#i literally just have the last scene to finish | Explore Tumblr Posts and Blogs

the-lil-spud · 3 days

Text

Mama Didn't Raise no Bimbo! Part TWO!

My mind is literally reeling with ideas on this series!!! Hazbin Hotel has meeeee hoookked! And those naughty Vee's definitely have me hooked good and proper!

Part one / Part two / Part Three / Part Four / Part Five

Enjoy my darlings xoxoxox

Your mouth opens in shock when you see THE Velvette had liked your photo. Heart racing a little you couldn’t control the smile that stretched across your lips, holding in the little squeal you desperately wanted to let out you settled for giving a little excited wiggle in your seat. Or you were until a shadow encased you. Looking up you lock eyes with the main V. Vox. Uh oh.

“And who is this lovely lady, Val?”

Bugger. Swallowing nervously, you observe the TV demon in front of you that you had seen on your own TV screen at home. Tilting you head up, he was a lot taller than you thought he would be and a lot more handsome. Realising the other Overlord was making his way towards you both, you quickly stood from your seat while clocking a very worried-looking Angel Dust shoving on their dressing gown behind Valentino.

“Hello Sir, I am Y/n, a friend of Angel Dust”, you hold out your hand to the TV Demon for a handshake. His cold claw like hand took your own in his, raising it up to his face screen and placed a small kiss on the back of it, your blackened fingers and vibrant pink nail varnish reflecting off his screen.

“Ah any friend of Angel’s is a friend of ours, right there Val” his charming smile took up half his screen while his eyes focused on Valentino who arrived at his side towering over us both. Gulping down a shot of nervousness you smile at them both, tapering down the need to take a few steps back. The chair behind you also reminded you that you were cornered by two of the most powerful Overlords in Hell. Remembering a few stories which Alastor recounted for you in the Radio Tower you were doing your best not to panic.

“Yes of course baby, our delicious Y/n is just waiting for Angel Dust to finish his scene – though they did refuse my offer of a job now didn’t you princessa?” Having both their attention directed at you was nerve-wracking but also made you feel a little bit powerful. But you shot down that feeling as soon as you felt it! Dangerous thinking!

Cracking a anxious smile at them you decide to try for an apologetic attitude: “I’m sorry but I did, but I love my job at the moment Sir, so like I said before if I decide to change my career then I will give you a call”.

“And what is it exactly that you do Miss Y/n?” Vox has such a charismatic voice it was easy to get distracted by it and not the words he was saying. Luckily you were doing your best to pay attention to what the Vee’s were saying and doing.

“I am a Singer and Dancer in one of the clubs in Pride Ring and at Cannibal Town”, as you mentioned the last place you watched both their eyebrows raise and look at you a bit differently. Biting your lip slightly to stop the giggle escaping you instead explaining: “not that I am a cannibal but they like my singing and pay good money. As long as I’m singing and they’re paying and not biting it’s a good gig”.

Valentino moved closer, you could tell he was the type of demon that just had no boundaries when it comes to others, trying hard not to flinch as he blew some of that red smoke towards you, “oh don’t you like biting princessa?” That question in his sultry voice, he managed to make a slight blush brighten your cheeks.

“Ah that is between me and my lovers, Sir” you attempt to charm back while trying to find a way to escape from this corner. Almost as if he had read your mind suddenly there was an arm cutting off your escape route, flicking your gaze up to Vox’s amused expression you grumble inside. He must have seen a drop in your face, chuckling under his breath as he smirks at Valentino, the latter was just eyeing you up like you were his next meal. Time to get out of this situation. Like now.

“Sooo … is Angel done? Not that it isn’t lovely to speak to you both gentlemen, but I didn’t put this outfit on just to chat,” you try to look over Vox’s shoulder to see if you could see Angel Dust, who you hoped was coming to your rescue. A gloved finger tapped your chin, making your gaze go towards the tinted one of Valentino.

“And what is the reason for this outfit?” He croons, keeping that gloved finger against your chin challenging you to defy him by removing it.

“To dance the night away” you shake away the urge to flick his finger off your face and instead just glare up into his tinted one, challenging him in your own way. His smirk was just getting larger, his gold tooth glinting in the low light of his studio.

“Uh Y/n you uh ready?” You nearly let your eyes shut with relief when you heard Angel Dust’s voice, as an alternative you turn your head towards the demon letting Valentino’s finger drop from your face with the gesture. A sharp growl was the only tell that he wasn’t happy. Ignoring it you focus on Angel.

Angel’s face appeared in the space between the two Overlord’s shoulders, a concerned expression covered it seeing you cornered by the two. A relieved smile graced your lips trying to put him at ease, or as much ease as you could in this situation. You turn back to the seat behind to grab your coat and purse but before you could two pairs of hands grab them. Cocking your head at the TV Demon, he responds with a charming smile holding your coat up to help you put it on. If you hadn’t heard stories of his temper and what he was like you’d almost be charmed by him.

Thanking him softly, you slip your arms into the coat and allow him to slip it up over your shoulders. What you didn’t expect was him encasing you in his arms as he buttons it, his chest pressed against your back and his breath against your neck. You really hoped he couldn’t feel how hard your heart was beating from nerves right now. With Vox at your back, Valentino moved forwards boxing you in against the other Overlord, his one hand was slipping your purse into your slightly trembling ones as his other brushed your cheek and lifted your chin up, so you were looking up at him.

Out of the corner of your eye you could see a panicked Angel Dust trying to think of ways to save you. Unfortunately, you think this isn’t a situation you might be able to be saved from unless it was yourself doing the saving.

Licking your bottom lip nervously you release a breath before shaking yourself free from both of them. Valentino squeezed your chin briefly for a moment before taking a step back – strange as you thought it would be him that would be the clingy one. Gently, you pry Vox’s hands from your hips pretending not to feel warm sparks from where they rested, they had sat on your hips after buttoning your coat. You give them a soft squeeze as you push them away so they rested at his own hips. Breaking away from them you take a few steps towards Angel Dust. Twisting back vaguely towards the two Overlords you give them both a generous smile.

“Thank you for your company and goodnight gentlemen”. You nod towards them, turning back to Angel you link your arm through one of theirs and almost drag him towards the elevator. Feeling your tenseness, he quickens his pace grabbing his jacket from a chair that you pass, throwing a goodbye to them both over his shoulder.

Getting in the elevator you almost didn’t turn back to face the two Vee’s. Your nerves almost getting the better of you. But if you didn’t turn you just knew that would be a win for them. So, you straighten your spine, mentally pull your big girl panties up and turn as gracefully as you can with your best award winning smile to face them both.

The two predatory smirks and narrowed eyes directed at you made your dead heart thump in your chest.

You were so fucked!

tagged @tasha-1994

link to A03 just here

94 notes · View notes

sixpossumsinatrenchcoat · 2 days

Text

B Plot

Isabeau still can’t confess, and Siffrin needs to clear their head. Which means it’s high time for a sidequest.

Act 1, Scene 2. West Dormont. Isa’s hand hovers near your shoulder. You try to look inviting, but you must not be very good at it. He’s already pulling away. Okay. This is it. Go time. “You can touch me,” you blurt out. “Wh— Hwhuh???” No turning back now. “It just. Seems like you think you can’t? But—you can.”

(Full disclosure, this is literally just 5k words of Siffrin trying to flirt, because he's not the only one who needed a break. Spoilers thru Act 3)

You don’t make the pun for Isa. You don’t say hi to Loop, either. You just sit on the ground and stare at the grass.

“Wow, stardust,” Loop snorts, “thanks for the warm welcome. I missed you too! But tone it down a little, will you? All that enthusiasm could get a little overwhelming!”

Near your foot, there’s a leaf growing out from a fallen branch, glossy and bright like it thinks it’s still attached to the tree. Like it thinks it’s still alive. But of course you know better. It’s already dead. It just doesn’t know it yet.

“Sooo~, what’s up? Give me the scoop! The latest and greatest, teehee!”

The leaf is always growing out of the branch, and the branch is always on the ground, splintered and slowly drying. Does the loop last long enough for the leaf to dry out, too? Does it die every day, like you do? Or will it spend the rest of eternity in a state of blissful ignorance?

“You beat the King again, right? That’s cool! You’re getting pretty tough! Keep it up and pretty soon you’ll have nothing to be scared of! Aside from, you know. All the existential dread.”

You watch your hand reach out to close around the leaf. It comes loose with a gentle pop.

“Oh, come on, at least pretend to listen. You’re good at that, teehee!” When you still don’t react, their tone sours. “The silent treatment is really not a cute look on you, you know.”

Even with nothing to hold onto, the leaf still looks offensively alive. You crumple it between your hands and then shred it into tiny little pieces. There. Now it’s just like you.

—There’s a startling clap! as Loop claps their hands about an inch from your left ear.

“Stardust,” they say firmly. “I’m a patient star, I really am, but if you keep ignoring me, I’m going to get grouchy.”

Very slowly, you look up. “She didn’t know anything.”

“...The head housemaiden?”

You nod.

“About Time Craft, you mean?”

Another nod.

“Oh,” Loop says softly. “Well. I suppose that’s to be expected. Maybe no one does, anymore.”

You shrug.

“B-But you still have leads, don’t you? Didn’t you have a few more questions for the K—”

“I don’t want to talk to the King.” The last time you tried to talk to the King, your actors looked at you like you were something monstrous. Subhuman. Like something they’d scraped off the bottom of their shoes. You wound up letting him kill you just to end the loop faster. But you’d forgotten how much the King’s final blow hurts.

“Okay, but—”

“Will you stop?” you demand. You don’t want to talk about this. You just want—

—but there’s no point finishing that sentence.

The two of you sit in silence for a while. Probably you hurt Loop’s feelings. Somehow, you can’t bring yourself to care.

“Stardust,” Loop says at last, unexpectedly gently. When you glance up, they’re looking away, picking at the—not skin—the gummy celestial membrane that covers the pads of their fingers. They don’t have a mouth, but if they did, it would be frowning. “I think you might need a break.”

“Haha!!!! Ahaha!!!!! Do you think???”

“I don’t mean from the loops,” Loop says impatiently. “I just mean… Ohh, I don’t know. From fighting the loops? Of course I can’t directly relate, but—from an outside perspective, I think that trying to break the loop is probably sort of… not-good. Ah. Psychologically.”

You stare at them in stony silence.

“So maybe you need a B plot!”

“…A what?”

“You know. A B plot! Like in plays? It’s what the side characters get up to while the important people are off dying and falling in love and things!”

Wait. “You watch plays?”

“I am a star of culture, you know,” Loop sniffs. “I just think you could use a win! Take a break from fixing the laws of physics to focus on something a little more achievable, hmm~? Just for a few loops! Just to clear your head!”

Your mouth scrunches to one side. Unfortunately, they’ve caught your interest. “Like what.”

“Like, ah… oh! What about your touch therapy? That was fun, wasn’t it? Here, look, I could hold both your hands!”

“It doesn’t count,” you mutter.

“Oh, no? And whyever not?”

“It just doesn’t.” You can’t really explain why Loop doesn’t count. You just know that they don’t. The first time they elbowed you, you didn’t even flinch. To be honest, it barely registered. Like knocking your elbow against something not alive, or trying to tickle yourself.

Loop rolls their eyes. “I’ll try not to take that personally.”

* * *

They’re right, though. You need a break. But you’re not going to get it by holding hands with Loop.

* * *

You spend the rest of the day thinking about how to take a break from a temporal prison that is categorically, explicitly inescapable.

“Umm,” Isa whispers over dinner. “Sif? Are you, um, okay? You seem a little off.”

You probably should have expected this. Isabeau is always paying attention to what you’re doing and not-doing. But it never goes anywhere, because he’s too afraid to say it.

…Oh. Is that anything? You think it might be something. You already know that Isa wants to touch you. But he doesn’t, because he thinks you don’t want him to. Because you can’t tell him, and he can’t ask. So instead you’re both stuck here, not knowing what’s true.

What would it take to make him brave enough to say it? How obvious would you have to be before he could feel safe?

Your eyes narrow. Maybe you really do need a break.

You can read the rest on ao3: https://archiveofourown.org/works/55543246

#in stars and time #isat spoilers #isat isabeau #isat siffrin #isafrin #fluff #act 3 spoilers

50 notes · View notes

thesublemon · 3 days

Text

best picture

For the first time in a long time, I watched all of the movies nominated for Best Picture at the Oscars this year. Partly on a whim, partly for a piece I’ve been working on for a while about what is going wrong in contemporary artmarking. I cannot say that the experience made me feel any better or worse about contemporary movies than I already felt, which was pretty bad. But sometimes to write about a hot stove, you gotta put your hand on one. So. The nominees for coldest stove are:

Poor Things. Did not like enough to finish. I always want to like something that is making an effort at originality, strangeness, or style. Unfortunately, the execution of those things in this movie felt somehow dull and thin. Hard to explain how. Maybe the movie’s motif of things mashed together (baby-woman, duck-dog, etc) is representative. People have been mashing things together since griffins, medleys, Avatar the Last Airbender’s animals, Nickelodeon’s Catdog, etc. Thing + thing is elementary-level weird. And while there’s nothing wrong with a simple, or well-worn premise, there is a greater burden on an artist to do something interesting with it, if they go that route. And Poor Things does not. Its themes are obvious and belabored (the difficulty of self-actualization in a world that violently infantilizes you) and do not elevate the premise. There’s a fine line between the archetypal and the hackish, and this movie falls on the wrong side of it. It made me miss Crimes of the Future (2022), a recent Cronenberg that was authentically original and strange, with the execution to match.

Anatomy of a Fall. Solid, but not stunning. The baseline level of what a ‘good’ movie should be. It was written coherently and economically, despite its length. It told a story that drew you along. I wanted to know what happened, which is the least you can ask from storytelling. It had some compelling scenes that required a command of character and drama to write—particularly the big argument scene. The cinematography was not interesting, but it was not annoying either. It did its job. This was not, however, a transcendent movie.

Oppenheimer. Did not like enough to finish. But later forced myself to, just so no one could accuse me of not knowing what I was talking about when I said I disliked it. I felt like I was being pranked. The Marvel idea of what a prestige biopic should be. Like Poor Things, it telegraphed its artsiness and themes and has raked in accolades for its trouble. But obviousness is not the same as goodness and this movie is not good. The imagery is painfully literal. A character mentions something? Cut to a shot of it! No irony or nuance added by such images—just the artistry of a book report. The dialogue pathologically tells instead of shows. It constantly, cutely references things you might have heard of, the kind of desperate audience fellation you see in soulless franchise movies. Which is a particularly jarring choice given the movie’s subject matter. ‘Why didn’t you get Einstein for the Manhattan project’ Strauss asks, as if he’s saying ‘Why didn’t you get Superman for the Avengers?’ If any of this referentiality was an attempt to say something about mythologization, it failed—badly. The movie is stuffed with famous and talented actors, but it might as well not have been, given how fake every word out of their mouths sounded. Every scene felt like it had been written to sound good in a trailer, rather than to tell a damn story. All climax and no cattle.

Barbie. Did not like enough to finish. It had slightly more solidity in its execution than I was afraid it would have, so I will give it that. If people want this to be their entertainment I will let them have it. But if they want this to be their high cinema I will have to kill myself. Barbie being on this list reminds me of the midcentury decades of annual movie musical nominations for Best Picture. Sometimes deservingly. Other times, less so. The Music Man is great, but it’s not better than 8 1/2 or The Great Escape, neither of which were nominated in 1963. Musicals tend to appeal to more popular emotions, which ticket-buyers and award-givers tend to like, and critics tend to dislike. I remember how much Pauline Kael and Joan Didion hated The Sound of Music (which won in 1966), and have to ask myself if in twenty years I’ll think of my reaction to Barbie the same way that I think of those reviews: justified, but perhaps beside the point of other merits. Thing is. Say what you want about musicals, but that genre was alive back then. It was vital. Bursting with creativity. For all Kael’s bile, even she acknowledged that The Sound of Music was “well done for what it is.” [1] Contemporary cinema lacks such vitality, and Barbie is laden with symptoms of the malaise. It repeatedly falls back on references to past aesthetic successes (2001: A Space Odyssey, Singin’ in the Rain, etc) in order to have aesthetic heft. It has a car commercial in the middle. It’s about a toy from 60 years ago and politics from 10 years ago. It tries to wring some energy and meaning from all of that but not enough to cover the stench of death. I’d prefer an old musical any day.

American Fiction. Was okay. It tried to be clever about politics, but ended up being clomping about politics. At the end of the day, it just wasn’t any more interesting than any other ‘intellectual has a mid-life crisis’ story, even with the ‘twist’ of it being from a black American perspective. Even with it being somewhat self-aware of this. But it could have been a worse mid-life crisis story. The cinematography was terrible. It was shot like a sitcom. Much of the dialogue was sitcom-y too. I liked the soundtrack, what I could hear of it. The attempts at style and meta (the characters coming to life, the multiple endings) felt underdeveloped. Mostly because they were only used a couple times. In all, it felt like a first draft of a potentially more interesting movie.

The Zone of Interest.Wanted to like it more than I did. Unfortunately, you get the point within about five minutes. If you’ve seen the promotional image of the people in the garden, backgrounded by the walls of Auschwitz, then you’ve already seen the movie. Which means that all the rest of the movie ends up feeling like pretentious excess instead of moving elaboration. It seemed very aware of itself as an Important Movie and rested on those laurels, cinematically speaking, in a frustrating way. It reminded me of video art. I felt like I had stepped through a black velvet drape into the side room of a gallery, wondering at what point the video started over. And video art has its place, but it is a different medium. Moreover video art at its best, like a movie at its best, takes only the time it needs to say what it needs to say.

Past Lives. I’m a human being, and I respond to romance. I appreciate the pathos of sweet yearning and missed chances. And I understand how the romance in this movie is a synecdoche for ambivalent feelings about many kinds of life choices, particularly the choice to be an immigrant and choose one culture over another. The immigrant experience framing literalizes the way any choice can make one foreign to a past version of oneself, or the people one used to know, even if in another sense one is still the same person. So, I appreciate the emotional core of what (I believe) this movie was going for, and do think it succeeded in some respects. And yet…I was very irritated by most of its artistic choices. I found the three principal characters bland and therefore difficult to care about, sketched with only basic traits besides things like Striving and Being In Love. Why care who they’d be in another life if they have no personalities in this one? It’s fine to make characters symbols instead of humans if the symbolic tapestry of a movie is interesting and rich, but the symbolic tapestry of this movie was quite simple and straightforward. Not that that last sentence even matters much, since the movie clearly wanted you to feel for the characters as human beings, not just symbols. Visually, the cinematography was dull and diffuse, with composition that was either boring or as subtle as a hammer to the head.

Maestro. Did not like enough to finish. Something strange and wrong about this movie. It attempts to perform aesthetic mimicry with impressive precision—age makeup, accents, period cinematography—but this does not make the movie a better movie. At most it creates spectacle, at worst it creates uncanny valleys. It puts one on the lookout for irregularities, instead of allowing one to disappear into whatever the movie is doing. Something amateurishly pretentious in the execution. And not in the fun, respectable way, like a good student film. (My go-to example for a movie that has an art-school vibe in a pleasant way is The Reflecting Skin). There’s something desperate about it instead. It has the same disease as Oppenheimer, of attempting to do a biopic in a ‘stylish’ way without working on the basics first. Fat Man and Little Boy is a less overtly stylish rendition of the same subject as Oppenheimer, but far more cinematically successful to me, because it understands those basics. I would prefer to see the Fat Man and Little Boy of Leonard Bernstein’s life unless a filmmaker proves that they can do something with style beyond mimicry and flash.

The Holdovers. Did not like enough to finish. It tries to be vintage, but outside of a few moments, it does not succeed either at capturing what was good about the aesthetic it references, or at using the aesthetic in some other interesting way. The cinematography apes the tropes of movies and TV from the story’s time period, but doesn't have interesting composition in its own right. It lacks the solidity that comes from original seeing. (Contrast with something like Planet Terror, in which joyous pastiche complements the original elements.) The acting is badly directed. Too much actorliness is permitted. Much fakeness in general between the acting, writing, and visual language. If a movie with this same premise was made in the UK in the 60’s or 70's it would probably be good. As-is the movie just serves to make me sad that the ability to make such movies is apparently lost and can only be hollowly gestured at. That said, the woman who won best supporting actress did a good job. She was the only one who seemed to be actually acting.

Killers of the Flower Moon. The only possible winner. It is not my favorite of Scorsese’s movies, but compared to the rest of the lineup it wins simply by virtue of being a movie at all. How to define ‘being a movie’? Lots of things I could say that Killers of the Flower Moon has and does would also be superficially true of other movies in this cohort. Things like: it tells a story, with developed characters who drive that story. Or: it uses its medium (visuals, sound) to support its story and its themes. The difference comes down to richness, specificity, control, and a je ne sais quois that is beyond me to describe at the moment. Compare the way Killers of the Flower Moon uses a bygone cinematic style (the silent movie) to the way that Maestro and The Holdovers do. Killers of the Flower Moon uses a newsreel in its opening briefly and specifically. The sequence sets the scene historically, and gives you the necessary background with the added panache of confident cuts and music. It’s useful to the story and it’s satisfying to watch. Basics. But the movie doesn’t limit itself to that, because it’s a good movie. The sequence also sets up ideas that will be continuously developed over the course of the movie.* And here’s the kicker—the movie doesn’t linger on this sequence. You get the idea, and it moves on to even more ideas. Also compare this kind of ideating to American Fiction’s. When I said that American Fiction’s moments of style felt underdeveloped, I was thinking of movies like Killers of the Flower Moon, which weave and evolve their stylistic ideas throughout the entire runtime.

*(Visually, it places the Osage within a historical medium that the audience probably does not associate with Native Americans, or the Osage in particular. Which has a couple of different effects. First, it acts as a continuation of the gushing oil from the previous scene. It’s an interruption. A false promise. Seeming belonging and power, but framed all the while by a foreign culture. Meanwhile potentially from the perspective of that culture, it’s an intrusion on ‘their’ medium. And of course, this promise quickly decays into tragedy and death. The energy of the sequence isn’t just for its own sake—it sets up a contrast. But on a second, meta level it establishes the movie’s complicated relationship to media and storytelling. Newsreels, photos, myths, histories, police interviews, and a radio play all occur over the course of the movie. And there’s the movie Killers of the Flower Moon itself. Other people’s frames are contrasted with Mollie’s narration. There’s a repeated tension between communication as a method of knowing others and a method of controlling them—or the narrative of them—which plays out in both history and personal relationships.)

Or here’s another example: When Mollie and Ernest meet and he drives her home for the first time, we see their conversation via the car’s rearview mirrors. This is a bit of cinematic language that has its origins in mystery and paranoia. You see it in things like Hitchcock or The X-Files or film noir. By framing the scene with this convention, the movie turns what is superficially a romantic meet-cute (to quote a friend) into something bubbling with uneasiness and dread. This is not nostalgia—this is just using visuals to create effects. It doesn’t matter if you’ve seen anything that uses the convention before, although knowing the pedigree might add to your enjoyment. The watchfulness suggested by the mirrors and Ernest’s cut-off face will still add an ominous effect. It works for the same reason it works in those other things. Like the newsreel, it is a specific and concise stylistic choice, and it results in a scene that is doing more than just one thing.

In general, the common thread I noticed as I watched these nominees, was the tendency to have the ‘idea’ of theme or style, and then stop there. It’s not that the movies had nothing in them. There were ideas, there was use of the medium, there was meaning to extract. There were lots of individually good moments. But they tended to feel singular, or repetitive, or tacked on. Meanwhile contemporary viewers are apparently so impressed by the mere existence of theme or style, that being able to identify it in a movie is enough to convince many that the movie is also good at those things. The problem with this tendency—in both artists and audiences—is that theme and style are not actually some extra, remarkable, inherently rarifying property of art. Theme emerges naturally from a story with any kind of coherence or perspective. And style emerges naturally from any kind of artistic attitude. They are as native as script, or narrative, or character. A movie’s theme and style might not be interesting, just like its story or dialogue might not be interesting, but if the movie is at all decent, they should exist. What makes a movie good or bad, then, is how it executes its component parts—including theme and style—in service of the whole. When theme is well-executed it is well-developed. Contemporary movies, unfortunately, seem to have confused ‘well-developed’ with ‘screamingly obvious.’ A theme does not become well-developed by repetition. It becomes well-developed by iterationand integration. Theme is like a melody. Simply repeating a single melody over and over does not result in the song becoming more interesting or entertaining. It becomes tedious. However, if you modify the melody each time you play it, or diverge from the melody and then return to it, that can get exciting. It results in different angles on the same idea, such that the idea becomes more complex over time, instead of simply louder.

Oppenheimer wasprobably the worst offender in this regard. Just repeat your water drops, crescendoing noise, or a line about ‘destroying the world’, and that’s the same as nuance, right? Split scenes into color and black and white and that’s the same as structure, right? That’s the same as actually conveying a difference between objectivity and interiority (or another dichotomy) via the drama or visual composition contained in the scenes, right? When I watched many of these movies, I kept thinking of a behind-the-scenes story from Buffy the Vampire Slayer. The story goes that Joss Whedon was directing Sarah Michelle Gellar in some scene, and when the take was over he told her how great she was, and that he could see right where the music would come in. And Gellar replied that if he was thinking about the music, he clearly wasn’t getting enough from her acting alone. This conversation then supposedly informed Whedon’s approach to “The Body,” a depiction of the immediate aftermath of death that is considered one of the best episodes of television ever made, and which has no non-diegetic music whatsoever. Not to imply that music is necessarily a crutch, or to pretend that “The Body” is lacking in other forms of stylization (it is a very style-ish episode). But more to illustrate the way that it is easy to forget to make the most of all aspects of a medium, particularly the most fundamental ones, once one has gotten used to what a final product is supposed to feel like.

And that’s why most of these movies don’t feel like movies. They create the gestalt of a movie or a ‘cinematic’ moment—often literally through direct vintage imitation—without a sense of the first principles. Or demonstrating a sense of them, anyway. Who needs AI when the supposedly highest level of human filmmakers are already cannibalistically cargo-culting the medium just fine.

[1] “The Sound of Money (The Sound of Music and The Singing Nun).” The Pauline Kael Reader. (This book contains the full text of the original review, rather than the abbreviated review that I linked earlier.)

#posts: art #movies #am rusty at blogging and don't have all the virtuous nuance i would like in this but we will go with it

52 notes · View notes