#this is separate from my opinions on the movie itself

[jq37]

Who Is Allison Moore?: A Disney's Wish Mystery

OK, this is a little off the rails and random but this has been driving me crazy since I looked into it last night.

So, Disney's 100th Anniversary movie Wish is coming out soon and people have had a lot of hot takes about it so I wanted to do some digging. As part of that, I looked at the writers and two people have a "Screenplay by" credit: Jennifer Lee and Allison Moore.

Jennifer Lee, of course, wrote Frozen--their biggest princess hit in the modern era so that makes total sense to me. If you're coming out with a new princess movie for the big centennial of course you'd tap her. But I'd never heard of Allison, and when you look at her name on Wikipedia:

No blue link. So I headed to IMDB to check out her credits, figuring maybe she was some hot new talent recently promoted from within who did storyboards on some recent projects like Moana or something. But when I went to her IMDB page, this is what I found (after a brief mix-up with a Dexter's Lab actress):

Her Producer credits come up first and...huh. That's a lot of adult live action TV projects. Well, maybe her Writing credits are where this starts to make sense:

What? That can't be right, can it? The only vaguely Disney-esque thing on that credit list is Beauty and the Beast and, to be clear, that is a CW reboot of a 1987 procedural with the logline, "A beautiful detective falls in love with an ex-soldier who goes into hiding from the secret government organization that turned him into a mechanically charged beast." And she wrote two episodes on it.

And look at Disney's official page about Wish!

Everyone else on this page has credits that make sense--Frozen, Frozen 2, Raya, Encanto. And the two credits they list for Allison?

Night Sky and Manhunt.

Night Sky, an Amazon Prime show that she wrote one episode for and was cancelled after one season. And Manhunt--and show about hunting the UNABOMBER--that ran for two seasons and that she wrote two episodes for. Those are her two credits that they put up there next to Frozen and Encanto.

I have been scouring the internet trying to figure out who this woman is and how she got this job and I have come up *empty*. This is the big 100th anniversary movie! Why would they have one of the two screenplay writers be someone who seemingly has never done something like this before??? Like, I understand that not having done something before doesn't mean you can't do a good job, but it usually means you don't get the keys to the biggest most anticipated projects in the company's history!

They presumably could have gotten anyone they wanted for this and they picked this person and I have zero clue why and it's driving me crazy. If anyone has ANY information that could illuminate this at ALL--an interview, a social media post, gossip from your cousin who's a gofer at Disney--please let me know because I feel like I'm going full Pepe Silvia over this.

12/26 Edit: A SMALL UPDATE IS HERE!

#disney's wish #wish 2023 #disney #personal #this is separate from my opinions on the movie itself #which I def do have oh boy #but I also just want to know how this happened #how did she get this job????? #she doesn't write for kids or for animation or really for fantasy very much #so why did they hire her??? #this doesn't seem like her wheelhouse at all!

[inkpot909]

The Stardust Crusaders’ Picks for a First-Dance Wedding Song Headcanons

↳ Gender Neutral Reader. Joseph Joestar is excluded.

A/n: A chill list of headcanons that came to me at 6 in the morning. Jokes aside, I loved putting this together. Although I admit I am a bit biased since I’ve always loved retro music. I did my best to pick music that coincided with the music the characters each canonically listen to (at least, as far as we’re told).

Warning(s): None.

Jotaro Kujo

-> As the World Falls Down

David Bowie

“As the pain sweeps through

Makes no sense for you

Every thrill is gone

Wasn’t too much fun at all

But I’ll be there for you

As the world falls down”

Canonically speaking, Jotaro’s favorite musician is Toshinobu Kubota. It’s admittedly a rather interesting choice for a man who was a dedicated delinquent in high school.

But music tends to touch people in a special, often times sensitive, manner. And despite looking and acting the way he does, Jotaro’s music preferences are no different.

Yeah, sure, he’s definitely a “whatever’s on the radio” kind of guy, but he has taste.

Separated from others, when he’s in control of the music he’s listening to, his choices give the impression of a casual listener that somehow always has the best picks seemingly with no effort put in at all. Perfectly on brand for Jotaro.

Therefore, he’s likely going to have an unexpected pick.

Therefore, he picks a sappy ballad from an under-appreciated 80s movie. Not because he’s even seen The Labyrinth by any stretch of the imagination, but because he just… likes how it sounds.

He likely heard it one way or another, completely detached from the movie itself, and decided he enjoyed it. Something about the slightly cheesy yet instrumentally enchanting tune gets stuck in his head in a really good way.

There is a reason past “oh, it just sounds nice” as to why he picked it but let’s be honest… he’s going to get a little embarrassed annoyed if he has to explain to you in full detail.

The title pretty much speaks for itself, in his opinion.

Noriaki Kakyoin

-> Every Breath You Take

The Police

“Every move you make

And every vow you break

Every smile you fake

Every claim you stake

I’ll be watching you”

Good god, he’s certainly the Sting fan.

Whether or not you actually like Sting it’s hard to argue against the fact that Kakyoin likely has an overall shit taste in music. Why is this the case? Because he’s been alone the majority of his life and didn’t have any friends to bully him over it.

Not having anyone around him to say “what the hell is this” or just a simple “no” will and has effected him.

He’s the type of guy who claim’s “this album will change your life” before putting on some of the worst pieces of music you’ve ever heard.

Not that he isn’t trying, keep in mind.

This man will stress about what to suggest for days on end. He’s going to take the longest compared to the others in how how much time it takes him to pick. It’ll eat away at his brain, threatening to take every bit of his sanity unless he can think of what he deems as the perfect song he can choose.

And still he manages to not only choose an extremely predictable wedding song, but an insanely creepy one as well.

It’s weirdly charming, in his own odd Noriaki way.

He likely didn’t know what he was doing at the beginning of the relationship due to inexperience, and it’s probably heartwarming to know some things never change.

And it’s completely possible the stalker-ish lyrics of the song didn’t click inside his brain. Not because he doesn’t understand the lyrics per se… but because the poor guy hardly had a grasp on what was actually considered romantic when you first met.

Please, for your own sanity, don’t let the song played at your wedding be one that he picked (with hindsight he’ll probably thank you for it too).

Jean Pierre Polnareff

-> The Air That I Breathe

The Hollies

“Peace came upon me and it

leaves me weak

so sleep, silent angel, go to

sleep

Sometimes

All I need is the air that I breathe

And to love you”

Polnareff’s favorite musician isn’t ever canonically specified, but it’s made pretty clear he’s likely a fan of The Beatles. And considering he went through puberty during the 70s, he’s likely going to lean into that era of music.

Generally speaking, he’s got decent taste. Sure, he’s got the music taste of a white suburban father, but his picks are usually pretty agreeable.

That said, he’s definitely a little high and mighty about it.

He won’t go off on the subject too hard whenever you’re around, but he thinks very highly of his preferences. Polnareff’s a huge victim of nostalgia, and a part of him feels a little elitist for having grown up in the time period that he did.

He has had the song for his first dance picked out in the back of his mind for years, swearing that it would be played at his wedding at some point or another.

Hell, he’s probably got a full roster of music in mind for the reception.

For such a monumental occasion, he’s sure to pick a ballad that starts off slow but crescendos into the chorus- easily the type of romantic tune he’d prefer.

And unlike the others, you may get pushback from him if you don’t want that as your first dance. He’s quite stubborn, generally speaking, and this is no exception to that.

Ultimately though, he would eventually cave and do just about anything you want.

But as stated before, he’s had his mind set on this one for literal years. So certainly expect this to be a somewhat tough conversation to have with him if you prefer something different.

Muhammad Avdol

-> I Love How You Love Me

Claudine Longet

“I love how your eyes close

whenever you kiss me

And when I’m away from you I

love how you miss me

I love the way you always treat

me tenderly

But, darling, most of all I love

how you love me”

Avdol’s music taste is left as a complete mystery in canon.

However, because he runs his own shop, he’s fairly attached to the calming instrumentals he often keeps on at the store. Avdol understands atmosphere well and takes it very seriously.

When he’s not working, it’s not very often that he finds himself listening to music.

But when he does, it’s usually music with soft or ethereal overtones (you cannot tell me he doesn’t listen to Enya). Throw in some charming oldies from the 50s and 60s, and Avdol’s in his element.

To put it simply, easy-listening tunes are his freaking jam.

He also enjoys listening to music from all across the world. Avdol is likely well-traveled, and is undoubtedly knowledgeable on other places and cultures. So the preference comes naturally to him.

He’s going to pick something very romantic and slow. A song that, even if you maybe haven’t heard it before, upon the first time listening you just know it’s meant to be played at a wedding.

And, unlike the others, it would take him less than 24 hours to have made his choice. It’s not that he doesn’t put care into the decision, he just doesn’t like making you wait. He’s quite efficient when it’s something this important.

Regardless, he’s the most flexible of the group when it comes to your tastes, so anything you want is perfectly fine with him.

That said, it has to be a ballad. That’s his main request. Avdol’s eager for your input, sure, but he’s going to want to slow dance with you more than anything else.

#jjba #jojo’s bizarre adventure #manga #anime #jotaro kujo #jotaro x reader #noriaki kakyoin #kakyoin x reader #jean pierre polnareff #polnareff x reader #muhammad avdol #avdol x reader #stardust crusaders #sdc #sfw #fluff #headcanons #music #david bowie #the police #the hollies #claudine longet #johnny’s work #fanfiction #wedding #first dance

[returnofthelightt]

Hasta & The Final Girl Trope In Horror Films: A (Mini) Analysis

Here on this post, I wanted to make a short analysis on how I think Hasta connects to the The Final Girl Trope.

☆ Please note that the Final Girl Trope actually has evolved. The trope characters are not what it used to be, I will be going back to the original origins of this trope.

☆ In addition to the Hasta Nakshatra, I found that many of the women playing have Mula, Revati and Mrigashira as well. My research today only focuses on Hasta but please note it is not limited to this Nakshatra only.

☆ Many of these references that are used are personal opinions and theories. If you do not agree or have a different opinion I would love to hear it! But please be respectful in doing so.

The Final Girl Trope

The Trope Itself

Before diving deeper into the hasta Nakshatra, let’s look at the ‘Final Girl’ trope description.

The final girl in movies is usually the last person standing or is the only woman that can make exit in the movie. They are usually described as being the virgin or sexually unavailable, refraining from sexual activities, as well as alcohol and drugs. Additionally, many of the Final girls portrayed had Brunette her instead of Blonde (blonde characters - specifically women, were perceived as highly promiscuous). If not all the time, most of the final girls are known to be more intelligent or at least carry smarter decision-making. They are the first ones to sense that something is ‘off.’ As mentioned before, Hasta’s sign of Virgo, is ruled by Mercury (Mercury exalts in Virgo). Mercury rules human intellect, as it is a combination of the sun (the soul) and the moon (mind). 

If we look at even the basics, the sign of Virgo is ‘The Virgin.’ Virgin women are often stereotypically described along the lines of being pure, innocent, chaste, and so forth.

Additionally, the women have an androgynous appearance - with their names and clothing sometimes being unisex. Claire Nakti in her Hasta Nakshatra video discussed how they manifest their traits through purity and by detaching from male influence. Claire also talks about how “Hasta women like to prove their worth without needing men, as well as female power separated from female appearance/sexuality” (this can be depicted in numerous ways such as their work, appearance and so forth). Hasta picks up all external influences, analyzes them, and discriminates based on their observations. Hasta picks out men and realizes only the divinity is deserving of her.

It’s hard to exactly state if The Final Girl trope exudes the real meaning of feminism, or at least women standing up for themselves against evil. However, I wonder if Hasta’s appearance in these films unconsciously aims to reject the typical views that some males hold of women (i.e. unintelligence), and how his perception of the Final Girl often ends up with the evil male lead having to disappear to avoid being killed or eventually is killed. Claire Nakti also mentioned how many Hasta women are involved in using books or poems to criticize male behaviour, male sexuality the struggles of women opening up, and the promotion of female independence regarding intellect. The Final Girl in the film must use her wit to decipher the situation and defeat the Killer through the use of her hands.

If we decipher Carol J Clover’s book on the Final Girl trope, she does mention how the victims in Slasher films are mostly viewed as women, whereas the evil characters are males. Often these Final Girls are initially stereotyped for the male gaze at the beginning of the film, but eventually, the viewer roots for the final girl to defeat the monster. The woman becomes ‘masculinized’ when she is forced to defeat the monster by utilizing a weapon.

Carol further emphasizes this action while discussing how the killing of the monster/killer can be related to ‘castrating’ the male, which in return eliminates the ‘threat’ to the uterine. The body part that represents Hasta’s is the palm of their hand. The Hasta Nakshatra is known for manifesting outcomes with their hands. In Komilla’s Sutton book, she describes how Hasta can be related to elephants, as they use their trunk as an extra hand to complete their task. I thought this was interesting considering the quote ‘to hold something/someone in the palm of your hand,’ pretty much means you the influence or control of something/someone. The symbolism of the hand of course can be also correlated to their Deity, Savitar - The Sun God. Savitar was known to be skillful with his hands.

In all, I do think Hasta has some correlation with the Final Girl Trope, whether it would be in films or tv shows. I do think there are many of factors (my own personal ones) and others that are discussed in Clover's book. It wasnt that long, but I hope you guys enjoyed reading it! Feedback would be greatly appreciated xx.

#astrology #vedic astrology #vedic astro observations #vedic astro notes #astro observations #hasta #nakshatra #mercury

[ghostlymarauder]

MONSTER HIGH G3 IS NOT AS INCLUSIVE AS MONSTER HIGH G1

EDIT: THIS IS JUST A RANT, DON'T TAKE IT SO SERIOUSLY LOL

Maybe that sounds crazy. Maybe it's been said a million times. Anyway, I'm just ranting about my 3 am thoughts.

I know in G3 we have non-binary Frankie (who also has a prosthetic leg), and the Draculaura doll is more curvy. But as far as I'm concerned, they took everything else that made Monster High inclusive.

For starters, and I know it was never actually confirmed, but still, Clawdeen is lesbian (bisexual at best). Once again, it was never confirmed, but in my opinion is a theory popular enough for the Monster High management to hear about it.

If they really wanted to make it more inclusive, why did they not confirm Clawdeen sexuality and give her a female romantic interest?

No, they had to break up one of their best couples. This leads me to my next point, what the fuck are Cleo and Deuce doing being separated?

The first G1 dolls literally came as a package. If you got one, you got the other. That's how much of an obvious couple they were. And not only that, in the Boo York movie, they broke up for like five minutes before realizing they didn't want to be without each other.

Which, in my opinion, it's so fucking cute because they come from completely different worlds. Cleo is royalty, Deuce is just a normal guy. Cleo is a little too superficial, and Deuce looks like he never showers. But they love each other and that's enough.

And you know who else loved each other and that was enough? Clawd and Draculaura. What do you even mean with "Clawd likes Cleo"? That man was in love with Draculaura, that man would've done anything for her, and you're telling me they also broke them apart?

Especially since they made Draculaura curvy, it would've been beautiful to see them together. Because it would've been a great plot point to have jock, almost-bully Clawd evolve into falling in love with curvy, smart, witchy Draculaura. But no, they just separated them.

On a completely different note. What the fuck is Gil doing without his tank? Do I even have to explain why this is taking inclusivity out of the Monster High concept? He couldn't live without his tank outside the water. Ergo, he was limited without his tank. If you ask me, this is Monster High equivalent to something like hearing aids (and this is just an example, there are many other things you could compare Gil's tank to)

Also, Ghoulia talking bothers me a lot. First of all, she was the smartest of the group, but we couldn't understand what she was saying, which added a lot of comedy since us, the spectators, were only pretending to know what the fuck Ghoulia's plan was. And I repeat, she was the smartest of the group.

The smartest of the group couldn't communicate like everyone else. I won't even explain why that is fascinating in itself, because it just is and it added so much depth to whole story. And to add more to my problem with G3 Ghoulia, why is she standing straight and walking at a regular speed?

Ghoulia standing like a zombie was, again, to me, a form of inclusivity to all the kids out there who had some walking impediment, or, in general, had any chronic illness that stopped them from moving around. And her walking slow as fuck was just straight-up funny (especially that one web episode where she got a motorcycle).

There's a lot of things I do like about G3, as I think it improves the brand in wonderful ways, but they definitely took some of the most essential things that made Monster High what it was.

#monster high #fashion dolls #rant post #clawdeen wolf #draculaura #frankie stein #cleo de nile #deuce gorgon #ghoulia yelps

[sytoran]

what's your opinion on subby agatha? :)

my first time writing for a character other than nat and wanda! be proud of me, or something. these lil' headcanons are so fun to write. smut, mdni.

subby!agatha is so adorable!! she totally acts all dominant and bossy in public, introducing you as hers, pretending to act indifferent about your presence in front of her friends. but the moment you have your hand around her throat in the confines of your home, agatha is goneee. she's all whimpering and whining, letting you use her however you like. "you sure that i'm yours? or are you mine?" you would ask, and the poor baby tries to answer but your hand is round her throat so tight so agatha can only look at you through those watery doe eyes. her blind obedience for whatever you do is an answer in itself.

subby!agatha who steals all your shirts and hoodies and flannels, then pouts and kicks up a fuss when you ask her to return it. she's so in love with your scent, wants it all over her at all times, like you're claiming her as yours. the two of you always end up play-fighting for custody of your black leather jacket, and you always end up on top of her, and agatha always ends up getting wet when you pin her down. but alas, you don't give her the pleasure she so longs for, because she'd been such a brat. subby!baby ends up walking around the house with her panties wet for the rest of the day.

subby!agatha who misbehaves and gets so mischievous during movie nights. you'd denied her of pleasure all day, so of course she's going to chase her own high. you think nothing of it, when agatha snuggles into your lap while wearing one of your old band shirts. it's only when she starts subtly shifting on your thigh that you realize she's trying to get herself off. immediately slapping her thigh and saying in her ear that you're not gonna let her cum for the rest of the week. agatha tries to whine in protest but she knows you mean it :(

subby!agatha who uses her witchy powers to enhance her favourite purple strap-on toy so the user can feel pleasure, and she gifts it to you on your birthday. you're all too eager to use it, even more so when agatha reveals she was wearing a new set of purple lingerie.... you absolutely ruin her that night, pounding the strap so deep inside of her that subby!agatha can only babble "please", "more", and "thank you". her long nails leave the nastiest scratches on your back, but you don't mind because her moans are heaven. they're not too high-pitched, more on the lower and husky side, but they're soo sexy and you treasure every one of the voice notes she sends you.

subby!agatha who wakes the whole neighbourhood up at 3am in the morning because of her pleasured screams of your name. the two of you hadn't stopped all night, fucking like rabbits into the depths of twilight. you get seven separate noise complaints from your neighbours in westview. agatha definitely complains about the marks you leave on her, scattered across her tits and thighs and tummy. but she secretly wears your marks with pride. agatha is just your subby!baby, after all.

-> main m.list

#agatha harkness x reader #agatha harkness #agatha harkness smut #agatha harkness x you #sub agatha harkness #bottom agatha harkness #top reader #dom reader #marvel smut #x reader #gender neutral reader

[heart-of-the-morningstar]

In Defense of the FNAF Movie…

I was thinking about the FNAF Movie again today and I wanted to go on a little tangent if that's alright with y'all lol.

I know most fans enjoyed the movie, which is great! But I did see some fans, especially some OG fans, who did not like the movie at all, saying it didn't take itself seriously enough, it was too campy, it wasn't scary enough, and it didn’t follow the lore. I can understand those criticisms to an extent. But as an OG fan myself, I think the movie captured the tone of FNAF perfectly.

FNAF at its core, is silly. The concept of kid-friendly animatronic characters that are mascots for a Chuck E Cheese type restaurant being possessed is a ridiculous concept. Granted, how they became possessed is where the horror of the franchise comes into play. FNAF was never all campy or all horror, it was always a mix of both, even in the first few games, just based on the concept alone.

I think too many people expected it to be really scary, but I believe that was the wrong perspective. There were jumpscares in the games, yeah, but I think the most prominent emotion from the early games would elicit dread, not horror. I went into the movie knowing it would be campy and goofy, but I also knew there would be some horror aspects. BECAUSE THAT’S WHAT FNAF IS!

I think if the movie took itself too seriously, no one else would, because fans know it’s not an overall serious franchise. This is the same franchise that brought in Exotic Butters and MPreg in one of their books! That’s not to say that there aren’t serious subjects in the game; a serial killer, multiple child murders, grusome deaths, loss of family members; the game is not all sunshine and rainbows.

But what I think FNAF does as a whole is mix those horror aspects with its campiness really well. You can’t have one without the other in this series. And that’s what I think the movie did a great job with. I don’t think I would have enjoyed it as much if it was too serious or if it relied on humor alone. Don’t get me wrong, this was not a perfect movie, there were definitely things that needed improvements. But I don’t think the tone was one of them.

At first I was a little disappointed that the movie wouldn’t be rated R, but now I can appreciate why they stuck to PG-13 instead. FNAF has never been bloody or gory, any deaths that would occur in the franchise would be off-screen or portrayed in the 8-bit mini games. I think the only time we see blood is during the springlock failure in FNAF 3, and again, it was 8-bit blood. Most of the horror is left up to the imagination of the viewer, which in my opinion, is a lot scarier than just outright showing you what happened. Fear of the unknown is extremely powerful.

The last point I wanna bring up is the fact some people do not like the deviation from the game’s lore. Need I remind you, this is not the first time the franchise has done this. The books have their own separate lore! Some of it lines up with the games, a lot of it doesn’t. But what all of these continuities have are animatronics who are possessed by children who were murdered by William Afton; that is the core story of FNAF no matter if you’re playing the games, reading the books, or watching the movie. They each take their own liberties in telling different versions of the story, but they all revolve around the same main focus. In my opinion, I think it would have been a little boring to see the movie play out one for one like the games, especially considering how confusing and convoluted the game lore is!I’m curious as to where they will go in future movies!

I can see why general audiences and critics would not like this movie, because they wouldn’t understand the tone that it was going for. They wouldn’t get the references or the story beats that the fans would. But it wasn’t really made for them, which is fine! I think the movie we got was really great, not a masterpiece, but just a really good adaption of what FNAF is: a campy horror game. And I’m looking forward to see where they take it next!

Also, if I hear one more person complain about the “Building a Fort” scene in the movie, I will gnaw your arm off. I’m happy we actually got to see the ghost children ACTING LIKE GOD DAMN CHILDREN!

#fnaf #fnaf movie #five nights at freddy's #five nights at freddy’s movie #in defense of fnaf #tangents #ramblings #I hope I got my point across #I’m almost 28 now #I was 18 when the series came out #I’d like to think I have a pretty good understanding of the series as a whole #I’d like to hear your thoughts tho #but please be respectful!

[dollywheeler]

October 4th, 1996

Dear diary,

We survived the night!

At first, when Mike opened the door for us, it was as awkward and uncomfortable as I’d feared. Mike was clearly nervous, which I found stranger than mom responding in kind, seemingly clutching to basic courtesy and manners as they landed on polite chatter about the weather. As if it’s ever anything other than dreadful in the beginning of fall.

I understand why mom was nervous, knew she wanted tonight to go well, but Mike was the one in control - he shouldn’t have been just as anxious, worrying about mom’s opinion. He’d already proven that he is capable of burning every bridge if he has to.

I stayed quiet as we crossed the threshold; I didn’t want to fall into the same pretense of everything being normal, and wouldn't have known what to say even if I did. Instead, I distracted myself by looking at the decor as Mike lead us further into the house. I’d never known there to be any developments in the neighborhood, but the house had clearly been a newer built than I’d expected. If I’d have to guess, I’d say late seventies, judging by the wide spaces and high ceilings. There was no divide between the entrance hall and the living room to the left, a set of stairs against the right wall climbing up to a second floor landing that overlooked the space beneath. The ceiling above the entrance and living room was made up of glass, as was visible from the street, the skylight tilting up until it meets the roof above the second floor. I had to admit it must look lovely during the day - or with the lights out at night - though I wouldn't want to be the one cleaning them.

The floor-to-ceiling windows facing the streets were partially covered by shrubbery and had tasteful white curtains that were left open for now, the glass reflecting the scene back to them and somehow making the lighting appear more cosy.

The furniture was minimalistic - clean wooden lines and modern sofas fitting the style of the house itself - and though the space was clean now, I could tell it's usually covered in clutter. The strip of wall that somewhat separated the hallway from the lounge was covered in picture frames, some holding snapshots of Mike’s time in Chicago, others showcasing Will’s artwork. I even spotted some old drawings above the fireplace that surely had to be from when they were kids. The outside wall was taken up by massive wooden shelves, covered in books and knick-knacks. It seemed empty now, but I’m pretty sure that’s due to the recent move, free surfaces they intended to fill up over the years to come.

The lounge, where Will met us with drinks and told us to sit down, was in the same room as the dining table, and in the back I could see a corner that led to the kitchen. though the kitchen itself was out of sight, I could see a small breakfast nook in the corner. Just like everything else, it was surprisingly cosy and intimate.

It seriously makes me wonder how long they intend to live there. It seemed surprisingly put together for a bachelor pad. Then again, not everything is like the movies, so I might just have to readjust my assumptions.

I didn't really tune in for most of the conversation, which was as awkward and stilted as I'd expected. Mom kept asking questions, and Mike kept answering almost reluctantly, as if he was seriously struggling to respond to to the most basic of inquiries about he and Will had been up to in Chicago. Honestly, one should rethink ever giving him an English diploma if he has this much trouble stringing a sentence together.

Will cut in a few times with updates on his family, which was a lot less awkward because mom had been keeping up with Mrs. Byers and thus could more easily contribute to the conversation. It was quite strange, even as we actually sat down at the table and they started directing more questions at me.

Surprisingly, Mike had actually cooked himself. Mom was quick to reassure him the food was good and the house was nice and all of that but it felt... weird, somehow. I didn't feel natural, even though she definitely wasn't lying, like she was afraid to say anything less. Meanwhile, Mike just looked more tense with every comment, as if he could sense it too. Will seemed to be the only one even the slightest bit relaxed, being quick to pick up conversation when either Mike or mom got stuck, trying to smoothe over the awkwardness to the best of his abilities. They kept bringing the conversation back to me, asking about school and friends and hobbies, but whenever mom and I tried to ask about them, it got weird again, dodging questions and dancing around the subject.

By the time we finished the main course I needed a break - couldn't stomach the weird energy anymore. So when Will and Mike started clearing the table, I got up and started wandering around. There were French doors made of dark wood near the kitchen that lead into a sun room, clearly used as a more informal living room. there were couches set up in the corner facing the giant floor-to-ceiling windows, tilted skylights similar to the ones at the front of the house allowing natural light to fill the space.

I would have bought the house just for this room alone - Will had set up an easel in the corner where two glass-lined walls met. In the corner away from the windows, a desk was set up cluttered with papers, and folders with white corners haphazardly sticking out, a typewriter stored on the floor next to it.

More so than the rest of the house, I could imagine them living here, sharing the space on lazy Saturdays or late Sunday mornings. Hell, I could take the images from when I was five, of Mike and his party set out around the coffee table in the basement, and implant them into this room, loud and boisterous and warm.

At least in this room the smell of teen-boy could be more easily aired out.

The one thing out of a place, which both surprised and excited me to see, was a shiny acoustic guitar standing next to the couch. It was new, clearly no more than a year or two old. I picked it up and it definitely felt smoother and more expensive than the one the Stevenson's had, and more importantly, it was actually tuned correctly.

"Do you play?" Mike asked, stepping into the room right as I had tried the first few chords, making me jump. He looked amused, though there was an edge of surprise or confusion on his face.

"Do you?" I fired back, because honestly I wouldn't have thought in a million years that Mike could play as much as the triangle, if anything. I wouldn't even have thought him capable of fine motor functions in general.

"Yeah, sort of," Mike shrugged, stepping further into the room and sinking down on the sofa. He held out his hand and I reluctantly handed the guitar to him.

He started playing, and it took me a moment to recognise it as Hey Jude from The Beatles. I raised my eyebrow at him, because as much as the song was a bit of a cliché choice, he was good. He stopped after the first chorus, and held the guitar out for me. I would have thought it a challenge, but instead he just looked genuinely curious to see me try.

I caved and sat down next to him, trying not to be nervous because last time I'd only managed to get to the first verse without making any mistakes. I was quite pleased with myself once I was done, and Mike's look was thoughtful even as he was smiling.

"I know that song, but-"

"Pixies," Will said from the doorway, and we both turned to look at him in surprise. "See, Mike, why am I not surprised your little sister has better taste in music than you?"

I couldn’t help but preen at the praise - I know it doesn’t matter. It shouldn’t. Music is an opinion, and Will’s shouldn’t matter to me at all, and yet it felt nice to be complimented on it, as if I’d passed some kind of test. Interestingly, Mike didn't argue, just squinting his eyes at Will and sticking his tongue out like a child.

"To be fair, I've also been influenced by Jonathan," I reasoned, and told them about how Jonathan always makes me a Mixtape when Nancy and him visit. Where is my mind? was on the last one he brought when they visited in June, and just yesterday mom had picked up the new Oasis tape that Jonathan had pre-ordered for me as a late birthday present.

Will was immediately interested, coming over to sit next to Mike as he asked about my favorite song, so I let myself gush about how much I love Champagne Supernova - seriously, it's ridiculous. I've been listening to it on repeat ever since I got my hands on it.

I told Will I'd make a copy for him if he wanted, which he eagerly agreed to, but the conversation was interrupted as something moved in my peripheral vision, making me jump. It was just a cat, however, jumping onto the coffee table next to me. Startled, I ran a hand over her soft coat in awe, her big blue eyes uninterested even as she pushed into my touch.

Will, to my surprise, rolled his eyes when I asked for her name, but there was a smile on his face as he glanced towards Mike. “Her name is Cat.”

“You named your cat, “Cat”?” I asked, incredulous - because, seriously? - and Will shrugged and told me to blame Mike, who immediately gawked in affront.

“It’s short for ‘Catherine’!” Mike insisted as if that was a vital piece of information that somehow made it better.

“Mike sucks at naming things,” Will sighed as he reached out a hand to run over Cat's - Catherine's, because Cat is just too stupid - back, eyes cutting to Mike as if there was an older joke there, and to my surprise mom laughed. I hadn't noticed her come in, but she was sitting on the edge of the couch right next to the door, leaning back against the wall as she watched us with an adoring tilt of her head.

“He does,” mom agreed, fond smile curling at her lips, “what did you name Nancy’s stuffed horse again?”

Mike shrunk into himself, clearly embarrassed. “Neigh-nay is a perfectly acceptable name. As is Catherine!”

As if agreeing with him, Catherine jumped away from my petting and crossed the space into Mike's lap as he started scratching behind her ears. Mom laughed again, loud and deep and happy, and the sight made me smile as well.

“Honey, for someone that like those fantasy games so much you sure lacked creativity at times.”

That made Will snort, eyes filled with glee as he nudged Mike's shoulder, getting Mike to relax into a smile as well. “He was really good at coming up with the stories, though.”

Mom then went on to ramble in agreement, telling story after story about Mike’s imagination running wild from an early age. I was content to sit and listen and try not to die of boredom as we migrated back to the table for dessert. It was mostly things I already knew, Mom’s regurgitations of her favourite memories of Mike nothing new to me, but Will seemed to enjoy himself, and Mike was flustered but didn’t seem to mind either, chiming in to offer more context or correcting her at times when he remembered things differently.

The night was surprisingly pleasant after that, the initial frost finally broken as everyone got to enjoy themselves. They even relaxed enough to finish their glasses of wine and refill them, stories coming more easily after that. Mike and Will more freely talked about the classes they'd taken at UC and Northwestern respectively, and the apartment they'd shared after spending their first two years in the dorm.

There was still always that air of trepidation, of care hidden beneath each word, but it was easier to not fixate on it as we were all busy laughing at their crazy roommates and high-strung RAs. And by the end of the night I almost regretted having to go.

It was nice to have dinner like this - a proper dinner. Where the edges of the room fade away the further you're carried into the night, the deeper you sink into the conversation, when all focus shifts to the table at it's center and the people surrounding it, candlelight illuminating the sparks of joy in everyone's eyes. Everything suddenly seemed easier, the future shinier and more perfect, as if everything outside of the glow of the overhead lighting had ceased to exist.

And then we came home to a dark house, to dad asleep in his chair, and I realized none of my questions were answered.

Maybe it doesn't matter. Maybe it's only the first step. I have to admit I don't want to go back, don't want to give this up. Even if it makes me feel guilty, even if I feel bad for leaving dad on his own.

Maybe I can take it one step at a time.

I'll think about it out tomorrow.

Love, Holly

#Sorry for the delay #shifted from writing into reading mode for a while and spent the last two weeks unable to tear myself away from the written word #the third wheeler #holly wheeler #mike wheeler #stranger things #fanfic #byler #karen wheeler #ttw #will byers

[queerpiratebrainrot]

ALRIGHT!I JUST WATCHED THE MIRACULOUS MOVIE AND I HAVE THOUGHTS! There will be spoilers ahead, so tread carefully

A list, in no particular order, just how they pop up in my head:

The animation was STUNNING! Just, props to the animators, I enjoyed the movie visually SO MUCH! From the use of colours and lighting, to the way they used all of that to upgrade the characters: it was absolute perfection. (though some of those close up shots of Hawkmoth were A Lot. But that was probably the point)

The absolute chaotic energy that both Tikki and Plagg (but mostly Tikki, cuz unfortunately. there wasn't a whole lot of Plagg, which I understand due to time, even if it is sad) is FANTASTIC! I adore Chaotic Tikki so much. She has my whole heart! That little scene of Tikki pushing Marinette's hand to Adrien's? Lovely. Tikki explaining absolutely nothing to Marinette when they first meet? Perfection. Just. Give me more Chaotic Tikki, please!

The soundtrack? WONDERFUL! I kinda knew it was a musical, I think, but I completely forgot, so when Marinette sang those first few notes, I had to catch up a lil, but DAMN I was excited! (sad we didn't get Ce Mur Qui Nous Separe (I don't know the english name oops), but it was still fun!)

On that note: Adrian having the most Disney Princess I Want song in the movie is just perfect. No other words needed. Best choice they could have made there.

ALSO on that note: Marinette's singing voice? BEAUTIFUL! It fits so well! I just couldn't help but enjoy her songs, if only for that.

BUT I didn't have to, because the music itself, without the lyrics was just so well done!

Slightly less good: The hawkmoth song was missing some flavor, in my opinion. It started out, and I was EXCITED cuz it started so HARD and then it didn'treally deliver, I think. It kind of kept in the same range and didn't really go up, ya know?

I really REALLY liked Marinette and Chloe's relationship. The way Marinette fired shots back at Chloe, and they actually seemed to be becoming more frennemies? Amazing. I wish we would've gotten more of that in the tv show, considering earlier seasons Chloe and her character developpement, but I really enjoyed it here, in the movie

I'm happy we got to see Gabriel and Adrian actually confronting each other. Both Adrian standing up to his dad (although the timing was a little off, more on that later), AND Gabriel finding out his son is Chat Noir and the resulting Crisis. At least there was some emotional pay off there! (looking at you, season 5 finale)

NOW on the timing thing: There just wasn't enough time. I understand that they wanted to do the superhero origin story for people who aren't familiar with the show but do go to see the movie, but I feel like they just didn't have the necessary time to create the emotional tension needed for the end scene to actually hit as hard as it could have. We got to see a hint of Adrian and Gabriel's relationship, and what was shown was great! But if we had gotten a little more of that perspective and tension, it would've felt better to watch Adrian stand up to Gabe and his parenting skills. And consequently, enjoyed more of the end scene with them figuring out each others identities. Genuinely, I was happy we got at least some pay off there, but it felt too easy. (which again, makes sense due to the limited time, but I feel like they should have made choice: either the Big End Fight with Hawkmoth, OR the Origin Story. And since they did kind of set up a possible sequel, I feel like the choice could have been made)

With the feeling of too easy: I had the same feeling of Marinette and her finding confidence in herself and Ladybug AT THE END! The sudden change during the montage, I liked and felt like it made sens, since we then, during the big battle, get Marinette's insecurities over only being confident when she's Ladybug and all that. That is wonderful and so in line with the core of who Marinette is as character, no matter what version of her we get, that I love it very much. I would have enjoyed a liiiiitle more time with the Angst, but it's allright!

MOSTLY CUZ: that scene where she's dragging Cat Noir's unconcious body onto the debris of the Eiffel Tower, and she goes 'Don't. Touch. Him.' through tears and with a broken voice? AMAZING! When I tell you I Went FERAL! My children! absolutely STUNNING

The actual fight of the end battle? Marinette surrounded by flame and a Paris that is falling apart? Ladybug in Hell, essentially? GORGEOUS! Cat Noir running up the Eiffel Tower to fight Hawkmoth? Stunning! The Eiffel Tower slowly collapsing, as Ladybug watches and cannot Do Anything to stop it? HEARTWRENCHING!

Marinette revealing herself to Adrian at the ball? AMAZING SCENE! (although i laughed and had to utter 'Real Subtle, Marinette' when I saw the ladybug wings on the back of the dress, which was, againg, stunning). The way the scene was framed like the rejection scene? WONDERFUL!

The glitter on Chat Noir's mask? I loved it! Such a fun little detail we don't get in the show!

Did not like the Plagg farting scene. Just. No thanks. It's cheap comedy and that runtime could have been spent better, with a better characterisation of PLagg and his relationship with Adrian. But whatever, it's fine.

THE LADYNOIR CONTENT AND BICKERING! JUST FANTASTIC! ladynoir stans got FED this movie, and I am HERE FOR IT!

So yeah, that was an incomplete list of my thoughts on the movie! Overall I really enjoyed it! I really liked this version of the characters and their relationships. They feel a lot more genuine and real in comparison to the tv show, in some ways. I had so much fun watching it, and will probably go a second time, to see how it'll feel like on a rewatch. And just to enjoy the vibes. I do hope we get a sequel, because I am Curious. And would love more Natalie content.

#miraculous movie #mircaulous ladybug #chat noir #gabriel agreste #chloe bourgeouis #tikki #plagg #ladynoir #marichat #adriennette

[tyrantisterror]

I love your How’d I Ruin It series, it really speaks to me overall! I've been curious if you've ever thought about writing one about The Land Before Time series (as I've been on a dinosaur kick lately), or any other dino related media…I can understand if you see the original LBT as perfect as it is and if you wouldn't want to touch the sequels with a ten foot pole though!

Well, the big issue would be that I don't think I'd ruin the Land Before Time series if I were to adapt it.

I mean, I guess I'd ruin it the way all stories about dinosaurs are ruined in the eyes of certain dinosaur fans, i.e. by not making it perfectly align with every single scientific advance that was made the moment it comes out and also those that come after it comes out, in perpetuity, forever. After all, paleo media is debauched and immoral if it is not infinitely updating itself to correlate with every new theory and indeed even hypotheses that aren't yet taken as scientific fact but are popular in internet dinosaur fandom circles, in perpetuity, forever. The minute scientific knowledge of dinosaurs advances even the tiniest bit beyond a piece of paleo-media, that story is Ruined Forever for certain dinosaur fans.

But, if we discount those pedantic assholes (as we always should), I think I'd make a pretty good Land Before Time story. I wouldn't want to redo the original, granted - as you guessed, I am of the opinion that it's perfect as is. I'd want to take the same setup - a bunch of different child Mesozoic reptiles get separated from their family by a natural disaster during a famine and have to make a perilous journey to a safe place where, hopefully, they'll meet their families again, all while overcoming their differences between each other as members of different species, and trying to shake a very persistent predator - and make some new characters to undergo the journey.

I think the biggest change I'd make would be to have at least one o the dinosaur kids a carnivore (almost certainly a T.rex, because I am boring and T.rex is my favorite dinosaur)There's this whole theme in the original where the dinosaur kids have to overcome the species-based prejudices their parents instilled in them to survive, becoming family to each other in the process, and I think having one of them be a predator would really strengthen that. Here is not only a different species, but a natural enemy for the rest of the kids, and they end up needing each other anyway.

New setpieces would be needed to keep it from feeling like just a retread, and maybe I'd got a bit more explicit with the supernatural elements - the movie is loosely based on Pilgrim's Progress, after all, so there's no reason we can't make this hypothetical remake's Sharptooth stand-in even more of a Death/Satan figure. But I'd ultimately want it to be something that feels very much like The Land Before Time.

[lunar-years]

anyway my thoughts on Barbie snubbery discourse are all over the place because obviously there is indeed an irony to Ken being nominated and not Barbie, mimicking the exact trajectory of the film. And it is kind of sad to think about that and it does suck because I think Margot was amazing as Barbie, and I would have loved to have seen her nominated for that!

But also. If we’re looking at it realistically, it all depends on the pools for each category. Margot and Ryan are in separate categories, so you cannot really compare their nominations because they were never competing against one another, but their respective peers from other movies. I’m not super familiar with the Oscars or with films generally, but from what I’ve heard the best actress category this year is particularly stacked, so the competition for Margot was really hard. At the end of the day, there’s only 5 slots! If Margot was in, another one of the nominated actresses would have to be out. It’s just that Barbie is the bigger movie so it’s getting all the attention.

Also a lot of the extended arguments about it diminish the own original argument’s point. I’ve literally seen people saying Margot was snubbed because of misogyny and then in their next tweet going on a rant about how Margot deserved it way more than America and it’s wild that Barbie got noms in xyz categories but not best actress. Like, if you’re putting down America to hype up Margot in the name of feminism…let’s unpack that for literally half a second, i mean? they aren’t even in the same damn category!!! ~~ “Why was “I’m just Ken” nominated for best song and not Margot!!!” ~~ Well now how it that remotely relevant?? what the heck are you even talking about?? 😭 if you dislike that the song was nominated you should be comparing it to other songs you wish had gotten nominated instead, not randomly bringing it up in a conversation about best actress.

But on the other hand, people saying “well no, Margot didn’t actually deserve a nomination as much as the 5 selected actresses” (which in itself is a totally fine and fair opinion) are by and large just pretentious film twitter commentators who can’t resist but to go on to remind us all that they think Barbie was a shit movie, and generally act like Margot is less talented because she starred in a comedy, and therefore her acting was “less serious” than their artsy indie favs. Which is also deeply annoying and emblematic of how the Oscars and film buffs view certain genre movies like comedies in general.

Which is all to say, I generally think there are far greater threats to feminism than the Barbie movie not getting a best actress and best director nomination, lol. But it’s cool that it’s bringing awareness to the Oscars long-standing problem of bypassing women in favor of men (especially in categories like best director) which is something we should talk about! Greta’s snub is perhaps no different than any other director snub in any other year, but the pattern of female directors continually being snubbed is a problem worth unpacking! I just wish people would stop talking about it only in soundbites and delve into that deeper systematic issue with arguments that actually make sense.

#also why is Hilary Clinton chiming in like….. #ugh #we’ve strayed soooo far from the point is what I’m saying #it’s not about your personal fav being or not being nominated it’s about a problem that can be charted back through the years #in which Margot and Greta are only the most recent iterations #idk if any of this makes sense #tumblr is my diary and I use to chart my nonsensical thoughts lmao #ANYWAY #Barbie 2023

[blackswaneuroparedux]

Anonymous asked: Are you a Mission Impossible fan? I’m not a Tom Cruise fan but it’s great dumb fun. And it has a cast full of talented (and beautiful) women. You seem the type to enjoy a good adrenaline rush of a flick (I’m sure the French have a fancy cinematic term for that)

I am unashamedly both a Mission Impossible fan - of the television series and the Cruise movies - and a Tom Cruise fan.

Obviously being born decades after the original Mission Impossible tv series created by Bruce Geller was first aired in the 60s and 70s, I only had the pleasure of watching the box set episodes later in life. I have to say I loved that series. I loved when they hatched the plan. Loved the fake masks. And of course I loved the Lao Schifrin music - one of the most recognisable signature themes in music and TV history.

Classic television has a bit of a blessing and a curse working on it. Most shows of the Golden Age of television didn't have a structured narrative through-line. The idea that one episode will build upon the next is a pretty modern concept. As such, Mission Impossible had a prescribed routine. Mr. Briggs in Season One and then Mr. Phelps in the subsequent seasons drive to a random location, find a hidden mission briefing that self destructs, discusses the plan with the team, and then they execute the mission.

There wasn't much variation to the structure. Thankfully by season three, they got rid of the silly waste of time where Jim Phelps selects his team - because aside from the random guest the team was virtually the same from episode to episode. The thing that changed was how the team pulled off their mission. It was always a mixture of subterfuge and fancy fakery, but it was always exciting and the great team of writers, directors, and the dynamic cast always kept the audience just enough out of the loop for there to be plenty of surprises and suspense.

It's not that Season One wasn't any good, but you could really feel the show was still working itself out. Steven Hill as original team leader Daniel Briggs is decent enough, but he's just not as interesting a performer as Peter Graves as Jim Phelps. Graves is indelible to the show. But it's not just who leads the team that made the show - it was the great actors who made up the series regulars. Greg Morris as Barney Collier and Peter Lupus as Willy Armitage are always great as the tech masters and inside guys who narrowly complete their tasks with milliseconds to spare. Husband and Wife duo Martin Landau as Rollin Hand and Barbara Bain as Cinnamon Carter really helped cement the show through the first three seasons.

So when I got around to watching Tom Cruise’s first Mission Impossible film I was a little miffed. It seemed like the story bumped off his team - a staple of the original tv series - within the first act and the rest of the film is on Cruise control ie it’s just about Ethan Hunt. But slowly as the other MI films came out I was won over. In fact in my mind I tend to think there are two Impossible Missions Force (IMF) operating in two different universes, just because the dynamics are different. That way I don’t waste time whining on which is better or poke holes in the Cruise films for its lack of purity to the original series. I prefer to enjoy both on their own separate terms.

To me Thomas Cruise Mapother IV is the biggest movie star in our current culture of excess entertainment. That’s my gut feeling.  The definition of a movie star, in my personal opinion, has changed dramatically. There was a time and period when the movie star was defined by the name alone. If a Hollywood star had a film coming out people didn’t know what the film was, they just saw it because of who was in it: Will Smith or Jim Carrey or even Stallone and Schwarzenegger. No one else comes close.

The two exceptions might be Leonardo DiCaprio or Keanu Reeves. I think of the two Reeves comes closest because of the success of the franchises he’s been in - The Matrix and the John Wick franchises - but he’s not a movie star. What I mean he doesn’t behave like a movie star in the sense that he is not immersed in the film business as a business nor does he cultivate his star power (he prefers to travel around on a bus and sit on park benches looking forlorn) in the way Tom Cruise does.

Interestingly there are even few directors that can open a movie on name alone. Christopher Nolan, Quentin Tarantino, and Steven Spielberg can still get people into the cinema based on their name alone, but the movie star, not so much. Audiences today want IP. They want franchises. However Tom Cruise has navigated all of that and consistently shifted.

Cruise’s dedication to big screen spectacle, also offset by interesting asides like American Made, and very underrated sci-fi and high concept films like Minority Report, Oblivion (very underrated) and Edge of Tomorrow, brings a sense of anticipation to his films. Maybe we’re there because we expect stunts, or we know that he’ll give nothing less than 100%, or it’s an example of a creatively driven project, rather than a marketing machine, but we still show up. It may not always go right, like the misfiring The Mummy or Jack Reacher (where he felt miscast in both), but Cruise has his sure-fires and his surprises.

When a movie like The Mummy doesn’t work out, he reimagines Mission: Impossible, and he is able to take what everyone loved in the 80s about Top Gun and magnify that to what the audience wants today. Honestly, did anyone expect Top Gun: Maverick to be the box office behemoth it has been? I expected it to impress, to be a good example of Cruise’s fervent passion for as much practical work as possible (as opposed to doing 95% with CGI), but after 36 years, that it’s his highest grossing film ever - and the highest-grossing movie of 2022 - is impressive.

It helps that he almost never 100 percent disappears into his roles; we still get that Tom Cruise smile and stare no matter who he’s playing. And the fact that he still looks like 1980s-era Tom Cruise only adds to the lustre. Indeed when Tom Cruise does it, whether that’s fighting for justice in a courtroom, making cocktails, jumping off a roof, flying a fighter jet,  or even singing “I Want To Know What Love Is” shirtless while wearing leather pants, we’re like, ‘Sure. I buy that.’ He’s relatable even when what he’s doing on screen is so far removed from our reality that it’s insane. There is a grounded matinee idol musk to Cruise’s presence on screen that seems to transcend class and political divides. He’s America’s hero and the nice guy who is tough with a sensitive side, as well as the kind of wisdom that impresses but never intimidates. He’s Hollywood’s fine wine.

Tom Cruise is not only the biggest movie star working today, he’s the last movie star working today.

There are plenty of actors who people recognise, and the right combination of actor and role can still be explosive, like Keanu Reeves. But “Tom Holland as Spider-Man” is a very different thing than “Tom Holland as anything except Spider-Man,” and to some degree, that’s by design. Studios would rather own the biggest part of the equation. Tom Cruise doesn’t need your IP, though. Tom Cruise is the IP. People buy a ticket to see Tom Cruise, and they do that because Tom Cruise has figured out how to be the most Tom Cruise that any Tom Cruise could ever hope to be, and every time out, he does his very best to turn the Tom Cruise up just a little bit more.

When he was younger, Cruise built his career by trusting himself and his image to the very best directors he could find, slowly refining a certain kind of alpha masculine ideal. What makes his late-era stardom more remarkable is how he only transitioned into action movies once he was in his 40s, and he has pushed himself harder than arguably any action star of any age in the last few decades. When you see a Tom Cruise film and you see an insane stunt, part of the kick is knowing that’s really him and that he’s entering his fourth decade of being an icon.

That Cruise almost died after becoming entangled in his parachute in the water in Top Gun was somewhat irrelevant, because it was this first Mission: Impossible where Tom Cruise: Stunt Man was also born. From the infamous wire descent, to leaping out of a window to outrun a surge of water from the restaurant he’d just blown a window out from, Cruise was in on the action.

If audiences didn’t quite get that dedication to being visibly involved in the action then, they certainly would by the time he made the more action packed second film, directed by John Woo. M:I 2 cemented the lure of the Cruise stunt. From mountain leaps, to motorcycle rides and more, Cruise set a new expectation for his work going forward. It was a string to his bow, a selling point, and it has proven a tool of forgiveness and resurrection even as his career has threatened to implode under off screen contention.

I think that’s why we rush to go and see the next Mission Impossible film. It’s not for the thread-bare plot or the fantastic action - although it’s better than most action franchises these days. But it’s the mind blowing stunts which we know is not CGI driven nor is done by a stunt double. It’s done by Tom Cruise himself.

He is the Tom Brady/Mark Cavendish/Ronaldo/Roger Federer (delete as appropriate) of movie stars, not just because of his success, but the longevity of his career, as he has found ways to adapt to each change in the industry while also not giving in to what others have had to do.

The key thing is he adapts just enough to make it fresh. The Mission Impossible films are a case in point. Even as the stunts have got bigger, more dangerous, and more spectacular (as all franchise films must it seems), the characters portraits and arcs have got more intimate and more relatable.

In the MI movies he is of course super spy Ethan Hunt but he’s not super-human. But Tom Cruise’s secret is that even when appearing borderline super-human on screen, there’s still an air about him that makes the viewer want to be him or be with him and believe that’s possible. There’s an old-school debonair swagger and a hot everyman to him that many movie stars lack. Dwayne Johnson is many things, including a mountain of a man and a brilliant business person, but few of us could carry that off or believe that what he’s doing on screen is something we could replicate. Inspire, sure, but we could never be him. With each film the character is finding it harder and harder to be cocky and confident. There is a world weariness etched on his strained face. He barely wins fights and often he relies on others to help him or bail him out. Cruise is self-aware that he is getting older, like his character. It’s these little details which count.

Interestingly, I find his women character also infinitely more relatable than any current iteration of the action female heroine. Marvel are lost in swamp of woke feminist BS where all their franchise films have to be led by the cookie cutter ’Strong Single Female’ - the one who doesn’t need mentoring (because that’s just sexist mansplaining); can pick up a life time of a superior set of skills in a matter of seconds; can beat to a pulp a man much stronger than she is; she never falls, stumbles, or fails like the men do; and she alone saves the day of course. Look at Rey in Star Wars or Captain Marvel in the MCU or even Phoebe Waller-Bridge’s character in the latest risible Indiana Jones film and tell me any of that isn’t true.

The women in MI franchise are far more relatable within the context of a hyper-realised film about super spies but not beyonds the laws of gravity. They are strong, independent, smart, sure. But they are also feminine and vulnerable. They fight like skilled women and not prize fighters that play to their feminine strengths (they get punched a lot in the gut and it shows). More importantly, they fuck up and fail, but they still come and help others to save the day. From Emmanuelle Beart to Thandie Newton to Rebecca Ferguson, these are kick ass women but in a much more believable way than any Marvel movie she-heroine. Go back and see these movies and you will see what I mean.

What I also like about him is the vibe he gives off that he cares deeply about his movies. It’s not a cynical exercise in money. Of course ego is a different matter, but I’ll give him a pass because he is the consummate professional and perfectionist about his craft. To me Tom Cruise is one of the few performers today who generally thinks of the audience first. Maybe even to his own detriment. But you can tell with everything he does, in all of his films, there is a different kind of commitment he makes to the audience. He actually gives the impression that he cares about giving his audience a good time.

Moreover, to hear it from Cruise himself, as we did during leaked audio of the dressing down he gave M:I7 crew members who were flouting COVID-19 safety regulations: “That’s what I sleep with every night - the future of this fucking industry!” Cruise makes a grand spectacle of carrying every film on his back, so it’s never in question who calls the shots or who, rather than what, makes the movies cinematic. Cruise’s power as a producer really deserves kudos for this. His steadfast aversion to shrinking theatrical windows for any of his projects, and his continued allegiance to, especially in the case of his flagship franchise, adding more ambitious stunts and exotic locations with every entry.

He doesn’t do television. Don’t you dare ask him about streaming. Other stars have also made that transition to streaming. You might call it selling your soul. Deals with the devil. We’ve seen other films in difficult circumstances, having to change their models to incorporate simultaneous streaming and cinema releases. Dwayne Johnson had seen a decline in box office revenue prior to the pandemic that has seen him go a little safer with more Disney material, as well as become a big fish in the Netflix pond. Cruise however… is all about the big screen experience.

Everything Cruise does is about maintaining his star power in the face of any and all obstacles, from a diminished global box office and studio manoeuvring to his own mortality. His legacy decades since secured, Cruise’s latest impossible mission appears to be nothing less than saving the movies themselves.

For that reason and that reason alone, I will always take time to see a Tom Cruise movie especially his Mission Impossible franchise films. Roll on summer. Cue the Palo Schifrin guitar chords. And action!

Thanks for your question.

#ask #question #mission impossible #tom cruise #tv series #movies #cinema #film #hollywood #spies #arts #culture #stunts #marvel #mcu #hero #icon

[adarkrainbow]

Long ask. Bear with me, please.

I'm still thinking about what counts or not as a fairy tale.

To be honest, I think the only pre-requisites for something to become a fairy tale in pop culture is for it to be a popular fantasy children's story in public domain. And kinda look like a fairy tale, too.

In your opinion, which work would be considered a fairy tale if it weren't for copyright?

Let me give, my examples

C.S. Lewis' Narnia books, especially the first one, The Lion, the Witch, and the Wardrobe. If Alice in Wonderland and Wizard of Oz are considered fairy tales, especially in crossovers, Narnia should be too as it shares many themes, plot points, and character archetypes.

Charlie and the Chocolate Factory. It literally uses all fairy tale archetypes and cliches under the sun, even if it ditches magic for extremely soft sci-fi. Willy Wonka is like Frau Holle or that fairy godmother from Toads and Diamonds, the four brat children are like those siblings and step-siblings who are always magically punished, and even as a child I knew Charlie Bucket was Cinderella but with no focus on romance. He's the youngest sibling that always is magically rewarded.

It is quite funny because I had the idea to make a post about this subject specifically! But since you asked I'll drop some elements of my planned posts here - it can be a good introduction!

Now if you ask me, "fairytale" can't be everything and anything, but that's probably because I come from France where "fairytales" are literaly a literary genre first, and then a category of folktales and legend, and we have specific categorizations different from other countries (again, the merveilleux/fantastique divide for example which determines the French approach to supernatural and fantasy, but is absent from English literature if I am not mistaken).

I... personally do not believe any "popular children story" would be a fairytale. Else that would make the first Harry Potter books a fairytale, or the Winnie the Pooh stories a fairytale or Despicable Me or the recent musical Troll movies fairytales. I think the inherent decision to make something "for children" fairytale like is bad because, again, fairytales were not originally meant for children and thus should not be limited to a child audience.

From my point of view, a fairytale needs to be either a folktale that hold itself in a specific format that makes it separate from legends and myths (the type of local folkloric stories told by old storytellers to children in the countryside for example - but with a clear plot, clear characters, and beginning and ends, separating it from vague legends ; and with a minimum religious element, to separate it from myths for example). I do not like to think of Greek myths as "Greek fairytales". For example, to take an example of the folkloric fairytales of France vs the legends: we have in Bretagne the belief in "les lavandières de nuit", "the night washer-women", ghostly, otherwordly apparitions of women washing clothes at night, and you should never help them else you'll end up dead or with your arms broken. If someone simply tells you what I told you above "It is said there are ghostly women who wash linen at night...", this is more of a "legend", like ghost stories, or "Oh, this is a fairy mound haunted by fairies!" or "It is said a monster lives in this cave". But if you actually tell the story of a specific peasant boy with a specific name, who due to specific reasons ends up meeting these women, and either escapes or falls to their fate, we already are closer to the folktale and thus the "fairytale of Bretagne". But this is all obvious, as these kind of fairytale-folktales were those collected by Grimm and Jacobs and Moe and others...

And then you have literary fairytales, which are stories meant to evoke or imitate the folktales described above, and can derive in many ways (be more "literary") but still identify or present themselves or link themselves to these folktales. These are the Perrault and d'Aulnoy and Andersen fairytales for example. This category can be pushed further with what we call in French "contes détournés" - you could call them "fractured fairytales" to take back a common English term, that is to say all the parodies and rewrites and deformations of fairytales, sometimes for humoristic effects, other times not. Modernization and expansion of fairytales are part of that, so to speak. But we stay in a domain where the story is presented or follows the code and format of fairytales, while also explicitely avoiding, pointing out or reversing the common tropes and rules.

But where the Narnia books and the Dahl books enter, we reach a domain that is not fully fairytale but rather a crossroad between three genres deeply intertwined. "Fairy tales" (or rather "modern fairytales") ; "Fairytale-Fantasy" and "Children fantasy".

Children fantasy is basically any modern children story (by modern I mean deliberately fictional and written as fiction) that involves magic and the supernatural. And these stories can be influenced by fairytales, since it is something children are very aware about, but not always. Peter Pan, just like the Oz books, are "children fantasy" - a form of fantasy for children primarily, or rather a form of children stories that step into the fantasy realm. Pinocchio is one of the oldest "children fantasy", as in a work primarily aimed at children, but with magical and fantastical elements in it.

"Fairytale-fantasy" however is a term usually given to a subgenre of fantasy works that, instead of taking inspiration from epic sagas (epic fantasy) or horror works (dark fantasy) or other things ; takes inspiration from fairytales and folktales. The same way Tolkien was the father of "epic fantasy" he was also the father of "fairytale fantasy" through his Hobbit novel, and also other works (his Tom Bombadil poems, his Farmer Gilles of Ham novel).

The thing is that "children fantasy" and "fairytale fantasy" are deeply interconnected since both can draw source from fairytales and folktales to build entirely new stories. As a result there is a frequent overlap. The Oz books belong as much to "children fantasy" (one of the biggest success in terms of magical series of children-book) as "fairytale fantasy" (they were a pure deconstruction of typical fairytales, explicitely playing with fairytale codes, and later becoming an "American fairytale" classic). The Narnia books are also part of this crossroad, as they are "children fantasy" (they are a traditional fantasy story with epic tones, but for children and teenagers), while also being "fairytale fantasy" (taking inspiration and paying homage to several fairytales and folktales). They all belong to this category of works which are not fairytales per se (since they are not of folkloric origins, nor were they meant to be faithful rewrites or perfect pastiches of traditional folkloric fairytales), but definitively works of fiction based upon fairytales, inspired by fairytales, and mant to take fairytales into the "next step" of the world of fiction.

The main difference between "children fantasy" and "fairytale fantasy" would be as such. Children fantasy, while sometimes inspired by fairytales, is not always tied to fairytales and can be completely fairytale free. For example many of Roald Dahl stories do pay homage to fairytales and are inspired by his fairytales (his witches in The Witches, his giants in THE BFG, Wonka and his factory, the Giant Peach, etc...), he is part of the "writers of modern fairytales". But you have also lot of children stories with magic that do not involve any fairytale reference. Children fantasy can be inspired and allied by fairytales, but is not defined by them.

On the opposite side, "fairytale fantasy" is defined by fairytales - but not by age. Yes some of the most famous "fairytale fantasy" works are for children: the Oz books or the Narnia books. But just as many are for adults and definitively not for children. Neil Gaiman wrote a Coraline for children, but his Stardust is definitively for adults. The movie "Legend", while one of the most iconic fairytale-fantasies, is for adults.

So, I think the real way to point out what a fairytale is, is to look at the format and intentions of the author and of the work, to see if it fits the literary fairytales of old. There needs to be a conscious emulation, pastiche or imitation of traditional fairytales, there needs to be something that make it feel like a fairytale, and not like a story inspired by fairytales. But honestly... this is deep down really, really hard to draw a line as it mostly comes to personal definitions and appreciations. The genre of fairytales is vast and blurry, as it covers traditional European folktales and a specific short literary genre first, but was then expanded to cover other literary works and non-European folktales - and so the lines are... muddled.

I do not hesitate to say that "Over the Garden Wall" is actually a modern fairytale, as seeing the show made me literaly feel again the same kind of feeling I had when I first discovered fairytales. But I can understand why people would consider it "fairytale fantasy" rather than a "modern fairytale" because it was made with the intent of it being a children show and fantasy show first and foremost. Dahl stories are definitively "modern fairytales" - but the fact they are set in "modern day" and a grounded reality where the supernatural is not supposed to exist can disqualify them from being traditional fairytales ; or the humor and parody and play with the fairytale codes can also create a distanciating humor that make them fairytale subversions or pastiches or parodies rather than fairytales. Pinocchio has everything that fits a literary fairytale - but its format also evokes old "story-cycles" like the Reynard adventures or Gargantua ones, and its lack of simplicity and uniformity, or rather its long, flowing nature can also disqualify it from being a fairytale and rather make it a fairytale-inspired fantasy....

Honestly the narrowest definition you can have of "fairytale" is: printed works that explicitely designate themselves as such, from collected folktales (Grimm) to literary fiction written to emulate and imitate them (Andersen). This is the most narrow definition you can have. But then, one can expand to include all folktales that inspired fairytales ; or on the other side, one can push into the literary direction, to include stories that do not have the fairytale format, but that were so heavily inspired and shaped after fairytales, and gained such a popular influence and widespread presence, that they became "modern fairytales". But then this also opens the door to questions such as "What is a myth?" or "What about literary myths?" (like Faust or Don Juan or Frankenstein, all those famous "literary myths" as we call them in French).

As you can see by this convoluted answer, it is not a clear-cut question and nobody can truly answer it. Everybody will have a different opinion, and there is no real limit. The question mostly defines in how the work label itself. Perrault and Grimm and Andersen works called themselves fairytales, so there is no doubt about it. But take Neil Gaiman's Stardust - an iconic of fairytale fantasy, and yet Gaiman refers to it as a "romance in Faerie", evoking more the genre of fantastical and supernatural romances (medieval-meaning of the sense) like "The Well at World's End" and others - and the work is also very inspired by fantasy fae stories with a vague proto-urban fantasy feel to it, like "Lug-in-Mist". Same thing with the movie "Legend" which is definitively inspired by fairytales and a fairytale-fantasy, but was sold as a "fantasy movie" or even "heroic fantasy" movie first and foremost. Meanwhile the Oz books were intended by Baum to be a "modern, American fairytale" - even though their novel format and their franchise nature removes the idea they can become as "traditional" as the folktales he meant to imitate...

I'll stop there for now, but long story short: It's complicated, and when in doubt, don't hesitate to refer to intermediary terms like "children fantasy" or "fairytale fantasy", which clearly evoke modern fictional works and can highlight a difference with classic literary fairytales or folkloric fairytales, without rejecting the idea these "modern fairytales" aren't fairytales in their own right.

#question #fairytales #what is a fairytale #fairytale fantasy #children fantasy #literary fairytale #folkloric fairytale #i honestly don't know what i am writing

[secretmellowblog]

Anyone who thinks AI is going to “revolutionize/democratize copyright law” is a fucking idiot and just as stupid as all those people who thought NFTs would revolutionize copyright. Because no, it will not? It won’t? That’s now how any of this works? You are just lying? It’s the same argument people always made about Nfts— “currently it looks like it’s just a scummy way for Silicon Valley types and big companies to enrich themselves at the expense of everyone else, but in our distant libertarian cyber future it will somehow revolutionize/democratize the concept of ownership in some nebulous poorly defined way we haven’t figured out the logistics of yet!”

The thing is. In my opinion the biggest problem with current copyright law isn’t that it allows people to have any kind of rights over the work, or that people having some kind of rights over their work is inherently always bad. The much greater problem with current copyright law is that it is massively skewed in favor of corporations, and benefits them to an insane degree while giving very little to the people who actually create the work. The people who actually make your favorite movies and comics and games usually don’t have any rights whatsoever over their creations, and instead massive companies have complete control over them.

And that’s the whole problem with the unevenness of current copyright law. if I as an individual violate Disney’s copyright by stealing a single image owned by them, or create derivative work/fanfic based on their stuff, they can sue me. But if a big corporation steals my entire life’s work and everything I’ve ever made to shove in a algorithm and create infinite derivative copies, I can do nothing. Theft on a small scale is a crime— but theft on a massive scale is business.

OpenAI is not some leftist project about taking power away from corporations by revolutionizing ownership. it is itself a giant corporation determined to get as much value for its investors as possible. It needs to be regulated. And laws protecting individual working class artists from a massive corporation determined to use their stolen labor to make them obsolete are necessary, actually!

This is not creating a world free of copyright; it’s creating a world where only individuals are bound by whatever rules exists, and whatever pretense used to exist that we had any rights over our work whatsoever is gone, because now only corporations can own things. AI can generate an image but it cannot generate a movie, which is one of the only “products” that can’t be “generated”, so only big companies with the budgets to make larger projects will be able to generate things that can be owned.

I thought we all agreed that the idea that a libertarian world where “~we don’t need laws and regulations let the free market decide and somehow everything will work itself out-“ was utterly stupid, and there needed to be limits on corporate power?

I find it literally insane that people think it’s somehow progressive to cheer on a massive corporation attempting to get infinite power, and that working class artists who are already overworked and underpaid are ~not real leftists- for pointing out it’s wrong to cheer on corporations getting to play by their own separate rules (rules that WE are bound to but they are not), even when their technology relies on the exploited labor of the people they’re going to drive deeper into poverty.

The leftism leaves people’s bodies when you tell them that they don’t actually need a machine whose data was trained by underpaid impoverished workers in Kenya making less than $2 an hour to write free shitty fanfic for them… and that the machine doesn’t create things “withojt labor,” it creates things by finding corporates loopholes to current laws that allows them to avoid paying the people for their labor. Everything you generate with image/text generators is things that are generated by the all the free labor of the artists they didn’t pay, and all the poor people in developing countries that they exploited. It doesn’t create things without labor, it creates things by obfuscating where the labor came from.

#it’s actually very progressive and leftist to root for a massive megacorporation to use people’s stolen labor #it’s actually a daring artistic statement to create auto generated glurge using exploited Kenyan labor

[djservo]

cutting it soo close to the wire oopsie but i'm here!! 2023 is out, 2024 is in. also in: your december reading update? did you hit 50 books read? what are your 2024 reading goals, anything that suprised you about your 2023 reading other than falling in love with Dennis Cooper?

I read 12 books last month man it was a blur!!

ok there's just too many for me to indulge in any rambling so I'm gonna try and keep things short n sweet

Nana Vol. 1-3 by Ai Yazawa - I was never really into manga growing up but this is like exactly the type of story and style I wanna wrap myself up in always!! so much fun!! the rumors are true, I love a roommate story!!! I read each one in a single sitting so I wanna pace myself thru the rest of the series so that I don't spoil + finish it all at once </3

Something Wicked This Way Comes by Ray Bradbury - honestly not as fantastical as I was expecting for some reason but it reminded me of Coraline which was fun! I could see Neil Gaiman getting inspo from this (edit: literally just looked it up and yes Gaiman indeed cites him as a direct influence yup yup)

Out of Time by Samira Azzam - something almost Steinbeck-like in these vignettes of everyday life in a very culturally-specific way that I really enjoy. really insightful introduction that mentioned how although most her stories didn't explicitly mention Palestine, they still were recognizable as a Palestinian existence + therefore shaped a sort of Palestinian consciousness for readers that were often blocked from accessing their own culture in academic settings

The Bluest Eye by Toni Morrison - I can't believe it took me this long to read something by Toni Morrison / that I never read her in any English classes?? like she seems so foundational to the grand scheme of American literature.... ridiculous! so phenomenal and gripping and darker than I expected. not just an engrossing story but also a really intentional and haunting use of language that really sinks you into that world/shifting perspectives

Tasting the Sky: A Palestinian Childhood by Ibtisam Barakat - this is like the only Palestinian book my local library has (shameful!) so I checked it out on a whim and was so surprised at what an amazing memoir this is!!! touching and vibrant and left me so eager to read her follow-up memoir based around her teenage years. I feel like this is a great introduction to Palestinian literature in general bc while it does (obviously) tie in the history and reality of occupation, the amount of love & detail given to the everyday things - merely going to school or playing with her brothers - was so enlightening and relatable

Holidays on Ice by David Sedaris - the first/main story, SantaLand Diaries, is still one of my favorites - I love stories about odd jobs + boy does Sedaris have so many tales to tell about those!! reread this in one sitting before I sent it off to a friend who seems to find herself in a new odd job each year so I figured she'd resonate

Gaza in Crisis and On Palestine by Noam Chomsky & Ilan Pappé, edited by Frank Barat - 2 separate books but I'll talk about them together since they're companion pieces. surprisingly accessible, probably due to the format of essays mixed with interviews. On Palestine echoed a lot of the sentiments of Gaza in Crisis so I'd recommend On Palestine for a sort of "updated" version (and in my opinion, more thorough). a good stepping stone for some of the meatier/more history-dense books on my TBR

Like Water For Chocolate by Laura Esquivel - yknow the thing about recipe bloggers who will intersperse their super personal life story into the recipe? this is like a whole book of that it's kinda iconic... honestly a little juvenile and ridiculous at times but I had a fun + have made hot chocolate every single day since reading this which literally wasn't even one of the recipes included/the title itself comes from like 1 short part towards the end but still... Ms. Esquivel's impact... the movie adaptation was really well done too, captured the magical realism surprisingly well without making things look hokey + Man I just love food in film!!!

Good Sense & the Faithless by Michelle T. Clinton - beautiful sexy thoughtful angry hopeful healing.... I really love her and I'm glad I ended the year with this!!

YES I surpassed by goal which honestly did surprise me bc if you recall I sliced my 50 down to 36 a few months ago because 50 didn't seem feasible at the time, but I guess the lesson is to never underestimate winter reading!! still I'm playing it safe and declaring 40 as my 2024 goal... for now.... a few weeks ago I made a little reading syllabus for the year where each month is a different theme (except for january + august to give myself some time to get the wiggles/impulsive reads out ya know) and I mostly sourced from books I already own or books in my TBR so I'm really excited to have more structure to my reads + actually get through some of the books in my ever-growing TBR!! shameful and embarrassing that it's nearly at 1k books like GOD just READ them, woman!!! I think I'm also surprised at how many graphic novel collections I read (3!) which maybe shouldn't be that surprising bc I always have a good time with graphic novels but I think these particular reads opened the door to a buncha different authors and artists and literary circles which ofc I'm always grateful for! yay reading!!

#asks #cheesehair #reads

[fiddler-sticks]

Ninjago seasons and specials ranked by how good the music is (with commentary)

Just a comment before we start: This does not include Weekend Whips or any other intros. Just the score that plays under episodes and credits music

21. Skybound

There's just barely any music for this season due to budget cuts or something of the like, and what music that is there I'm just not super enthused about or I forgot about

20. Crystalized

While there's a good amount of music for this season, I didn't find it super special or appealing, and it was just kind of meh like the season itself

19. Legacy of the Green Ninja

I hate to put this here, but something's gotta go here so it might as well be S2. The music was pretty great and there's a LOT of it, plus it's available to the public on an album, but really the only tracks from this season that stick out to me are Day Jobs and The Final Battle

18. Rebooted

Again, don't dislike the music, but something's gotta take these spots and I can't even recall any pieces from this season except for X-1 Joyride and Built to Protect

17. The Island

The score for this season is miles better than the plot and execution, but there's not a lot of it. There was like, one piece I could find on youtube. It was great though! Really fit the island vibe

16. Fire Chapter

It was pretty hard to decide whether The Island or Fire Chapter went here, but eventually I decided on Fire Chapter just because it had more tracks, plus the ongoing and reused Serpentine theme. None of the tracks really stood out to me, but I loved that they reused the Serpentine theme from the first few seasons for Aspheera and her minions

15. Seabound

This one is here for a combination of reasons from The Island and Fire Chapter. It has a lot of music, plus it fits the ocean theme super well. None of the tracks stood out to me except for the one reused one from Wu's Teas when they're all walking out in their diving gear though, so that's why it's this low

14. Hunted

I absolutely love the plot of this season and the hunter's theme, but the only thing that really stood out to me as 'Wow, this is amazing was Dragon Hunt'. It's also super all over because of the whole realms thing, which obviously doesn't make for a very consistent soundtrack. The Resistance Never Quits is a great track, too

13. March of the Oni

Now we start moving into the great seasons. 13th place might seem low, but considering how flipping amazing the other soundtracks are I think this is well-placed. It's diverse, but all fits together and the two moods are nicely separated, unlike whatever was happening in Hunted. I really like the nice, flowy, and clean tracks when we're around the ninja, and the choppy, dissonant music with the whispers and uncommon time signatures for the Oni never fails to give me good chills

12. Hands of Time

I'm gonna be honest with you and say that I was going to put this one a LOT lower, but then I decided to give it a relisten, and DANG. I can't believe I forgot how much of a BANGER this soundtrack is! Especially the ongoing theme. I think I forgot just because the plot of the season is so forgettable, but the music definitely goes hard

11. Rise of the Snakes

I think this is probably the most expected ranking on this list. The soundtrack is great, but it's not amazing. It's really hit-and-miss, honestly. You have bangers like Falcon Chase, Taking the Bait, Weapons Take Flight, and Race to Ouroboros, but the rest of it is kind of bland and forgettable in my opinion

10. The Lego Ninjago Movie

It seems like no one talks about the score for TLNM when we should absolutely be talking about it! It's great! You should really go listen to it. The percussive flute tracks by Greg Pattillo are especially good. Pieces like Sibling Rivalry, The Rise of Kitty Kitty, and Wise Master Wu are also super great!

9. Sons of Garmadon

I honestly can't remember why I put this so high, but I trust more-awake-Fiddler's judgment. It's got a great score, it's just that not a lot of it is super memorable for me. The very beginning of the season (the first bit of Sons of Garmadon Heist) gets stuck in my head all the time though

8. Pilots

Even though there are only 3-4 tracks in both episodes (depending on whether or not you count the Overture), all of them are amazing. Attack of the Skeleton Army, Discovering Spinjitzu / Dragon Ride, and especially Training Course all go hard, and I love that the very first taste of Ninjago we ever got had such great music. Like, be honest. Do you think that Ninjago would've taken off if it had some crap MIDI, mass-produced music in the background? I personally don't think so. We owe a lot to Vincent & Kramer for the Ninjago we know today

7. Day of the Departed

Considering that this special has like, only one track, this is pretty fuckin' high for just one piece of music among whole seasons worth of music. I cry pretty much every time I hear Maybe I'm Departed, and it hits so much harder after Kirby Morrow's passing. Also, little self-promo here, if you haven't listened to my version of Maybe I'm Departed yet, what are you doing?

6. Prime Empire

Prime Empire's music is just fucking sick. It goes so hard and perfectly fits with the cyberpunk/video game vibes of the season. It's so diverse, too, with tracks from Scott's Stowaway Part 2, to Stayin' Aflight, to Fourth Mile Marker, to the Noir Whip. I'd say one of my favorite parts in the entire thing is when a West Side Story reference appears in the soundtrack of Confidential when two or three of the goons are snapping like the Jets lol. My favorite track in Prime Empire would have to be Fourth Mile Marker, just because it's so beautiful, and the melody also reminds me a lot of the theme from Schindler's List, which is just a beautiful theme

5. Dragons Rising

DR is all the way up here despite being so new because the music is already so iconic in my eyes. I haven't even really paid attention to the 'remixes' of old pieces yet, I'm just in love with the original music. It's so unique, and you really can't mistake it for any other season. I especially love the credits from The Merge Part 1, and Tradition of the Ninja

4. Master of the Mountain

I originally had this at #3, but I made a last-minute decision to bump it down one. Not because of anything about it though. It's fuckin' epic. I love the ongoing theme, and in the suite, I absolutely love at the very beginning the few notes played by handbells. Also in the suite, from about 5:49 to the end is the most epic, magical, grandiose thing I've ever heard in my life and you need to go listen to it right this second. Exit tumblr, listen to it, then come back for the top 3. I'll be here when you get back. And one more thing I love about the score is that it's constantly in different and weird times, and cuts out beats when you're least expecting it. Also, I know I said I wouldn't bring Whips into this, but I absolutely love that the beginning is in 6/8. First whip not in 4/4 let's gooooooooo

3. Ice Chapter

Honestly, I was super torn about whether I should put this one at #4 or #3, but in the end, I chose this spot for a number of reasons. The whole thing just gives off winter vibes, I absolutely love the folk aspect of it for the Formlings theme, the Ice Emperor theme is so freaking dark and scary, and there are so many bangers! Namely Akita Finds Her Animal Form and Twice As Stubborn

2. Possession

If you know me, this might come as a surprise seeing as how much I love this season and its music, but it's actually second place for me. It is home to my favorite piece from Ninjago ever, though, which is Ghost Story. I've probably made dozens of posts about the geniusness of Morro's theme and music when he's around and talked about, so I won't go into great detail about that. Just know that the well-known bit features the tritone (often called the devil's interval) played on a fiddle and/or viola (the fiddle was considered the devil's instrument back in ye olden days). Anyway, I highly recommend that you go listen to Ghost Story because it's just a wonderful piece that beautifully tells Morro's story through music

1. Tournament of Elements

I always go back and forth on whether ToE or Possession is my favorite season, but there was no doubt in my mind that ToE is my favorite from a musical standpoint. It's so diverse, yet fits together so nicely. The music features a lot of traditional drums and chanting, really fitting the whole island/fight club/cult theme. The season also has a bunch of bangers, spanning from Gauntlet of Humility, to Thinking About Yourself, Rooftop Ruffhouse, And That's The Kink, I Am the Titanium Ninja, Lloyd's Flashbacks, and who could forget Sneaking Around, the credits music for a bunch of episodes in a lot of other seasons

So, do you agree with my ranking? Feel free to reblog with thoughts or your own rankings!

#ninjago #ninjago music #ninjago score #ninjago season 1 #ninjago season 2 #ninjago season 3 #ninjago season 4 #ninjago season 5 #ninjago season 6 #ninjago day of the departed #ninjago season 7 #the lego ninjago movie #ninjago season 8 #ninjago season 9 #ninjago season 10 #ninjago fire chapter #ninjago ice chapter #ninjago prime empire #ninjago master of the mountain #ninjago the island #ninjago seabound #ninjago crystalized #ninjago dragons rising #ninjago ranking

[tending-the-hearth]

So I’m working a summer camp/summer school this year, and while my kids are working on their summer packets, I have time to read! It’s been fun, because I’m reading a book a day, which is something i haven’t done in years.

I’m catching up on the “A Twisted Tale” series, so I thought I’d do a ranking of the books I’ve read so far! I’ve just ordered “Go the Distance” and “When You Wish Upon a Star”, so I’ll have the full collection by the end of the week, which is VERY exciting!

So here are the books I’ve read + my ranking/reviews (spoiler-free)(also all of these reviews are my own opinion, so if you like one that i said i wasn’t a fan of, PLEASE remember it’s my opinion):

“As Old As Time”: 10/10 - y’all can’t be surprised that this is my favorite in the series. It was the first one I read, and when i tell you the last section of the book had me sobbing on the train, everything about the story was so wonderfully written, and Adam’s entire character arc just made me fall in love with him more. And just… Belle was perfection. Gaston continues to be one of the most terrifying Disney villains, and Adam and Belle continue to be my absolute favorite Disney Prince/Princess couple.

“Almost There”: 10/10 - ok so I JUST read this one yesterday (because i just bought it lmao) and it was one of the best books I’ve ever read! I loved getting a look at Faclier’s past, and how he came to know his “friends”. Tiana’s entire struggle throughout the story, of the decision she was going between, it was honestly heartbreaking. Also the way Charlotte and Tiana’s friendship was discussed, and the moment at the department store, this whole book was fantastic.

“Reflection”: 10/10 - MULAN AND SHANG MY BELOVEDS!! Seriously, their relationship progressing from begrudging allies, to friends, to having feelings for each other??? I really loved how the entire struggle of Shang finding out that Mulan is a woman, not because of her gender, but because he found out that she lied, and it fit so well with their budding friendship.

“So This Is Love”: 9/10 - listen i love love love a good Cinderella retelling. I honestly have to think that this book took some kind of inspiration from “A Twist in Time”, because it just felt like there were moments in the book that reflected the movie! And given how “A Twist in Time” is honestly one of my favorite Disney movies, it makes sense that I love this book. Charles and Cinderella are so sweet together, and the fact that they establish that Cinderella was at the ball just to have fun and to dance and not to find a prince!!! I loved it so much.

“What Once Was Mine” 8/10 - okay so this was REALLY good, and the little lore insert with the Moon Flower made me SO excited to have references to the TV show. Arianna was a fantastic character, especially since we know so little about her just from the movie itself, and I love the entire underlying theme of mothers and daughters and how their relationships can be so different.

“Conceal, Don’t Feel” 7/10 - I’ll be honest and say this was my least favorite. Frozen was never my favorite Disney movie, but I did like the idea of Anna and Elsa coming together despite being separated after everything happened. The plot was a little forgettable compared to the other installments of the series that I’ve read so far, but I can see how, if you love Frozen, you’ll absolutely adore this book!!

And these are the ones I have left to read (probably in the order I’ll read them):

“Mirror, Mirror”

“Part of Your World”

“Once Upon a Dream”

“Go the Distance”

“Straight in Till Morning”

“When You Wish Upon a Star”

And I’m so so excited for “A Twisted Tale Anthology”, and will be buying it as soon as it’s released! Or I’ll preorder it, but either way, I can’t wait!! (Me and @queen-with-the-quill will definitely have a freak out together once we both read it lmao)

#a twisted tale #twisted tales #disney #beauty and the beast #princess and the frog #mulan #cinderella #tangled #frozen