Incorrect Star Wars Quotes
Ahsoka (capturing Maul during the Siege of Mandalore): Take a good look, kids! THIS IS WHAT HAPPENS WHEN YOU’RE NAUGHTY.
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Maul: The Hutts messaged me last week. Something about wanting to smuggle drugs in stolen speeders. I told them no, because drugs are stupid. . . Except weed and sex pills; a man has needs.
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Maul: I’m gonna get the lobster thermidor. . . Mostly to see what it is.
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Maul: Lady Tano! Hello from Paradise! Actually, I am a little disappointed in the hotel. How do you mess up an omelet? It’s just a flat egg!
Ahsoka: He basically just talks about the omelet for ten minutes.
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Ahsoka: You wanted to talk to me?
Kidnapper: Keep those hands in the air. And wave 'em like you just don't care.
Ahsoka: What?
Maul: I'm just messing with you, Lady Tano. Put your hands down, give me a hug!
Ahsoka: MAUL!
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Ahsoka: Maul, why do you have hostages?
Maul: You mean Zeb and the two Jedi? They’re not hostages. I prefer to call them "collateral friendships". I gave 'em each 500 credits out of my own pocket.
Ezra: Thanks again, Maul.
Zeb: You’re the man, Maul.
Kanan: Actually, I'd rather still not be a hostage.
Maul: Kanan hasn't come around on me yet. Tell him I'm a nice person, Ahsoka.
Kanan: I'm sorry. Ahsoka, are you friends with this Sith Lord?
Ahsoka: No, not really.
Maul: Absolutely, best friends.
Ahsoka: It's a layered relationship, Kanan.
Maul: Best friends.
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Maul: I got a new job and everything! I sit behind out-of-touch Senators to make them seem less racist!
<cut> The texture of quiche is unsettling.
I made 75,000 credits for that nonsense!
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Mace Windu: You’re a mob boss and a Sith Lord! Look at this rap sheet: Piracy. Kidnapping. Grand Theft Speeder. Grand Theft Speeder. Grand Theft Starship. Dog fraud.
Maul: I sold a guy a fake Pekinese. ‘Twas a cat!
Ahsoka: . . . So the guy sold a few cats as dogs. . .
Maul: Oh, more than a few. It’s weird how many people fell for that.
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Maul: Coruscant’s Finest just got a whole lot finer!
Ahsoka: Gimme that lightsaber!
Maul: It’s not loaded! I just wanted to pull it and say a cool one-liner.
. . .
Maul: The thin blue line just got thick as Hell!
Ahsoka: Where do you keep getting these?
Maul: It’s not loaded!
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Ahsoka & Maul: (karaoke singing “Kiss from a Rose”)
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Ahsoka: So what’s next for you, Maul?
Maul: I’m turning over a new leaf. Gonna live that honest life. Buy a little house. Maybe start a bakery. Invest in my retirement.
Ahsoka: You’re going to go right back to being a crime lord, aren’t you?
Maul: That is very much on the table, yes.
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On Izzy Hands and Old Movies
I really have to hand it to OFMD and probably also my own neurodivergent brain that needs to connect everything to each other, like a Pepe Silvia bulletin board –
In analyzing the sort of “filmbro masculinity” I saw in Izzy, I’m now finding myself contributing, in my own way, to “queering the filmbro” and that’s led to me understanding not just my gender, but how movie genres can be played with, subverted, and reworked because hey, we’re not in the 40s anymore, we don’t need to censor ourselves. With Izzy, the sort of Hays Code-era subtext he uses is the closest thing he’ll get to actual text and that speaks volumes in a show made in 2022 that is out and proud.
I’ve seen Tweets from David Jenkins where he mentions films that inspired his own writing, like Heat and Butch Cassidy and the Sundance Kid, and it’s like hey! I should check these out not just because they’re part of OFMD’s DNA, but because these are also explorations into masculinity that might impact my own writing. I want to make subtext actual text, because the Izzys throughout cinematic history deserve it, man.
My personal happy place is neo-noir (Reservoir Dogs, David Fincher, Martin Scorsese, what have you) but now I’m exposing myself to buddy movies from the “New Hollywood” era of filmmaking, back in the 60s and 70s. (Mean Streets is both a crime and buddy movie so it was a good one for me to start with). This is a traditionally homoerotic genre but somehow they’re always ending in tragedy – haven’t seen Butch & Sundance yet, but I did watch Midnight Cowboy for the first time yesterday and it was incredible and depressing and absolutely WILD that it won Best Picture back in 1969 given its subject matter. (For Izzy fans, Con O’Neill starred in a stage play version of Midnight Cowboy, as Rico Rizzo.)
There’s been some talk lately about “filmbros” being anyone who watches things outside of major franchises – this has been applying to international film but I think it probably also applies to the older stuff, too. Obviously not everything made in the 60s and 70s is going to have aged well, but that doesn’t mean they’re not important. Not to get all irritating and pretentious but these movies don’t spoon feed you, don’t set you up to follow heroic or even likeable characters, but they have a lot to say about society and (especially in the 60s/70s) capitalism and what it does to people. I love speculative fiction, always have always will, but I think there is something to be said about films that follow everymen just trying to make it.
I don’t know, I just think it’s neat how I started out trying to crack a character in a fun TV show and am now trying to give myself a crash course in buddy movies, who’d have thought I’d end up here?
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diagnoses u with fanfic tags
yeah i caved. welcome spideysona
their universe is 1990s san francisco. by day they work as a struggling writer for the bugle, sort of following in the footsteps of (movie-adjacent) eddie brock; by night they’re spider-scrawl, fighting systemic injustice, writers’ block, and the occasional mad scientist invention. his world is less rife with supernatural evils than most, but he’s also fucking with the government and corporations and all, so it balances out
their unique thing is that they have, like, shitty meta clairvoyance in the form of inherently understanding tropes, clichés, story structure, etc. like if cinemasins/wins were a superhero. they were approached to join the society because miguel thought they’d be chill or even helpful with canon events—unfortunately scribble here is not whatsoever into following rigid plot structure for the sake of unnecessary thematic suffering, saw the plot twist a miles away, and peaced. but not before snagging a day pass so they could watch atsv in person
they never take off their mask, and no one knows their name—he says it’s because he doesn’t want to lose his identity in a sea of spider-people, leading most to theorize that san-fran-spidey is some flavor of peter parker, but who’s to say for sure? the doylist reason, which he is in fact aware of, is that i don’t know either lol
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