact right prayer for the needs of a given moment. I write poems and try to breathe new life into the life-giving stories of my spiritual tradition, my life and the lives of my queer tribes. I’m always eager to come up with an impromptu liturgical service when circumstance dictates, and I draw on vocabulary from the saints and mystics as well as my own love of language and poetry. Playfulness is, to me, a spiritual virtue, and I love to offer inspiring surprises from the depths of the wisdom I have inherited from those who have gone before. When friends (especially queer Christian friends) are stuck in demoralizing binaries and limited horizons of purity culture, toxic theology, or other spiritual burdens, I will often pull a shimmering anecdote from the lives of the saints, or an ancient word of curiosity that opens up a new way of seeing the world. In a way, I’m pulling kittens out of hats.

Ironically but also fittingly, when I kept my queerness under wraps, my poetry was vivid but strained. Overwrought, often melancholy but rarely insightful. And I would pray when someone asked me to, but it generally consisted of generic requests that didn’t really mean much to me. I had to become fabulous and be willing to be in touch with the queer wonder of both my loves and my experiences before I began to really tap into that spiritual current that I am still learning how to channel for the life of the world. I’m still a beginner, and in my day to day life I’m fairly quiet and introspective. Aloof, perhaps. But I feel that my openness to queer joy, queer eros and queer vibrancy have begun to throw open a way to my own wholeness and the invigorating and revival of many of my communities. I don’t do this alone, and I am still learning from my many queer elders and forerunners. As I study and practice and bring forth vision, I continue to learn “from Mr. Mistofelees’ conjuring turn.”

At Pride a year or two ago, I met a Mr. Mistofelees of sorts. A pagan boy, playful and flashy, with a golden voice. He ended up being a bit too flighty for me, but he helped me find a bit more of my flamboyant side by getting me to do karaoke, and introducing me to the queer night life in a new city. In our own separate ways, we both helped each other I think be deeper attuned to that electric queer energy that flows into creativity, presence, wonder and resilience like lightning flows from Mistofelees’ fingertips. We pranced about our respective stages and conjured beauty for one another.

IV -- Memory (Some Thoughts on the Queerness of the Musical, and Some Final Reflections)

And what of the musical as a whole. What is it about Cats that struck such a chord with my very young queer self, and still does?

To me, it has an energy to it that resonates very deeply with queer experience. It delights in elevated pageantry, but it takes its own internal logic and way of being seriously. There is something about the mystery and spectacle of it that feels like a queer way of being. Despite the charge leveled against us by demagogues and queerphobes that we’re simply decadent, queer experience to me has always been about experiencing a heightened sense of reality, be that in adventure, sensuality, joy, beauty, celebration or pleasure. As the meme goes, before you say we’re too much, ask yourself, are you even enough?

Furthermore, the show is sensual and embodied in a way that many more conventional Broadway musicals aren’t. It delights in being just a little bit bawdy, while at the same time showcasing an excellence in the choreography and visuals that requires a good deal of skill and physical effort. In coming out and coming to know queer community, I began to listen better to my body and to be more comfortable in my own skin. To delight in the magic of touch and sensory beauty.

Finally, the sensuousness that undergirds the show also displays a very free flowing romantic and affectional subtext between different characters. Two cats may flirt or make eyes at each other, but there’s no expectation that they might not also catch the eye of a completely different cat in the next scene. They perform with a subtle erotic undertone that suggests both tenderness and hedonism, but all in the context of a tight-knit community that cares for its own. The fanfiction community for Cats presents a rainbow of different romantic pairings for various characters, and the lack of consensus as to which ones are “canon” speaks to the show’s affectational fluidity and dynamism.

In the end, the Jellicle cats all present a world within the everyday that is deeply queer and fluid, a “thin space” where personalities are larger than life and anything is possible. In this gay and mystifying romp, I was moved to a consideration in the years since I saw it of my own “secret names” as a future queer seminarian and priest (though I didn’t know it then). While it may seem bewildering to some, I continue to cherish it as a tribute to the great mysteries of queer existence, love and community. And that’s how you address us cats.

*Props to my comrade for extending on and fleshing out this metaphor in his blog post.

#cats #theology #queer theology #andrew lloyd webber #musicals #theology of media #theology of theater #biography #church #history #mister mistoffelees #munkustrap #rum tum tugger

9 notes · View notes

clansayeed · 4 years

Text

Bound by Circumstance ― Chapter 8: The Tower Upright

PAIRING: Nik Ryder x trans*M!MC (Taylor Hunter) RATING: Mature

⥼ MASTERLIST ⥽

⥼ Bound by Circumstance ⥽

Taylor Hunter (MC) has made it good for himself in New Orleans; turns out moving to a new city fresh out of college to reinvent yourself isn’t as hard as people make it out to be. Things only start to get confusing when he finds himself the target of a malevolent wraith. Good thing someone’s looking out for him though — because without Nighthunter Nik Ryder as his bodyguard he definitely won’t survive long in the twisting darkness of the supernatural underworld he’s tripped into.

Bound by Circumstance and the rest of the Oblivion Bound series is an ongoing dramatic retelling project of the book Nightbound and the rest of the Bloodbound series. Find out more [HERE].

Note: Circumstance only loosely follows the events and plotline of Nightbound, and features a separate antagonist, different character motivations, and further worldbuilding.

*Let me know if you would like to be added to the Circumstance/series tag list!

⥼ Chapter Summary ⥽

Ryder and Taylor head to local out-of-the-way voodoo vendor Laveau’s for the final ingredient in their protection ritual. While he waits, Taylor gets his fortune told by the real deal—a spirit medium descended from Marie herself.

[READ IT ON AO3]

Krom’s barely through the threshold before Taylor pounces; hovers around him comically short and buzzing like a gnat.

“So, what did they say? Do I need to call — I don’t have my phone, shit — please tell me I’m not cut from the show.”

Luckily the stone troll looks freaked-out enough to get him to stop and apologize. “Sorry,” he mutters, “I just…”

“No, no I completely understand!” Krom scratches the tips of his head and laughs it off, “I just didn’t want to step on you.”

“He’s not that short.” calls Ivy from her booth at the back.

Taylor shrugs it off. “But I appreciate it.”

“Anyway; the company manager’s a little mad no one could reach you but I convinced them to give you a week of sick leave? Even though there was this one weirdly giddy guy…”

They join Ivy on either side. Taylor groans and rubs his hand over his face.

“That would be Antoni. He doesn’t matter. I really appreciate you doing this for me, Krom.”

“It’s no trouble!” And the troll’s voice is so filled with sincerity he has no trouble believing it.

“That’s our darling Krom.” Garrus returns behind the bar with his tray of collected dirty steins and beer glasses. “He’s like an angel; always helping others. You’ve got nothing to prove sweetheart — you know that.”

Ivy answers Taylor’s question before he even has the chance to ask it; “Stone trolls have a bit of a rep’ around here. You saw their natural element at Persephone.”

“Bodyguards, hired muscle, and the like.” Krom agrees; pointedly trying to keep his voice his usual baritone despite Garrus’ casual compliments.

“So you’re a pacifist?”

“In the flesh — so to speak.”

There’s a thud from behind and all eyes turn to see a stack of crates stumbling out from behind the back room curtain. Not hovering in midair as Taylor originally thought but carried by a very red-faced Cal. Who still forces on a smile through his gritted teeth at Garrus.

“Where… where?”

The fae gestures with a bony finger. “Just leave ‘em behind here. I’ll unpack before the evening rush.”

He slams them down before Taylor can even try to offer help — grumbles under his breath about something he can’t quite catch but he knows Cal’s grateful to Garrus for giving him a place to stay. He must be paying off the stupor he drank himself into following their return as less-than-triumphant heroes.

“I should start taking in strays more often — pun not intended,” Garrus teases but all in good humor; especially when he slides a cool glass of water for Cal to chug when his hands are free, “someone to do the heavy lifting around here and all that.”

Krom shifts in his seat. Something so subtle only the two beside him notice it. But Ivy doesn’t give him the chance to let it go and kicks his rock of a leg with her heels.

“I — I could help with whatever you need, Garrus?” Even though it comes out as more of a question than anything.

The look the two exchange is strange but fond. Garrus’ eyes softening under the twinkling lights. Maybe he regrets what he said — or the implications behind it.

“But if you’re laboring around here then what would I have to look at for inspiration?”

Not the smoothest save, in Taylor’s opinion. But Krom acts like it’s the highest form of praise and brushes the compliment off with a wave.

“Are they always like this?” Taylor whispers to Ivy. The revenant just sighs and nods. A long-suffering struggle on her end no doubt.

Heavy footfalls on metal steps herald Ryder’s arrival from the apartments above. He looks around and beelines towards Taylor in a way that almost has him jumping and hiding.

“You, me; let’s go.”

“That’s not how you ask a man out on a date, Nik.” chides Ivy as she pushes the mortals together.

“What?” He blinks; shakes himself out of whatever thoughts compelled him to seek Taylor out. “Wh — shut up, Iv’.”

“Right,” she winks, “he’ll go with you anyway. It’s part of your brutish charm.”

“Shut up, Iv’.” Taylor parrots with a glare. “Is the spell finally ready?”

Not that he’s not enjoying his time at the Shift. And following the disaster that was the Bayou and Persephone he’s not exactly eager to go into other supernatural spaces any time soon.

But he’s never been one to stay cooped up for long.

Ryder huffs. “Not quite. Damn toad wart expired. Luckily though there’s a shop down the road that carries simple ingredients — so put away that grin Iv’. I’m done owin’ you for now.”

Probably a good thing judging by the low witchy cackle she gives instead.

“So let’s get goin’, hustle hustle.”

“But wait — is it safe?” Taylor follows anyway. Keeping at the Nighthunter’s heels is practically his new job. “You didn’t even want me leaving for the theater.”

“I’ll be right there.”

“With your hallelujah arrows, right?”

“Holy light arrows, Rook. You sound like an idiot when you say that.”

“Well now I’ll keep doing it to piss you off.”

“‘Course, because why would you do anything else?”

Their bickering continues out onto the ruins of another day of Mardi Gras fun. At least some things never lose a sense of normalcy.

It’s a small shop — one of those ‘blink and you’ll miss it’ types. The shop name LAVEAU’s is hand-painted above a doorway embellished with the classic purple, green, and golden plastic beads of the season’s parties.

Taylor stops Ryder before he opens the door. “‘Laveau’s’ like…?”

“Read the signs, Rook.”

There they are clear as day; painted by the same hand as the top sign but with an artist’s frustration behind every black-painted stroke. One on the door declaring ‘Yes, like Marie herself’ and then one blue-tacked beneath it; ‘Not Affiliated with Marie Laveau’s House of Voodoo.’

“Oh. Got it.”

While the outside may lack the flair and panache that attracts the usual tourist crowds the inside is a whole other looking glass. Probably looks the way it does to differentiate between those who want fake dolls to poke with pins and those who want a real hex to mess with.

God, he’s talking about real hexes. When had this become his life?

Together they weave through the cluttered mess of uneven shelves and their uneven products. Books stacked flat where they’d fallen over at some point and left that way with little concern. A bundle of glass-looking orbs balancing precariously without cradle to keep them from rolling off the edge. A plant hanger in the middle of the room holds a pile of sage sticks just there. At second glance some look a little used.

The back ‘counter’ isn’t even that. It’s a folding table with a frayed tablecloth unevenly distributed atop and an old and rusting register in the corner.

First Taylor sees the joint resting in an ash tray made out of a mason jar lid. Only when it’s picked up and placed between two pink lips does he realize the man sitting kiddie-corner to the till.

“Welcome, wayward souls, to another side of the witch you know,” he recites as if from a script; monotone — doing everything he can to dissuade those who might darken his doorstep, “everything you see is one hundred percent bona fide authentic to the craft. Don’t do the rhyme if you can’t do the wiccan time.”

Ryder stops abruptly. Arms folded and a raised eyebrow looking over the pile of scattered tarot cards strewn across the table. That which holds the proprietor’s attention more than customers.

Unbidden he reaches out and plucks a card at random. Turns it over to stare at glittering golden words ‘The Emperor’ upside-down.

There’s no way the shop owner should know what card was grabbed — not like he can see though the matte black backing — but he gives a low and throaty chuckle. Lets smoke billow in a thin stream around the same lips now curled in a smirk.

“You always picked predictably, Ryder.”

Ryder who frisbees the card back onto the table carelessly. “I’m not still unconvinced you don’t set me up every time, Luc.”

“For all the shit you see…”

“I’ll always be skeptical of some damn cards, yeah. What else is new?”

“Good question.”

Luc finally drags his gaze up and away from his reading. Gives Ryder an easy and lazy smile that might possibly be the friendliest greeting to the Nighthunter Taylor’s seen so far. Had he not joined Ivy in teasing Krom only a short while ago he might have run himself ragged trying to understand the electric connection he’s witness to.

There’s definitely a history here.

Ryder sighs; knows Luc isn’t going to answer him until he answers himself. “The usual, man. Another day another job. Not much changes for me.”

“That’s not what I hear. In fact — I hear quite the opposite.”

“Sure those aren’t just voices from a bad trip?”

Luc laughs and kicks himself up to balance on the back two legs of his chair. Teeters dangerously close to falling backwards. “Could be, brother, could be. But I ain’t talkin’ ‘bout the spiritual radio this time. Everyone who’s anyone heard tell of a gutsy break-in among the city’s most elite. And all the chaos that followed.”

Ryder’s teeth grind together; his brow gives an almost imperceptible twitch.

“What did I tell you about listenin’ to the rumor mill, Luc?”

“Are they wrong?”

Not giving an answer is answer enough. Makes Luc give a haughty grin so wide Taylor likens him to a shark.

“I said what I said; another day, another job. It got me a rare ingredient I needed. I figured I could get the rest from your sorry ass if I could get you to look away from that damn deck long enough to ring me up.”

Luc makes everything look easy; from getting on Ryder’s bad side to letting his chair fall forward so he can stand. Like he’s not moving through air and gravity but dancing through deep watery depths.

But there’s a defensive edge to his voice — the first emotion beyond amusement — as he starts to gather up his cards.

“I’ll have you know I’m fond of this deck in particular. They were given to me as an apology from someone who never apologizes.”

“Oh yeah, what for?” Judging by Ryder’s tone, though, he already knows.

Still he lets Luc’s bright hazel eyes bore into his soul.

“Skippin’ out come dawn without so much as an adieu.”

Taylor laughs because, well, it’s funny? Only to quickly realize it’s not the right thing to be doing when he catches the strange look Ryder throws back at him; halfway and in profile — like he stops himself before he can make it a whole confrontation.

The teasing’s gone, now. “Yeah — listen, any chance I still have that standing credit here? I need frog warts and a few other things for a protection spell.”

“Ain’t like you to run around on an empty wallet.”

“Yeah, well… this job ain’t just another.”

And as ‘Another Job’ Taylor kind of takes offense to it.

Luc jerks his head towards a doorway shrouded with a curtain of thick wooden beads and the occasional bird feather. “You know where the stores are, cher. Just consider ya’self lucky Mardi Gras is a prosperous time for us all.”

“You’re a lifesaver, Luca. And if it makes you feel better the life you’re savin’ ain’t even mine.”

Taylor’s a step behind his heels when Ryder turns and keeps him at bay with a palm to his chest. His heartbeat stutters; spandex yielding to the firm press, but Ryder says nothing of it.

“Stay up here.”

Taylor scoffs. “Why? I’m not going to accidentally cast a spell or anything.”

“Maybe not, but the last thing I need is you gettin’ clumsy on the wrong object and fuckin’ us both even deeper.”

While he fumbles for a retort worthy of the witty comeback, though, Ryder makes his escape. Calls back; “don’t touch anything, don’t look at anything — and don’t let him suck you up in that damn deck!” before he’s gone in a clatter of beads.

They both know he’s not going to listen — he only says it so he can tell Taylor off when something inevitably happens. That seems to be how they function. Not that he plans on flailing his arms and messing with the first thing he hits, but…

“Since you ain’t dead I’m gonna assume Ryder’s not takin’ on the role’a teacher of the nighthunting arts.”

Snaps Taylor’s attention back to Luc; back in his chair and shuffling the deck in long and ring-adorned fingers.

“No.”

“Good. You might just stay alive then.”

“Apparently that’s a hard thing to do so, sure.”

Luc gestures to the chair across from him. It’s an offer, not a demand, but out of spite for Ryder’s twenty different moods — follow me, don’t follow me, around and around again — he takes it up. Watches Luc shuffle and reshuffle with naught but the soft collision of the cards as music.

When he realizes Ryder’s going to take his time, he figures the best way to start might be an introduction.

“I’m —”

“Pick a few cards for me, Taylor.”

He hadn’t even realized the man had started a spread; each card turned down and black as the void in a soft arc reaching out to him across the table.

Luc is courteous enough not to blow smoke in his face. Sits back slightly hunched and letting his focus flicker between Taylor and the cards. Like both are equally likely to speak to him in the silence.

“It’s probably useless asking how you knew my name, huh?”

“Smart boy. Sometimes they whisper an’ sometimes they scream, but I gotta say it’s been a good long while since I heard the cards call out the way they do to you, Taylor Hunter.

“So help me out here. Pick a few and let them show us why they’re so damn chatty.”

He wants to point out that the only chatty one around is Luca himself, but again that’s one of those useless things he’s finally starting to come to terms with. Knows another useless thing would be to ask why he can’t hear anything… but that’s because hearing is the only word he can think to describe it too.

They’re cards — just plain tarot cards. But like inky tendrils they’re reaching out to him across the table on another plane of reality. One where they have soft black fingers that wrap around his wrists and bring his hands to hover over them. Like safety.

Ryder said… “Well, Ryder said…”

The look Luc gives him cuts him off. Yeah, that was a bit of a stretch, wasn’t it?

He points at random; watches Luc pull a card out without flipping it over. Keeps going until a curt nod cuts him off and nine rectangles of shadow form a square across from him.

“This ain’t your average reading,” that much being obvious by the reverent way the shopkeep looks down at his selection, “and I ain’t your average reader. You’re not from around here.”

“Are you asking?”

“No. But I figure that means you did what all newcomers do — got yourself one of those back room phony shows at the House of Voodoo.”

He wants to say he hasn’t only for how ashamed Luc’s tone makes him feel about it. But yeah — yeah he had. Doesn’t remember much about the event itself but knows somewhere buried in the clutter of his desk back at his place there’s a piece of paper from whatever the alleged ‘psychic’ had him ask.

Luc nods slowly. “Mmhm. Sometimes — ‘bout as oft’n as pigs fly — the cards they play don’t listen and give out an ounce of truth. Nothing life-changing, but a slip enough to tempt the handler into believing.

“You won’t get none’a that here. Whatever’s shown when I flip these babies around has been, is, or will be whether you know it or not. But they only tell as much of a tale as you’re ready to hear.”

The unasked question: are you ready to hear it? And Taylor isn’t sure he knows how to answer.

He knows a lot about himself; inside and out. Has lived through too much and shoved too much inside for too long not to. It’s something he’s proud of. A lot of people spend their lives with no understanding of their inner self but he’s never had that problem.

But there’s a difference between knowing it and seeing… whatever these cards might show him.

What if what he knows isn’t what they say?

Life would be easier if Ryder took that opportune moment to reappear and save him the trouble of having to make the choice.

But life isn’t easy.

He nods — but before Luc can flip over the first card he reaches out and stops him.

“I’m not, like, sealing a deal with a demon or something, am I?” Judging by the look he gets he really shouldn’t have asked.

“Do I look like a demon?”

“I don’t know what demons look like.” He knows it’s a lie but says it anyway; can think only of that skeletal face sneering at him under the moonlight.

Luckily it’s not enough to deter the shopkeep who just bats Taylor’s hand away. “Judgin’ by your ghostly pallor I’m gonna call your fib on that one. But if it eases ya mind; no. No deals here. I get as much outta this as you do.”

Well that’s okay then, isn’t it?

Luc flips the first card over and has himself a little laugh. And why wouldn’t he — The Fool isn’t just an apt card but an apt description.

Taylor’s humor is, however, short-lived. “Seriously?”

“You drew the card. Only one to blame is you.”

“So I’m gonna be even more of a joke in my future or something?”

Luc shakes his head; spreads his fingers as far as they’ll go as the shadow of his palm casts over the center card. “This ain’t your future, but your self. This is you, Mister Hunter.”

“A fool.”

“A man of innocence,” comes the quick correction, “and oftentimes a free spirit. You do your own thing; march to your own drum. Ev’ry Sally and Joe likes to laugh at the Fool but he’s got his eyes set on the horizon and that’s worth admirin’. So don’t sell him — or ya’self — short.”

Innocent — not quite. But the rest Taylor doesn’t disagree with. Seems he knows himself as well as he thought.

Luc’s painted nail traces along a jagged line on the image. “But see here; the Fool stands at the cliff’s edge. He’s a card so it ain’t in his nature to look anywhere but where he’s told but you’re not a card, are ya?”

“What do you mean?”

“Are you lookin’ forward at the horizon or down into that abyss,” — he flips over another card before Taylor can answer — “or maybe you see the Tower on the other side.”

The Tower card is actually at the Fool’s back but he’s learned enough now not to question the metaphors.

“All that love for life might come at a cost. An’ hey — maybe it’s one you’re willin’ to pay. I don’t judge.”

No matter how hard he looks he knows he isn’t going to see the same thing as his reader. But… “I’m gonna need you to be a little less cryptic and a little more straightforward.”

“This ain’t science. Everything’s up for interpretation when the cards are involved.”

“Okay so interpret what exactly you mean by a cost. What cost?”

His rings drum on the plastic surface slowly before Luc clicks his tongue. “Looks to me like you’ve been through some shit lately. Life-changin’ shit — shit that skips right over dippin’ a toe into destiny and pushes you right in the deep end tied to an anchor — or ten.”

Finally Luc looks back up but his gaze is guarded; carefully and excellently so. He can’t get a thing out of just a look.

“I could have told you that.” He mutters a defensive reply. “A couple of days ago everything was fine and then my best friend’s in a coma, I find out the shit I’ve been hallucinating my whole life is real, and on top of it some big scary Ugly wants my skinny ass for a meal.”

“That explains our friend Ryder, then.” Luc almost seems to peek at the row’s last hidden card. When he turns the Eight of Cups over the hum he hums reminds Taylor of endless weeks of therapists and their noncommittal noises failing to cover the scratching of pen on paper. “And it’s all a helluva lot, I bet.”

It’s a bit hard to play off the full-body adjustment to hide his discomfort but Taylor likes to think he pulls it off pretty well.

“Understatement of the century.”

“Makes a world ‘a sense. You’ve tried gettin’ away from it.”

“Actually I haven’t really had the time.”

Only Luc disagrees; shakes his head curtly and offers the Cups to Taylor like it’s written on the surface in plain sight. “The cards ain’t just talkin’ ‘round the physical. Sometimes we do all the runnin’ in our minds and we don’t even know it. It could be as simple as connecting new things in ya life to old ones and convincing ya’self they’re the same; whether they are or not.”

Oh, there it is — on the surface and in plain sight. Struggling for Cal and Donny. Taking blame for what happened (not that he’d tell Cal, he’s got enough to feel bad over). Jumping down Krom’s throat about the theater company.

“Don’t beat ya’self up too bad,” continues Luc in a way that makes him freeze in the sudden fear that he can read thoughts as well as tarot cards, “a little escapism is good for the soul. The hard part’s when you gotta come back to reality an’ doin’ it without a fight.”

Taylor offers the card back and watches it settle home beside the Fool. The same Fool he’s now a little reluctant to identify with so quickly. “Yeah. I guess.”

“Got it — now cut the ramblin’; you’re talkin’ over the cards.”

Only hasn’t he been the one doing all the talking? Arguing won’t help but that little nugget of petulance persists.

This time Luc reveals three cards one after the other. Makes sure to let each one rest face-up before moving on. Letting them breathe. Letting them speak.

Strength. The Hermit. The Two of Swords. The first two facing Taylor this time as if in judgment. No; they haven’t drawn that card just yet.

He realizes he’s waiting on bated breath when his lungs start to burn and beg for fresh air. Why is he so quiet all of a sudden?

“Tell me more about those hallucinations ya mentioned, Taylor.”

That’s not where he was expecting that to go at all; catches him off guard. “Sorry?”

“Don’t be,” but the other man sounds distant; lost in his thoughts, “jus’ tell me. Said you been seein’ things ‘your whole life’ right?”

“Yeah. But I’d really rather not, uh, go into…” Wasn’t his life story down on the cards? It was hard enough explaining everything to Kristin — and they knew things about one another bound to secrecy by the sanctity of roommate-dom. So he tries to keep it all in the realm of the reading; “I mean I know what they are now. I was seeing glamours. Like through them — without a charm or spell or whatever. I dunno, Nik can explain it better.”

When Luc doesn’t give the same shocked jaw-drop the trio at the Shift had he entertains the brief hope that the same talent runs through the psychic’s veins. But that’s dashed when he catches sight of the unconscious way Luc grabs onto one of the numerous stone pendants draped over his neck — the way he thumbs over the polished surface and tugs on the leather cord.

It’s not the same one Ryder has but pretty damn close; close enough to assume his glamour-charm used to have a home in this very shop.

“That kind-a inner sight’s awful rare.” He practically mumbles.

“Yeah, it’s been mentioned.”

“Not unheard of, mind you. Not in things that ain’t entirely mortal by blood and bone. When you draw Strength in reverse it’s not the opposite like you’d think; it ain’t sayin’ you lack strength.

“Think of it more like the meanin’ is just turned about. Upright’s outside and the other is inside.”

“So it’s inner strength.” He can get behind that.

“Or lack of it.”

I’m fucking sorry? “Who—what-now?”

“This row,” he gestures a little too grandly for the subject matter, “is your past, present, and future. I told you the cards were screamin’ — and they still are — but not this one,” — not Strength — “this’un’s more of a whisper. And it makes sense given that you called ‘em ‘hallucinations.’”

“And an explanation for us ‘card’-of-hearing?”

Luc bites his tongue — really and without metaphor; wince and all. Grabs a stray bit of crumpled receipt from god-knows when his last sale was and scribbles on it in blocky letters.

“‘Note to self,’” he enunciates his writing harshly, “‘add sign to shop: ‘Owner Has the Right to Refuse Service on Account of Shitty Fucking Puns.’”

The glare that follows tells Taylor it won’t be long before that sign has his name added to avoid confusion.

No regrets. None at all.

Puns aside, though? The level eye he gets across the cards takes a turn for the serious.

“I think it tells me a lot more than you’re ready to share. About ya life before this; about the things you done to make the pain go away. Some of us may be human but that don’t mean we ain’t still animals. And animals lash out when they’re scared.”

He’s right. It’s a lot more than Taylor’s ready to share. Makes him want to scramble the deck — flip the table on its end. And maybe the old version of him, the version in those cards, might have.

In his silence Luc gets the answer — “moving on…” he almost sing-songs — lets his fingertips dance on the card showing the present: the Hermit.

Which Taylor tries not to take personally. Who is there to be angry at other than himself?

“So since that one’s reversed too that means… what, that I’m a hermit on the inside?”

“I can see how you’d think that,” laughs Luc, “but not quite. How about we let the professional do his profession?”

Taylor gestures. The professional carries on. “It ain’t easy comin’ into this life so late. ‘Specially when you end up seein’ all the bad before a lick’a good comes your way. But you’re drownin’ in it — that’s what the Hermit’s tellin’ us. No time to ruminate?”

He scoffs. “Something like that.”

“Well make time. Lest it all starts crashin’ down and you get the proverbial water in ya lungs.”

“It’s not by choice. There’s things after me and —”

“And excuses ain’t gonna keep you afloat.” The man reaches over faster than Taylor can move back; actually flicks his forehead dead center.

“Ow!” He swats Luc’s hand away.

“It ain’t me sayin’ this, Hunter. It’s them,” he gestures to the cards, “and they know more about this world than either of us could learn in a hundred lifetimes. Take ya damn time and really work out how you feel. Else you won’t be able to face this here future with a clear head.”

Luckily Taylor doesn’t have to ask; isn’t certain he’d be able to as he looks at the Two of Swords card and feels sweat start to bead at his temples.

Playing with tarot cards is all fun and games when you don’t believe. Even when you do — a measure of healthy skepticism is good for the soul. But with everything he’s seen; been told?

Who would willingly ask for their future foretold after that?

“I think we can skip to the next cards.”

“Oho, this don’t work like that.”

“Why,” doing his best to keep his voice level, “it’s my reading, right? I don’t want to know.”

“Sucks to be you, then. You draw; you listen. That’s how all true readin’s go.” Luc leans back on the creaky chair and lets the Swords card flip and twirl between his fingers.

He could make it easy on them both; stop arguing and just get up and leave the reading unfinished. Find Ryder in the back and apologize for doing what he said not to do — again — and book it out of there right quick.

But he doesn’t.

“Now I get why Nik said not to do this.”

“Ha — well, hindsight ain’t much use in a house of foresight baby. So listen; an’ listen well.

“In proper tarot some cards are real close in meanin’. That’s where the spread comes in — the order, the intent; not to mention the cards all ‘round it. The Swords in your future point to some hard fuckin’ choices. And if ya keep on the path ya’re on you won’t be makin’ ‘em with all your marbles.

“I ain’t talkin’ about decisions that can be made for you, neither. When it comes down to it you’re likely to find ya’self alone — not only in the act a’ choosin’ but in dealin’ with the consequences.”

“So what kind of choices? What do the cards scream about that?”

“They don’t —” he tosses the card back down and it’s probably not a coincidence that it slides magically askew back in the reading’s place, “— on account of all the changes between now and when that time comes.

“The cards give truths where mortals lie; hope where the world pushes despair. But at the end’a everythin’ they’re just cards — bound by the same circumstances as you or I.”

It’s probably meant to be poignant; something that might be sold on a re-purposed wooden palette hand-painted and polished. In a shop similar to this — right between the mismatched crystal balls and Ryder’s coveted frog warts.

But all Taylor can think is; “Well that’s absolutely useless to me beyond freaking me out.”

Luc gives another one of his gap-toothed grins — “C’est la vie, mon petit,” — and doesn’t wait for permission or argument to reveal another card.

“If it makes ya feel any better —”

“Doubtful at this point.”

“— Fair. But they won’t leave ya hangin’. Unless the Hanged Man is drawn, a’course. Naw, rest easy knowin’ you won’t be goin’ the journey alone.”

He frowns; confused. “But you just said —”

“Hush. All the best journeys are made with friends. Though I… I ain’t sure I’d call the Nine a’Wands a friend…”

Curiosity replaced by twists and turns of his bewildered head; Luc bites down on his thumb nail and scrutinizes the seventh draw. “In fact, I’d call whomever this bad draw represents —”

“Ryder!”

The Nighthunter emerges in a wave of beads carrying a pearly sphere the size of his head tucked in the crook of his arm. At the same time Taylor jumps — a kid caught with his hand in the cookie jar — and swears when his knee bangs under the table.

Luc doesn’t notice — or doesn’t care; still fixated on the black-and-gold design in front of him. Mutters “could be him, but…” under his breath so low that no one catches it.

Taylor fumbles for an explanation — which is a pretty stupid move seeing as he was ready to just come clean only a minute ago — but doesn’t get the chance. Though he would like to state that it probably would have been an extremely convincing and well-versed one had Ryder not just held up a hand and rolled his eyes.

“I figured you’d ignore me. Already took out my anger with a mortar and pestle in the back.”

Well he’s a little offended now. “I wasn’t blatantly disobeying you or anything,” then; “I’m a grown adult and can make my own choices.”

And doesn’t that karma come around to bite him in the ass pretty damn fast. He makes a great effort not to look at what is no doubt a haughty look of ‘I told you so.’

“Yeah yeah, cry me a river.”

He props the sphere on a large cushion nearby to keep it from rolling and drags the last free seat over into Taylor’s personal bubble. Already looking at the spread like he, too, can hear these alleged screams from the deck. “So, Luc? Any tell on whether or not I’m gonna get paid for this gig?”

“Wha — hey!”

Taylor knows he doesn’t hit Nik’s arm that hard but the offended look he gets back is more than enough.

“Ouch. That hurt.”

“If that hurt I need a new bodyguard.”

“Don’t tempt me to pawn you off.”

“Please do.”

A tinny click draws their focus away from each other and to Luc’s newly lighted blunt. No longer puzzled by the cards — his eyes are brighter; they shine with understanding.

“Nevermind. I get it, now.”

“Get what?” barks Nik a little too defensively.

“Didn’ I jus’ tell ya not to mind it?”

Taylor cuts Nik off before he can continue arguing. They’ve been here too long already. “If we can’t leave until this is finished — can you finish?”

Two cards remain to be revealed. The fortune teller takes his sweet time with a few puffs before agreeing, if reluctantly. Maybe he just doesn’t like an audience?

All sense of the mysterium is gone. Luc flips the cards one at a time with one hand while sucking in his joint with the other.

The Five of Swords. The Wheel of Fortune.

It’s totally the secondhand high that makes the golden wheel glitter and seem to turn before their eyes. Totally.

He braces himself for another round of cryptic semi-explanations. Only they don’t come. Luc’s eyelids droop heavy — almost closed. And judging by Nik’s frown that’s not a normal part of the reading.

“Luca? Hey —” — he snaps in front of the man’s face — “— Laveau!”

He doesn’t quite jerk out of his momentary trance; eyelids flutter as if awakening from a dream.

“Maybe you had a point, Hunter,” after a throaty cough, “maybe it’s best this go unfinished.”

“What seriously? After all that earlier shit?” He balks. Beside him Ryder grabs the Swords and looks it over back to front.

“You’ve never left a reading hanging. What gives?”

“He’s still new to the life. I think he’s had enough bad news for today.”

Taylor practically snatches the card from Nik. But it seems just as reluctant to give up its secrets to him, too. Makes him toss it back down in frustration.

“Just tell me,” even he can’t believe what he’s saying, “since I dunno if it’s worse to know or to guess.”

“Trust me. The worst one’s knowin’.”

“I’ll take that as you’ve never encountered crippling anxiety, then.”

In rare sympathetic form Ryder reaches out and rests a hand on Luc’s exposed forearm. They aren’t hiding behind quips or dancing words any longer; you could see the remnants of intimacy between them from space.

“Luc — come on. For my sake, too.”

The doubt doesn’t ease off from the fortune teller’s brow. In fact it looks deeper than ever before. Finally he yields. “All right — but don’t blame me or the cards. We’re jus’ messengers after all.”

No longer in need of a familiar touch Luc shakes the hand off. Mutters something unintelligible under his breath and takes another few puffs to calm himself down before he covers the Five of Swords like he can’t do the reading while looking at it.

“There’s more than difficult choices ahead for you — and for those what end up around you. A fight looms —” he turns the Swords card on its back atop the revealed Wheel of Fortune, “— on a bigger horizon than that’a the Vieux Carre. Might even be one bigger than this world of ours.

“Not so much a fight as a battle; a war. Turnin’ and churnin’ at the banks of the river and out into the ocean. Ready to flood the whole damn city — every corner of the earth. And it’ll keep ragin’ and screamin’ with every body what falls to it.”

Ryder goes still as stone beside him. Taylor finds himself revisiting the notion of it being better not knowing.

“What does any of that have to do with me?”

“You, Mister Hunter — you’re smack dab in the middle of it. More’n that… you belong there.”

Apologies. Sympathy. Condolences. Luc can’t seem to settle on one way to look at Taylor so instead he just focuses on packing his deck back up. He isn’t as careful this time around — like he’s angry at the cards and what they had to say; to scream. Two separate entities working off of one another but, at the very least, both unhappy with the outcome.

“I’ll get a box for that crystal ball — the warts are yours but I’ll need interest on that relic.” He can’t get away from the pair fast enough. Shuffles the tarot deck in his hands as he goes.

He wants to be surprised that Nik doesn’t follow; doesn’t go to check on someone he obviously has a past and present connection with. But in the goody bag of his emotions he just keeps pulling out resignation — even when he cheats and peeks inside.

That’s all there is. All he can feel.

Where’s that opportunity for escapism the cards had mentioned earlier? He could use a bit of that at the moment.

Doesn’t know when exactly Nik started trying to comfort him; hand on his upper back, the gentle back-and-forth of his thumb. Taylor’s not a big fan of touch but that seems to be how Ryder connects to the world; through the physical.

And oddly it’s working. The comfort thing.

“You okay?”

He’ll sass such a ridiculous question later. “Uh, honestly I don’t really know what I am right now.”

Ryder’s face is unusually close when Taylor looks his way. The barest flicker — a crack in the bravado. Nik is worried for him.

“That can happen after Luc’s readings. You think I warned ya away to keep you from somethin’ fun? Knowin’ his connection with the spirit world makes it all really…”

He struggles for the right word. Weird, coming from him.

“‘Real?’” offers Taylor, and gets him a nod.

“Yeah, really real.”

Noises of shuffled boxes and Luc’s grunts draw them out of Taylor’s personal space and back to the world around them. Up near the back curtain Luc gently eases the crystal ball into a wooden box.

“So, question.”

“Yeah Rook?”

“What do we do now?” Because if turning tail and running like a shameless coward away from this war is an option, he’s taking it.

“We keep on going,” Nik answers, “We get back to the Shift and finish up this blasted protection spell and then we dive into findin’ your attacker and punch a bunch’a holy light holes in it’s ugly-ass face.”

This time when he reaches into the bag of emotions, luck gives him a break and lets him pull out the barest ghost of a smile.

“Man, it is ugly. Like — fugly ugly.”

Ryder’s smile is just as small — but no less sincere — than his.

“It damn sure is.”

#nightbound #nik ryder x mc #nik ryder #playchoices #choices fanfiction #cal lowell #garrus #krom #ivy #nightbound mc #mc: taylor hunter #oblv: bound by circumstance #oblv: new chapter #; my fics

5 notes · View notes

buzzdixonwriter · 4 years

Text

Gorgo

I recently rewatched Gorgo, a 1961 US / UK / Irish kaiju co-production, a film I hadn’t seen in several years (at least five, maybe as many as ten).

The last couple of times I watched it I wasn’t paying close attention, just letting it play in the background as I did other stuff.

Now, having actually paid attention to it again, I’m delighted it holds up as well as my memory told me it did.

I first encountered Gorgo in 1961 when my father took my younger brother and I to see it as the Fine Arts Theater in Asheville, NC.

The Fine Arts, one of only two movie theaters in Asheville (there may have been a 3rd that I didn’t know about due to the segregation laws of that era) specialized in more outre’ fare and typically got the monster and horror shows, as well as the Hercules movies and =ahem!= adult dramas.

It was a memorable trip for several reasons, not the least of which being my younger brother freaking out at the climax when he turned to grab Dad’s arm only to find Dad had gone to the rest room.

Not a great movie but certainly a good one, Gorgo in retrospect was somewhat groundbreaking and as such more deserving of attention.

The late film historian Bill Warren and I would often discuss old sci-fi movies. Bill, of course, wrote the seminal reference work on 1950s sci-fi movies, Keep Watching The Skies (highly recommended; go order it right now).

He argued that the fifties sci-fi boom may have started in 1950* but it really ended in 1962 when the last of the films put into production in the 1950s finally came out.

I argued that the line was fuzzier, greyer, with some titles showing a clearly different mindset than others released the same year.

Such is the case with Gorgo.

Basically, 1950s sci-fi is about re-establishing the status quo. Several end quite explicitly stating this (Earth Vs. The Flying Saucers for one) while others allude to the fact that the menace may return…someday.

But their point always was that by the end of the picture things returned to what passed for normal.

Even Forbidden Planet returns to normal by destroying Altair IV and the truly god-like Krell machines found there, thus preventing anyone else from using them.

But 1960s sci-fi had an entirely different flavor, and that flavor was that by the end of the movie things had changed irrevocably and forever.

There was no going back to the way things were, there was only the new normal -- however different and bizarre that normal might be.

Gorgo is a sixties sci-fi film.

Giant monster movies -- what we now refer to as kaiju due to Japan’s dominance of the genre -- started way back in the silent era (like almost everything else in cinema, Georges Melies got there first) with King Kong as the most prominent example before the atom age.

King Kong’s success on TV in the late 40s spurred Warner Bros. to make The Beast From 20,000 Fathoms and that in turn spurred Toho to make Gojira (US title: Godzilla, King Of The Monsters) and that inspired a giant monster race on both sides of the Pacific.

England, not wanting to feel left out of the fun, made The Giant Behemoth which is an okay but underwhelming example of the genre, noteworthy only for being stop motion animators Willis O’Brien’s last feature work (he worked on other films after that, but not as an animator).

By the late 1950s Godzilla’s popularity inspired the King brothers (US slot machine distributors) to make their own giant monster movie, and despite their unfamiliarity with the genre they made several smart decisions, the first of which was hiring Eugene Lourie.

Lourie had one of those fabulous “cast your fate to the wind” careers that included working as art director on Jean Renoir films in France.

Like so many others, as the Nazis rose in power, Lourie came to America where he continued doing art direction among other behind the camera film work. His experience with special effects got him a gig direction The Beast From 20,000 Fathoms and from there he directed a few TV episodes then The Colossus Of New York (not what we’d call a kaiju film today, but definitely one of the oddest sci-fi movies ever made) and The Giant Behemoth (itself essentially a remake of The Beast From 20,000 Fathoms).

When the King brothers approached him to direct Gorgo, he was reluctant, agreeing to make the film only they let him do something no other sci-fi film of the 1950s (or before!) had ever done: Let the monsters win.

While Lourie later complained he felt the film fell short of what he intended, there’s no denying he was swinging for the outfield fence with this one.

The King brothers’ best idea was that they’d start with a 20-ft tall monster getting captured and brought to London, only for the protagonists to belatedly realize they’ve captured a baby and mama is gonna come looking for him.

It ends with Mama defeating everything humanity had to throw at it and returning to the sea with her child, the surviving humans watching them depart and realizing they can no longer consider themselves the absolute masters of all they survey.

That point gets lost in the feel-good moment of mother rescuing child, but it’s there, and it marks Gorgo as one of the first sci-fi films to embrace the concept that change was inevitable and inescapable.

Gorgo is an expertly crafted film, not perfect by a long shot, but satisfying all the way through. Lourie’s talent as an art director contributed mightily to the film’s final dramatic effect, and the scenes of London panicking as Mama Gorgo comes looking for her child has an intensity lacking in most kaiju films.

As Bill Warren observed, there’s not a lot of originality here, but that’s okay because Lourie and the King brothers covered a number of details typically left out of movies like this, namely how the %#$@ are you going to get your kaiju back to civilization?

Sharp eyed observers will notice a lot of stock footage in this movie (with footage of the British and US navies being used interchangeably for the same ships and crews), but Lourie also disguised some of it well.

The cost conscious King brothers filmed a lorry carrying a full size replica of Gorgo (doped up and trussed up with nets) through a deserted Piccadilly Circus by sneaking cameras in and doing a wholly unauthorized shoot early on a Sunday morning (explained away in the film as the police ordering people off the streets to reduce the danger of Gorgo escaping).

In a couple of scenes Lourie superimposes his actors over background plates shot for big budget WWII epics, creating a far larger sense of scale than the movie actually had.

The miniatures and the lighting of same are exceptionally well done and very convincing for the era. Matte work to combine the Gorgos with humans is pretty seamless.

The Gorgo monster suit itself? Ehhh…not quite so well done. Call it adequate, certainly not an embarrassment, but far from the best example of the genre.

The movie certainly ended in a far different place than other kaiju of the era and ended up having a surprisingly long half-life as a comic book spin off by Steve Ditko that followed the adventures of Gorgo and his Mama.

There’s a lot that can be done with this kaiju combination, and it’s a shame that’s going to waste.

If ever there was a movie deserving of an upgraded remake, it’s Gorgo.

* When a particular epoch in pop culture starts / stops is always open to debate. Since Bill wouldn’t consider short films or serials in Keep Watching The Skies he omits several serials released before 1950 that anticipated the sci-fi boom, in particular The Purple Monster Strikes, the first of Republic’s Martian invasion serials as well as the first cinematic sci-fi excursion to include all of the key elements of 1950s American sci-fi: Paranoia, alien invasion, body possession. (For those keeping score at home, the Republic Martian serials are The Purple Monster Strikes, Flying Disc Man From Mars, and Zombies Of The Stratosphere though one can argue King Of The Rocket Men, Retik, The Moon Menace, and Commando Cody, Sky Marshall Of The Universe are crossovers of one kind or another; the first three serials were unintentionally linked when cost conscious Republic decided to recycle costumes and props and rewrote dialog to refer to prior releases in order to cover their budgetary limits.)

#media #science fiction #Gorgo #Eugene Lourie

1 note · View note

aion-rsa · 4 years

Text

Upcoming Movies in October 2020: Theaters, Streaming and VOD

https://ift.tt/3lducG3

October looks a lot different than it did only a few weeks ago. As the month many movie theater owners were hanging their hats on with the hope of a weekly deluge of new movies , October has recently been vacated by high profile features that include Wonder Woman 1984, Death on the Nile, and Candyman.

Yet if you’re a cinephile or movie lover who is desperate for new stories and visions, it is not all doom and gloom. Between the streaming market of Netflix, VOD, and other platforms, as well as some smaller films willing to roll the dice on a limited theatrical release, there are still more than a few things to see in October 2020…

2067

October 2 (U.S. Only)

A high-concept science fiction setup if we’ve ever heard one, 2067 is the story of Ethan Whyte (Kodi Smit-McPhee), a young man born in a dystopian future where he learns that he might be the savior of humanity… at least that’s what people from an even more distant future are saying. In a plot twist that sounds, at least on paper, akin to a reversal of The Terminator, messengers from the future say Ethan is the key to saving the world and wish to transport him via time machine to an unknowable destiny. Chaos ensues. It’s a big idea, but we’re always game for someone swinging big in this genre.

Death of Me

October 2 (November 23 in the UK)

Darren Lynn Boseman, director of Saw II through Saw IV, returns to the horror genre again alongside Nikita’s Maggie Q and Westworld’s Luke Hemsworth. In this VOD release, the pair play a vacationing couple who wake up on an island with a horrible hangover. Yet a video on their phones seems to suggest the night before was even worse: Neil (Hemsworth) spent the evening brutally murdering his wife, as per the screen in their pockets. Nevertheless, here they are now, left with a lot of questions of what happened yesterday… and what can happen today.

Black Box

October 6

The first of Amazon Prime and Blumhouse Productions’ “Welcome to the Blumhouse” series, Emmanuel Osei-Kuffour’s Black Box has a tantalizing premise. Nolan (Mamoudou Athie) survived a car accident that took his wife, but it also took large swaths of his memory of her. So in order to regain his memory, and regain a sense of stability for his young daughter, Nolan undergoes an experimental treatment where his psychologist uses hypnosis to thrust him into his subconscious where he’ll be able remember his past and face his personal demons. Literally.

Like something out of Christopher Nolan’s Inception, this horror movie shows how scary being trapped in dreams really is if all that’s in them is the stuff of nightmares…

The Lie

October 6

The second Amazon/Blumhouse feature is more of a psychological thriller than a straightforward horror movie. Originally premiering at the Toronto International Film Festival in 2018, The Lie follows a father (Peter Sarsgaard) who discovers his daughter Kayla (Joey King) accidentally killed her friend… until she admits she may have actually murdered her.

How far will he go to cover-up his daughter’s sins? Well, that’s the logline, and it seems to be a gripping one, albeit reviews from TIFF were less than kind two years ago.

Hubie Halloween

October 7

Last year Adam Sandler warned the Academy that if he doesn’t win an Oscar for Uncut Gems he’d make a film so bad that it’d make “you all pay.” Well, he wasn’t even nominated and eight months after the ceremony, here we are with Netflix’s Hubie Halloween. It remains to be seen whether this is actually the bad one—for starters it filmed before Oscar nominations went out—but it is still very much a Happy Madison production, complete with major supporting roles for Kevin James and Rob Schneider.

Movies

Uncut Gems: The Real Noir in Adam Sandler’s Classic

By David Crow

Movies

Horror Movies on HBO Max: Hammer Films, It Chapter 2, Us, to Arrive in October

By Don Kaye

In the movie, Sandler plays Hubie Dubois, the town loser of Salem, Massachusetts. A lonely fry cook obsessed with Halloween, Hubie spends all year looking forward to decking out his home and town the same way Clark Griswold anticipates Christmas. But on this particular Halloween, the town appears besieged by actual supernatural forces, and finally Hubie will have his time to shine. Eh, it looks more amusing than The Do-Over and The Ridiculous 6?

Books of Blood

October 7 (U.S. Only)

Who doesn’t love anthological horror? Hulu certainly does, as they’re releasing Books of Blood, the latest adaptation of Clive Barker’s multi-volume series of short stories by the same name. Previous tales from Books of Blood have been adapted into movies as beloved as Candyman and as decidedly not as Rawhide Rex. In this film version, three stories are created for the screen by co-writer and director Brannon Braga. Here’s hoping it lands closer to the former?

Saint Maud

October 9 (UK Only)

The UK will be the first to get A24’s only horror movie this year. Lucky. The feature directorial debut of Rose Glass, Saint Maud follows an unhealthily repressed and zealous young woman: Maud (Morfydd Clark). Maud is technically a caretaker by trade, looking after people in hospice. But she also imagines herself to be something of an apostle, sent to save godless folks from their sins, particularly Amanda (Jennifer Ehle), the woman she’s living with as the in-home nurse.

Movies

Best Modern Horror Movies

By Don Kaye

Movies

Best Horror Movies on Netflix: Scariest Films to Stream

By David Crow and 2 others

It’s already a tense situation, even before Maud starts hearing voices and having images of ecstasy and Heaven, and demons and Hell. Rich with atmosphere and grueling anticipation of something horrible happening, Saint Maud is a great debut for Glass and a potential star-maker for Clark, who is skin-crawlingly pious as Maud, the young woman who’s wound up tighter than a jack-in-the-box.

The Wolf of Snow Hollow

October 9 (U.S. Only)

Debuting in theaters and on VOD, The Wolf of Snow Hollow is Jim Cummings’ follow-up to Thunder Road. That earlier, underrated movie was a delightful mix of comedy and drama that won the SXSW Grand Jury Prize. So the sophomore effort being a werewolf comedy-horror movie is intriguing. Indeed, Wolf of Snow Hollow is the rare lycanthrope yarn that’s told from the point-of-view of the would-be wolf hunter, Sheriff John Marshall (Cummings).

Following a series of grisly murders every full moon, the residents of Snow Hollow become convinced they have a wolfman on their hands, even if the frustrated sheriff refuses to accept the obvious. The film also marks the final performance of Robert Forster as John’s crusty mentor.

The War with Grandpa

October 9 in the U.S. (October 16 in the UK)

For most people, having Robert De Niro as a grandfather can be an imposing experience. But kids these days! That’s at least one amusing takeaway from The War with Grandpa, the delayed family movie that sees De Niro’s grandfatherly Ed enter into a prank war with his grandson Peter (Oakes Fegley) after upsetting the youth by moving into his old bedroom—Peter’s mom and Ed’s daughter Sally (Uma Thurman) forced them into the arrangement.

Movies

The King of Comedy: What’s the Real Punchline of the Martin Scorsese Classic?

By Tony Sokol

Movies

Al Capone: 9 Actors Who Played the Original Scarface

By Tony Sokol

Soon shaving cream reveals itself to be foam sealant stuck to De Niro’s face, and Peter’s oral report announces he is a louse. Oh, and there’s a dodgeball battle in which De Niro is aided by a squad of screen legends like Christopher Walken, Cheech Marin, and Jane Seymour, to squash the pups. Now things are getting serious…

Nocturne

October 13

The first of Amazon and Blumhouse’s next batch of original movies, Nocturne is the tale of a hellish rivalry between sisters. Genuinely. The feature debut from director Zu Quirke stars Sydney Sweeney as Juliet, the younger sister of fellow musician Vivian (Madison Iseman). While both young women are gifted pianists, Vivian is a prodigy and the center of Juliet’s envy. That is until Juliet finds the diary of another child prodigy at their prestigious conservatory who killed herself. The book includes all the late pianist’s hidden compositions… and symbols and incantations.

Ever heard the story of Faust? It seems like Juliet is about to get an up-close modern example.

Evil Eye

October 13

As the final Blumhouse effort to be released on Amazon Prime in 2020, Evil Eye hails from directors Elan and Rajeev Dassani and presents itself as both a psychological thriller and supernatural chiller. The truth of which it really is depends on how much you believe the eye of Usha (Sarita Choudhury).

Movies

How Jason Blum Changed Horror Movies

By Rosie Fletcher

Movies

Jason Blum: No Plans To Restart Universal Monsters Universe

By Don Kaye

For this mother of Pallavi (GLOW’s Sunita Mani) is convinced her daughter is necking with a new boyfriend (Omar Maskati) who’s the spirit of an evil abusive ex Usha escaped in her youth. Is he the vestiges of a half-remembered curse or the potential victim of a mommy dearest prone to snap judgements? Tune in to find out for yourself…

The Trial of the Chicago 7

October 16

“The whole world is watching.” That’s the chanted refrain of protestors in Aaron Sorkin’s second movie as director, but it might also apply to the level of anticipation regarding this major Netflix release and potential awards season darling. The movie itself is an old-fashioned legal thriller like Sorkin cut his teeth on with scripts like A Few Good Men, but Chicago 7 feels urgently (and depressingly) vital.

Following on the heels of the Chicago riots during the Democratic National Convention of 1968—riots later deemed to have been started by the police—eight men categorized as “the far left” are rounded up for a show trial by Nixon’s Justice Department where they’re charged with conspiracy.

Movies

Aaron Sorkin: Donald Trump Made The Trial of the Chicago 7 Movie Possible

By David Crow

Movies

Quentin Tarantino Calls The Social Network the Best Movie of the 2010s

By David Crow

The film features the same blistering abundance of dialogue Sorkin has become famous for, as well as his penchant for breezy fast-paced editing. But the political heft of the subject matter and the movie’s deep bench of an acting ensemble that includes Sacha Baron Cohen, Jeremy Strong, Yahya Abdul-Mateen II, Eddie Redmayne, Joseph Gordon-Levitt, Mark Rylance, and Frank Langella is what makes this one of the most thrilling movies of the year.

Honest Thief

October 16 (U.S. Only)

Liam Neeson plays a thief who wants a second chance. A bank robber willing to turn himself and $9 million in to be with the new love of his life. But then crooked FBI agents (Jai Courtney and Anthony Ramos) steal his money and frame him for murder instead. So he’s left with one thing to do: menacingly hiss over the phone, “I’m coming for you.” We imagine that trailer-ready threat was what Honest Thief was sold on during its elevator pitch.

Rebecca

October 21

Remaking Alfred Hitchcock remains a tricky proposition that has thwarted many filmmakers in the past. Readapting the only one of his movies to win the Oscar for Best Picture, Rebecca, appears all the harder. Yet everything we’ve seen from Ben Wheatley and Netflix’s luscious adaptation of the Daphne Du Maurier novel is highly encouraging.

With a winning cast that includes Lily James as the new Mrs. de Winter, Armie Hammer as her husband Maxim, and Kristin Scott Thomas as his menacing housekeeper Mrs. Danvers, the film opens with the young bride trying to step into the shoes of Maxim’s dead first wife, Rebecca. An apparent light of his mansion that has been long snuffed, Rebecca’s flame burns still if only because of Mrs. Danvers’ admiration for her late mistress… and maybe the ghost who prowls the house. This is archetypal Gothic horror, and with screenwriter Jane Goldman apparently keeping the novel’s original ending, we already feel seduced by the imagery.

On the Rocks

October 2 in the UK (October 23 in the U.S.)

Sofia Coppola and Bill Murray work together again. For the first time since their luminous Lost in Translation (if you ignore the ill-considered A Very Murray Christmas), the director and star are collaborating on this visibly intimate tale. It’s about an adult daughter (Rashida Jones) and her famous father (Murray) spending a weekend in New York City on an adventure after years of estrangement.

Movies

10 Best Alfred Hitchcock Movies

By Michael Leader

Movies

8 Essential Gothic Horror Movies

By David Crow and 1 other

The film, which also stars Marlon Wayans, premiered to a largely warm reception at the New York Film Festival and is already being written about as a spiritual successor to their original collaboration. Once more a woman in the midst of an existential crisis is aided by Murray between glasses of scotch. Who doesn’t want to pull up a seat and order another round?

Over the Moon

October 23

You probably don’t know Glen Keane’s name but you should. The longtime Walt Disney Animation Studios animator oversaw the design and animation of Ariel in The Little Mermaid, Beast in Beauty and the Beast, Aladdin in Aladdin, and Rapunzel in Tangled. With Over the Moon, he steps away from the Mouse and toward Netflix as a first-time co-director, alongside John Kahrs (an animator on Tangled and Frozen).

The trailer for the film is like a Georges Méliès fever dream from as a little girl named Fei Fei (Cathy Ang) builds a rocket ship to take her to the moon. But once there, Fei Fei and friends meet a mythical moon goddess (Hamilton’s Phillipa Soo) who takes them on a candy-colored odyssey through the cosmos.

Synchronic

October 23 (U.S. only)

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Justin Benson and Aaron Moorhead are two of the most intriguing new voices in science fiction. If you don’t recognize their names, go watch The Endless right now. One of the strangest and cleverest sci-fi yarns of the last decade, that film is now being followed up by Synchronic, another original tale that stars Anthony Mackie and Jamie Dornan. The specifics of the film remain vague other than it is about two New Orleans paramedics who investigate a series of murders caused by a new, bizarre designer drug. But we already know we can’t wait to watch what horrible side effects come from these poor bastards taking it.

The Craft: Legacy

It cannot be Halloween without at least one more horror movie coming out the week of. Thus enters The Craft: Legacy, Sony Pictures and Blumhouse Productions’ legacy sequel to the original 1996 The Craft. Like its predecessor, this follows an outsider who is the new girl in school (Cailee Spaeny). She may be ostracized by the popular kids, but she befriends fellow students who have alternative tastes… like witchcraft.

The original is a touchstone for millennials and Gen-Xers of a certain age, and this reboot looks to push the story into a more complex understanding of friendship. And if it doesn’t, it’s still a Blumhouse effort so it should have plenty of spooky jumps!

Relic

October 30 (US Only)

Dementia is at the heart of this very eerie chiller where three generations of women convene in an old family home which seems to be rotting from the inside. Robyn Nevin, Emily Mortimer and Bella Heathcote star in a slow build drama which delves into the horror of losing your sense of self, as Nevin’s matriarch goes missing for days and can’t remember what happened while her house is filled with odd notes, black mould and snippets of a life slipping away from her grasp. This is the feature debut of Australian-Japanese director Natalie Erika James and it’s a stylish, chilling and confident first feature with a final act that veers into full blown horror. Out already in the States on VOD it has a UK theatrical release in the UK.

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

from Den of Geek https://ift.tt/3lcbpuO

#aion-rsa #Den of Geek

1 note · View note

itslaurenmae · 4 years

Text

@iowastubborn asked: “I am curious, what alongside CitWs has caught your interest and ignited your passions lately?”

Tylor, you are the best for sending me these asks. I'm sorry my inbox ate your ask and I accidentally deleted my draft and that it's taken me like, two weeks to respond to this.

The short answer is Shakespeare and other early 2010s-Whedon projects.

First things first: Shakespeare.

A few weeks ago, I was talking with a good friend of mine about how I was missing dancing and performing. She told me about a Facebook group that a few people from different theater companies in Fresno had made - doing readings of all of Shakespeare’s plays on Zoom: one comedy (Monday nights), one tragedy (Wednesday nights), and one history (Friday nights) each week. I lurked for a few days before putting my name in to read the Chorus in Romeo and Juliet - I've always loved those opening monologues.

Backing up a bit - it had been years and years since I’d actually read anything by Shakespeare. I majored in English in college. I watched the first series of The Hollow Crown (with Ben Wishaw as Richard II, Jeremy Irons as King Henry IV and Tom Hiddleston as Prince Hal/Henry V) back in 2014 or 2015 - the first time I felt like I enjoyed watching any of the histories.

I've always loved Baz Luhrmann's 1996 Romeo + Juliet. You know the one, with Leonardo DiCaprio and Claire Danes. It's in my top 5 favorite movies of all time (the rest are - as of now - The Cabin in the Woods, Pride and Prejudice {2005}, Lars and the Real Girl, and Lord of the Rings {which I know is totally cheating, since that's a trilogy}).

I participated in that first reading of Romeo and Juliet and it just felt so good - to be reading Shakespeare again, to be listening to Shakespeare again, to be enjoying Shakespeare with other people again.

I had the pleasure of participating in two readings this past week - Troilus & Cressida and Henry V (which might be my new favorite history play). I also got to read Horatio in Hamlet, which was honestly a dream role. This week, I get to participate in Richard III, reading Queen Elizabeth.

As a supplement to these informal readings, I've been consuming a lot of Shakespeare-related media, which ties nicely into my second source of inspiration, early 2010s Whedon projects.

To be completely frank, since rewatching Cabin in the Woods, my latent crush on Fran Kranz has returned with full vengeance, so that's definitely informed a lot of the things I've been consuming. My copious stalking led me to discover he's currently in post-production on his directorial debut, a drama titled Mass, that will feature Jason Isaacs and Martha Plimpton.

I rewatched Joss Whedon's Much Ado About Nothing, which is still my favorite comedy. It absolutely holds up on rewatch. Fran plays Claudio in that one - he also plays Bottom in a 2018 adaptation of A Midsummer Night's Dream that totally feels like the absolute fever dream that play really is - definitely worth a watch.

I've also rewatched/finished watching Dollhouse for the first time. I think I'd started that one back in 2014 or 2015, saw the first season, and then gotten distracted and never finished it/watched the Epitaphs or any of the second season.

It's not a perfect show, but it's so damn good and frankly, criminally underrated. Episode One of Season Two: Vows, features one of the best scenes I've ever seen on a television show. It's between Fran's character, Topher Brink, and Amy Acker's character - and it is Shakespeare-levels of poetic, so good and painful.

My HEART. I’m in agony and I’m not mad about it.

So, I've been consuming a lot of content. And! I've actually been creating stuff again, which feels so good.

I made a playlist.

I wrote a fic rec post.

May also make a podcast rec post, since I’ve been listening to a lot Shakespeare podcasts to supplement my participation in these readings.

I found a couple of Reylo one-shots I wrote back in 2018 and never posted, so I'm checking those for grammar today and will post them.

It's like my creativity goes underground for long periods, resurfaces occasionally, and then goes fallow again. I wish it was something I could rely on more, but I think I'm not able to because of the demands my life and life choices put daily on my time and my energy, but that's perhaps a post for another day.

It feels good to be in a consume/curate/create cycle right now, so for now, I suppose that’s enough.

Please feel free to keep dropping stuff into my inbox. It really is nice to be asked these kinds of things.

#answered #ask #iowastubborn #lauren writes #lauren talks #idk what tags i'm even using anymore #my writing #shakespeare #much ado about nothing #a midsummer night's dream #romeo + juliet #dollhouse #amy acker #fran kranz #joss whedon

2 notes · View notes

weekendwarriorblog · 5 years

Text

WHAT TO WATCH THIS WEEKEND July 4, 2019 - SPIDER-MAN: FAR FROM HOME, MIDSOMMAR, MARIANNE & LEONARD

It’s the 4thof July weekend, which is often the bane of my existence because I’m never invited to do anything with anyone. Fortunately, I’m going back to Ohio for the first time in nine months so I’ll be spending this 4thof July with family, and hopefully, that will include some movie-watching.

The movie I’m most excited about seeing again is SPIDERMAN: FAR FROM HOME (Sony), the sequel directed by Jon Watts that returns Tom Holland to the Spidey-suit and brings back all of his friends and classmates, as well as throwing Jake Gyllenhaal’s Mysterio into the mix. You can read how much I enjoyed the movie in my review below, and also, check out my interview with the director, also below.

MY REVIEW OF SPIDER-MAN: FAR FROM HOME

INTERVIEW WITH JON WATTS ON THE BEAT

The other wide release this weekend is Ari Aster’s sophomore feature MIDSOMMAR (A24), starring Florence Pugh, Jack Reynor (Sing Street) and Will Poulter as a group of friends who travel to Sweden to observe a Midsommar ritual held by the community of their friend, but things are not what they seem. Before you can say “The Wicker Man,” they’re finding out the real intentions for their hosts.

Mini-Review: Like most, I loved Ari Aster’s Hereditary and saw it as the advent of a fantastic new vision in filmmaking and horror, specifically. Whenever a filmmaker delivers such an amazing debut, his or her follow-up is going to be eyed with equal parts anticipation and scrutiny, and that’s truly been the case with Midsommar.

Like Aster’s previous film, this one begins with the death of family members, in this case those of Florence Pugh’s Dani early on in the movie. Dani’s boyfriend Christian (Jack Reynor from Sing Street) is ready to break up with Dani, because he can’t handle her family drama. At the same time, Christian has been invited by his friend Pelle (Vilhelm Blomgren) to go to his small Swedish community to take part in the Midsommar ritual along with friends Josh and Mark (Will Poulter). When Dani finds out about it and Christian invites her (think she’ll say “No’ – she doesn’t) – it soon becomes obvious Dani will be the fifth wheel threatening to bring down the mood. That’s okay because Pelle’s friendly community might have ulterior motives for the visitors.

There’s a lot to like about Midsommar, particularly Aster’s clever way of exploring The Wicker Man territory in a new way that offers terror and horror often in the brightest of daylight, an achievement in itself. Other than the film’s look and the production design that went into making it such a unique-looking visual film, it’s hard to ignore the fact that this is the exact same “stupid young people on vacation getting slaughtered” motif we’ve seen in so many horror films from Eli Roth’s Hostel movies to Touristas to so many more.

For the most part, Aster has another strong cast -- Florence Pugh is quite fantastic in a very different role, although she does a lot of crying in this movie. Jack Reynor could begin stepping into a few of Chris Pratt’s roles without anyone batting an eye, because he has similar rugged looks and charm. I actually liked Will Poulter’s obnoxious American to the point where when he mysteriously vanishes halfway through the movie, it loses quite a bit.

Beyond that, Midsommar explores some of the same themes Aster explored in his first movie, including death and grief and family squabbles with one character crying a lot, and of course, diabolical cult rituals and lots of nudity. Aster also use the same upside-down camera shot he used in Hereditary, which itself was borrowed from Darren Aronofsky. Maybe I’d have liked Midsommar more if it didn’t feel like Aster was retreading familiar territory. I do have to wonder if Aster has ever had therapy, because he certainly seems to have issues, maybe even with a sister, driving him to kill sisters in both his films?

Owing as much to The Texas Chainsaw Massacre as the more obvious Wicker Man, MIdsommar is still not your typical horror movie by any means. If your favorite part of Hereditary was its crazy ending and you didn’t think it was crazy enough, then Midsommar is the movie for you!

Rating: 7/10

LIMITED RELEASES

Because it’s the 4thof July this week, we’re getting far fewer limited releases but I do want to call attention to a couple docs opening this week.

But first, I want to draw attention to a movie that opened at the Film Forum last week, Lila Avilés’ The Chambermaid, an amazing portrait of a Mexican maid in a high-end hotel as she goes through the day-to-day while trying to achieve her goals and dreams, all which seem to move further and further away. I was a fan of last year’s Romaand though The Chambermaid is a different type of movie, it features another amazing performance by an indigenous Mexican, Gabriela Cartol, who had appeared in a couple other movies before, but she really keeps the viewer drawn to the movie and the things that she goes through. At times, it feels like there’s no way for her to fulfill those dreams, and it’s something to which we can all relate.

A doc that’s a must see for all Leonard Cohen fans is Nick Broomfield’s MARIANNE & LEONARD: WORDS OF LOVE (Roadside Attractions), an amazing look at the relationship between Cohen and Marianne Ihlen, the Norwegian woman with whom he lived on the isle of Hydra in Greece, one of his early muses and the inspiration for the song “Goodbye, Marianne.” It’s an amazing film by the award-winning documentarian that has a lot of revelations, including the fact that Broomfield as friends with Marianne going back to the ‘60s, making him the perfect filmmaker to tackle the subject. It opens in select cities including the Angelika Film Center in New York Friday.

Opening at the IFC Center in New York is Rob Fruchtman and Steve Lawrence’s The Cat Rescuers about New York City’s 500,000 street cats and a group of volunteers who go through Brooklyn getting these cats fixed and returning them to their colonies or getting them adopted. It’s a movie that cat lovers will probably enjoy similar to the film Kedi from a few years back, but it’s also kind of sad when you realize that some of this cat population will have to be put down, because cats are adorable and you don’t want them to die.

Opening at the City Cinemas Village East in New York almost two years since premiering at TIFF is Tali Shalom-Ezer’s My Days of Mercy, starring Ellen Page and Amy Seimetz (Pet Sematary) as sisters Lucy and Martha who attend state executions to demonstrate against the death penalty. At one such event, Lucy meets Mercy (Kate Mara), the daughter of a police officer whose partner was killed by a man about to be put to death. They quickly bond before Lucy confesses that her own father (Elias Koteas) is on Death Row.

The only other limited release this weekend is Frédéric Petitjean’s directorial debut Cold Blood (Screen Media), starring Jean Reno as Henry, a hitman who is living in a cabin by a lake in the Rocky Mountains when he encounters a young woman who survived a snowmobile accident and has to decide whether to save her life. It opens in select cities and On Demand Friday.

STREAMING AND CABLE

There aren’t any big movie releases on Netflix this weekend but that’s because Season 3 of Stranger Things will premiere on the 4thof July, and I expect many people will be spending the early part of the weekend watching that.

REPERTORY

METROGRAPH (NYC):

Unfortunately, I missed something last week in terms of repertory series at the Metrograph as I didn’t realize that former Village Voice critic J. Hoberman was doing another series in conjunction with his latest bookMake My Day: Movie Culture in the Age of Reagan. The series Reagan at the Movies: Found Illusionsincludes a mixed array of films including 1951’s The Day the Earth Stood Still, a new restoration of Rambo: First Blood Part II (1985), Clint Eastwood’s Firefox (1983), Hal Ashby’s Being There(1979) starring Peter Sellers and more!

Also on Wednesday, Metrograph will be premiering a special 20thanniversary restoration of Takashi Miike’s horror classic Audition, which I think is so perfect for the remake treatment due to the #MeToo movement and its implications. Can you imagine how well a revenge thriller about a young woman getting revenge on sleazy movie producer types would go over in this day and age? Call me, Jason Blum!

This week’s Late Nites at Metrograph is Penelope Spheeris’ Suburbia (1983) while the Playtime: Family Matinees is Robert Zemeckis’ Who Framed Roger Rabbit? (1988).

THE NEW BEVERLY (L.A.):

Weds has a special matinee screening of the Bond film From Russia With Love (1963) and Tarantino’s theater isn’t taking off on the 4th of July. In fact, it’s holding a special event screening of Red Dawn (1984) and Rocky IV (1985) (You might notice a theme there… USA! USA!) Weds and Thursday are also double features of The Happening (1967) with Anthony Quinn and Land Raiders (1970), starring Telly Savalas. The Friday/Saturday double features are the 1966 sci-fi classic Fantastic Voyage with 100 Rifles. The weekend’s KIDDE MATINEE is the Disney classic The Love Bug (1968), while Friday’s midnight screening is Tarantino’s Django Unchained and Saturday at midnight is a 35mm print of Richard Rush’s Getting Straight (1970), starring Elliot Gould and Candice Bergen. Sunday and Monday is a double feature of Dean Martin’s Murderer’s Row (1966) with Ann-Margret’s Kitten with a Whip (1964).

FILM FORUM (NYC):

Elaine May’s Mikey and Nicky (1976) gets a new 4k restoration that begins on Friday, plus May’s 1971 film A New Leaf will also screen through the weekend. The restoration of Jennie Livingston’s Paris Burning continues to play through the weekend, while the Film Forum will also continue showing Elaine May’s Ishtar and the Coen’s The Big Lebowski through the 4thof July.

EGYPTIAN THEATRE (LA):

The Friday after the 4thof July sees a double feature of Steven Spielberg’s Jaws (1975) and Hard Ticket to Hawaii (1987), co-presented by Beyond Fest. Saturday is a screening of the classic Lawrence of Arabia (1962) in 70mm, while Sunday sees a double feature of The Return of the Living Dead (1985) and The Texas Chainsaw Massacre 2 (1986).

AERO (LA):

Oh, look… Spielberg’s Jaws is playing here, too… but on Wednesday. Director Peter Hunt will be on hand Friday to screen his movie musical 1776 (1972). On Saturday, you can see a double feature of Jaws 3-D (1983) and A*P*E (1976), co-presented by Cinematic Void, and on Sunday is a Baseball Double Feature of 1993’s The Sandlot and Penny Marshall’s A League of Their Own (1992), both in 35mm!

MUSEUM OF THE MOVING IMAGE (NYC):

MOMI is having another screening of Stephen Frears’ My Beautiful Laundrette (1985), starring Daniel Day Lewis on Saturday, wrapping up Grit and Glitter: Before and After Stonewall. This weekend’s See It Big! Action movies are Robocop (1987) on Friday and the Wachowskis’ The Matrix on Saturday and Sunday.

QUAD CINEMA (NYC):

Opening on Friday is a 4k restoration of the Director’s Cut of Daniel Vigne’s The Return of Martin Guerre (1982), starring Gerard Depardieu.

ROXY CINEMA (NYC)

On Saturday, you can see Alfred Hitchcock’s terror masterpiece Psycho (1960) on the big screen again!

LANDMARK THEATRES NUART (LA):

Friday’s midnight screening is Tommy Wiseau’s midnight movie “classic” The Room (2003).

Next week, things slow down with two lower-profile films, the comedy Stuber, starring Kumhail Nanjiani and Dave Bautista, and the alligator horror film Crawl, from Alexandra Aja and Sam Raimi.

#SpiderManFarFromHome Midsommar TheChambermaid MarianneLeonard Movies Reviews

1 note · View note

obsidianarchives · 5 years

Text

Ashley Romans

Ashley Romans started her formal acting training at Pace University School of Performing Arts. She moved to Los Angeles immediately after graduating in 2015. Los Angeles theater credits include: Celebration's Charm (Beta), Rotterdam (StageRaw and LADCC award recipients). Film/Television credits include: "I'm Dying Up Here" and "Shameless" (Showtime), "Are You Sleeping?" (Apple TV), "Hermione Granger and the Quarter Life Crisis" (Sunshine Moxie), "NOS4A2" (AMC new series).

Black Girls Create: What do you create?

I’m an actor. I create by acting. Collaborating with writers, directors, designers, and visionaries in whichever medium possible to hopefully create an honest reflection of a being’s life experience.

BGC: How do I create?

I suppose my entire creative process begins with healthy self trickery. Not quite deception but more healthy, playful, self manipulation. Naturally as creators we have a way of resisting and fearing whatever it is we most want to bring about into the world. Similar to a mother’s fear of giving birth or raising a child, we think “what if the world doesn’t receive my creation well? What if people are mean? What if it’s not healthy or ready?” I often find myself trying to bribe or trick my way out of this fear. I trick myself into going into my next audition as confidently as I can, or preparing for that day on set when I really don’t want to, or finding some connection with a character trait I find reprehensible.

I also think it is very important to stay relaxed and loose so one can reach a playful and spiritual place of creativity. So I try and keep myself healthy; mentally, spiritually, and physically by reading, eating healthy, journaling, praying, meditating, and exercising.

BGC: How did you get into acting?

I would say my professional pursuit officially began when I went to study theater at Pace University in New York City for my undergraduate degree, but for as long as I can remember I always had an interest in acting. I loved watching ‘90s action/drama movies with my father and “I Love Lucy” reruns with my mother as a child at all hours of the day. I became even more interested in theater and performance through high school choir, joining community summer camps, and doing the spring high school musical.

Even as an adolescent I felt it was best to keep my professional aspirations to myself in fear of naysayers. In retrospect, I understand now that high school is a time a lot of young people are dealing with self doubt and insecurity. Considering that I was far from the funniest, smartest, or most talented individual in the theater department, I, unconsciously, kept my performing ambitions quiet even from the people closest to me because I didn’t want to risk someone rubbing their self doubt on me. I worked up the courage to audition for a couple of acting schools but I told no one except my acting teacher Douglas Hooper and a few very close mates.

I still abide by this privacy philosophy even now and it hasn’t steered me wrong to this day. I still feel that speaking one’s dreams and aspirations among chaotic or unsupportive energy environment would most likely dissipate or poison their own source.

Eventually after graduating from Pace University through a couple months of tumbling I landed representation for acting with a management company and I moved out to Los Angeles. I’ve been able to land some great acting opportunities and gain a supportive team of people and I could not be more grateful.

BGC: What has been your favorite role so far?

I have so many favorites. The roles that stand out to me as my favorite are the ones that have most challenged me and allowed me to explore a different aspect of life, and explore and connect to the full range of the human experience. I’ve received some of my most valuable acting lessons in various roles in the theater. I played Inez, a red dressed-vixen-leading lady with a passionate, deep-seeded hatred for her ex-husband in Stephen Adly Guirgis’ Our Lady of 121st. Two years ago I played Beta, a young teenage gang affiliated boy in Chicago with a secret in Phillip Dawkins’s play Charm at Celebration Theater. This coming March I will be part of the Kirk Douglas’s production Rotterdam by Jon Brittain. Set in the Netherlands, I will play Fiona/Adrian, one half of a modern London couple who decides to make a huge change in their life. My experience acting in these productions specifically has been positively nurturing. Throughout our rehearsal process, I learned what it means to be not just a more nuanced and skilled actor but also a more supportive and capable teammate in the creative process.

In terms of film/television world, my work as Hermione Granger in Sunshine Moxie’s Hermione Granger and the Quarter Life Crisis remains my greatest acting lesson in the film/television/on-camera discipline. Eliyannah Yisrael, Megan Grogan, Alice Pierce, other writers and producers leveled up my game up. I’ve never before been number one on the call sheet and I’m not sure if I ever will again, but having that responsibility was so enlightening. It was also an invaluable learning experience getting to work with those amazing creators and seeing those women just get shit done. It was truly an honor being chosen to play such an important and monumental literary character in this version. I remember reading the Harry Potter series as a little girl in London and thinking how much I wanted to be part of and live in that magical world. Playing Hermione in the HGQLC series was by far the best artistic adventure I’ve ever had. Exploring moments, scenes and how far we can bring characters all felt like adventures. Even our trip to Dublin, Ireland this past year felt like one big adventure. I’ll be forever grateful for that experience.

BGC: Why do you create?

I enjoy acting because I love being seen and getting to disappear. It’s a paradox but it’s my truth. I enjoy exploring the range of human experience. I love that I get to feel connected to people in the safe incubator that is pretend. I love that I get to feel and say all the things I’m afraid to feel and say in my real life. I still never get bored of going to the theater, movie or stage, sitting in a dark room with other people and watching performers simply tell us a story. I hope to serve God and the people around me through my creativity and acting. I always hope to truthfully represent a human experience no matter how high or low the stakes it might seem to us at first. Losing your phone and frantically trying to find it can be as exciting and dramatic a story as losing one’s job or finding out your spouse is unfaithful. It’s all in the storytelling and truthfulness of the moment and I love as an actor I get to explore that.

BGC: Who do you hope to reach through your work?

Honestly, the most important people I aim to ultimately reach and impress are my nieces and nephews. Yes the public, my agents, and producers are all important but I feel as though they are a means to an end. Right now my oldest niece is 10 years old and she loves the Hermione series and is always pretty excited to see me act on TV. At the moment she still thinks I’m pretty cool and I hope to keep it that way.

If this was a decade ago and you asked 16-year-old Ashley the same question I probably would have said something like “I want to be a voice for the voiceless and the underrepresented… blah blah blah.” Truthfully, I don’t think I ever really knew what that meant. I mean, I knew what it meant on a superficial-runner-up-in-Beauty-Pageant kind of level but now that answer doesn’t resonate with me as the gutter truth. Whenever I’m working on scripts, deciding on content to create or post etc, I ask myself “Is this something I would be proud to let my niece see? Is this the kind of work that can help make the world even the tiniest bit better for her?” Eventually, she’s going to grow up and have a voice in this world and I hope that her seeing me embrace mine will give her the courage to embrace hers. My nieces and nephews and all the children like them are who I hope to reach.

I really love seeing how the world is changing now. Representation in the media was so limited even 10 years ago but now it’s getting more and more beautiful by the day. With so many platforms, works such as Pose, Glow, Fresh Off the Boat, Chewing Gum, Masters of None, Eighth Grade, and more, so many beings who have been underrepresented for years are getting a chance to reach their audiences and tell their stories. And we all get to identify and see ourselves in each other. I don’t have to reach out and save the world because it kind of starts with myself and our own backyard.

BGC: Who or what inspires you to keep creating?

Oh geez, that’s a loaded question. My peers are my first and foremost inspiration and motivation. Again Eliyannah Yisrael, Megan Grogan, Alice Pearce, Jessica Jenks. It’s remarkable to watch those ladies do what they do. I love being in acting class and witnessing breakthroughs or being in a really great rehearsal with a cast mate. That’s always promising when you get to be part of the creation of something honest and true. Even if it is just a great moment in a scene. Actors who inspire me are endless. Octavia Spencer is a fantastic actress and creator who I adore. I had the blessing of working with her once and she’s an even better human. Lovely doesn’t do her justice. I love watching Regina King. There’s a great example of an honest to God creator and storyteller. She’s accomplished so much in acting, directing, writing, and producing. That’s also how I feel about Shonda Rhimes, Boots Riley, Jim Carrey, Maggie Gyllenhaal. There are many more. I’m sure as soon as you publish this interview I’m going to think of more.

BGC: Why is it important as a Black person to create?

As Black people, we have such a specific and loaded way we walk through the world. The Hermione Series has such a beautiful tag line. It says “HGQLC - Write Your Own Ending.” I’ve always loved that because it gives power to the subject. As Black people it is our responsibility to take control of our story the best way we can. We must feed our communities the best and most honest images of ourselves to ourselves because images and representation matters. In the area of cinema, for years non-Black people have told their version of the Black experience and it has left us misrepresented.

BGC: How do you balance creating with the rest of your life?

It’s always a struggle to keep a balanced life. I have a tendency to obsess and quickly lose perspective but when I want to regain balance I plan my day to make sure I get everything I need in. Luckily for me in my particular art form, acting is about living so I know I can’t be a good actor if I’m not allowing myself to experience life and fun.

BGC: Have you been able to build a support system around yourself? What does that look like?

I feel so grateful for my support system. I have amazing representation, an amazing day job with super awesome and motivating coworkers who are actively pursuing their life goals. I also have super supportive family and friends who tell me they’re proud of me just for being myself. My sister is also a great support system, someone I can speak and think out loud with no fear of judgment. I could not be any luckier.

BGC: Any advice for young creators/ones just starting?

It takes 10,000 hours to be a professional at anything. So just put in the hours, however that may look. Either do it, read about it, watch a YouTube video on it, whatever you have to do to learn about your craft and get better.

BGC: Any future projects?

I’m going to be doing a remounting of the stage production Rotterdam at the historic Kirk Douglas Theater in Culver City. It’s a short run, performances run from March 28 - April 7th, but it’s such a blessing to revisit this work with such a remarkable group of people. It’s a super funny and insightful play about gender and love.

In the television world I just finished wrapping a new AMC series starring Zachary Quinto and Ashleigh Cummings called NOS4A2. I don’t know the exact date it is to be released but it’s happening soon. The series is based of the hit novel by Joe Hill and it centers around a teenager (Cummings) who uses supernatural abilities to track down the seemingly immortal Charlie Manx (Quinto), who steals children and deposits them in “Christmasland.” I play a Detective Tabitha Hutter trying to suss out the truth. This series has supernatural fantasy, horror, action/adventure, procedural, and family drama. Everything you want to see.

#actress #Harry Potter #theater #actor #New York City #London #Los Angeles #Black Woman Creator #create

1 note · View note

eastergrass · 6 years

Text

Digit

Marie was on the downstairs couch, a game of solitaire unfolding on the coffee table. She had made a pot of coffee midway through The Today Show. She drank it all and chased with a pinch of Antony’s weed. She sat crosslegged, slowly losing to herself in front of the muted television.

The house was remarkably unchanged, but Marie herself was a bit different from the last time she called it home. She was quieter. She had started watching a lot of television, and had begun losing energy she didn’t realize she had. She lost touch with the global tragedies she used to worry about. She didn’t read. She heard only other peoples’ music. She was 27, buzzing on her mom’s couch, waiting for her little brother to come home so she had someone to talk to. She also hadn’t won solitaire in three days.

She decided to clean a dewy-bottomed pineapple. It left a print on the counter from sweating on the granite. She found it was easy to be centered by these methodical tasks. Marie removed the crown. She lopped off the sweet-smelling bottom. The knife had a heavy, professional feel to it. Her parents always liked the finer things. The sticky juices spread out, seeping over, under, and into the teak board.

Time passed. She had expected someone to be home by sundown, but this didn’t seem like much of a possibility any longer. The heat of summer began to die off. She carried a grocery bag filled with the bits of pineapple skin and the spiky green dome out to the trash bins. A recent invasion of fruit flies was attributed to Marie’s laziness and she made sure to be extra clean. Also Thursday was trash day, so she needed it out tonight.

II.

There were tall pines, bare to the top. Like a Christmas tree, teetering. The bins were beside the garage in a latticed alcove. The arbor, her mother called it. The smell of suffocated trash snuck out the lid before she could even open it.

Removing the lid, she was hit: stagnant rainwater, forgotten produce. There was something less familiar, though. What caught her attention was the bag at the top of the trash pile. A plastic take-out bag covered with purple orchids, with scrawling gold type: Thank You! Thank You! Thank You!

She was confused as to how someone ordered what seemed to be Thai or Vietnamese food without informing her. Antony didn’t have the money. Of course, Adrianne would have gotten her food, but then talked about the sodium content. The few leaves that had turned and fallen skittered in the driveway, clacking like dry dice.

A dismal curiosity got the better of her, and she bent into the putrid plastic maw. She tore open the sack, and a corner of a dishtowel stuck out. Marie lifted the bag out of the canister, into the darkening evening. It spun, dangling from the trussed handles. Fully removing its load, she began to discover the red. She reached some parchment paper at the center of the towels, with deep dark stains. She knew it was blood. You! the bag accused.

She heard the imperceptible hum of her mother’s mint-green hybrid pulling up the lengthy driveway. Marie tucked the bloodstained paper wads into the pockets of her sweatshirt, and turned to walk toward those crystal-clear headlights that cut the now fully-realized darkness.

Later on, her mother accosted her while she watched the 6:00 news. “Do you remember those anti-drug commercials, with the girl melting into the couch?” Adrianne perched one hand on her unmotherly hip, titled at a calculating angle. Marie stared at the television.

“You look like that.” She spun into the kitchen. A cork was drawn from bottle of Pinot Grig.

To be fair, she was correct. However, no mother should address her daughter in the way Adrianne had been for the past 27 years. She imagined her making snide remarks all her life, leaning over the edge of her crib and critiquing her large ears and thick hair. What a little gremlin, she’d cackle, tilting back her shock of black hair.

The hard-nosed news caster looked back at her from the flatscreen television set, a blurry cityscape green-screened behind his steely shoulders. “A true tragedy, we can only pray those responsible are brought swiftly to justice.” He looked off-screen, and began to say something else, when the program cut to commercials.

III.

It was a finger. Wrapped in parchment paper, wound up in Williams-Sonoma dishtowels. It was pale, yet bruised. The pale parts were the color of young ginger. The dark was a dirty purple. The finger nail seemed like it may fall off. She held it gently in the lamplight of her bedroom desk, smoke swirling out of the glass pipe she stole from Antony’s room. He hadn’t noticed, and that was a month ago. For the first time in her life Marie was afraid of her mother. Her bedroom, which Marie had not seen the inside of since she returned home, lay at the other

end of the unnecessarily large home. She was probably passed out, alone, in the bed she shared with Saul when he wasn’t away.

Marie ate a chunk of pineapple. It occurred to her that pineapple did, in fact, taste somewhat like a blend of pine needles and apples. She also considered the possibility that Antony was responsible for this. Her head nodded down, her eyelids flickered.

It lay on a meticulously folded edition of The Hartdon Bugle, occupying the spotlight of her bowed lamp. She thought it might at any minute remember where it was supposed to be, and limp off like Thing in The Addams Family, down some dusty black and white corridor and offstage. But it never moved, which is what bothered her most. Marie had always watched movies and television and wondered why nobody had contacted the police, who she assumed would arrive promptly and sort the whole thing before any damage was done. This didn’t make for good television, she knew.

She now wondered, rather abstractedly, who this finger might belong to. The coarse and bloody hairs, gritty with blood and struggle, lay somewhat flat and extremely disheveled. What would lead Adrianne to do this? Was someone else responsible, and if so, why did Marie assume her mother was?

The limp and mottled index finger – or was it a ring finger? – reminded Marie of something she once threatened to do. She had come home to live with her family after she left a man she had been with for five years. “I can do better,” is what she said.

She stayed up waiting for Antony, watching Law & Order re-runs. Each episode began with the discovery of the corpse. Somebody jogging through the park sees a foot sticking out from under a shrub. Some city workers dredge an urban mummy from a storm drain. A man playing fetch with his dog sees it running toward him with a severed leg.

Marie often found herself dissecting plot lines of T.V. shows. Back in Indiana, she was co-owner of a three-person company that built sets for community theater productions. She had always hoped she’d end up working for an NBC show or anything low-brow and high-paying. Many of the sets the company built were for plays in which people were murdered. She had long ago picked up the plot devices. “Let’s get this to the lab!” a tired detective barked down the alleyway.

IV.

A car pulled into the driveway. Self-consciously slow-moving and quiet, as if the vehicle itself were ashamed of being out so late. Antony snuck through a side door, which he closed with a click and a whisper. He must have heard the television, because he came right into the basement.

“Sis.”

“Antony. We need to talk.”

Marie and Antony stood next to the bins. They had disabled the security light, so when they went out to the arbor they didn’t attract any undue attention from their mother. Antony had laughed when she first told him the story, but stopped after he saw it himself. They passed a crooked joint between them, rolling clouds of smoke into the chilly air.

“It wasn’t her. She’s crazy, but …” he shook his head. “It wasn’t mom.”

Marie didn’t say anything, she just nodded. Antony crouched down around the trashcan, shining the flashlight on his phone throughout the gravel and on the siding of the garage. Perhaps looking for some blood-spray, or ransom note, or a wedding band that would solve the whole thing. He pinched the bridge of his nose in an overwrought expression of tiredness and anxiety.

Marie heaved a foggy sigh. “God damn it.”

That night, she wrapped the finger back up in its packaging, and put it in a gallon Ziploc bag, and placed it in the freezer of the mini-fridge upstairs that her mother never used. A hole burned in her gut. She went to bed without brushing her teeth. Her mouth tasted like stale pot smoke and a chunk of pineapple was wedged in her incisors.

The next morning, Marie woke up to an empty house. Downstairs, a cooling pot of coffee waited. A note from her mother read:

Marie -

I made you coffee! Although, if you go for a run (which I pray you do) drink it afterward, in case of a BM. Could you put the bins at the curb? Get Up, Get Out, and GET SOMETHING.

wait until sundown to self-medicate.

– Mother

Friday turned out similar to Thursday. Marie sunk into the couch. Her left eye twitched, and she quickly knit her brow to correct this spasm. These eyebrows dominated her face. Her ex compared them to an actress’s in a way that raised questions. She heard the garbage truck doing its routine outside, and discreetly parted two of the venetian blinds to watch the arm dump the cans into the belly. She sank further into the couch, flexing her softening muscles inside the sweatsuit she wore the day before.

They had a nice dinner that night. The bulbs above the table hung from thick cords attached to the rafters at odd intervals: spreading like the legs of a giant spider. New houses can have ghosts as well as the old ones. They ate the leg of a lamb, smeared with an emerald blend of minced herbs. Marie ate pistachios out of a black bowl and threw the shells on her empty plate.

Antony, regardless of what he did in his free time, was actually a rather diligent student. Marie forgot exactly what they were celebrating, but all three of them were proud of his achievement. At one point Marie watched as her mother’s tight face softened in the lamplight, her elbows resting on the table, her birdlike hands clasped in an unlikely pose. For a moment, she thought she had imagined tears filling Adrianne’s eyes.

“It’s a nice, nice night. I don’t have to worry.” Adrianne went to bed shortly after letting that one slip.

VI.

Marie couldn’t find the moon. The wind blew cold from the far-off river, booming up through the pines. She looked up, and couldn’t distinguish the clouds from the sky. Depending on where she focused it could go either way.

She was sitting in what they called “Indian-style” when she was a kid. They probably didn’t call it that anymore. Across the sleeping yard, the snuffed security light was unable to betray her cautious movements. She was digging deep with a garden trowel. The earth would freeze up in about a month, so she had to do it now. The finger was in a Mason Jar, floating in a recipe for an all-purpose preservative she found online. She added a few sprigs of dill for a laugh.

Marie remembered burying a cat slightly deeper in the woods when she was seventeen. Adrianne and Saul had helped dig, as she stood by letting out the last of her tears. It was autumn then too, and she remembered the stillness of the pines and the golds and blushing reds of the oak leaves. Frowzy was about to have a bit of company, but just a bit.

She made sure she was right on the edge of the tree-line, at the foot of the sole paper birch, so she could remember the exact spot if she ever had to retrieve it. She caught the sloshing jar in the light of her cellphone one more time, the bobbing finger catching itself in the vortex of dill and brine. She set it gently into the soft, cold crater and began to fold it into the earth. When she was done, she built a cairn. The clouds separated themselves from the sky and exposed her to moonlight.

#fiction #myfiction #writers on tumblr #amputation #mystery #marijuana #mothers #brothers

2 notes · View notes