#berenson feels

[thejakeformerlyknownasprince]

Ultimate what if for Jake-if he can go back and only save one of them, Rachel or Tom, which one does he choose? How does he decide between his cousin and his brother?

He would save Rachel. No question.

Because as much as Jake loves Tom, desperately wants to save Tom, would die in Tom's place if he could... Jake is a pragmatist. And Rachel is the most powerful warrior on the only team defending the Earth, while Tom is just some guy.

Jake does come up on the verge of this decision, in #1 when he can only get Cassie or Tom out of the yeerk pool, in #6 when he can let the yeerks' hospital project go ahead or he can protect his brother, in #31 where he can save Tom or let his dad get infested. Jake chooses, when it comes right down to the wire, to protect his team over his family. And when he has to choose between Tom's life and some other planet in the final battle, he chooses against Tom.

#animorphs #animorphs meta #animorphs spoilers #jake berenson #tom berenson #rachel berenson #berenson feels #this family #tom my darling #sigh

[kiwisandcoconuts]

Anyone watch the new Scott Pilgram show? The art style is so good, I HAD to Animorph it XD

#animorphs #fanart #animorphs fanart #animorphs jake #my art #jake berenson #scott pilgrim #scott pilgram takes off #visser three #guys he's fighting visser 3 btdubs #lighting had me wanting to die #who would win: Scott Pilgram or Jake Berenson #I feel like it'd be pretty close tbh #just depends if scott could get a hit in before jake morphs #cause one hit as a human and jake is dead #jake berenson=sans undertale confirmed????

[theidiotabides]

Would really love to hear about the angsty marcotobias fic if you're interested in sharing. 👀

Oh gosh, I feel like I'd have to actually write it for it to make sense because like 80% of it is subtext, but here's some rambling in that general direction.

I'm chiefly interested in the ways in which Marco & Tobias are actually incredibly similar -- their senses of humor, their attractions, their complete direspect for authority, and most importantly how they both lowkey hate themselves but insist on survival anyway, largely out of spite -- but how they treat their similarity as, like, a cautionary tale rather than the basis for a healthy connection that it could be.

Like, Tobias disappearing into the woods and giving up on everybody is exactly the kind of behavior that Marco finds incredibly triggering, having lived through it with his dad. Marco would never walk away from his remaining loved ones like that, especially in the post-war world where he's charged himself with being the public face of the Animorphs because somebody has to. But there is absolutely a part of him that wants to give up and disappear; ya boi is tired.

Meanwhile, I think Tobias sees Marco's devotion to Jake and refusal to abandon him even after how Rachel died (which Tobias blames Jake for) as a version of the hero worship complex Tobias used to have about Jake -- like, I think Tobias sees Marco as being too devoted to Jake to see "the truth" about him, and he pities that in Marco. But at the same time, Tobias envies Marco's close personal connections, and I think on some level he knows that the only way to get to that place would be to work through his anger at Jake to get to his anger at Rachel, and he just can't bring himself to do that. It's easier to stay mad.

And then there's the question of Rachel herself, whom they were both deeply invested in trying to keep alive at the end of the war. Like, we see this explicitly from Tobias, with his "just be Rachel" and constant emotional check-ins with her, but I don't think Marco gets enough credit for his active role in keeping her literally alive. Dude bodily removed her from battles, at risk to his own life, and I just refuse to believe that's not something Marco & Tobias talked about, given how much time they spent together in Ax's scoop during that period of time between Marco's fake death & the move to the valley. Rachel is both a mutual love and a mutual failure for them (and that level of mutual devotion to a third person gives my polyamorous ass A Lot of Feelings).

Basically I think there's a lot of respect and love between Tobias and Marco, but they can't get to it because it would require each of them to deal with Rachel-related guilt and confront parts of themselves that they don't want to acknowledge.

...so I want to get them high on Marco's fancy penthouse balcony and make them kiss about it

#when I say “their attractions” I mean both of them are in love with both Rachel & Jake because they are Berenson-sexual #also I cannot be the only person who headcanons that The Scoop Boys were weed smokers #like maybe when it was just Ax & Tobias they were more straight edge but as soon as Marco was living there they were lighting up guaranteed #I have never met any 16-year-old who spent that much time either programming or hanging out in the woods who was not a pothead #I bet they were all absolutely high af when they hacked the CIA #I bet Marco used CIA employee credit cards to order pizza while Tobias and Ax giggled and shushed each other in the background #I also have a lot of Feelings about the role that Marco plays in helping Tobias rescue Loren in 49 #like there's this line where Marco says that Jake sent him & Ax to check on Tobias & I Do Not Believe It #Jake was losing his shit over his family at the time; he just let Tobias fly off alone & he spends the whole next book abdicating leadershi #Jake did not so much as consider the possibility that Tobias would stage a solo rescue mission; meanwhile Marco was fully expecting it #Marco absolutely took his own initiative in rallying Ax to help Tobias & then credited Jake for it because he didn't want to be Seen Caring #I also have like 10% of a fic about this btw but it's mostly centered on Jake #animorphs meta #animorphs #tobias animorphs #marco animorphs #marcotobias

[ghostsessioned]

Does parentage give rocks (or just general cool stuff) to eachother that they've found while wandering Camena?

oooohhh, this is a. good fucking question. great fucking question, actually. i love imagining that they're All about spirituality and meaning in the things that they pick up and pass around the places they've been. quartz from a broken open rock that was sitting in the tide. a perfectly circular stone in a triangle of light. a leaf or flower that fell in front of them as they were passing. deer's antlers someone got sliced on, etc. so, in short : yes. they'd give rocks to one another that they found while wandering camena.

#tastypizza49 #answered #parentage #parentage oxenfree #i like. imagining that the places of Importance would be #edwards. berenson creek. garland #garland is an olivia thing specifically BUT #edwards and berenson #berenson already has an. er. anomaly ? i don't know what to call it. it's not a proper cairn #they're littered near parentage specific sites. there's one near the community center #one at the caves #one in berenson #i don't recall one near or In garland but there could have been #ANYWAY #yes. i feel like current age parentage does it more than those from before #the ''old winds'' as dom and i call them likely took more to. signs showing up in the fire #ashes. embers. etc #less likely to pass around a burning torch unless it was a form of russian roulette to see who'd be sacrificed next

[jinxiguess]

which of the gone girls do you think wear makeup pre-fayz?

I think diana definitely would and probably lana would as well

I dont think astrid would wear much but I feel like she would maybe wear clear lip gloss a lot and maybe a little mascara?

I cant really imagine dekka or brianna being that interested in make up tbh but I think maybe penny would like experimenting with it

#i feel like im forgetting loads of people #also sorry it took so long to respond ive been really busy #no longer have covid though so thats something #gone series #the gone series #astrid ellison #diana ladris #brianna berenson #dekka talent

[tasmainiac]

Brianna seems like the type of person to commit an extremely heinous crime against humanity and then say "It's just a prank" and "lmao why are you so mad? cope"

#brianna the breeze #brianna berenson #thats literally her in the beginning of fear #gone series #if brianna had access to the internet she would be a roblox troll #idk why i wrote this #i just feel like brianna has that energy #caine kinda has that energy too

[gatabella]

Marisa Berenson in Valentino photographed by Henry Clarke, 1968

"Women love the idea of their own femininity. I can't think of anything that makes a woman feel prettier or more complete than lavishing on the jewels, the silk, the perfume; of going for all of it and dressing up for all its worth. And for most women, the little extra effort it takes is as natural as breathing."

- Marisa Berenson

#marisa berenson #quote #henry clarke #valentino #fashion #interiors

[worst-siblings-tournament]

Round 1, Match 15

Akio Ohtori and Anthy Himemiya (Revolutionary Girl Utena) vs Tom and Jake Berenson (Animorphs)

Poll Runner's Note: Tom and Jake are a tricky entry. Most of what we see of "Tom" is actually Temrash 114, the Yeerk controlling him. I decided to include them anyway, an evil alien that's controlling your brother feels close enough to me.

Propaganda under break. Spoilers for Revolutionary Girl Utena and Animorphs.

Akio Ohtori and Anthy Himemiya

TW for incest/rape/CSA

WHERE TO BEGIN. Major Utnea spoilers, but take a brother and sister who have been alive for god knows how many centuries, one keeps the other enslaved as the Rose Bride so she can be living bait for "Princes", meanwhile he does an incest on her at least once a week. She mostly goes along with things for complex story reasons and aids him in this vast conspiracy to lure in people with the potential to be "a True Prince" to help them bring about a vague conceptual Revolution. Anthy will disguise herself to manipulate the ghost of a dead genius, but get pissed when Akio makes moves on her future gf, but she can't do anything to him so she takes out her anger on a different character by turning said character into a cow. Like seriously this isn't a shallow victim blaming thing the series is all about deconstructing that idea. She does try to get satisfaction in petty ways because that's the only power she has and ultimately she finally walks out on him to go find her gf in the Real World. There's also their movie versions where he drugs her so he can assault her, but when he realizes she's awake and was willing to let him do whatever, he has a tantrum because that makes her not a pure woman and he stumbles off the balcony to his death. Then his ghost(?) tries to crush her and her gf in a giant mobile car wash, so her gf turns into a car and they eventually lounge naked and kissing down the road to the future.

------

Akio is a groomer and a rapist and he does not make an exception for family.

Tom and Jake Berenson

Tom is controlled by a yeerk. He is working to enslave humanity against his will. Jake is a child soldier, and at the end of the series makes his (also a child soldier) cousin Rachel go on a suicide mission to kill Tom, which she succeeds in.

#Worst Siblings Tournament #Round 1 #Poll #Revolutionary Girl Utena #Utena #Animorphs #Shoujo Kakumei Utena #SKU #anthy himemiya #akio ohtori #tom berenson #Jake Berenson #poll tournament

[monstrousgourmandizingcats]

Rachel Berenson (of course)

OKAY HERE WE GO

How I feel about this character

Best. Breaks my heart.

All the people I ship romantically with this character

Tobias, Cassie to an extent but only if Tobias is out of the picture (I love mutual pining with them no matter what though!).

My non-romantic OTP for this character

I love her relationship with Jake, because they are on the same wavelength in the absolute worst ways; they have the kind of understanding and tacit trust you normally expect from characters who don't send each other to their deaths.

My unpopular opinion about this character

Rachel/Marco is actively offputting to me.

One thing I wish would happen / had happened with this character in canon.

The writing in the later Rachel books is infamously a bit shaky, although I think they're conceptually sounder than most people seem to. I wish that was otherwise.

GIVE ME A CHARACTER;

#animorphs #rachel berenson #blorbo from my 90s middle grade novels #give me love give me memes #carys-the-ninth

[radiokathryn-if]

Hello! I don't know if it's been asked but what are the RO's clothes look like? Their fashion choices, are they a fashionista or a complete fashion disaster?

Hello! I did some Research!

So to answer your second question first──I'd say that all the ROs were fashionable! However, since it's set during the turn of the decade ('72) some ROs are more fashion forward and knowledgeable than others who like/are sticking to trends from the 60s! (and a couple ROs who don't care for fashion trends and wear what they can buy!)

Side note, finding men's fashion is such a Task! I wish there was more references to style icons than the same 5 men over and over again!

The Fashion "Makers"

Nate, EVA!, José, Ji Han, FAUVE!!

The Fashion "Disasters"

MICA!, Detective Han, Jackson

NATE

"70s Glam Rock style/70s Rock Chic" 'androgenous style' Flared Trousers, Satins and Velvets, Fitted and Leather Jackets, overly cling cut satin tops and button up shirts that loose their buttons. All the jewellery━rings upon rings and necklaces for everyone. (Nate takes a necklace from every girl he hooks up with, like a conquest trophy.) Platform Boots, or metallic footwear, lots of animal print rather than paisley or floral patterns. Instead of bold and bright colours Nate, like Eva, tends to stick with earthy colour (mainly browns!) But he's not afraid to be flamboyant and wear the bold colours.

Think──Mick Jagger, Ziggy Stardust(David Bowie), Marc Bolan, Patti Smith, Stevie Nicks

EVA

"Bohemian Chic" Maxi Dresses and Peasant Blouses, Eva tends to stick with earthy and monotone colours over any kind of print. She loves trousers──Bell Bottoms that give the flowing silhouette. When she wears headwear it will always match her dress/top. She also likes the feel of Silk Satin on her skin, she wears silk nightdresses to bed and satin outfits on a night out. She's not the biggest fan of Fur or Robes but she has a few items in her closet to keep with the trends. Eva also loves a full suit moment!

Think──Cher, Marisa Berenson, Farrah Fawcett, Blanca Pérez-Mora Macías(Bianca Jagger), Faye Dunaway

MICA

"Hodgepodge/Eclectic Style". Mica does not care for fashion however, literally all of they do (including fashionable!MC) meaning they can't get away with being a disaster or a walking nightwear/pyjamas model.

Think──Being Dressed/Influenced by Nate, Eva, fashionable!MC and José. lmao

DETECTIVE HAN

"Leather/70s Casual" Ha! Hahaha! Fashion sense? What their mother bought them──comfortable and practical save for their leather jacket (from their father.) They don't care for fashion and will stand out around fashion forward people (and not in the good way.) However, they never look like a disaster and their outfits always come across as curated and planned (even if they're not) which gives them style points!

Think──Debbie Harry, Cheryl Tiegs, Diane Keaton, Clint Eastwood

JOSÉ

"60s Mod/70s Hippie/70s Disco" Wrap Dresses, Halter Necks, High Waisted skirts or trousers, sometimes even shorts, Playsuit/Rompers. Lots of accessories, though José likes to wear the jewellery their siblings and mother maker them. Platform shoes over strappy sandals because they're not the best at balancing. José's sense of style is very wide and they don't care to keep up with trends──they know what they like and they like what they look good in!

Think──Grace Jones, Twiggy, Jimi Hendrix, Joni Mitchell, Diane Von Furstenberg, Beverly Johnson, Hazel(model)

JI HAN

"Sophisticated 70s/Casual Punk" Turtle or Roll Neck shirts, wide legged trousers over bell bottoms, but he prefers a nice pair of straight cut jeans. Very casual in his personal style, but he does like layering──mainly layering shirts. Ji Han is open to style tips and will definitely take them from a fashionable!MC! (If any MC gives him an accessory, he will wear it always, even if it doesn't go with the rest of the outfit.)

Think──Elton John, Mick Jagger, Richard Carpenter, Yves Saint Laurent

FAUVE

"Hippie Chic/Flower Child" Ruffles, Fringe and Fur and Colour and Pattern Mixing, paisley print and florals, block colours and stripes──Lace and Satin and Corduroy. Fauve is The Most fashionable out of all the ROs. She keeps on top of trends while also curating her own personal style. She subconsciously inspires the people she's around on a day to day to dress better. People go to her for style advice! Fauve also love hair accessories like headbands or bandanas, headscarves (and neckscarves!) Or something simple like a thin braided belt tied around the head (calling back to the 60s flower power movement!) Fauve is more a fan of over the knee platform boots but still has an extensive collection of shoes that include Clogs, Platform Sandals, Loafers and more casual shoes like Woven Espadrilles or trainers.

Think──Patti Boyd, Twiggy, Diana Ross, Jane Fonda, Lauren Hutton, Jerry Hall, Nadia Cassini

JACKSON

"70s Athleisure/Casual" polo shirts, casual footwear like Adidas or Puma trainers, tracksuit jackets. Pattern shirts. Denim jackets, Knitwear jumpers/sweaters. Most of his style comes from what his almost-ex wife curated for him, and he's trying to distance himself from it leaving him with little fashion knowledge and just going along with what he buys in store. He consultants his daughter about his fashion sometimes but she is and 8 year old so he's not sure how accurate her advice can be.

Think──George Best, Marvin Gaye, Terrance Stamp, James Hunt

???

spoilery! I can come back to them when they're not a Secret anymore?

#radio kathryn if #all ros #c: nate nicks #c: eva vidal #c: mica hollens #c: detective han #c: josé danger #c: ji han #c: fauve #c: jackson lewis

[latenightcinephile]

Film #608: 'Barry Lyndon', dir. Stanley Kubrick, 1975.

I suspect that Stanley Kubrick, like Alfred Hitchcock and Orson Welles before him, has become one of those directors that it is difficult to enjoy. What I mean by this is not that they make films that are hard to like, but that they have become so lionised by the history of cinema that watching anything they've made starts to feel a bit like homework. With Kubrick in particular it feels like there is a 'right way' to enjoy his films, which is to say, to study them intently and thus not enjoy them at all. Even his broadest comedy, Dr. Strangelove (1964), has had most of its pleasure leached out of it by successive generations of film scholars avidly discussing it as high art, repeating the same stories about Kubrick's perfectionism over and over until the film basically ceases to matter - it becomes, in this form, just an object one can point to and declare genius. So, you can imagine that I went back to Barry Lyndon with a bit of nervousness. After all, this is a three-hour period drama, and the first film Kubrick had released after 2001: A Space Odyssey (1968) and A Clockwork Orange (1971). Was this going to be enjoyable at all? Or was it going to be a final exam?

This isn't the first time I've seen Barry Lyndon, according to my notebooks. That said, I think that my first viewing must have been a hazy post-midnight watch a decade ago, because I have barely any recollection of it. This is true of many of the films early on in the list, which is partly the reason why I'm writing these summaries/essays - so that I don't have to rewatch a film in order to reflect on it years from now. What I certainly didn't remember from that first viewing was the scope of Kubrick's vision here - how lush the sets and locations and costumes are - or just how much story and how many events Kubrick has crammed into the three-hour runtime. Nor did I remember how witty and engaging the film actually is.

In the 1750s, young Irish rake Redmond Barry (Ryan O'Neal) is incensed when his cousin, Nora, falls in love with the advantageous Captain Quin, and challenges Quin to a duel. After his victory, Barry is quickly persuaded to leave town to avoid the repercussions, leaving his mother Belle (Marie Kean) and taking refuge in the British Army. Here, life for Barry is difficult but respectable - after the death of a family friend, however, Barry deserts his regiment and tries to escape to a peaceful country. He poses as a British lieutenant, but this disguise is seen through by a Prussian captain, who forces him to join the Prussian army instead. When Barry saves this captain's life, he is honoured and, following the Seven Years' War, given a job as a spy in the Prussian Ministry of Police. This continues one of the dominant threads in Barry's life: that of playing both sides until he determines where the advantage lies. Unbeknownst to Captain Potzdorf, he schemes with the professional gambler he has been asked to spy on, and the two escape the country before the Prussian government can arrest them. The life of a gambler is Barry's introduction to noble society, although initially an undignified one, as Barry is often called upon to fight duels in order to collect outstanding debts. However, when he lays eyes on Lady Lyndon (Marisa Berenson), he sees an opportunity for legitimate wealth and privilege. Lord Lyndon's abrupt death means that before long, Barry takes the title of Barry Lyndon, much to the disapproval of Lady Lyndon's son, Lord Bullingdon (played for most of the film by Leon Vitali).

Lord Bullingdon is right to disapprove - despite the birth of a second son, on whom Barry dotes, the marriage is toxic, with Barry wasting his wife's fortune and restricting her to the house. Most of Barry's financial ineptitude is devoted to the attempts to gain a permanent title as part of the landed gentry. Barry's mother, reunited with her son, also pushes him to attain a title, although it seems that Barry doesn't really need any more encouragement. Barry's relationship with his stepson grows more antagonistic, culminating in an outright brawl during a concert. After this, Lord Bullingdon abandons his family's estate, seeking to make his own way in the world. Tragedy strikes when the younger son is thrown from a horse which is to be his birthday present, despite the boy's promise that he will not ride the horse unsupervised. Barry is inconsolable, and Lady Lyndon's condition worsens. For a time, the estate is left in the care of Barry's mother, who makes several calculated staff cuts under the guise of attaining financial stability. Several of the estate's long-standing staff persuade Lord Bullingdon to return and challenge Barry to a duel. Despite the opportunity to easily win the duel against the petrified Lord Bullingdon, Barry refuses, believing that Lord Bullingdon will have received his satisfaction. He is wrong about this, though, and gets shot in the leg, requiring amputation. Barry is offered one final lifeline: an annual stipend from his wife's estate, as long as he never returns to Britain. He accepts, and the final scene of the film shows a recovering Lady Lyndon, pausing thoughtfully as she signs Barry's annuity check.

That description should give a sense of just how eventful Barry Lyndon is as a film. I haven't even mentioned the minor events - Barry's brief relationship while posing as a lieutenant; the scene with the highwaymen; the fact that Captain Quin survives the duel after all - because they're of limited importance to the main plot. What Kubrick has succeeded in is bringing the fullness of a picaresque novel to the screen and giving it the true ambience of a serial novel. One element that really adds to this is the perfect casting of even the smallest roles. All the minor characters who appear, from the highwayman's teenaged son to the soldier that Barry bests in a boxing match to Captain Potzdorf's governmental uncle, are all given performances of such precision and vividness that they feel like entire chapters of Barry's life, even though they spend mere seconds on screen. Kubrick also makes Barry Lyndon's literary sources explicit by dividing the film into halves, each with its own wordy subtitle that tells us what we're about to see. There's also a significant shift from William Makepeace Thackeray's original novel which is largely unavoidable: the novel is told in the first person while the film, out of necessity, takes a more objective third-person approach. Kubrick has kept an omniscient narrator at times, to clarify events that Barry is not present for or which lack an impartial observer to explain. However, the majority of the film comes to us seemingly unmediated, which I think might be partly responsible for the reputation that has become attached to the film: that it's cynical and cold.

On the charge of cynicism, it's hard to disagree. Redmond Barry undergoes a slightly odd shift of personality when he meets Lady Lyndon, suddenly becoming cruel and callous in a way that seems too quick, even for a film that compresses time in this way. He's started as a deeply romantic figure, but one of the first times we see him after his marriage, he's blowing pipe smoke into Lady Lyndon's face despite her protests. His drive has become naked greed, which seems a little out of proportion with his behaviour immediately prior to the wedding. When this change has been commented on, it's usually suggested that Barry's romanticism has been dashed by his wartime experiences. I think this is a perfectly fine explanation, but I just don't see it on the screen to quite the degree I would anticipate. The events following the death of Barry's son are also deeply cynical - Lady Lyndon's depression and Barry's turn to alcoholism are indicative of Barry's failures as a husband and of the futility of his aspirations for wealth. Lord Bullingdon fights for his family's honour, but is terrified as he does so, and death would in some ways be a kindness to Barry, who faces mounting debts. Even his exile does not rid the Lyndon estate of him, as they are perpetually bound to pay his annuity. All ends as well as it could be expected to, but that does not mean unencumbered happiness for any of the characters. But does this mean that the film is 'cold'? I don't think so at all. Kubrick paints the first two thirds of the film with streaks of broad comedy, the effects of which linger long afterwards. Barry's awkward courtship with his cousin, the ruse by which he and the Chevalier de Balibari (Patrick Magee) escape Prussia, and even the duels Barry fights on the Chevalier's behalf, were all met with loud laughter from the packed Embassy Theatre screening. Even in the duel against Lord Bullingdon, there are beats of humour to leaven the gloom that hangs over everything. The film may be judgmental of its protagonist, but it does so while looking at a world full of witty and absurd characters.

Another element that has contributed to the film's chilly reputation is its visual style. Kubrick was partly inspired by the paintings of William Hogarth, and in one of the film's most famous images, Barry is shown in an almost identical pose to Hogarth's Marriage A-la-mode 2 (a painting which could basically sum up the entire second half of the film). What this means, on a practical level, is a large number of carefully-constructed tableaux, expressive lighting techniques, and landscapes in which the power of the elements overwhelms the human figures. The cinematography was the work of the Academy Award-winning John Alcott, who also worked with Kubrick on 2001��and A Clockwork Orange, and it is in every respect remarkable: stately and dramatic when it needs to be, caring and intimate at other times, but never obtrusive when the performances need to carry all the weight of a scene. I'm not completely sure where this style's association with 'coldness' comes from, but I imagine it's probably been reinforced by Kubrick's reputation as a perfectionist, which I think usually robs a director's films of warmth, too, which is what I was thinking of way back in my opening paragraphs. A reputation like this is almost never factually accurate, and stories tend to get blown out of proportion. Kubrick and Alcott shot many of these scenes without electric lighting, and famously borrowed three large and expensive lenses left over from the Apollo missions which enabled them to shoot some indoor scenes by candlelight. However, this fact has been blown out of proportion, and it's not commonly said that the production used no electric lighting at all - a story that's completely implausible if you look at any of the exterior nighttime scenes. Even the artificial lighting, however, successfully mimics the natural lighting to such a degree that it feels like it was filmed on location in time as well as place.

Because Kubrick's previous films were heavily based in more popular genres, and because they all shared a more acidic and satirical edge, many audiences were unsure what to make of Barry Lyndon, and the film was a disappointment at the box office. Critics were equally dismissive - multiple critics, including Charles Champlin and Pauline Kael, referred to it being less of a film and more of a coffee-table book, with Kael adding that Kubrick had "drained the blood" out of the source material. Even Vincent Canby, in an otherwise positive review, described the film as "another fascinating challenge". I find these statements a little odd, given that Kubrick's other films were no less weighty or accessible than Barry Lyndon was, but I think this is always one of the problems of trying to anticipate what a director renowned for being surprising will do. Although making a slow and stately film is entirely appropriate to what Kubrick clearly wanted to say about Thackeray's novel, it seems like this was the wrong type of surprise to viewers who wanted another breaking of their expected boundaries. In any event, this critical disappointment had an apparent impact on Kubrick. It definitely factored into his decision to make a slightly more traditional genre piece next... The Shining (1980).

Despite this, Barry Lyndon underwent a reappraisal over time, and it is now recognised as one of the director's masterpieces. Although I'm usually loath to rank films, I think Barry Lyndon definitely falls in my top three for Kubrick's films, and it certainly seems like one of his most accessible films. It merges the farcical comedy and bleak satire that his films are known for, while also being endlessly appealing on a visual level. Far from being worried that it was going to be homework, I'm tempted to go and watch it again already - and that's not something I say about a lot of Kubrick's three-hour-long doorstops.

#1001 movies #genuinely good films #stanley kubrick #barry lyndon

[thejakeformerlyknownasprince]

Do you have any headcanons for Jake and Rachel’s relationship as kids?

So I put this in a fic, but [Tom's narration]:

Not being that old or responsible myself at the time, I would order Jake not to cause trouble and run off on my own, usually to shoot baskets in the tiny hoop they had nailed above the garage door.  What happened as soon as I left was as regular as clockwork: Saddler would start harassing one of the younger kids, Jake would tell him to cut it out, Saddler would start beating up Jake instead, Rachel would either decide that Jake needed defending or that any fight was worth having and start attacking Saddler, and I would have to come running back over to wade in and pull them all apart.  The only aspect of the whole scene that varied from year to year was whether Saddler decided to tattle, which, when it happened, resulted in Aunt Ellen yelling at Rachel while my own parents yelled at me for not keeping a closer eye on them, as if I'd had anything to do with anything.

After the drama of the scene ended and the adults determined that Rachel had not yet succeeded in permanently damaging Saddler, and that Saddler had not done anything to Jake that Jake couldn't shrug off with an eight-year-old’s version of stoicism, they would go back inside.  And then just as I'd be making my exit, Saddler (pissed off about being beaten up by a girl) would decide to take out his feelings by punching Jordan.  And the whole cycle would start again.

#animorphs #berenson feels #in other words: jake and rachel describing saddler as 'a huge jerk' are blissfully unaware that saddler is only 50% of the problem #put too many berenson kids in one place for more than 15 minutes and violence WILL ensue #let's not pretend it's all or even mostly saddler's fault

[fayegonnaslay]

Model Marisa Berenson

From Dressing Up: How to Look and Feel Absolutely Perfect for Any Social Occasion, 1984.

#marisa berenson #vogue #diana vreeland #elsa schiaparelli #schiaparelli #it girl #1970s #70s fashion #style #super model #halston

[theidiotabides]

Just started my second full series reread because I require more granular data for all the meta & fan fiction floating around in my head, & can I just--

My mom and dad have sworn to ground me until I'm twenty if they ever find out I've cut through the construction site. -Jake, #1 The Invasion

HE WAS NINETEEN WHEN THEY WENT ON THE MISSION TO RESCUE AX AND DISAPPEARED. ONE YEAR SHY OF THE YEAR HIS PARENTS THREATENED TO *GROUND* HIM UNTIL IF HE WENT THROUGH THE CONSTRUCTION SITE.

no I'm not ok

#animorphs #animorphs meta #jake berenson #why do I get the feeling the second reread is going to be worse #like emotionally speaking not experience-wise #constantly upset about these disaster teens

[murderer-tournament]

Here’s my Rachel Berenson propaganda!!!! Direct quote from the series! My girl was 13-16 and committed more war crimes than your favs with no regrets!! Her teammates are terrified about what will happen to her after the war ends because they feel like she’s addicted to it and will have no purpose without it!

.

#propaganda #rachel berenson

[jinxiguess]

#gone series #the gone series #sam temple #brianna berenson #caine soren #drake merwin #dekka talent #i feel like im forgetting someone really obvious😭