*feral* the show is so good, excellently paced and well-acted…. plus, it has all the stuff we enjoy the most:
whump, crime family, family drama, daddy issues (MAJOR!), mommy issues (MAJOR!), well-done action sequences, trauma, “protect the family” sense of duty mindset, lots of baking (by my poor blorbo charles as a coping mechanism), sibling issues, oldest son vs youngest son dynamic (- two brothers, who have both spent their lives competing for attention, approval, and freedom; in their own different ways -), conflicted tortured oldest son, did i mention major daddy/mommy issues and PLENTY OF THE GOOD OL’ EMOTIONAL WHUMP.
and oh their troubled mother is played by THEE MICHELLE YEOH !!!!!!! ✨MOTHER✨
ahhhh charles, his father brainwashed him, turned him into a ruthless killer and put him through so much trauma. my man just wants to have a normal life, bake pastries etc and reconnect with his mother and brother. like look at him (HE NEEDS A HUG AND SEVERAL CHURROS)
i am a sucker for this type of genre. 10/10 no notes. HIGHLY RECOMMEND MY FRIENDS, GO WATCH IT 🎉.
sunflowers 🌻 adoration
I hope you know that I see you as the moon to my sun and stars. I know it sounds kind of cheesy, but it's very true.
…cheesy. But … I think I like it. It is the sun that lights up the moon, after all.
some more breenie for my health. bree belongs to @plantdonutwrites, and the lil dialogue snippet is from our on-going rps. c: it's unrelated to the drawing, but the sunflower/adoration theme reminded me of it!
Poster for Anime Orchestra Series - Kaoru Wada: Inuyasha's Musical World
Kaoru Wada, the composer for Inuyasha, will serve as the conductor at the concert, which will take place on February 11th (Sunday) at the Tokyo Metropolitan Theatre.
Fendrix - Soundtrack for the film Poor Things (2023)
I've probably said this before but I usually don't post film music on this blog. Mainly because it's questionable how much a score for a film could be considered "classical" or of the classical tradition. On the one hand, the kinds of genre and styles used for films, and the specific function of the music as accentuating or being part of the overall finished work of the film makes it out to be its own unique genre. On the other hand, classical composers in history have written incidental music for stage plays as well as scores for films, from early / classic film scores by Saint-Saëns or Prokofiev or later in the century by Takemitsu or Glass and going through to today. Regardless I had heard this music before seeing the film Poor Things and was immediately taken in. I loved it so much that I was disappointed that it did not win the Oscar for best film score this weekend (though I won't complain much because the winning score by Ludwig Göransson for Christopher Nolan's Oppenheimer was evocative and intense so it was worthy of the award and praise). Still I have a soft spot for Jerskin Fendrix's imaginative and otherworldly music fitting for the equally "otherworldly" and fantastical atmosphere that the world of Poor Things tries to evoke. Yorgos Lanthimos is one of my favorite living directors and I was excited to see this film, even moreso after hearing the score. While I love the exuberant style, unique cinematography, and the dreamlike images, I will admit I was somewhat disappointed by the film overall (I didn't love it as much as I did his 2018 film The Favourite), and am still uneasy and disturbed by the subject matter and implications of an infant/prepubescent mind developing in the body of an adult woman, and all of the uncomfortable sex scenes and conversations as the film goes along. Still, I do love this score as a stand-alone album. Bella's theme is awkward, slightly out of tune and discordant, conveying the kind of naivety, curiosity, and somewhat self consciousness of being a "child" trying to understand the world they live in. The score continues with keyboard textures, detuned harps and winds, scratchy violins, vocalized oos and ahs, creating a lot of artificial and even alien sounds that disorients the listener in the same way that the wide lenses and porthole shots disorient the viewer. And later in the film (mild spoiler alert) when "Bella's" "real husband" arrives, we are made to feel sick and unsettled by the low frequency pulsing that makes us dread his arrival. A lot of textures and harmonies are unexpected in ways that make me wish Stravinsky were still alive so he could hear and share his thoughts. I especially thought of Stravinsky with my personal favorite track, "Portuguese Dance II", with violent and punchy, comically disturbed accordion chords that open into a catchy dance tune which may as well have come from one of his ballets. This same music gets its own awkward dance scene (another Lanthimos trademark) with Emma Stone's Bella and Mark Ruffalo's despicable Duncan. Again this is a bit different from my usual posts but regardless I hope you can enjoy the bizarre and wonderful soundworld that Fendrix created for this film.