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short-wooloo · 8 months

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Ahsoka spoilers/leaks

Ahsoka leaks compilation

Previous posts: TBOBF post-series | Kenobi (pre-trailer, post-series) | Andor (pre-series, post) | Mando S3 (pre-season, pre-finale, post)

Cast

There is another young actor playing Ahsoka (MSW). Very questioable sources (Nerdgasm) said she's played by Savannah Steyn.

Hayden Christensen (THR).

Darth Vader team (MSW, Bespin Bulletin), voiced by James Earl Jones AI. Fully suited Darth Vader will exclusively be played by Tom O’Connel. Tom O’Connel is being fitted for a new Darth Vader suit (different than the one used for Obi-Wan Kenobi last year). MSW

Ezra played by Eman Esfandi (Jordan Maison, THR). There were false reports of him being Mena Massoud.

"Riz" codename (The Illuminerdi) - a man in his 20s, described as a bit of a lone wolf, world-wise despite his young age and able to handle anything life throws his way. This character is listed as a series regular with options. [Most likely Ezra]

Sabine played by Natasha Liu Bordizzo (Deadline). There were false reports about frontrunners.

Hera (MSW), Mary Elizabeth Winstead (THR), Hera played by MEW (Bespin Bulletin)

Ivanna Sakhno (Deadline) plays Shin. According to The Illuminerdi, the character is codenamed “Astrid”, and is described as striking and ferocious. A formidable mercenary who must now decide between two paths. Astrid can either follow the path of her unit or take hold of her own aspiration in service of her own glory.

Ray Stevenson plays Baylan, previously thought as "Admiral" (THR). Loyal to Thrawn. He has a droid and an assassin by his side. Has a lot of screentime. (MSW)

Thrawn played by Lars Mikkelsen (guesses, KRT, Christopher Marc, MSW). There were contradicting reports by Jordan Maison.

Commander Rex (Christopher Marc) played by Temuera Morrison (BSL)

Captain Enoch (MSW) played by Wes Chatham (Deadline), Thrawn's bodyguard [Note: the article doesn't say he's Enoch, but it's hidden in the metadata of the article, viewable in view page source]

A new cyborg/droid character named Carnast who serves Thrawn and Baylan. Might be a Dark Trooper. (MSW)

Morgan Elsbeth (MSW)

Unknown character played by Matthew Law (DanielRPK)

Unknown character played by Shakira Barrera (DanielRPK, Jordan Maison, Charles Murphy)

David Tennant is back (reddit user PlayThenPause) as Hyuang

Mon Mothma (MSW)

Jacen Syndulla, has black hair (Lego set)

Barriss Offee (The illuminerdi). Most likely wrong and mixed with the "Barriss" codename which was actually for Sabine.

Officially revealed minor characters

Senators - Senator Mawood (Maurice Irvin), Senator Rodrigo (Jacqueline Antaramian), Chancellor Mon Mothma (Genevieve O'Reilly), Senator Xiono (Nelson Lee) and Gran Senator (Erica Duke)

Mark Rolston plays Captain Hale - Source

Hawkins, first officer in the New Republic, played by Nican Robinson (Lego set)

Beyta, a Mon Calamari lieutenant pilot in the New Republic (Lego set)

Porter, a New Republic captain pilot (Lego set)

Crew

All epsiodes were written by Dave Filoni.

Directors: Dave Filoni, Steph Green, Peter Ramsey (first reported by THR), Jennifer Getzinger, Geeta Vasant Patel (first reported by MSW) and Rick Famuyiwa.

Eric Steelberg and Quyen Tran are the Cinematographers - Source

Databank entries & officially released photos

Marrok (Inquisitor): Once an Inquisitor hunting Jedi for the Empire, the mysterious Marrok now works as a mercenary hired by Morgan Elsbeth to carry out dark deeds. Fully encased in battered battle armor, the warrior still carries a red double-bladed saber with a circular hilt.

Shin Hati: The eager apprentice of Baylan Skoll, Shin Hati is adept at lightsaber combat, a skill she uses in their work as mercenaries allied to Morgan Elsbeth, the former Magistrate of Calodan.

[Note: The Illuminerdi said Ivanna plays "Astrid" - "A formidable mercenary who must now decide between two paths. Astrid can either follow the path of her unit or take hold of her own aspiration in service of her own glory". This implies Shin will have to decide between following Baylan or betraying him].

Baylan Skoll: Baylan Skoll is lightsaber-wielding mercenary for hire overseeing his apprentice Shin Hati. But make no mistake: although there was a time when Skoll knew the acclaimed Jedi Knight Anakin Skywalker, Baylan is no Jedi. Now allied to Morgan Elsbeth, the former Magistrate of Calodan, after the fall of the Jedi and the Empire, Skoll remains a shrewd fighter in search of power who believes that another war is inevitable.

Magistrate Morgan Elsbeth: The coldhearted former Magistrate of Calodan, Morgan Elsbeth is an ally of Grand Admiral Thrawn and an enemy of the New Republic. A formidable fighter with a mysterious past, Elsbeth once hunted Ahsoka Tano on the world of Corvus before she was bested in battle and arrested for acting as an Imperial sympathizer.

Officially released 10 photos and their source episode - link. Sabine has short hair in episode 2.

Officially released concept art

Plot

Structure (MSW)

Ahsoka will have a midseason time-jump. The Rebels epilogue takes place in the middle of the season, and the season is like 2 different parts (four episodes each).

The first part of Ahsoka has New Republic centric-content which will feature Mothma. The first half of Ahsoka is a story about a failing New Republic, Ahsoka's warnings are ignored, and about Sabine.

The second part is finding Ezra and Thrawn. (MSW)

The "New Beyond" & Skeleton Crew

The Ahsoka show is gonna introduce concepts that are gonna be explored in Skeleton Crew. (MSW)

After Rebels, Thrawn and Ezra end up in a completely new and unexplored area of the universe, of which he calls ''The New Beyond” or “New Space'' until an official name is revealed. This region views and uses the Force differently, and magic users in the Star Wars universe we have seen before (like the nightsisters), originate from this place, and we have seen outcasts from there in past SW stories. (MSW)

Both Ivanna Sakhno and Diana Lee Inosanto's (Morgan Elsbeth) characters have a connection to this place. (MSW)

Skeleton Crew kids end up in this unexplored part of space too. (MSW)

World Between Worlds, Vader battle & different Ahsokas

The World Between Worlds is in Ahsoka too. (MSW)

We will get glimpses of Tano in other times and eras via The World Between Worlds. There is a version of Ahsoka in her late teens, one for another undisclosed time (might be present day Ahsoka in terms of the narrative itself), and finally for the version we saw in the final moment of Rebels in her white robes. (MSW)

Ahsoka will fight “Darth Vader” (Vader being dark side Anakin, not necessarily in the Vader suit) in more than one way and Hayden Christensen required some training for a sequence in the series because we will see his face again on screen, wearing the same costume he wore on Mustafar in Revenge of the Sith. (MSW)

We will see many possible outcomes for Ahsoka’s life and how in essence, no matter what, they all lead to a particular moment in her story. If Ahsoka had returned to the Jedi Order, she would be the one fighting Darth Vader on Mustafar having the high ground, not Obi-Wan Kenobi, because what happened had to happen, to get Tano to where she and the Skywalkers needed to be. Hayden Christensen filmed fight scenes with Clone Wars Ahsoka in this scenario. (MSW)

Through the World Between Worlds, it seems present day Ahsoka will learn that Anakin Skywalker was destined to take the path he did and we the audience will see aspects of those outcomes and in some of them we see live action Clone Wars era Ahsoka Tano played by a new actor in a duel with her former Jedi Master, taking the place of Obi-Wan Kenobi in this reality that never was. To be clear, these are glimpses or small sequences and Dawson will play Ahsoka during the majority of the story. (MSW)

Ahsoka will also see other visions in these sequences. Had Ahsoka killed Thrawn and Ezra Bridger did not need to use the Purrgil, Ahsoka’s destiny remained the same. The lesson for Tano appears to be that she cannot change her destiny and instead she must embrace it. (MSW)

There was an Obi-Wan corpse made. (MSW)

Ezra & Sabine

Ezra and Sabine have action scenes together (MSW).

MSW heard about a sequence in Ahsoka where Ezra uses the Force in a way compared to Luke Skywalker shattering the Beehive Hut on Ahch-To when he catches Rey talking with Kylo. However, the difference is one source saying and others confirming Ezra “hadoukens” with the Force. (MSW)

Sabine Wren uses Ezra's lightsaber. There are sequences with Sabine using the lightsaber with Ezra Bridger. It is not clear if Ezra gets another laser sword at some point or just finally takes his lightsaber back from her but she’s usually using it. (MSW)

Ezra developed his own martial arts based Force powers, not unlike Teras Kasi, but his own style. This martial arts style coupled with his connection to animals makes him an interesting take on a Force user on screen as he uses his hands, feet, the Force and nature to beat up undead Stormtroopers. (MSW)

Most of the scenes: Ezra doing Force Karate while Sabine swings the lightsaber around (MSW)

This series has more lightsaber fighting than probably anything we have seen on Disney+ (MSW)

We will have sequences where Baylon, Shin, have red sabers, Morgan Elsbeth and the witches standing off against Ahsoka with her two white lightsabers, Sabine with the green saber, and Ezra doing Force karate. (MSW)

Sabine will duel Shin with her red rapier laser sword while Ashoka Tano will fight Baylon’s red claymore lightsaber. The duel happens concurrently while Ezra fights Stromtroopers with his force Karate in the Nodian Highlands.

Thrawn and his minions

Will have an army “resurrected by dark side shadow magicks.” (MSW)

Zabrak troopers in white and burgundy uniforms (Christopher Marc)

Thrawn’s command ship, Chimera, is in the series. (MSW)

A survivor of Order 66, a Jedi named Babylon, fled to this unknown region of the galaxy for safety. Sources think Babylon wanted to maintain the Jedi way but was corrupted over time, maybe from the influence of life with the Nightsisters. (MSW)

"Nightsister" Morgan Elsbeth has a plan that the New Republic cannot respond to. "Nightsister" Morgan Elsbeh is searching for Thrawn, like Sabine and Ahsoka for Ezra. (MSW)

Elsbeth was extracting resources from the planet to build a ship capable of bringing Grand Admiral Thrawn back to the core worlds (ship or TIE fighters - some project to bring back Thrawn)

Baylon and Shin are in the core worlds initially and allied with Elsbeth. They are in both parts of the series. Baylon is dedicated to the mission to extract Thrawn and bring him home.

Thrawn has a new bodyguard named Enoch - MSW says looks like a "golden Destro from G.I. Joe with Samurai influences". They also have a new cyborg/droid character named Carnast.

Ahsoka and Sabine follow the Nightsister and her allies to Thrawn

A large fight will take place in a location that could be called "The Nodian Highlands." (MSW)

Kintsugi (MSW)

*In Episode IX, Kylo Ren visits an ape named Albrekh who fixes his armor (also an old MSW scroop). The mask is repaired using “Sarrassian iron.” The red iron is used to weld the red cracks of his armor together giving it that red veiny aesthetic.

*Ahsoka will riff on this aesthetic. Most of the Stormtroopers have been destroyed, their armor obliterated, much like Kylo’s helmet. However, instead of the red veins running through the rebuilt armor, these troopers have what has been described as “golden cracks” or “yellow veins” running through their exterior.

*The visual used in Episode IX is based on Kintsugi, a Japanese art which translates to “golden joinery.” Broken valuables use gold or silver to mend and join the broken pieces of antique or art. The process sees the breaks as part of the history of the object.

*MSW doubts it's “Sarrassian” as these troopers were “reforged” by The Nightsisters. MSW says: "In The Clone Wars, the Nightsisters of Dathomir had a green magic, but these are different Nightsisters from a new place and perhaps their magic is golden instead of green to match the Kintsugi look?"

*These troopers will be on the hunt, serving Thrawn, under the command of Baylon, but led into battle by the red sabered user named Shin. They will be tracking the reunited Ezra, Sabine, and Ahsoka.

*When the trio is finally reunited, they will face off against this new take on the Imperial Stormtrooper.

*Visually it will be a new evil Force user (Shin), red saber ignited and an armor with a battalion of reforged Stormtroopers with golden veins through their armor. Ahsoka, Sabine, and Ezra fleeing from them before being forced to fight.

The ending (MSW)

Ahsoka is basically The Empire Strikes Back of the “Mando Era”. The good guys fail in the end.

Ahsoka and Sabine inherit a secondary mission to stop Grand Admiral Thrawn and his cronies from returning to the core of the galaxy.

Thrawn returns to the main galaxy at the climax of the 8th and final episode of the season, with his forces all laid out before him. Thrawn revels in the moment, promising a reckoning is coming and ready to take on a faltering New Republic and take back the galaxy.

Most likely, the allies who sprung him from the far reaches of space have been a part of a power play he has had cooking for years.

The general consensus from those working on the show is that Ahsoka will have multiple seasons.

The story/cliffhanger will likely pick up in the second season of the series.

Looking at the grand scheme of things and the information MSW has been given, it’s likely that this attack/war is what will really allow the first order to rise.

Misc

Temple Ruins set photos (Bespin Bulletin)

MSW said that a woman seemed to want to be let in to what in the photo. He thinks the woman might have been Ahsoka, but he's not sure.

Ahsoka with white cloak will ride a loth-wolf (horse) nicknamed DOOM (MSW)

Ahsoka episode 1 is 54 minutes and 21 seconds long (credits at 51:06). Episode 2 is 42 minutes and 15 seconds long (credits at 38:33) (Cryptic HD)

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Rosario's favorite episode is 5, Natasha's 1, Ivanna's 6.

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"Sources" that are not included: Mike Zeroh, Doomcock, Hashtag Show, InsideTheMagic, Nick Santos, Giant Freaking Robot, fake "leaks" twitter accounts, 4chan, new accounts in wild rumors thread, etc.

#wooloo-writes #wooloo writes #star wars #sw #ahsoka #ahsoka series #ahsoka show #ahsoka spoilers #star wars ahsoka #ahsoka leaks #sw spoilers #star wars spoilers #ahsoka tano #sabine wren #ezra bridger #grand admiral thrawn #baylan skoll

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mortallyclearwonderland · 1 year

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Is Rise of the Guardians 2 possible? Yes!

Let's list all the facts supporting the possibility of another movie:

1. The director of the first movie is open to the idea of creating a sequel. "I'd love to be involved in something like that again, just because there are so many things I'd like to improve on from the first time because of inexperience or the circumstances that we didn't get to do.’’ (2020) The director? Peter Ramsey, the guy behind Spider-Man: Into the Spider-Verse!

2. Speaking of Spider-Man: Into the Spider-Verse, Dreamworks started to experiment with 2D and 3D. Their newest movies The Bad Guys and Puss in Boots the Last Wish are huge critical and box office successes.

The Bad Guys earned $250.5 million from the $69–80 million budget. Puss in Boots the Last Wish earned $263.6 million and still counting from the $90 million budget.

3. When we're on the topic, Rise of the Guardians wasn't a flop but it didn't make as much money as Dreamworks anticipated. The movie cost $145 million to make and made $306.9 million at the box office. With the new art style being cheaper to make but not dropping in quality future films will make much more money. And that's how it should be. Not getting more expensive and looking like an early 2000s CGI video game, Disney!

4. Dreamworks has no problem with making sequels even when there is a big gap between the last release. They announced Kung Fu Panda 4 for the 2024 release meanwhile Kung Fu Panda 3 came out in 2016. That's an 8-year wait while the original trilogy had about two 4-year gaps between installments. Between the original Puss in Boots and its sequel passed almost 12 years. Puss in Boots 2 also foreshadowed a potential sequel to the Shrek franchise for which the last movie was Shrek Forever After in 2010. The Croods came out in 2013, and its sequel The Croods: New Age came out in 2020. Again with huge positive critical and box office reception. $216 million from a $65 million budget. Dreamworks is the master of sequels!

5. Furry bait! People at Dreamworks have a connection to the internet. They know people went wild over Mr. Wolf and Death. Bunnymund voiced by Hugh Jackman? Come on, people will go crazy!

6. Great villain potential! Everybody is praising Death for how scary he is. People love tragic and complex villains like Ramses, Tai Lung, and Lord Shen. If Dreamworks leans into Pitch Black's backstory from the books they might create one of their best villains yet! I'm not going to spoil it.

7. Jude Law, VA of Pitch Black, will be in the Star Wars Skeleton crew and Pan and Wendy. Whether or not those projects will be good in their own right people will know him from those roles and might want to watch an animated movie just because he's in it.

8. Dreamworks wants to please its audience. Unlike so many creators who destroy franchises out of spite or try to ''fix'' them to their own liking, Dreamworks respects its audience, characters, and lore. I'm sure they know fans want more, but they only make a sequel if they know it will be great.

There is only one huge problem. Alec Baldwin, the voice actor for Santa, killed someone. In October 2021 on the set of “Rust”, a Western being filmed, Baldwin pulled the trigger with a live round, killing the film's cinematographer, Halyna Hutchins. I'm not going to get into detail. Find it on your own accord, there are plenty of people already cowering it better than I could.

The solution is easy, just cast a new voice actor.

It looks to me that practically everything is in perfect configuration for the Rise of the Guardians 2.

It also looks like Dreamworks has a new strategy. Release an original movie and then a sequel to the franchise, another original, and another sequel.

#Rise of the Guardians #Rise of the Guardians 2 #dreamworks #Puss in Boots the Last Wish #The Bad Guys #Mr Wolf #pibtlw #Kung Fu Panda 4

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beardedmrbean · 1 year

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YouTube sensation Piper Rockelle's mom crowed that she was a "pimp" making "kiddie porn" on the video sharing website where her daughter and her friends dressed in skimpy outfits and had scripted make-out sessions, alleges a bombshell lawsuit.

Rockelle’s mom, Tiffany Smith, 40, is facing a civil trial in Los Angeles later this year over shocking allegations of physical, sexual and emotional abuse of 11 young co-stars.

Smith and her live-in boyfriend Hunter Hill, 25, who is also named in the suit, produced Rockelle’s popular "Piper Squad" channel, which raked in more than $500,000 a month while her co-stars didn't earn a penny, according to the plaintiffs’ attorney Matthew Sarelson.

The lawyer represents the parents of the alleged victims, who range in age from 10 to 16 and include two of Rockelle’s cousins.

Dark side of YouTube stardom

Smith, the CEO of Piper Rockelle Inc, and Hill, the director and cinematographer, launched the channel in 2016, which now has nearly 11 million subscribers, according to the lawsuit filed in Los Angeles Superior Court.

Rockelle and the couple live in a $3 million hot-pink house in Sherman Oaks that once belonged to actress Bella Thorne.

The mother-manager, who called herself their "madam" often reminded the teenagers that "sex sells," encouraging the girls to "push their butts out" and dress "sluttier," the complaint alleges.

The $22 million lawsuit filed last year exposed the often disturbing YouTube child star industry.

"When you have teenagers and preteens who are pulling in half a million a month, they are certainly going to create an atmosphere where cutthroat business practices and dealings go on," Sarelson told Fox News Digital. "There’s too much money for it not to get contentious or worse."

Some of his clients recently discovered that in Google searches, their children’s names appear to be linked to pornography websites.

"How these names are associated with porn sites is something we are aggressively looking into," he said. "My clients worship their kids, and they’re mortified by what they’re seeing, and that’s why they hired us to get to the bottom of it."

Sickening allegations of abuse

The plaintiffs allege that the stage mom soon developed a reputation as a "mean-spirited control freak" whose conduct was "often reprehensible and even illegal."

She allegedly quizzed a boy on the length of his penis, showed a girl pornography and encouraged several of the plaintiffs to "try oral sex."

The suit claims she often touched the teenagers inappropriately, slapping their butts, rubbing their thighs and even trying to squeeze a girl’s breasts.

In her pursuit to produce more titillating content, Smith allegedly pressured a 15-year-old boy "to be more ‘sexually aggressive’ and ‘physical’ with her daughter, Piper, so the pair’s ‘crush’ connection would appear more realistic in Piper’s videos."

One of the plaintiffs allegedly witnessed Smith "grab Piper’s face and make-out with her in an attempt to teach her how to ‘kiss.’"

One video posted to Rockelle’s YouTube page features eight teenagers engaged in a "last to stop kissing" competition with the winner supposedly earning $10,000.

It was not only in the studio where alleged exploitation and abuse flourished.

A 14-year-old girl had the misfortune of accompanying Smith to the post office.

"Ms. Smith mailed out several of Piper’s soiled training bras and panties to an unknown individual," the complaint charges. "Old men like to smell this stuff," Smith allegedly remarked.

Accusations of sabotage

Despite allegedly enduring sickening abuse from 2017 to 2021, the child actors were not compensated for the millions of dollars they helped Rockelle and Smith earn from appearances in more than 550 videos posted to the "Piper Squad" channel.

The suit, however, acknowledges that the plaintiffs were never promised money.

After nine of the members left, Hill allegedly sabotaged their individual YouTube channels by planting porn in their content and falsely flagging their videos as inappropriate.

A 15-year-old former squad member with 1.3 million YouTube subscribers had been pulling in $22,000 a month. After he left the squad, his revenue dropped to $6,000.

The suit alleges sexual battery, intentional infliction of emotional distress, unjust enrichment and other claims and is seeking $22 million in damages.

Smith filed and then dropped a $30 million countersuit against the plaintiffs last summer, claiming their parents were in a conspiracy to extort money by making up false abuse claims.

Who should protect YouTube child stars?

Entertainment lawyer Max Hass of the Parlatore Law Group said that YouTube, like other social media platforms, offers low barrier for entry into a potentially lucrative market.

"The regulation should come from the parents but, in many cases, the parents are the ones doing the exploiting," he said. "They’re obsessed with making money at all costs and this content can be monetized so easily."

He added that it isn’t just "creepy old men" watching these videos but young girls taking cues on what to wear and how to behave.

"Why is it we have so many American parents out there who think this is OK today?" Hass asked.

Hill and Smith’s lawyers, Kenneth and Karol Ingber, didn’t immediately return a request for comment.

#nunyas news #burn youtube to the ground

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imminentinertia · 1 year

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Today's the day when everyone is required to add their thoughts on The Eighth Sense ep. 6, yes? Here are mine, and I'll throw them under a readmore because there are spoilers.

It would be nice to be the kind of person who carefully screencaps and illustrates their posts, but alas and alack, there's only text.

I've seen a lot of theorising on most/all of ep. 6 being a dream or a hallucination, and while the cinematographic choices certainly point in the direction of the trip not being entirely real (the bright and slightly fuzzy filters, the sudden jumps, bringing nothing -> suddenly having all the camping gear you could wish for, the dreamy (hotel?) bed room, the shift from both of the guys sitting on the beach to Jae Won sitting alone in the exact same position), I think it might be an unreliable narrator twisting the "real" events of the episode. Not a dream, I think, but not quite a hallucination either.

I raised an eyebrow at the rest stop shop guy (side note: who is he. I want to see more of him in other shows/films) giving Ji Hyun the memory stick, and both eyebrows at him giving Jae Won the fireworks, because it made no sense at all.

But it does make sense if a narrator is edging into an idealised version of his story, where everything is bright and inviting.

From the rest stop on, I (and everyone else...) found the episode very unsettling, and the sudden camping gear really threw me - spare boots, really? When a few hours ago nothing was ready and you'd buy any thing you needed? At the entirely too bright and perfect morning on the beach I was practically squirming. It was so off compared to the cinematography up to the trip starting.

The unreliable narrator is most likely Jae Won. He's teetering on the brink of something, with his therapy and his meds and his father and the broken camera coming to a bit of a crescendo, and while he might not be all out hallucinating, he may be glossing over some things and blowing other things vastly out of proportion. We haven't been shown any hints about Ji Hyun being this unreliable.

So what sort of reality will we get in episode 7? I'm not even going to try and guess, it could go any way from a SKAM type mental crash and return to near normal and happy ending to all out horrible heartbreak and loss.

SKAM (I wonder which version(s)) was apparently used as an inspiration/preparation, according to a live they did, and SKAM's happy solutions for the mains was not necessarily the couple lives happily ever after (Eva breaking up with Jonas because that was the best for her at that point).

However, I note that the domestic trailer is far more upbeat than the international one, it seems from that like it's supposed to be feelgood overall. So maybe an open or happy ending? Yes please?

I also wonder why the tone in the domestic and international trailers are quite different. Could be something about what tends to lure the domestic audience in vs. what gets the international attention, and I don't know enough about the Korean audience to guess whether they enjoy getting a cheerful trailer and then a horrible heartbreak episode.

As for SKAM, back in the remake bonanza days there was indeed talk of making a Korean SKAM. It never came to be, and I absolutely don't want to call The Eighth Sense a Korean SKAM, but a beautiful Korean show that deals with sexuality and mental health? Yes fucking please. Also the reminder that SKAM lurks in the background here gives me a hope to cling to for a reasonably not-unhappy ending. It was utterly horrible watching Even's manic episode and Isak's panic at Even's text in O Helga Natt, but it turned out well.

Life is now, and don't trust your five senses too much?

I don't usually tag my poor mutuals in rambly posts, but perhaps @mynameisnotthepoint and/or @lurkingshan may be interested?

#the eighth sense #jae won x ji hyun

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theghostofcarloskeith · 1 year

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On Matteo JWHJ0715

There's a reason everyone associates Goncharov with Scorsese even though (according to De Niro and one of the film's screenwriters, Franco Solinas) his involvement was minimal: JWHJ0715 isn't that great of a director. He's a good one, don't me wrong. Hell, he's a head above Giuliano Montaldo and that whole crew, but all it takes to contextualize his work on Goncharov is a look at the films he made before and after it. Take the movie he made immediately before, Shut Your Eyes, Caroline! shot by Erico Menczer and written by Massimo Dallamano with punch up by Matteo himself. It's typical of the era: a straight kidnapping picture with cheap gore, a few striking images, and some clever (if didactic) political overtones. The mise en scene is defined by what I like to call "scotch tape" in these types of movies, meaning that JWHJ0715 stitches together his scenes with impressive wide angle shots or montages in negative, a cheap means of simulating his lead's POV.

(Speaking of which, anyone looking at Katya and deciding to brand JWHJ0715 a progressive need only watch a couple scenes from Shut Your Eyes, Caroline! to see how much of that credit belongs to Solinas and Shepherd.)

This is all to say, the smoky, elegiac images of Goncharov are not some master stroke by its director, but the trademark of the film's virtuoso cinematographer, Istvan Andras. The direction is simple. Not so much camera movement to be fascinating, not so little that it feels like a choice. Frequently, JWHJ0715 will hold on a medium of Pacino or De Niro, a competent show of trust in his actors, only to cut away before their expressions have time to transform into something of real substance. In other words, he's competent, almost too much so. The only real departure from his previous work in Goncharov is a move from the trappings of pulp to the veneer of respectability. Why should we praise a termite artist for becoming a white elephant?

#goncharov

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kisilinramblings · 9 months

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ML Production Timeline (Movie and Show)

Just a tool for reference to put things into perspective.

There was rumor of a Movie since 2016. It was at least in the script phase and people suspected it to be a live-action movie, before the project change hands and became a musical under Jeremy Zag. But even then, they were opting for a cinematographic Origins story as the Movie was meant to introduce new audiences to Ladybug and Chat Noir.

Also, once the Movie was in Jeremy's hands, it became independant from what was going on in the Show.

Series wise, Season 1 was being broadcasted from October 19 2015 to Octobre 30 2016 on TFOU. The Christmas Special which was a musical aired on December of that same year. And we got a year hiatus before Season 2 started airing.

Movie was officially announced in Sept 2018 (according to Wiki as the footnote lead me to nothing). One song that was initially included in the Movie -- The Wall Between Us -- got released toward the end of 2019. Around then, we started to hear rumors that the Movie would be in theater for the end of S5 while still telling the Origin story.

To give you an idea where in production the Show was at that time, Thomas made a tweet in July 5th 2018 revealing an episode titled Truth which was the name of the first of that season. And Qilin was inspired by what was going on with the Yellow Vests Protests which began in Nov 2018. Meaning that as we audience started to see on-screen S3 episodes on April 2019, the show writers were finishing wrapping up S4 if it wasn't the case already at that moment.

S5 started being written around late 2019 from what I could gathered. There was notably the Japan Tours 2020 conference given by the show writers in France where they are vaguely talking about an episode that would turn out to be Reunion (S5 Ep08) as they were answering a question about "meeting up past Holders".

#miraculous ladybug #miraculous awakening #ml movie

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denimbex1986 · 5 days

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'In Italy, according to American television, the sunlight is always golden, the seas are azure blue, the flora is every shade of green, and the marble statues scattered across city piazzas are always creamy white. Ripley rejects all that. With a chilly, textured black-and-white palette for the boot-shaped country in which con man Tom Ripley (Andrew Scott) reinvents himself, Netflix’s Patricia Highsmith adaptation becomes one of the most conceptual, visually uncompromising TV shows of the year. Steven Zaillian’s version of Ripley is fascinated with the 16th-century Italian Baroque painter Caravaggio, so famed for his use of contrasting light and dark that he spawned stylistic acolytes termed the Caravaggisti. Once the series establishes the comparisons between Tom and the Old Master, it becomes clear that Ripley itself is a kind of Caravaggisti, an experiment in black-and-white that relies on motifs to reflect its central character’s ominous alienation. That approach is thematically appropriate, sure, but it also absolutely rips.

Longtime collaborators Zaillian and cinematographer Robert Elswit engage the eye with reflections, shadows, and patterns, push the limits of the frame with ultrawide compositions and dueling foreground and background images, and go to bat for the discomfiting power of negative space. Every frame of Ripley deepens the series’ emotional disquiet and visual splendor, and Italy has rarely looked this beautiful or cruel. Here, a list of 37 setups, frames, and moments in Ripley that would blow Caravaggio’s mind (and already did mine).

Tom as abstraction, monster, creep? Yes to all! Look at how often Ripley presents him as the the outline of an intruder, dissolving others’ tranquility or secrecy before disappearing into the darkness from whence he came like a specter in the night. The shadows enveloping him as he enters Carlo’s lair of stolen goods is a personal favorite.

“It seemed like everywhere we went there were stairs,” Zaillian said of location-scouting and shooting Ripley. Those flights take on special meaning as Tom moves up and down and up and down in his chase for a comfortable life. The labyrinthine caves of steps he climbs in Atrani to find Dickie isn’t as starkly angular as the apartment staircase he later encounters, but the general idea of Tom needing to move through these spaces to literally and figuratively end up where he wants to be holds, his desire for upward mobility physically rendered over and over Ripley’s eight episodes. And for people who aren’t Tom, the pentagon-shaped stairs Inspector Ravini takes to the morgue for Freddie’s autopsy make it look like he’s descending into Hell.

M.C. Escher’s impact! Ripley’s repetition and refraction — the reality-challenging lines of train-station stairs and post-office boxes, Tom’s reflection in Dickie’s balcony glass doors, the misshapen edges of cobblestone streets — remind us that Tom, trapped within systems of order he’ll need to manipulate in his journey toward becoming a mid-century Narcissus, isn’t who he says he is. The series’ established visual language is so clean and rigid, it’s unsettling when Ripley breaks its own code, as it does when Tom tosses the scarf Marge knit for Dickie over an elevated walkway onto the disjointed stone pattern below. The scarf is an interruption that Tom, and Ripley itself, can’t abide.

Yes, Ripley is in black-and-white. But its gradients are so rich and deep, you can easily imagine the garnet-maroon-scarlet-sangria-rust shades of blood gushing out of Dickie’s and Freddie’s bodies, washed away by Tom in his sink or discarded in his bathtub, and — in the series’ most jarring shot, a rare instance of color — tracked around his apartment building by the cat who knows what Tom’s been up to. The series is also inundated with religious imagery, and there’s a delightfully macabre quality to how Freddie’s body falls with his arms outstretched as if he’s Christ on the cross, a sacrifice Tom has to make to become his desired self.

Italian architecture, it’s neat!

In a series where the main character experiences a sort of epiphany about art, creativity, beauty, and God when looking at the paintings of Caravaggio, the viewer will, of course, have to behold said Caravaggios. Ripley depicts the works, including The Seven Acts of Mercy (ca. 1607), The Martyrdom of Saint Matthew (ca. 1599–1600), David With the Head of Goliath (ca.1605–10), and a replica of 1609’s Nativity With St. Francis and St. Lawrence (the original was stolen in 1969), in a way that reinforces Tom’s own smallness against the large-scale paintings and ancient, holy buildings that house them. He’s a tiny figure absorbing it all, the spaces gigantic around him, the shadows dark and dense. The finale’s flashback to Rome, 1606, where police find Ranuccio Tomassoni’s body and pursue Caravaggio for his murder, is also unbelievably lush with its lighting, particularly in the flickering fire of lanterns and the blood oozing out of Tomassoni’s wounds.

Here’s Ripley taking Caravaggio’s lessons and applying them to itself. Look how the light seemingly appears and disappears out of nowhere, illuminating or darkening its subjects without announcing its source. Tom’s hand, now wearing Dickie’s ring, seemingly floats in shadow, and he glows from within when sitting on the ferry. The light in his imagined face-off against Bokeem Woodbine’s detective streams in from nowhere, an angle later mirrored when Tom hangs up the Picasso he stole from Dickie. An early shower scene in New York City, when Tom is still living at the crummy boardinghouse, gives us both extremes, with the light from the showerhead forming a kind of halo around Tom’s head and the churning water emerging from the shower drain an excess of murk. It’s striking and unnerving, which is basically Ripley’s whole thing.

Tom is always grasping, watching, reaching, his want communicated best in moments that maximize the rule of thirds. Ripley ends by asking us, “Who is Tom?”, and these images, with their visual emptiness and loaded yearning, are an unforgettable answer.'

#Ripley #Netflix #Caravaggio #Steven Zaillian #Robert Elswit #Freddie Miles #Bokeem Woodbine #The Talented Mr Ripley #Patricia Highsmith #Atrani #Inspector Ravini #Carlo #Dickie Greenleaf #Marge Sherwood #Andrew Scott

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pwlanier · 8 months

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Sergei Eisenstein and Grigory Alexandrov during their trip to North America and Mexico. [USA; Mexico City, 1926-1931]. In good condition, scuffs, creases, loss of fragments. On the back sides of the photos there are traces of glue; on the back of one photo there is a photo studio stamp.

Aleksandrov came to Moscow after studying directing and briefly managing a movie theater. In 1921, while acting with the Proletcult Theatre he met a then 23-year-old Sergei Eisenstein. In 1923, Aleksandrov was given the main role in Eisenstein's adaptation of Alexander Ostrovsky’s 1868 comedy Enough Stupidity in Every Wise Man (Na vsyakovo mudretsa dovolno prostoty) and in Eisenstein's first film Glumov's Diary (Дневник Глумова), a short film that was included in the play.[5] Eisenstein and Aleksandrov collaborated on several plays before Eisenstein made his first feature-length film, Strike, which Aleksandrov co-wrote with Eisenstein, Ilya Kravchunovsky, and Valeryan Pletnyov. Next came Eisenstein's landmark Battleship Potemkin, in which Aleksandrov played Ippolit Giliarovsky. Aleksandrov co-directed Eisenstein's next two features, October: Ten Days That Shook the World and The General Line, which were also their last works in the silent era.

Along with Eisenstein's other major collaborator, cinematographer Eduard Tisse, Aleksandrov joined the director when he came to Hollywood in the early 1930s. He also traveled with them to Mexico for the filming of Eisenstein's unrealized project about the country.

Aleksandrov's 10-year-long partnership with Sergei Eisenstein was a source of rumors about their romantic relationship. According to film critic Vitaly Vulf, the "friendship is still a subject of speculation and gossips, although there is no evidence they had had a sexual relationship. Aleksandrov himself took these rumors calmly: 'Maybe he was infatuated by me ... I've never been infatuated by him.' Eisenstein, for the rest of his life, believed Aleksandrov had betrayed him when he married Orlova.

Litfund

#theatre #vaudeville #entertains #actors #film maker #silent movies #propaganda #soviet union

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keyh0use · 6 months

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Kinktober Day 16: Gun Play

Threats, gun f*cking, name calling, unprotected sex, Rafe calling Barry baby for once. Consensual. Proofread 1 time

Barry hated horror movies, that was an indisputable fact. No matter how corny or camp or cinematographic, Barry hated horror movies. Intentionally scaring himself, subjecting himself to brains splattering and innocent victims screaming in petrified glamour was not for him. But it was for Rafe. Rafe was a glutton for all things scary; movies and attractions alike. Usually, the boy would settle down and watch whatever new, disgusting flick had come out while Barry was at work. On rare occasions, when a film required—according to the kook—to be watched at night, Barry would retire to bed early to read, much to Rafe's displeasure.

Then came October and Rafe's eagerness won the older man over, and suddenly Barry had unintentionally entered into a month-long movie marathon. Each night was a new film, Barry's choice and then Rafe's. Barry wasn't much into movies, never was. He didn't have a TV growing up and he didn't like theatres, but there were some classics like The Godfather and some old westerns he used to watch at his grandparents house, which he was admittedly quite excited to share with his boy. And Rafe—Rafe watched the hell out of those movies. He sat quietly, ate his snacks and was fully engaged, fully prepared to share his thoughts afterwards. So Barry grit his teeth during the gore and limb-cutting, suppressing the urge to gag as organs spilled out. Most of the movies were franchises, and they seemed to get more violent as the numbers rose and it became more difficult every other day to control his rolling stomach. But it was just gross. Barry could deal with gross, after all, once it was over it was over. No big deal. Until the night before last when Rafe told his man in a light tone, I chose something a little different this time, not really gory or anything so I thought you might like it and then put on the most twisted, fucked-up film Barry's ever had the displeasure of watching. True to word, it wasn't overly gory but boy did it leave a lasting impression, the dealer glancing over at his boyfriend in horror to see a sweet looking smile pointed back. Only twenty or so minutes in and Barry was squeezing his eyes shut and saying, Rafe, no, while making a grab for the remote. Poor baby, cooed Rafe, wrapping the older man up in his embrace, blocking Barry from turning the movie off. You scared? No, bitch, I don't wanna watch some kid the same age as my sister die, Barry snapped. It took a second for the words to sink in and Rafe to realise the sister in reference was Wheezie, a genuine smile gracing his face then as he cuddled in closer, reassuring Barry it wasn't that bad. Only Rafe had lied, and while Barry sat and took it, he held a grudge for the last 48 hours. It was the boys turn once more and he returned to his roots, putting on the third Texas Chainsaw Massacre. "Come sit on my lap," demands Barry, nodding down at his clothed crotch. "But—" starts Rafe, pointing limply at the screen. Barry warns, "Not askin', sweetheart."

The same old song and dance played on screen, unsuspecting people rolling in from out of town and discovering the oddities within the backwards Texas countryside. Barry could barely focus on that, though, too busy guiding the kooks ass back and forth over his prominent erection.

Rafe is genuinely trying to enjoy the movie, though he's seen it a dozen times before but it grows more difficult the harder his dick gets, straining against the confines of his pajama pants.

The sound of a chainsaw startles Rafe's gaze back to the screen, attention slipping again and again. They're supposed to watch the movie, that's what tonight is about. All the kook yearns for is traditions, something the Cameron family never upheld around holidays.

Ward's idea of tradition was his son following in his footsteps; joining the family business, finding a nice partner to settle down with and providing grandchildren.

Rafe has fulfilled one of three on that list but it didn't matter, that wasn't what he wanted. No, the kook has dreamt of carving pumpkins and decorating the whole house for the season and taking corny couples photos for years. For the most part Barry was completely onboard, willing to be dragged around from apple orchards to corn mazes—but had ultimately drawn the line on anything with haunted in the name.

Movies were a compromise and Rafe wanted this to be a thing too, cuddling up on the couch with snacks to share their favourite films like a date every night of the month.

And it wasn't a one-way deal, either because not only did Barry seem to like spending the extra, intentional and uninterrupted time together but Rafe already booked a December getaway for them up north after the older man let it slip that Christmas was his favourite.

I've always wanted to see snow, y'know? Barry had said. See like, one of them parades, it's stupid or whatever I just never did that shit as a kid.

Rafe was determined to have set in stone traditions for every damn holiday no matter what.

"Get undressed," orders Barry.

Gesturing to the TV, Rafe says, "But—"

"I'm not asking." Each word is enunciated and firm, leaving no room for argument.

Rafe plants his socked feet on the cold floor to stand, hauling his shirt off and then makes quick work of removing his pajama pants, both articles making a small pile on the arm of the couch.

A shiver ran down the boy's spine despite the quaint room being warm and inviting, the feeling of being completely exposed for Barry's pleasure always sending a thrill through Rafe.

Rough hands covered in callouses and healing cuts drag down Rafe's outer thighs, the older man letting out an appreciative noise as he trailed hungry eyes over the curve of the kooks ass.

"Can I sit?" asks Rafe quietly, belly swooping when Barry leans forward to press a chaste kiss between the dimples at the base of his back.

Barry answers easily, "If you turn around."

Those hands never leave his body as Rafe obeys, turning and sinking his knees into the couch cushions on either side of his man's hips. Rafe is vaguely aware the movie is still playing but it doesn't matter. Nothing does. Not when Barry looks at him like that.

The older man's attention never strays, both palms slipping around to grab a handful of Rafe's ass, dragging him forward until there's no space between them, Barry's sizeable cock wedged up against where the boy wants him most.

Rafe loops his arms around Barry's neck and leans in for a kiss which is eagerly accepted and he's so focused on the traces of beer lingering on the tongue fucking into his mouth to notice anything else, like Barry reaching beneath a throw blanket.

That's until cold metal is pressed into the small of Rafe's back and he's jumping from the contact, gasping quietly.

Rafe's face scrunches up in confusion and he makes a move to look over his shoulder, stopped only by Barry tutting in disapproval.

"Eyes on me, country club," Barry drawls, head cocked to the side.

Not one to disobey, blue eyes cut to the handsome man in front of him and Rafe tries to pinpoint what he's gotten himself into. "Barry?" the kook cautiously asks.

"Yeah, sweetheart?"

Rafe says, "The movie—"

"This is for the movie," assures the older man, blunt piece trailing up Rafe's spine. "Wanna enhance your experience."

"You gonna put on a gross mask?" Rafe jokes, but there's a nervous tremor running through him, practically vibrating in his man's lap.

Barry offers a sweet smile, dripping with insincerity. "Something like that," he says.

When Barry's fingers graze against the kooks shoulder he makes the mistake of looking, breath catching at the sight of the black barrel that digs into his jaw until he's forced to meet dark brown eyes again.

Barry watches—watches how Rafe's chest expands with a deep breath, how he gives a harsh swallow and how his attention is shifty.

"You wouldn't hurt me," states Rafe, voice wobbly.

"I'm trying to scare you. What, this ain't scary enough for ya'?" The tiny metallic click of the safety being flicked off is unbelievably loud. Barry leans in close to whisper, "And I think we both know I would hurt you."

Rafe's reaction is immediate, tears springing into his blue eyes and mouth slack in shock. The end of the gun is gently caressing his blushing cheekbone and it feels heavy. It feels loaded.

"I've never seen you this scared before," mumbles Barry in awe, landing a sharp, swift slap to Rafe's ass that has the boy whimpering. "You feel how hard you're making me, baby boy?"

The boy looks like he has something to say but it's cut short when a scream from the TV tears through their moment, making Rafe bounce in Barry's lap with a panicky shout.

Barry let's his head loll back for a moment, eyes fluttering shut and then his attention is back on his baby. "That felt good," he comments. "Would make you ride me dry if I didn't have other plans, but fuck I'd kill to hear you scream like that again."

Fingers curl at the base of Barry's skull, Rafe knocking their foreheads together and whispering, "Stop." And gets the barrel nudged against his temple hard. "Please. Please, baby, stop."

It isn't often the kook refers to Barry by anything other than his name and when it does happen, substances or lack of sleep are usually to blame. And while it doesn't bother the dealer that Rafe has no pet names for him, it certainly makes him fucking melt when they slip out on these rare occasions.

"Say it again," prompts Barry, tapping the gun to the boy's plump bottom lip.

The word please is carried on a shaky exhale, watery eyes pleading.

"Say it and maybe I'll make this fast," Barry says with another, more intentional shove of the gun. "Then again, you know how much I love hearing you beg."

Rafe is looking at the older man with an innocent sort of curiosity, wet lashes clumped and lips slick where they're touching the end of the barrel, panting heavily. It's uncanny how familiar this all feels to the first time the kook tasted his cock—on his knees in this very room, a little nervous and a whole lot turned on—and that memory has Barry suggestively pushing forward, knocking metal against teeth.

And then the boy does something unexpected; Rafe tilts his chin up and lets his mouth fall open wider, tongue pressed flat to the underside of the barrel as he drags it up teasingly, watching Barry's reaction through hooded eyes.

Barry pushes forward without permission, sliding the gun further into the boys mouth until pink lips are stretched, spit collected at the edges and dripping.

"You know how many people I've gone after with this thing?" asks Barry, shoving the barrel deeper until Rafe gags. "All the pain this gun has caused and here you are, deepthroating it like a fucking slut." The degrading word has the kook moaning sinfully around metal, like he's tasting the dealer's come instead of gunpowder. Reaching down to fist Rafe's steely cock with the hand previously resting on the boy's ass, swollen tip soaked where Barry rolls the pad of his thumb lazily, he says offhandedly, "Could empty the clip in you right now, you know that?"

The threat has Rafe yanking his mouth off the gun, a string of saliva connecting his bottom lip to the end of the barrel. "No, you wouldn't, I know you wouldn't," he rushes out, wide eyes searching his man's face.

The TV flashes with a bright burst of white light that reflects off the gold piece in Barry's mouth when he grins. "Maybe I would, maybe I wouldn't," the older man drawls with a tilt of his head. "I love ya'—"

"I love you," Rafe interrupts, pointedly avoiding looking at the gun aimed at his head.

Barry hums lowly at that. "Know that, pretty baby, wouldn't doubt that shit," he says sincerely. "But we both know I also love hurting you...and making you cry, making you bleed. Fuck, you know that shit gets me goin'."

And now Rafe is scared.

Sure, Barry has never threatened to kill the kook before and while their relationship is built off trust, it's obvious some of the terror in those blue eyes is real, which is thrilling to the drug dealer.

"Please," Rafe whimpers.

"Please what? Please keep going?" Barry asks but doesn't care for an answer, promptly ignoring the kooks head shake. "Sure, country club, we can keep goin'. Lay down."

Rafe shifts nervously, knees squeezing his man's hips. "Will you put the gun down?" he mumbles.

"Lay—" starts Barry, tone stern as he presses the gun to the boys jaw. "Down. Now, Rafe."

Letting out a stuttered alright, okay, Rafe carefully falls off the older man's lap onto a neighboring cushion and lays back, legs instinctively falling open when Barry fully turns to kneel.

Barry wastes no time taking advantage of their new positions, both hands—one rough but warm and the other wielding a cold, hard weapon—exploring Rafe's exposed body. The Kook jumps when his nipple is tweaked, back arching just a little off the springy futon as the edge of the barrel trails achingly slow towards his hard cock.

Rafe's chest rises with each ragged breath, chin tucked down and eyes laser-focused on the gun getting closer and closer to his most sensitive area. "Barry?" the boy questions with an air of uncertainty.

"Yes?" the drug dealer replies easily, rubbing over Rafe's perineum.

Rafe stutters out, "What are you doing?"

Without a glance towards the boys frightened face, Barry lifts the gun and spits directly on it, smoothing saliva over the shiny piece before placing the blunt end against Rafe's entrance. "Just opening you up, stay still, country club," explains the older man.

All the air rushes from Rafe at once and he's shaking his head vigorously, babbling, "No, no, no. Barry, no, please—" only to be cut off by pressure against his rim and then the barrel is sinking into his very unprepared hole.

Rafe's whole body is trembling as the gun slowly slides almost all the way out before being roughly crammed back in, barely slick metal cold and dragging along his inner walls in a way that borders pleasant—but not quite.

The shape is odd and uncomfortable, something the boy can't help but focus on given his prostate is being neglected as the makeshift sex toy is stretching him open.

On the staticky TV the final scenes begin playing out, the sound of weapons clashing and terrified screaming ensue, loud even over the kooks panicked whimpers and Barry's responding groans. Dark, hungry eyes watch as the barrel disappears again and again, finger carefully placed off the trigger.

"Fuck, you're so hot," Barry mutters.

Rafe begs brokenly, "Please—" and before the other man can make some smartass quip, he confesses with a wavering voice, "I want your cock. I wanna be fucked by you, please, baby? Please fuck me. Please!"

Whether it's the desperation dripping from the kook or the use of baby or a combination, Barry is quick to remove the gun and wipe it off on the couch—something that will surely get him scolded when Rafe has the mind to care—and shoves his shorts down until they bunch around his knees.

Barry at least has the decency to wet his dick before unceremoniously pushing inside in one long, fluid motion that has both of them crying out.

"That feel good, sweetheart?" the older man asks, hips rocking as he finds his pace.

Both of Rafe's hands come up to tangle in Barry's hair and he's nodding. "Yes," the kook whines.

Coming to hover over the boys lean body, Barry knocks the gun against Rafe's temple and says, "You come before I give you permission I'll blow your brains out, yeah?" and then leans in to swallow a gasp, lips pressed together gently as Rafe's hole clenches down violently at the threat.

The hand not holding a presumably loaded weapon is caressing the boys cheek, loving touch and passionate kissing a harsh contrast to the slap of Barry's balls against Rafe's ass and steady jabs to his sensitive prostate. No amount of squirming or soft begging against grinning lips slows the brutal fucking or releases the hold the dealer has on the gun, held firm and sure to his sweaty skin.

"Always look so pretty taking my cock," praises Barry through grunts, heat pooling in his belly. A single tear slips out of wide, watery blue eyes and the gun catches it just as Rafe tenses around his thick length. "You ain't even embarrassed you're getting off with a gun to your head. I could kill you, Rafe."

Barry doesn't know why he says it or why it undeniably turns the both of them on so much; Rafe's life being in his hands.

Maybe it's because of the thrill and the comfort. Barry would never hurt his baby and Rafe knows that, even if his heart is pounding and his brain feels foggy, relying solely on trust and fate.

And the fact that Rafe is letting this happen is fucking intoxicating, the way Barry feels like he could do anything to the kook makes his head reel.

Rafe's brows are pinched together and he's panting harshly, cock pulsating between their grinding bodies. "Oh, fuck, don't stop. Please don't stop," the boy begs, wrapping his long legs tight around Barry's rocking hips.

Barry's movements grow erratic, chasing his high with little regard for Rafe's, just the way the kook likes it.

Slender fingers are yanking ruthlessly on dark curly hair as Rafe pleads for permission to finish, whimpering please let me come. Please, baby, let me come for you on a babbled loop, fresh tears dripping down his temples.

Barry sets the gun down on the cushion and cradles Rafe's face in both big, overworked hands to bring their lips together as his fat cock drives the kook right to the edge. "Come, go ahead," he rushes out before licking his way inside the boys mouth.

Rafe spasms around his man's dick, muscles tightening as his back arches and he shoots between them, pearly white ropes coating his torso. The cry that rips from his throat is coarse and piercing, louder than the end credits of the forgotten film still playing.

The boy whimpering in sensitivity is what has Barry spilling inside the fucked-out hole without warning, choked off groan coming from somewhere deep in his throat.

When they've come down enough to move, Barry's cock slips out with a rush of come, soaking a patch on the futon.

Barry takes a second to wipe Rafe off with a shirt before standing up and nodding towards the corner seat of the couch. "Sit back," he orders gently.

"Why?"

"To watch the movie?" Barry replies confusedly, one brow cocked.

Rafe suggests, "We can turn it off, we've already missed half."

Snatching the remote from the stained coffee table, Barry presses down on the rewind button and looks back at his boy expectedly. "We're watching it 'cause it's your night."

"Okay," Rafe says, barely containing the happiness radiating off of him. "But why do you want me in your spot?" "I love you, baby, and I'd protect you from anythin', you know that?" asks Barry, eyes sincere. At Rafe's responding nod he continues with, "Exactly. If we were in some real shit like this backwards movie I'd give myself up immediately if I thought you could get away but like hell am I holding you through another one of these damn things."

Five minutes later the two are cuddled up on the couch, Barry's cheek resting over Rafe's heart, one arm wrapped around his tan shoulders and fingers playing with his hair.

The movie is still disgusting but it's easier to swallow when Barry's wrapped up in his favourite persons embrace.

#they were watching hereditary #y'all know the scene #rafebarry #rafe x barry #rafe cameron #barry obx

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ai-robot · 1 year

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Detecting replicants through the eyes with the Voight Kampff test in 1982's Blade Runner

The Voight Kampff test measures emotions through the fluctuations of the pupil and iris and is used by the LAPD to determine a person's humanity. Because Rachel is an experimental replicant whose memories were implanted, she does not know she is a replicant, and it takes Deckard over one hundred questions to determine that she is, in fact, a replicant. The Voight Kampff test's attention to minuscule detail to detect differences in empathic reaction intends to "other" the replicants but instead demonstrates the replicants' humanity opposed to the callous, unempathetic proctors of the test.

Rachel's eyes in this scene glow as part of a cinematographic decision to have the replicants' eyes glow at times, which Ridley Scott (director of Blade Runner) attributes to the eye serving as a "two-way mirror." According to Scott, the "eye doesn't only see a lot, the eye gives away a lot," and the decision to make the replicants' eyes glow stemmed from that interpretation. (Source) At various points during the movie, Deckard's eyes also glow, forcing the reader to question the hero's own humanity.

-Claire

#eyes #voight kampff #blade runner #rachel's eyes #ridley scott

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whatthehelloh · 1 year

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Jensen Ackles being called as a witness in the trial against Alec Baldwin.

A plethora of cast and crew from the “Rust” production are being summoned as witnesses for Alec Baldwin‘s trial, including its helmer Joel Souza who was present on set during filming.

On February 24th, Baldwin will be making his initial appearance in court electronically after being charged with two counts of involuntary manslaughter for the demise of cinematographer Halyna Hutchins.

Court documents acquired by Fox News Digital name camera assistant Lane Luper and gaffer Serge Svetnoy as witnesses of the incident on the set of “Rust” – both have previously voiced their concerns about its lack of safety.

Luper resigned from his job on the production of “Rust” prior to the fatal shooting incident.

“What I put in my resignation letter was lax COVID policies, the housing situation driving to and from Albuquerque, and specifically, gun safety, a lack of rehearsals, a lack of preparing the crew for what we were doing that day,” Luper previously said during an appearance on “Good Morning America” in Nov. 2021.

Svetnoy also verified the danger that exists on set.

During a press conference months after the shooting, Svetnoy’s attorney told reporters that the movie’s producers “were cutting too many corners to save money” and that negligence on set led to Hutchins’ death.

Rounding out the list are Jensen Ackles, actor; Mamie Mitchell, script supervisor; Seth Kenney, owner of prop store; Gabrielle Pickle, line producer and Sarah Zachry, prop master.

In addition, a group of investigators from Santa Fe County led by Sheriff Adan Mendoza are listed, alongside FBI analysts and experts.

Astoundingly, assistant director David Halls was absent from the witness list. The first assistant director agreed to accept culpability for his actions and plead guilty to negligent use of a deadly weapon; now awaiting confirmation by a judge.

Halls allegedly handed Baldwin the gun before the fatal shooting of Hutchins and confirmed it was “cold,” meaning no live ammunition.

On January 31st, according to court documents, the formal charges against Baldwin and Gutierrez-Reed were two counts of involuntary manslaughter.

In the same documents, prosecutors provided a comprehensive overview of their probable cause against Baldwin.

“Baldwin’s deviation from known standards, practice and protocol directly caused the fatal death of Hutchins,” the documents state.

“By not receiving the required training on firearms, not checking the firearm with the armorer, letting the armorer leave the firearms in the church without being present, deviating from the practice of only accepting the firearm from the armorer, not dealing with the safety complaints on set and/or making sure safety meetings were held, putting his finger on the trigger of a real firearm when a replica or rubber gun should have been used, pointing the firearms at Hutchins and Souza, and the overall handling of the firearms in a negligent manner, Baldwin acted with willful disregard for the safety of others and in a manner which endangered other people, specifically Hutchins and Souza.”

On October 21, 2021, tragedy struck when a gun held by Baldwin discharged on the set of a church at Bonanza Creek Ranch in New Mexico. The incident resulted in the death of Hutchins.

Over the past year, the Santa Fe County Sheriff’s Department has been diligently looking into how live ammunition wound up on set. Gutierrez-Reed and Halls were supposedly two of only a few individuals that managed the firearm.

Before Halls is said to have provided Baldwin with the gun, Gutierrez-Reed spun the cylinder so that Halls could see it contained bullets, her lawyer reported.

In a primetime interview and again in a podcast episode, Baldwin strongly declared that he had not pulled the trigger of the gun. Initially indicating that he had only cocked it back as far as possible then let go, his story remains unaltered ever since.

#jensen ackles #rust #rust movie #alec baldwin #hannah gutierrez reed #trial #rust alec baldwin #halyna hutchins

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